Davia Schendel is a musician, artist, author, and filmmaker. Her recurrent themes include existentialism, nostalgia, and surrealism. She is a vocalist, bassist, guitarist, and producer who is currently working on her debut album and collaborating musically and otherwise with musicians from around the world. Her musical talent has been highlighted by She Shreds Magazine and Soho Radio, among others.
Dream of 1988 is a song for our day, while it is infused with nostalgia. We seek escape in this age of anxiety, uncertainty, and extremism. This ethereal and uplifting music with vocals by Davia Schendel and Max Havas and saxophone accompaniment by jazz great Phillip Greenlief transports listeners back to a night of sci-fi slow dancing. With additional instrumentation by Davia Schendel, the song draws from jazz of the 1960s and sophisti-pop of the 1980s; it is both romantic and existential. Check out the song and the exclusive interview below:
1. Can you tell us a bit about where you come from and how it all got started?
DAVIA SCHENDEL: I was born and raised in San Francisco, CA. Culturally, there’s a lot of reverence for art and music here due to the rock and funk scene in the late ‘60s / early 70s, which is what the city is globally known for in terms of music- but even before that, it was a major jazz destination. So my appreciation for all genres of music really are accredited to my Bay Area upbringing. Both of my parents are creative so they instilled a lot of opportunities to express myself, through dance, painting and music. We spent hours listening to music together- in the car, at home. It was an essential part of our lives and really a major part of how we bonded as a family. I lived in Los Angeles and New York for my studies after high school, and of course, those cities opened me up to new bands and genres as well. New York is my second home and formed my twenties, both personally and artistically. My mom is Romanian and I remember how impactful my early trips to see my family in Bucharest and in the countryside were– listening to the radio and hearing a lot of Eurohouse and epic pop ballads. Music is really integrated with a lot of rituals in Romania, and that reverence has influenced my emotional relationship with it.
The songwriting formally began in high school when I was 15, after I started learning how to play guitar. It was the height of the hipster retro indie rock moment, and I was just starting to collect vinyl. I have always been obsessed with bands from the 60s, 70s, 80s and 90s, always drawn to nostalgia for these eras I wasn’t alive for. So I listened to as many records as I could, obsessively. And that’s also around the time I was learning how to record, sample and use a DAW. It was such an amazing time as it really felt like the beginning of a new era for me creatively- and being a teenager, you know; you’re just ripe with frustrations, anxieties and angst. And lots of unrequited love. So what better outlet than songwriting? It became really therapeutic for me. After letting out steam about some boy who barely gave me time of day with a sad ballad, I would then work on something super conceptual- I realized I could write narratives and put them to song. Not everything had to be personal or confessional. It is a duality that I still work with- the soul baring, vulnerable side and then the avant garde or tongue in cheek. Sometimes the two overlap or they are mistaken for each other.
2. Did you have any formal training or are you self-taught?
DAVIA SCHENDEL: Both. I started formally taking piano lessons at age 10 and stopped at the end of high school. Then round 15 I took a group guitar course at school as part of our music requirement- a turning point in my life. That was 3 months long and culminated in a performance of “Blackbird,” which was an event- lots of buildup led up to that concert. My fellow guitar peers and I were Beatles fanatics and would outdo each other on trivia or lore, so we all voted to perform that song as our end of year project. That’s around the time I started sitting down to write songs with formal structures- verse 1, verse 1, pre chorus, etc. I fell in love with the art of songwriting; it really shifted my whole perspective on life and integrated so many of my interests- poetry, music and visual arts. Singing was always a part of my life and schooling. We had frequent assemblies with choral performances, and that’s how I learned about harmony, vocal arrangement and the different vocal positions. I was always alto due to my huskier voice, even at my young age, so I had to learn how to sing below the melody, which was a blessing in disguise in retrospect. I wanted to be a belting soprano but I have learned to love my lower register over time- it’s much more fitting for the genres I am interested in. I taught myself how to play bass by listening to a lot of disco and new wave records (shoutout to my spiritual teachers Bernard Edwards, Larry Graham, Tina Weymouth, Este Haim, Suzi Quatro and John Taylor) which was a massive refresh on my whole songwriting approach. I’ve always been rhythmically inclined and learning bass really helped me form arrangement foundations for melodies to sit on top of. I am constantly learning and it’s my method of keeping my creativity evolving. That’s still not enough instruments, though, ha! I want to repair a mandolin I found in a thrift shop (it only has 3 strings) and I would love to learn how to play drums properly. I can work my way around a kit with good instincts but I would like to polish my approach.
