Künstler im Rampenlicht: jasmine.4.t. – Unsere Kultur

The artist known as jasmine.4.t. is a singer-songwriter based in Manchester. She began playing guitar after receiving her late uncle’s instrument. She gained experience playing in punk and garage rock bands and released music through Breakfast Records, a label she helped establish in Bristol. Her debut EP, Worn Through, was released in 2019. Lucy Dacus invited her to open for her on tour in Europe, and now she will support Dacus again on her upcoming tour. During the pandemic, jasmine.4.t. faced health challenges and decided to come out as trans, end her marriage, and move to Manchester where she found a supportive queer community. She became the first UK artist signed to Phoebe Bridgers‘ label, Saddest Factory Records, and worked with Bridgers, Dacus, and Julien Baker on her debut album, You Are the Morning. The album blends folk and indie rock, exploring themes of love, catharsis, and hope.

In an interview, jasmine.4.t. discussed the album as a cohesive body of work, with Lucy Dacus organizing the track listing based on feel rather than chronology. The singles chosen were meant to make bold statements, with ‚Skin on Skin‘ particularly resonating with trans audiences. Listeners have interpreted the songs in unexpected ways, finding new meanings in the lyrics. The artist also reflected on her experiences of dysphoria and coming out as trans through her music.

The conversation also touched on the significance of the track listing and how certain song sequences impact the overall resonance of the album. The split into sides and the choice of ending one side with ‚Best Friend’s House‘ and starting the next with ‚Guy Fawkes Tesco Dissociation‘ added layers of meaning to the record. The artist appreciated the thoughtfulness of the arrangements, especially in how the song ‚Roan‘ was framed within the album. Much of this album focuses on my first trans relationship, which ended before I met Roan, one of my current partners, with whom I’ve been together for two years now. The album was actually released on their birthday, serving as a birthday surprise. It was a re-recording of a demo I had made, using the original synths but pitching them up due to my voice changing over time. The sequencing of the album made that moment feel incredibly healing and emotional.

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In a statement about ‘Guy Fawkes Tesco Dissociation’, I mentioned a vision I had of myself and my late uncle in miniature form. He was a huge Black Sabbath fan, and I believe my love for music stems from him. His passing had a profound impact on me, affecting my relationship with mortality and leading me to explore music as a form of expression.

During my teenage years, when I was struggling with dysphoria and suicidal thoughts, I turned to music as an outlet. My uncle’s influence and the therapy I underwent to heal from his loss played a significant role in my songwriting. I began writing songs shortly after his passing, drawing inspiration from artists like Elliott Smith and eventually exploring various genres and styles as I progressed in my music career.

Collaborating with Phoenix, an incredible composer, has opened up new avenues for my music. We have been working on projects together, experimenting with different influences and styles. The creative process has been enriching, and I have been writing more than ever since transitioning.

Overall, my journey in music has been shaped by personal experiences, collaborations, and a continuous exploration of genre and style. I am constantly evolving as an artist, drawing inspiration from a diverse range of influences and experiences. I have never really stopped. I believe that coming out and accepting myself – essentially, breaking out of my shell, being open with myself, and embracing my identity – has not only helped me avoid repression in my personal life but has also had a positive impact on my writing. I think people have noticed this in their reactions to the album as well.

I particularly enjoy the more elaborate and orchestrated moments on the album, so I am looking forward to seeing what emerges from your ongoing collaboration with Phoenix. Transitioning from Elliott Smith to Adrianne Lenker in terms of personal songwriting feels like a significant moment of completion for me.

My girlfriend and I recently watched an interview where Elliott Smith discussed writing about personal experiences, drawing parallels to Iron Maiden. It was interesting to see how even when singing about different topics, the songs still hold personal meaning for the artists. This perspective has influenced my own songwriting process.

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The creation of my album involved several stages, with one song even dating back to the Worn Through EP. A pivotal moment for me was when I shared a demo of ‚Tesco‘ with Joe Sherrin, who responded enthusiastically, leading me to consider reaching out to Phoebe Bridgers for a potential release on her label.

The album’s tracklist was curated with input from Lucy, Phoebe, and Julien, who were also involved in the production process. With their guidance, we selected tracks from my back catalog and recorded them over 12 intense days, shaping the album from a diverse collection of songs.

Many of these songs began as voice memos, and the collaborative process involved various individuals like my live band, boygenius, and the Trans Chorus of LA. One standout moment was Lucy’s editing of the title track, ‚You Are the Morning,‘ where she brilliantly restructured the song to enhance its impact and flow. I’ve never come across a song like that before, but the symmetry in it is simply beautiful. My favorite part of Lucy’s structure is the final verse/solo/verse, which carries so much meaning within those lines. I had initially created that meaning, but Lucy condensed it into just two verses so beautifully. The song talks about leaving, and when I wrote it, I was in a dark place contemplating suicide. The lyrics reflect holding someone through tough times and seeing them in a new light. The song explores two paths, one of leaving and one of staying, each with its own emotional weight. The way the song is structured symmetrically is truly remarkable, and I attribute 90% of that to Lucy’s contribution.

During moments like ‚Highfield‘ and ‚Breaking in Reverse‘, the boys recorded their vocals together, improvising harmonies as if they were connected on a deeper level. It was a thrilling experience to witness their seamless collaboration and understanding of each other’s musical instincts.

Towards the end of ‚Breaking in Reverse‘, on the final day of recording, there was a magical moment where Julien suggested an improvisation that elevated the song to another level. It was a spontaneous decision that showcased the group’s unity and creativity after spending intense recording sessions together. It was an unforgettable experience collaborating with such talented individuals.

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I wasn’t familiar with Julien until I saw them perform at the End of the Road festival, which was a pivotal moment for me. Watching them perform live was electrifying, and it had a profound impact on me, especially in terms of my own identity. Collaborating with them and witnessing their talent firsthand has been a dream come true for me.

Reflecting on the journey from the EP version to the final record release, I’ve noticed a shift in the meaning behind the lyrics. The word „you“ now resonates differently, with Lucy’s voice adding another layer of depth to the songs. Each performance feels like a shared experience with the audience, conveying messages of hope and acceptance. ‚New Shoes‘ in particular carries a bittersweet sentiment, originally inspired by a past relationship but now transformed into a tribute to chosen family. Ich sprach darüber mit meiner gewählten Schwester, Bola, mit der ich lebe, und ich entschied mich dafür, es zu versuchen, weil ich darüber singen konnte, richtig? Aber im Studio, an dem Tag, konnte ich einfach nicht. Ich hatte die ganze Zeit diese Bilder von meinem Hund, den ich bei der Scheidung verloren habe, und das war es, worüber ich geweint habe, als ich versuchte, es zu singen. Ich glaube nicht, dass ich das jemals live singen könnte. Ich weine sowieso ständig auf der Bühne, und es wäre so schwierig für mich, das zu tun. Aber wenn ich es jetzt höre, fühle ich, dass es um gewählte Familie und queere Familie geht. Ich denke, es gibt die Implikation, dass „du“ der Zuhörer bist. Wir sprechen über diese unglaubliche Verbindung, die wir durch die Musik herstellen, aber auch über das Netzwerk der Solidarität, das queere Menschen weltweit haben.


Dieses Interview wurde für Klarheit und Länge bearbeitet und gekürzt.

jasmine.4.t.’s You Are the Morning ist jetzt über Saddest Factory Records erhältlich.