If you missed this singer and her beautiful voice, then you must know that she has released a new record: “Harrowing” is the name of the full-length.
We talked about the creative process, the artwork, how she came up with the idea for it and much more. Enjoy this interview and feel amazed with this record!
M.I. - It's been some time since your last full-length release. At what point did you realize that these songs belonged together as “Harrowing” rather than simply being individual compositions?
When we reached the two-year mark into working on these songs, the process of finishing them slowed down and started to become very delayed. During that time, I started to overthink everything about them and through that came this concept and the title “Harrowing”.
M.I. - It seems to be a record dwelling in both birth and death. Any particular reason?
Life is full of cycles of death and rebirth, I see it in my own life, in anything I create. You could even say an album is part of that cycle too: you are born again to create something and by the end of making the album there is a death to yourself, your ego, your psyche, and then you start all over again, like shedding skin. Every cycle has something to teach you if you are open and listening.
M.I. - The album title immediately suggests a painful journey, related to toxic or hard situations in life as you have described in your social media. Was “Harrowing” the title from the beginning, or did it emerge once you saw the complete picture?
The title came once I knew what the artwork was. The piece is called “L’Illustration” by Alphonse Mucha and it has an angel of death coming to claim the soul of a dying girl. He meant for the piece to refer to time and the birth of the New Year. But I have experienced the death of my mental health over and over again through abuse and that angel is somehow something, someone in life, maybe even being myself, there to come get me and let the past go and attempt to start over and rebuild again. Almost like a phoenix. Going through that process is always harrowing. It is like a silent death by a thousand cuts. So, once I saw the angel imagery, I started looking up old words and once I landed on “Harrowing”, I knew that was it.
M.I. - This is your third studio album, but it feels almost like a new chapter artistically. Do you see it as a continuation of your previous work or as a reinvention? What can we expect compared with the previous ones?
I appreciate that you see and hear the album this way. I think it's the most polished and mature form of what has transpired over the past decade. This is also an album I started writing 4 years ago when I was 36 years old. I am 40 now and have new ideas to express and different things to say. As a solo artist I am grateful for the freedom to wax and wane between ideas and sounds and still be able to authentically express myself. I look forward to what the future holds as I continue to make music.
M.I. - You've described the album as documenting the stages of surviving narcissistic abuse. Was writing these songs itself part of the healing process, or did you need some emotional distance before you could turn those experiences into music?
A lot of mental processing of the abuse happened in therapy, but I didn’t sing it or write it out in lyrics just yet. Once I started working on these songs, I started to see that though my mind had made sense of what transpired, my body and soul had yet to purge of all the toxicity. It was a healing moment for sure, one that lasted months. Now that the album is done and out there, I feel like I can finally rest and breathe again into my new life.
M.I. - Looking back now, was there a particular song that was the hardest to finish because it forced you to revisit difficult memories? How do you know when a song dealing with painful memories is finished?
“Vague” took the longest to write. I really needed to say things as honestly as possible but also tell a story. The lyrics were probably revised four times before they were finalized. Deadlines definitely help with finishing the songs, but there comes a point when lyrically I know that everything I need to say is there.
M.I. - Conversely, was there one song that surprised you by becoming more hopeful than you expected?
I didn’t expect the song “So Alive” to be so uplifting and also well received by everyone. It originally started as a very dark track. We used almost uplifting gospel chord progressions for the chorus and that's why it comes to a moment of almost “hallelujah” when you listen to it.
M.I. - "Crucified" uses powerful religious imagery. Were those metaphors something that came naturally, or were you consciously drawing parallels between spiritual manipulation and narcissistic abuse?
I was raised Roman Catholic but deconstructed from the religion years ago. What was indoctrinated into me as a child made me the perfect bait for a predatory narcissistic. It only made sense to revisit that and remember why it made it so easy for me to fall prey to these types of people. If anything, I did it to also heal my younger self, she needed that.
