Left of centre: Laurie Levine on 'Six Winters'

Dubbed by some as South Africa’s PJ Harvey, singer-songwriter Laurie Levine, now with her new album, Six Winters, tells us about heartbreak, her influences and Lady Gaga.

It was a chilly afternoon at Oppikoppi when I first heard this off-kilter voice coming from the acoustic stage. I sat down, watched and listened as the sweet sound of Laurie Levine came from the stage, framed by the setting sun. I promptly bought her album.

The album, she says, is a result of heartbreak, truth and country music.

“I think I got to a place where I was ready to be a little more open and vulnerable [with this album].

“This probably has something to do with the fact that I was ready to face up to some truths and confront them in song. It was also a growing confidence in my sound that allowed me the space and freedom to expose more.”

While writing the songs for this album, Levine says she discovered a real love for alternative country and folk music; “The kind of songs that are full of simple poetry, a depth of emotion and melodies that get under your skin.

“I listened to a lot of old and new American artists and singer-songwriters – icons of country music like Emmylou Harris and Gillian Welch, but also artists with more of a contemporary flavour, like Justin Townes Earle, Lucinda Williams and Mary Gauthier.”

Folksy folks

Levine ponders on previous albums and says when she recorded her first album, she was listening to quite a bit of folk rock music and the second album a lot of jazz crept in. “This album is more folky with more American roots music influences than my previous albums.”

As to the sound, Levine is proud. “I think the beauty of the production lies in the pairing of old instruments with contemporary sounds. I don’t think many people are doing this in South Africa, so it’s quite unique in that way.”

The album, while sticking to Levine’s usual style, is very different and is noticeable in the fact that it’s far more slick, as if it had been a long time in the making. It was.

“I came into studio with a couple of songs written over the last few years, since my last release. I spent a good few months with my producer, Dan Roberts, in pre-production.”

This, she says, involves creating demos of the new songs, working on the arrangements, listening to lots of music, having endless discussions over endless cups of coffee about the direction of the album and outlining some kind of vision for the album.

“We then chose the musicians we wanted to work with for the rhythm section and recorded drums and double bass together to give the album an intimate organic live feeling.”

The rest of the production process, she notes, involved experimenting with different sounds and instruments. “And mixing of course. Lots of mixing and tweaking!”

Levine’s sound, although unique, does live up to its reputation of being Harvey-esque. “When Dan and I first sat down in studio PJ Harvey was one of the artists we listened to during the pre-production phase.

“We love the grittiness and rawness of her vocals, and she was one of the influences/references when it came to vocal takes.”

I equated her sound with Fiona Apple, of which she says she’s not sure “as she's not a big influence, but if people are hearing that I am flattered. She's got a real quirkiness and something a little dark and unusual in her sound.”

A ring of fire

Aside from stunning original tracks, the album contains a daring, slow cover of Johnny Cash’s Ring of Fire. She says it’s one of those rare classic songs with a melody that keeps coming back to haunt her, “and has for many years”.

Levine says it also has a beautiful old-fashioned innocence and simplicity “[and] that really speaks to me.

“One day, just before I started recording this album, I picked up my guitar and started playing around with the chords. I started finding my own voice in the song. It wasn't really planned that way. It just happened naturally.”

She says Dan also put together a beautiful arrangement in studio, incorporating cello and accordion and that also contributed to the way the song turned out.

Live and kicking

While the album has so much going on with various instruments, I was surprised to hear the difference live. “While my live performances are more stripped down than the album, the songs retain their essence on stage,” says Levine.

“The album consists of too many textures to capture live, and the simplicity of the live arrangements makes them quite immediate and intimate. But despite these differences, the soul and particular quality of the music is captured in both mediums.”

I did notice, however, that the music does not have mass appeal on first listen. However, to this, Levine says there is a market. “I am born here and live here, so I must bring this music to as many people as possible.”

She reckons while my music may be easier to market elsewhere, perhaps in the States where there is a bigger audience for contemporary folk music, she thinks there are people in this country who can appreciate what she is doing.

“My music may be niche, but if music moves people, it doesn’t really matter what genre you play. I think I can move some of the Lady GaGa masses in my direction as well!”