May 29th, 2013 
Brian Leak 
“You don’t need a vinyl collection to be cool. You just gotta follow your heart. My heart led me to music.”
We’re very pleased to bring you this exclusive interview with San Diego, California’s indie pop songstress, Kelsea Little.
We had the chance to speak with the talented musician whom we got along with greatly due to her friendly nature and honest attitude about music — the Arrested Development references didn’t hurt either. In the interview, we discussed some details about her last album, Personal Myth, her musical background, being influenced by Disney, and much more. Read through to get familiar with Kelsea Little and make sure to check out her music on Bandcamp.
What made you decide to explore a solo endeavor after the hiatus with The Wrong Trousers (which I’m assuming is a Wallace & Gromit reference)?
After The Wrong Trousers (or TWT as I lovingly refer to it) split up, I spent about two years not playing any shows, and, if you’ll excuse my French, it hurt like a bitch. I have the stage bug — have had it ever since my supporting role in “The Three Nanny Goats Gruff” in 2nd grade. I love performing, I love the crowd; the stage feels like my home. I had always associated performance with groups, but it kinda hit me all of a sudden that I could do it on my own, if I wanted. So I gave it a shot, and I loved it. (P.S. Total Wallace and Gromit reference — hats off to you for knowing it, sir.)
How would you describe the differences in your solo work compared to how you worked with a band? Anything in particular that you feel you do differently with writing and such?
We had a real good thing going on with TWT in terms of songwriting. I am a natural lyricist, and Joseph (mandolin) is a natural melodicist (what is the right word for that?) And Mack, our bassist, just loved to play and write fun bass parts for himself. There was never, ever any tension of who had more of their songs in the set list, who got to write what. How often has a band dynamic ever been that perfect? COME ON! (To be said in a Gob Bluth voice.) Anyway, once I started writing my own songs I was pretty stumped on the melody part. It took me about ten songs to get away from your standard 1 4 5. Started throwing a few minor chords in there, some key changes, and I was in business. I still like the melodies Joseph wrote better, but I’m learning. Since I am still writing the lyrics, I think the feels of the songs are generally the same, though they reflect my age. Still writing about crushes and life experiences, but my world view is a little different. I’m a firm believer in “write what you know.”
Despite it technically being a solo project, you did have a lot of musicians help contribute to Personal Myth. How did you choose whom to work with and what instruments you wanted to include in your sound?
The people I got to work with were the best part of making the record! How did I choose them? Based on whether or not we were BFFs. Musicianship is important too I guess, but I am blessed to be friends with a bucket load of talented people. Jose Guererro (drums) went to the same music high school that I did, though we reconnected later in life. He’s a beast with those sticks. James Albers was a friend of the recording engineer (Twon the Almighty), and was nice enough to lay down bass for us. My friend Wyatt Stone came down for 48 hours and put magical touches on everything, from pedal steel to harmonies. Another friend, Tasha Locke, who I’ve known since 2002 from music camp (awwww) came and turned into an entire horn section all by herself, laying down four different sized saxophones. And Sean was there, and Mack was there… so many wonderful friends. I just added instruments as I thought the songs called for them. I can orchestrate pretty well in my head, but it’s hard for my friends when I invite them into the studio, and I’m passionately saying, “It should sound like, like… like you’re on the precipice of a glacier, and you’re about to dive into the dark, deep unknown, but you’re more excited than scared, and not cold at all! Play it like that!!!” They did pretty well with it, though.
Let’s backtrack a little — what originally got you interested or inspired to get involved with music?
I started learning the harp at the ripe age of 8, when my best friend’s mother gave me lessons. They lived a few doors down from us, and Sylvia had a giant golden concert harp in her living room. I was a little girly girl, and so obviously I was transfixed. I can remember loving music before that though. It all probably started with Disney movies, to be honest. I knew every word, every part. I had a Pocahontas karaoke tape that I would jam to for hours. It’s not as rock ‘n’ roll as finding a box of your parents’ old Zeppelin and Pink Floyd records I guess, but I think the true definition of punk rock is realizing your own passions organically, without influence, and thinking, “Fuck yeah, this is what life is ABOUT,” and then following that shit and find out where it goes. You don’t need a vinyl collection to be cool. You just gotta follow your heart. My heart led me to music.
How did you get started as a musician? Apart from the harp when did you learn how to play the instruments that you do?