M.I. - The song is described as an anthem for survivors. That's a powerful responsibility. Did you ever worry about being so vulnerable knowing listeners might relate their own experiences to your words?
I have no issues with vulnerability. If not being open and authentic then I feel like I’m betraying myself and my art. The more open and honest you are the more you heal and in return help heal others too.
M.I. - Your music has always blended metal with orchestral elements, but “Harrowing” also leans heavily into nu metal, metalcore and electronic textures. The 90s song “I Wait For You To Fall” is like a blast from the past. Suddenly, it feels like we're listening to Korn, Nine Inch Nails or even Evanescence. What inspired such a broader sonic palette?
When we started collecting songs to work on and put into this album, we really didn’t want any of them sounding exactly the same. So, there are a variety of sounds and it’s quite the listener’s journey. I think this had a lot to do with our co-producer JD and his influence. He’s very good at making sure the album doesn’t fall into ‘Same Song-itis”. We also felt it was time to bring back some of that nostalgia because we're working so much on the electronic elements and taking huge inspiration from The Prodigy, Massive Attack, and Bjork.
M.I. - Despite the stylistic diversity, your voice remains the emotional centre throughout the album. Did you intentionally build the arrangements around the vocals, or did that happen naturally?
Thanks to my years of vocal training at the Royal Conservatory I have been blessed with the ability to just jump in on any song and make it work to the best of my ability. Most of these songs were brought to me and I did my best to paint a picture vocally for them and also have fun in the process.
M.I. - There are moments on the record that feel cinematic rather than simply heavy. Were you thinking visually while composing these songs?
That is all thanks to Spencer Creaghan and what he brought to the table for the orchestrations. He is the big vision behind that element and through our work together, yes, we made those moments as dramatic as possible when the string entered the songs.
M.I. - You have decided to invite a few guests to take part in this album. How was the experience of collaborating with them?
They’re all wonderful people and gave it their all. Since we had so much time to finish the album, we just took our time and enjoyed ourselves.
M.I. - If you had to choose 3 records that helped shape Harrowing's production, which ones would take the spotlight?
Amazing question! We definitely pulled a lot of inspiration from Spiritbox’s “Eternal Blue” - that has to be my favourite album of this decade. Two albums that are an interchangeable influence are VAST’s self-titled album and “Music For People”. And I can’t specifically pinpoint an album, but a lot of which house tracks and artists also showed me how to think outside of the box as a writer. A lot of the electronic sounds you hear in the background were inspired by this genre.
M.I. - You've been involved with major bands and established music industry structures, but you're also fiercely independent now. Does having complete creative control change the way you approach songwriting?
Totally. When working on anything, or starting to write a new song, a new album, I always tell myself, “Start anyways, make it better later”. That pressure-free statement allows me to let whatever is in me flow out naturally. Not all songs are winners, but at least I got the idea out so I can move onto the next. I’ve maybe written 2000 song ideas at this point in my life, but only 100 made it out. WILD.
M.I. - Now that the album is finished, do you feel emotionally detached from these songs, or do they still reopen old wounds every time you perform them?
We performed the whole album live last month and it felt great. Especially the songs I was angry about lyrically. I did have a hard time with “Vague” and “Chase The Dark” in rehearsals, but once we were on stage I flipped into my “performer brain” and made it through ok. I am ready to start on the next batch of new songs though. It’s time.
M.I. - Your first show was in Ontario with Nerima. What about Europe, especially Portugal or Spain?
Due to the state of the world this year we have dealt with a lot of delays and setbacks in regard to getting back on the road. Trust me, if I could be there, I would have made it already. Please know the team and I are doing everything we can to make it back to you.
M.I. - What does the near future hold for Lindsay Schoolcraft?
New music and more shows!
M.I. - Any final words for the Portuguese fans?
I miss you all and I shall return asap!
For Portuguese version, click here
Listen to Lindsay Schoolcraft, on Spotify
Questions by André Neves
