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So Case called longtime friends to play the parts she had in mind, and she hired an arranger, a composer, and 20 string players to replicate the volume of a full orchestra. \u201cI was a sloppy crying mess at the end of the day,\u201d she recalls. \u201cI wanted there to be real people on every instrument and leave the sounds of people\u2019s sleeves brushing the chair or people taking breaths. I wanted all of that to celebrate the organism that is people making music together.\u201d As a songwriter who\u2019s open about how\u00a0tethered\u00a0she feels to nature, Case allows the album to breathe and morph. At times, it feels like you\u2019re sitting on a rock, watching the birds and bugs crawl out from their hiding spots. \u201cI know I can\u2019t burn this bright forever,\u201d Case calls out at one point on \u201cWreck.\u201d While that\u2019s true of everyone, listening to clarinet swirl in circles around her and a harp trickle from above,\u00a0Neon Grey Midnight Green<\/em>\u00a0posits that maybe she will. In a way, she already has been.<\/p>\n\n
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As summer began winding down, Case got comfy on the couch and hopped on Zoom to discuss\u00a0Neon Grey Midnight Green<\/em>, the relentless loss of loved ones since her last album, how crucial observing nature is to appreciating her place in life, and more. Read a truncated version of the interview below.<\/p>\nPitchfork: Between your vocal harmonies and the orchestral strings,\u00a0
Neon Grey Midnight Green<\/em>\u00a0comes across like a radiant burst of wonder, weightless relief, and trust in time healing all wounds. Were you in that state of mind while writing the album, or was this an exercise in drawing those feelings out of yourself at a time where dread and fear are pervasive?<\/div>\nNeko Case: I absolutely refused to be overtaken by despair. I wanted to remind people of their own power, that they still matter, and that resisting this weird, mechanized, grinding machine our world is turning into is important. These songs aren\u2019t about that on the nose because I like leaving them open-ended for listeners to fit themselves into the picture. So, if it brings them joy or replants them on their feet or makes them feel less alone, that\u2019s the hope: to help people feel a connection.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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I also wanted to celebrate specific musicians, because music helps further that connection, and they helped me with my own. That\u2019s our greatest power as humans: our psychic connection to each other. Not the woo-woo concept, but instinct. It\u2019s worth practicing our animal connection with other people, what our gut tells us to do, and what you\u2019re fighting for in this world. It will make you feel simultaneously smaller and more powerful than before. I want to remind people of the trillion possibilities before them on a road that falsely feels like it\u2019s the only one.<\/p>\n
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Which musicians were you reflecting on while writing this album? Did you want to immortalize their memories through song?<\/div>\n
It\u2019s both musicians who passed and those who are still living. During the course of making this record, people started passing away very unexpectedly. Like Donny Gerrard, who is an incredible vocalist in Mavis Staples\u2019 band and in the band Skylark. One of my first memories is hearing \u201cWildflower,\u201d where his particular voice is incredible. I didn’t know him well, but we\u2019ve met each other over the years and worked together. He was quietly singing on things like Elton John albums that we all worship because that\u2019s the caliber of musician he was. I was surprised his death hit me so hard because we weren\u2019t close, but his kindness and presence throughout my whole life via music felt huge. Then my dear friend\u00a0Dallas Good\u00a0passed away suddenly, not long after Donny, and he was like family to me. I didn\u2019t know what to say about it, which I guess is why you have to make music.<\/p>\n
While grief is heavy and harrowing, it can also jumpstart feelings of love and pull these sweet memories from the crevasses of our brain that we forgot. You experience this duality where the loved one is physically gone, but it simultaneously feels like they\u2019re brought back to life by being close to the forefront of your thoughts.<\/div>\n