As for other instruments I play, I taught myself the others. I had a very hollow understanding of music until I started attending Arrowbear Music Camp in 2002, and over my 6 summers there, I started to fill in the gaps. I remember having this one epiphany moment where I could finally remember what my sheet music looked like without looking at it. I could see all the notes and key changes, and knew what they were and how they sounded. I remember gasping when it happened. From there, I taught myself piano in middle school. Then in high school, I picked up the flute for fun, learned out of a book. Then messed around with guitar some. I would never call myself a guitarist, or a floutist, but I enjoy the challenge of learning new instruments. The hardest one so far was the digeridoo. Have you ever tried to circular breathe? I feel winded just thinking about it.
What can you tell us about Personal Myth and what it means to you? How do you feel about the album now when listening to it compared to how you felt when it first released?
Albums and songs always do this thing where they sound like one thing when you first make them, and then you let them marinate for a few years, and then they turn around on you and become something totally different. I always like my music better after a few years. I always like it RIGHT after it’s done, and then I listen to it so much I get kind of sick of it and second guess everything. Not the music or recordings, but the words, mostly. I write really personal songs, and sometimes I think they’re too personal to be any good. It’s like drunk dialing someone and telling them everything you think about everything, and it’s all totally true and you feel great about being so transparent and real. And then you wake up all hungover and you’re like, “ohhhhh shit.” But writing such personal lyrics is the only way I know how to write. Anything else sounds forced. After a certain amount of time though, I can dissociate myself from the lyrics. It feels like a different person, a different life, because I am now a different person with a different life. I can finally listen objectively, and you know what, the record kicks some major ass.
It’s been quite awhile since Personal Myth came out. What have you been working on in the meantime? Any new release in the works?
I’m taking a little break right now, as I just started my first grown up job which I’m really excited about. Historically, I can’t juggle too much at once (even though I think I can) and so I decided to hold off on shows and recording for a while in order to get my adult life in line. Once I settle in, I’m thinking about just immersing myself in writing. If you force a record, it’ll come out shitty. If you write songs as they come to you, magic will happen. I have a feeling some good tracks aren’t far away.
What influences have come into your life since Personal Myth that you can see playing a role in how your next works develop?
I love that question! Especially since I have always been highly influenced by whatever record is in my car at any given time. The new influences that come to mind in the past year are Alabama Shakes, Allen Stone, Janelle Monae… many more, but those have been the standouts. So maybe a funk/soul record? Fronted by harp? You never know. I just wish I weren’t so goddamn white…
What are your thoughts on Bandcamp and the effects it has on indie musicians?
I think any new invention that gives the buying and selling power back into the direct hands of the musician and consumer is the best thing that could ever happen to the music business right now. I see a trend of rogue, grassroots methods popping up everyday, and I think it rocks. Bandcamp allows you to sell and share your music for whatever you (or your fans) want to pay, and that my friends, is punk rock.
I see that you tend to actually respond and interact with fans and followers on your social networks. What do you feel is the importance of maintaining that intimate connection with your listeners?
From a business standpoint, I know that personal connections are the key to a successful client base. Dale Carnegie says, “if you can find out the wants of other people and focus on those instead of your own, then you can, as they say, ‘win friends and influence people.'” Now, I would never think of my friends and music fans in those terms. However, I have been successful in growing and keeping my modest fan base for years and I believe it is due to the fact that people WANT to be acknowledged and thanked for their patronage, and I’m just lucky my parents raised me right because that’s what I would have done anyway. Some musicians think it’s cool to be aloof, but I think it’s cooler to be yourself.
As a musician, where do you think you’d be today had the Internet never existed?
I have thought about this a few times, in general. Where would any of us be without the Internet? Probably a little bit smarter (ironically) and definitely with longer attention spans. The Internet was a game-changer for the music industry. It killed the CD, it brought back vinyl. It made music free, it made stars out of nobodies. If it weren’t for the Internet, I would probably think that the only way to “make it” was to be signed to a giant label, which would be a very bleak prospect indeed. As much as I wish physical albums were still a thing, I’m glad for all the good the Internet has done for indie music.
Do you have any involvement with any other bands at this time or do you have any plans to?
That’s actually the bulk of what I’ve been doing recently. I just started playing on my friend Gabe Lehner‘s project, 9 Theory. He was part of the group Inspired Flight, they had a pretty good run. It’s super rad, lo-fi electronica, where in he plays live guitar and synth and sings. We just recently added live harp to the mix and it’s so eerie and new and amazing. Definitely look up his stuff, his first full-length album is dropping soon.
What is your ultimate goal for this project? Anything specifically that you want your listeners to gain from your efforts? What do you want to accomplish for yourself by getting this material out?
The only drive I’ve ever had for making music is to perhaps make someone feel something from it one day. People listen to music either to escape, or to realize their emotions somewhere inside the songs. I believe the meaning of life is connection, and this is one of the best ways I’ve found to communicate.
Written and conducted by: Brian Lion – Follow him on Twitter
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