Just the other week, POP Montreal hit the Montreal scene with notable force. With acts like Timber Timbre, Philémon Cimon, The Unicorns, Diamond Bones, and CTZNSHP, the five day bender was full of stellar gigs.
One artist in particular really stood out, and that was Arbutus Records signee Lydia Ainsworth. Having just revealed her debut effort Right From Real on September 30, Ainsworth has quickly established her ability to create solemn soundscapes that transcend our previous experiences with orchestral, cinematic music.
During our week in Montreal, EARMILK had the opportunity to have a short but sweet conversation with the young musician. While picking her brain about her most recent endeavours, Ainsworth radiated an air of modesty and genuineness that made us understand just exactly why her music sounds as beautiful as it does.
1. Who is Lydia Ainsworth musically? Non-musically?
Lydia Ainsworth musically is the same as Lydia Ainsworth non-musically but the definition of myself (like anyone else in this world) is fluid and constantly evolving.
2. You recently played Arbutus Records' POP Montreal showcase, along with a few other shows throughout the festival. How was that for you?
POP Montreal was very special and a lot of fun. For the show at La Sala Rosa my friend and very talented designer Alex Hercule built a plexiglass sculpture that featured his graceful snake 'Baguette'. He also made some beautiful projections. I was also very generously loaned a beautiful gown by Renata Morales who is one of my favorite designers ever and happens to be Montreal-based. It was an exciting and fun show to play because of those additions. The next day I performed at the Arbutus headquarters and while it was stripped down visually it was also just as special. I was joined by string players and a drummer. I consider that space a home away from home now, it was special to perform there.