Yes, absolutely. Grief gives you incredible gifts if you\u2019re willing to look it in the eyes, accept it, and feel it. Some things are private and you wanna keep it to yourself, but you don\u2019t wanna shortchange what the person meant to you either. This is the first interview I\u2019ve done where I\u2019ve had to try to do this, so I apologize if I\u2019m not making sense.<\/p>\n
No, and please don\u2019t feel pressured to share anything that you don\u2019t want to be public.<\/div>\n
My friend\u00a0Kim Shattuck, from the Muffs,\u00a0passed away\u00a0from [amyotrophic lateral sclerosis], which was horrible. She was a huge influence on me and a beacon to look up to, as a friend, tourmate, and role model. My friend Dexter Romweber died, who was a very kind, loving, and chaotic person with a ton going on and who ended up shaping me. Dexter was in my favorite band [in Flat Duo Jets and Dex Romweber Duo] for as long as I can remember. Then Peter Moore, who mastered all my albums, died from cancer, and he was such a good friend and a kind mentor for many things. I still don\u2019t fully understand mastering, but he made it understandable for me [laughs<\/em>].<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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My friend Diane Butler passed away, and she was the embodiment of a music lover. She was the other side: There\u2019s the musician, and then there\u2019s the person who\u2019s there to enjoy the music. Together, we completed a circuit. She ran a rescue farm for horses and other animals with her partner, and she let herself cut loose for live music. I\u2019ve never met anybody who wasn\u2019t a musician who took such joy in music the way she did and showed it to that extent. And, besides that, she was a very, very, very dear friend.<\/p>\n
It\u2019s weird to talk about everyone because some of them still don\u2019t feel gone. It takes years to understand someone is no longer physically here. So many people died during the making of this record, which maybe is just the age I\u2019m at, but I don\u2019t feel like they\u2019re gone. Community, real community, is one of the few precious things we have left that makes a neighborhood feel like a specific place. It\u2019s where you hang out, where you take your little brother to their first concert, where you meet your life partner. When you\u2019re in a community and realize how it makes your city\u00a0it<\/em>, you can feel what a sacred place that is. It\u2019s always about the people.<\/p>\n\nNeko Case<\/span>Photo by\u00a0Ebru Yildiz<\/span><\/div>\n<\/figure>\nThat makes me curious: How would you describe what love\u2014romantic, platonic, whatever\u2014feels like when you know it\u2019s real? When you\u2019re thinking\u00a0
Man, I love this place and I love these people. This is what it\u2019s about.<\/em><\/div>\nI think it\u2019s not just sitting there waiting for things to come to you. I think it\u2019s curiosity, in the manner of going out of your comfort zone and inquiring how people are doing. Or starting a conversation with somebody who\u2019s in a very different age group than you at the supermarket. Or asking somebody if they need help. Or taking part in your community, no matter how big it is. It\u2019s just responding to someone else\u2019s humanness.<\/p>\n
There\u2019s the line \u201cWe all deserve better than a love song\u201d on \u201cRusty Mountain.\u201d What did you mean by that?<\/div>\n
One of those things in the rock\u2019n\u2019roll pantheon mythology is that women are supposed to be flattered when they\u2019re a muse for a song. But they didn\u2019t ask to be made into this subject. There\u2019s so much more for women to be. I always think about Bob Dylan songs and I\u2019m like,\u00a0What an asshole<\/em>. Well, I like Bob Dylan a lot, and I think he\u2019s one of the greatest songwriters of all time, but take \u201cSara.\u201d That\u2019s the mother of your children and you\u2019re totally putting her on a pedestal and objectifying her, and then in the next song it\u2019s horrible shit about her. You have this platform, and she doesn\u2019t. You\u2019re just skewering her in front of people. And what can she do?<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
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I\u2019ve had friends who\u2019ve had men write songs about them and they\u2019re horrible fucking people. And then the men make a million dollars off the song they wrote about them, you know? It\u2019s gross. So I think I\u2019m always in the back of my mind going,\u00a0Yeah, don\u2019t do me any fucking favors<\/em>\u00a0[laughs<\/em>]. I wrote my own fucking song; thanks. Not that that\u2019s ever happened to me\u2026.<\/p>\nMaybe because you’ve set the boundary.<\/div>\n
