Last year, Lisel – a.k.a. avant-pop singer, producer, multi-instrumentalist and artist Eliza Bagg – released her remarkable self-produced solo debut, Angels on the Slope, via Luminelle, earning praise from the likes of NPR Music, Pitchfork, Billboard, The Fader, and more. Earlier this year, she released a double-single in collaboration with Angel Olsen-producer Ben Babbitt, and today she follows it up with another double-single, this time in collaboration with Jarvis Taveniere of Woods and Purple Mountains. Pre-order the double-single, out digitally on August 18th, HERE.
“Despite opposite musical backgrounds and what felt like divergent musical tastes and sensibilities, the desire to collaborate came out of an unlikely and deep friendship that formed as newly acquainted roommates living in Los Angeles,” Lisel explains of her collaboration with Taveniere. The two entered their own respective isolations earlier this year, but continued collaborating. “Despite the distance, it was an involved, intimate, and radically honest way to bring together our aesthetic languages into these two songs.” Taveniere is also responsible for the cover artwork, a photograph of Bagg taken over a year ago in Griffith Park.
“Night & Day,” the new project’s title track and a-side, is out now. Lisel explains, “‘Night & Day’ is a song about impermanence and change, specifically emotional change — that the things that infatuate, fulfill, haunt, and obsess your heart and mind in one part of your life can over time become simply incidental, afterthoughts.” The song is accompanied by a music video that embraces the limited resources and occasionally ensuing absurdity of life in quarantine. The video was directed and edited by Bagg while her boyfriend filmed it on his iPhone 11 at his bagel shop. Lisel explains, “I decided to lean into the makeshift, DIY nature of how we’re all making art during this time and to embrace the “behind the scenes show-within-a-show” vibe, landing somewhere between the glossy hifi cooking show the Lisel character wants it to be, and the shoddy, slightly perverse, eccentric reality of where we are. “
“I’ve felt liberated during quarantine by the fact that our hands are being forced by our lack of normal access to resources of all kinds, liberated by the idea that things have to look or sound a certain way in order to be good,” Lisel explains further. “I like that the video communicates that it knows what it is, it understands its low budget reality. Sometimes you see the clip lights or the way the cloth hangs on the stands, and it fits with the coquettish vibe of the video — which is to say: I understand I’m manufacturing my reality and I choose to live in it anyway.”