Documentaire réalisé par Patricia O’Brien, Kindred Media, Seattle
Artiste découverte cet hiver grâce à la liste de fin d’année 2007 de Damien Jurado (il citait déjà également Fleet Foxes parmi les groupes qu’il n’arrêtait pas d’écouter) : à noter que son 1er album ‘Sigh Lens’ (2005) a été produit par Karl Blau (ex Microphones), qui accompagne Laura Veirs sur scène lors de ses tournées; le 2ème album, ‘Clouds Electric’ (août 2006) a été lui produit par Tucker Martine, producteur de Laura Veirs (à partir du 2ème album et les suivants), Sufjan Stevens, des Decemberists, Jesse Sykes, Bill Frisell, Mount Analog, Jim White, Modest Mouse, etc. Karl Blau & Tucker, avec Steve Moore, font en qq sorte partie du backup band de Laura Veirs, Laura Veirs & The Tortured Souls.
Blueberry, Bowline (Sigh Lens LP / 2005) & Bound To Fall (Up North EP) sur le site de Johanna Kunin, rubrique Sounds
Seaworthy Sleeper sur sa page MySpace (originellement sur la compilation Have a good night # 2 (2007), de Blog Up Musique, une compilation qui connaît un grand succès (le # 3 vient de sortir , avec la présence d’Orouni feat. Mina Tindle notamment)
« One of the best albums of 2006. Having her music on my show makes me look good. » — Chris Douridas, KCRW
I am totally music obsessed.
I am Johanna Kunin and I write songs that I sing and play on the Piano.
So in the year Two thousand, while doing my ordinary things in life I was crossing the street and I was hit by a car. I thought I was gonna die, which i’ve never had that experience before, and that was really eye-opening and all the ? things happened to me after that well I felt really free and like I could do anything you know, and I could get ? play a ? of my own music. Five years later, I ‘ve found myself with a little bit of settlement money and it just happened to be the exact moment, the one time in my life when I needed money much was when I was making my first full-lenght record. In the end, that experience enabled me to do the things that I wanted to do the most in my life and to create the things that I’m most proud of.
I was very free about making ? music as a kid but at some point I kind of developped this teenage insecurity about it and became really blocked, and I was unable to write anything, i would ? after write anything. I grew up playing classical piano and I was really really ?, and I wanted to play stuff that sounded frenzy? so I thought of myself as an interpreter of other people’s work and I felt that I was good of that and I really enjoyed doing it. After High-School, I went to Cornish College of the Arts here in Seattle: again I thought of myself as an interpreter of other people’s worlk, but this time I was doing jazz and I was singing and I got really excited about improvizing with the voice and focused hardly on using the voice as an instrument.
I graduated from School, and about a year later, I just was sort of driving in my car and it was kind of a difficult time for me, I was trying to figure what I wanted to do, and in just sort of moment, I started spontaneously singing in the car on the way home and probably looking crazy at everyone who drove by, I got home and I sat down on the piano, and I just started writing, and I decided taht I was gonna write every day. From a while, I started to put words on what I was writing and graduately tu(r)ned it to songs
The create of process for me is really as a meditation, for lack of ? word, I would say it’s kind of a spiritual thing for me, and for lack of other spiritual ? also for me, I didn’t grew up in a religious family, and I think the songwriting has become a way of discovering what I think about the universe and my place in it. I remember really foundly? having experiences as a child that felt magical. Clearly, that urge to find a magic in life doesn’t end with childhood. I’ve always been the most fascinated with music that’s transporting, the kind of places that i wanted to take a listener to, or the places that fascinated me the most, the places that I encountered ? in dreams, you know, impossible, places that also I wanted to ground them, real life, emotionnal experiences. So have these very ? dreams, and I became realy fascinated with that dream-life, and then through writing through those streams of unconsciousness, I felt like I could sort of reaccess those wor(l)ds in a certains way.
My Tape-Recorder sits usually on the upper height ? side of my piano and it’s always ready for when i come and put ideas.
Sometimes I’ll go outside somewhere, usually to the park around, or sometimes to the beach, and I’ll just sit there with my tape-recorder and sing along and start to put ideas, put words on music.
It feels really incredible when a song starts to come together, you’re just doing and making a choice, and following and being aware of where you are. It’s a wonderful feeling, it’s a feeling of purpose?, a really ? of meaning to my life.
At the time that I was at music school, I just probably, that was seven years ago now, I couldn’t play the piano in front of people and I couldn’t write music, both of these becos’ i wouldn’t allow ? me of to? and they were things that I had to ? and get move on to be able to write my own songs and fortunately I did I’ve often chosen things from myself that were difficult ? in a lot of ways : putting yourself in front of an audience of people that you don’t know, it’s very vulnerable ?, especially when you’re playing your own music, you can’t hide behind someone elses’s work, so it’s been one of the most rewarded? things I’ve ever done, but also the most difficult.