Well, maybe. Or I\u2019m not really a muse-y person, perhaps.<\/p>\n
In your new memoir,\u00a0
The Harder I Fight The More I Love You<\/em>, you share a lot of coming-of-age experiences that are heartbreaking or very tender, but, through it all, you find reprieve in nature. How did those early experiences being outdoors shape how you view the world, both as a person and an artist?<\/div>\nBecause I was unsupervised for so long, people weren\u2019t telling me what my relationship with nature should be. So I formed a pretty organic relationship with it, which really helped me access my human animal instincts. It made me very receptive to my role as an observer. I\u2019m always trying to notice as much as possible. Granted, my memory is not the greatest, so I\u2019m not always\u00a0remembering<\/em>\u00a0everything. I\u2019ll come up with phrases that try to encapsulate the scene, and I think it made me a better observer than I might have been if I was told how to feel about nature. That\u2019s the thing: I was never told that I\u2019m separate from nature. I felt like I reacted to it and it reacted to me.<\/p>\nThat\u2019s long come through in your solo catalog and sometimes in the New Pornographers, too. On\u00a0
Neon Grey Midnight Green<\/em>, there\u2019s one song where you consider the power of ocean tides, and another where you recount watching a spider build its web and feeling cheated by how quickly it constructs an intricate piece of art. Placing the emphasis on your envy of its speed and grace, rather than just describing the web as being beautiful, is such a Neko Case perspective.<\/div>\nThat\u2019s why I get offended by people talking about aliens. Why be interested in something so stupid when this little tiny spider was born three days ago and in its DNA is the pattern for one of the most physically complex and incredibly strong things? After three days of existing in the world, it can do that. Of course I don\u2019t think life in other galaxies on other planets is stupid, but just the way that we view what is and isn\u2019t possible. Sometimes it\u2019s slightly racist, too, like when people decide that the Mayans didn\u2019t come up with their calendar because they got it from visitors from outer space. Like, no, they fucking didn\u2019t. They were fucking brilliant. Stop with your shit.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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I love checking out the planets and hearing what they\u2019re made of, but why can\u2019t a yellow leaf be as incredible as figuring out if Pluto is a planet or not? There\u2019s room for both of those things, obviously. My feelings are hurt when people don\u2019t consider things like that. A good example is being in a cab on the way to Heathrow in London and looking at the cement divider between the lanes, seeing plants growing out of the cement, and wondering which are invasive, which are natural to the British Isles, and why could that plant grow through the concrete while others didn\u2019t. Wondering about the world at this level, which is a huge level\u2014the one that made us all. It feels lonely sometimes to feel so much wonder and not have anyone to talk to about it.<\/p>\n
Your songs capture the amazement of it all, especially on this record. Those live arrangements and string players replicate the emotive experience of witnessing nature develop in real time. Whether it\u2019s the violins or horns or that gorgeous harp, this album moves like our living, breathing world. How did you determine these arrangements?<\/div>\n
I called my friend Tom Hagerman, who is an incredible arranger and plays in Devotchka. After giving him the bed tracks, we discussed what I wanted and how to achieve it. He\u2019s a great arranger who structured the strings in reaction to other parts I wrote. When I met with him in Denver, and the conductor, we took half a day to reduce his suggestions until it fit just right. Tom has interesting taste and is willing to go darker, more than others would be, which is why I asked him to bring that to the album. The contrast helps me hear the songs even better.<\/p>\n
In \u201cOh, Neglect\u2026,\u201d you sing, \u201cNow that I find myself young again\/I\u2019ve got too much hope\/For what, I don\u2019t know.\u201d What\u2019s been making you feel young again, and how is that being expressed?<\/div>\n
