Artist Interview: Blaudzun
This Friday, Dutch musician, Blaudzun, will release their tenth studio album “Latter Days.” In a world where music often reflects the complexities of modern life, the upcoming release of a new folk album invites us to pause, reflect, and connect with simpler, more meaningful narratives. With its roots deeply embedded in tradition yet resonating with contemporary themes, this album promises to be a heartfelt exploration of human experiences. Fans of the genre and newcomers alike are in for a treat, as the artist weaves together rich storytelling and evocative melodies that celebrate the beauty of community and resilience.
I had the opportunity to interview the artist about the upcoming record and what fans can expect, below is the transcript of our email exchange.
First off: For the audience here who may be unfamiliar: Who is Blaudzun?
Blaudzun is not a band, it’s actually my stage name. I grew up learning how to sing and make music at home. I took a bit of a detour, working as a backing vocalist, a film/TV director, and playing bass in bands, before I started my solo career as a (singer) artist in 2007.
To add to that: as a reaction to the post-grunge and alt-pop bands I used to play in, I came up with a stage name in 2007 and wrote a more intimate singer-songwriter album. That’s how I was labeled in Europe for a long time, though I’ve always hated that term. I’m a singer, composer, and producer. My music is now often categorized as art-rock or indie-pop.
I haven’t been back to the U.S. in quite some time to perform. “Heavy Flowers” was my first album released there through a label. I used to play regularly in New York City, did a lot of promo, including SXSW, and received good press attention and reviews,
After “Promises of No Man’s Land”, which was also released in the U.S., I didn’t tour there anymore. Why? That’s a whole different story for another time, perhaps here.
The new record is fantastic! Who were the influences behind it? Early on in the record I hear a bit of a Chris Isaak swagger to the tonality, spanning to Disco, and a lot of sounds that will resonate with US listeners (Radiohead, The Shins, Vampire Weekend, Arcade Fire, LCD Soundsystem, Future Islands).
Thank you so much. I think this album encompasses a lot of what I’ve been doing across my last six albums, but now it’s condensed into one record. My love for folk, art-rock, and pure pop comes together here for the first time. That being said, the production process has just wrapped up. I’m still listening to the opening track, “Wicked Ball,” because it feels so fresh, something I normally don’t do after finishing the mixes. It’s definitely too early for me to have a fully formed opinion on the whole thing. That usually comes after the first tour.
The artists you mentioned - I definitely have an artistic connection with them. Early in my career, much to my frustration, I was often referred to as the “European answer to Arcade Fire.” We emerged around the same time and played the same festivals here. Although I really like their music, I felt I was doing something different. But I get the comparison. I make alternative pop-rock with emotional vocals that feel like I’m singing at the top of my lungs, pouring everything out. That intensity is probably an inheritance from my religious Pentecostal upbringing , where music was almost like an anthem, something you would chant with conviction and passion. It's that raw, unfiltered energy that I think people connect with in my music.
And it’s funny you mention Chris Isaak. There are traces of him in the song “Bonfire.” The arrangement has hints of Madrugada, Serge Gainsbourg, and, indeed, Chris Isaak.
The album has an optimistic feel, a sort of "eternal youth" element to it. Was this the goal?
I never start the writing process with a clear plan. As things progress, I only realize halfway through what it’s about. And honestly, the meaning of the songs can change over the years.
My writing is often melancholic, but never without hope. I never know what comes first. The result is often best compared to a beautiful autumn sun. There’s always a sense of ending and loss, but at the same time, a deep appreciation for the beauty of life. Each album strikes a different balance, and sometimes it leans more one way or the other.
On the flip side of optimism, loss is present as a theme. Is there a specific loss of someone or something that inspired those moments of the album?
Over the last 10 years, I’ve lost important people and loved ones, including a good friend who was involved in my music as a label A&R. Just when you think you’ve processed the loss, it sometimes hits you hard again, and you have to deal with it all over. It can be heavy, but it’s also clarifying and cathartic. For me, loss often fuels a sense of vitality and determination. This life is all we have, so make something grand out of it. That’s the message I take from it, and it seeps into my music.
Outside of artists, past and present, what else played a part in the making of the album?
I think the theme of “transition” plays a big role in the album. So many things we’ve taken for granted are coming to an end in our world - good things, like addressing climate change, and not-so-good things, like the ancient patriarchy. On the other hand, I see a resurgence of old, scary ideas from the far-right. In my opinion, this is a last gasp of that ancient evil. At least, I hope so. These themes definitely influenced the album.
Musically, I always produce my own albums, often with a co-producer. In this case, I worked on some songs with Marien Dorleijn, a well-known indie singer and producer in the Netherlands. He’s also a singer and made some great records with his band Moss. You should check their album “Never Be Scared / Don’t Be A Hero”
Your recording process is fairly inclusive, and from viewing social media peek-ins, everyone in the band seems to have a say in the creative process - what is it like making a Blaudzun record?
Don’t believe everything you see on social media I work and write as a solo artist, but once we start recording or playing live, I gather my regular musicians around me. On stage, we’re really a band. But in the studio, the process is much looser. My brother Jakob, who plays guitar in the band, is the most involved in the creation and writing process. The other ‘regular’ live musicians often come in without knowing what needs to be done. It’s a very free and relaxed way of working. Once we’re on tour, we become a well-oiled musical and friendly machine.
Do you have any advice for aspiring independent artists?
Stay fucking stubborn. Wherever you are in your career.
What is next for Blaudzun?
As I write this, I’m taking a break in my beloved Barcelona, a city you know well. I’ve just finished a heavy run of concerts in the Netherlands. The upcoming period will be focused on promotion (radio/TV), and from the end of January, I’ll be starting a European club tour. I’m really looking forward to that. Come visit!
“Latter Days” is available 10/18 via Labeltje Labeltje.
Pre-order the album here