When I was younger, I thought people my age were really old, that your body doesn\u2019t work anymore, that you\u2019re done by then. It\u2019s absolutely not true. I love seeing people around me, especially the women I know, changing the narrative of what it means to be 50 and older, or even 40 and older. Menopause is like adolescence. All your chemicals change and you don\u2019t recognize yourself for a while, but then you come out of it with more self-confidence and less capacity for bullshit. It\u2019s so freeing. There\u2019s so much more room in your brain to do other things that you wanted to do. So there\u2019s part of me that wants to tell people how great it is to be 54 years old.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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People ahead of me, like my stepfather who\u2019s 76, have nice things to say about their age, too. My biological father killed himself around the age that I am now. One of the reasons is that he was let go from his job for being too old, but he still knew everything from the ground up, had the old analog skills to complete tasks, and worked in the computer age. But he felt like there was no use for him, so he drank himself to death. Now, people are changing that narrative, even women I know who are going back to school to become healthcare professionals or lawyers. There\u2019s so much to live for, and I want to be a good advertisement for that, you know? Like, come on over! It\u2019s great over here!<\/p>\n
You can play music as long as you want to. Don\u2019t believe the music industry myth that you\u2019re lucky to be here. You don\u2019t have to leave. You don\u2019t have to think\u00a0I\u2019m not attractive anymore<\/em>. Who fucking cares? Like yeah, you still are, and then you can be angry that you even have to think about your attractiveness. A lot of those worries get released with age. Sure, sometimes I can\u2019t think of the word for fork while I\u2019m holding one [laughs<\/em>], but otherwise my generative brain is stronger and more nimble than it\u2019s ever been. I can\u2019t wait to try more things, and I want everyone to feel that way. I want everyone to feel so useful or nimble that they can pivot if what they\u2019re doing isn\u2019t deemed useful anymore and not take it personally. Like I said earlier, I just want to remind everyone what their power is and how much they have.<\/p>\nAt the very end of the album, during \u201cMatch-Lit,\u201d after the music fades away, there\u2019s a clicking that sounds like two clocks or metronomes falling out of sync. Then a chorus of voices\u2014either multiple people or you layered your voice\u2014sings \u201cLove is strange.\u201d Why end the album there?<\/div>\n
I sang that with my friend\u00a0Richard Reed Parry, who was also a very close friend and colleague of Dallas. We didn\u2019t meet until after Dallas passed away, but we bonded over our love of the Everly Brothers and other things. Dallas also loved Mickey & Sylvia, who wrote \u201cLove Is Strange,\u201d so I thought it would be appropriate to end the record with a little Mickey & Sylvia, Everly Brothers moment.<\/p>\n<\/div>\n<\/div>\n<\/div>\n
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The clicking is a Japanese toy of mine that\u2019s solar-powered. Dallas loved cats, and it\u2019s two little cats nodding their heads back and forth. So he would\u2019ve loved that a Japanese cat toy was making the percussion. I worry about not doing people who\u2019ve passed away justice. But you know what? I also know those people, and they\u2019d be like,\u00a0It\u2019s fine<\/em>\u00a0[laughs<\/em>]. It does sound like an unusual clock. I should film the little toy on my desk at the studio and then post it somewhere because they really are cute.<\/p>\n\nNeko Case<\/span>Photo by\u00a0Ebru Yildiz<\/span><\/div>\n<\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"The prolific singer-songwriter discusses the silver lining of grief, her everlasting obsession with nature, and her new album, Neon Grey Midnight Green. When the sun … <\/p>\n","protected":false},"author":1,"featured_media":3813,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-3812","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog"],"yoast_head":"\n
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![\"Neko](\"https:\/\/media.pitchfork.com\/photos\/68c869be1f0cf4c55d89d3e0\/master\/w_1600%2Cc_limit\/Neko-Case.jpeg\")
<\/picture><\/span><\/div>\n![\"Neko](\"https:\/\/media.pitchfork.com\/photos\/68c86986905e95d14ab93387\/master\/w_1600%2Cc_limit\/Neko-Case.jpeg\")
<\/picture><\/span><\/div>\n