3. Who were your first and strongest musical influences and why the name‘DAVIA SCHENDEL’?
DAVIA SCHENDEL: The very first musical influences that impacted me tremendously have to be the artists my parents introduced me to when I was super young: ABBA, The Beatles, the Bee Gees, Diana Ross and the Supremes, David Bowie, Queen, Sade, Stevie Wonder, Roxy Music and Prince. Majorly catchy melodies and lush arrangements define that list. That’s from the toddler days- can you imagine? (laughs) And then you think about the producers behind the records- George Martin, Brian Eno, for example, and they have had their impact on my musicianship as well. My mom loves disco, pop, opera and French music, and my dad loves rock, new wave, punk, jazz and funk. All those genres were constantly playing throughout my life- at home or in the car. Classical music was important to us as well, as well as traditional Romanian music from my mom’s side. Then in high school, I really got into Blood Orange, Lana Del Rey, Charli XCX, Kimbra, Jessie Ware, The 1975, Arctic Monkeys and HAIM. 2013 was such a turning point in my life, both personally and musically. I distinctly remember lying down listening to Pandora on shuffle and hearing Champagne Coast and Uncle ACE by Blood Orange for the first time. I could feel my neurons shifting and my brain chemistry exploding to this incredible sound palette- like nothing I ever heard before. I am majorly indebted to all aforementioned artists’ creativity and would love to work with them someday. I also have to shout out Phillip Greenlief, who played on Dream of 1988, my latest release. He was the leader of the jazz and orchestra ensembles at my high school and we crossed paths as I was composing a soundtrack for a senior project. As a saxophonist he always blew me away, and he has become not only a teacher, but a collaborator, which is an honor. I would certainly cite him as an influence that made a concrete impact on my life. He transported the song into stratospheric territory – and we’ll be working together for more songs in 2023.
As for my name? It’s my birth name- I have toyed with the idea of a stage nom de plume. I think I might do a parallel side project down the line with a different name to delve into my electronic/dance/ambient interests, but that remains to be seen. The name is my own, but I definitely have a persona that is its own entity.
4. What do you feel are the key elements in your music that should resonate with listeners, and how would you personally describe your sound?
DAVIA SCHENDEL: Evolution is a key element of my career- I like planning my sonic eras to define my aesthetics and vice versa. So right now, we are definitely in a retro-futurist sound palate with tip-the-hat references across the board. I’m using a lot of Linndrum sampling in the rhythmic foundation, and searching for synths that really leave a floating, ethereal energy. For example, Dream of 1988 is a track that feels like the debut of a sonic personal era. There’s going to be existentialism, yearning and lust in the lyrics- the stakes are high for the songs because the desire to live and be present is at an ultimate high, especially after what we have gone through in the past 3 years. I think people who yearn for a fantasy of a simpler, perhaps more glamorous and sentimental time will connect with my music. There’s a lot of fantasy involved with how I structure the songs and I think it has two purposes: to elevate the moment for myself in performance and transport the audience. That’s why, Max Havas, who performs on Dream of 1988, was a great contrast to my hazy vocals. Max is a super observant artist who really understands the zeitgeist and is two steps ahead of everyone– he has a cutting edge sensibility. Which I feel works in conversation with my nostalgic character in the song as he is the more present character, both in persona and how the lyrics are written.
Thinking more on this…I think it can be difficult to categorize yourself in the moment, aesthetically or holistically, when everything is happening. Perhaps I can pinpoint my aesthetic choices, but it will be interesting to look back at 5 years from now and see how affected I was by my environment- things that just feel natural or porous in the moment.
5. For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and music maker, and the transition towards your own style, which is known as INDIE?
DAVIA SCHENDEL:
Well I was really influenced by my parents in terms of what they were listening to early on in my childhood. My dad basically educated me on the new wave and punk movements – I knew about indie alternative bands from the start and what drew me to them were their choices. He grew up in Minneapolis during Prince’s reign– going to First Avenue and all the amazing venues based there. I remember my dad showing me David Sylvian’s (of Japan) solo work and XTC, as well as Duran Duran, and explaining their histories and cross-cultural impact across multiple mediums. My mom loves disco, and she shared a lot of European pop and dance music with me growing up, as well as more obscure singer-songwriters and jazz vocalists who were not mainstream. I have always been obsessed with reading about the New York arts scene in the 60s, or 70s and the Studio 54 era; as well as the Minneapolis scene in the 80s and UK glam rock, punk and new wave scenes in the 70s-80s. All the people associated with those movements were very interdisciplinary and knew that synergy was essential in creating a moment. And they were not “pop” or “mainstream,” but they certainly influenced the next generation that normalized those newfound styles. Same with the indie scene in the late 2000s and early 10s. It was clear to me, from a young age, that the indie/alternative routes for the arts were dynamic, sexy, exciting– and like the creative laboratory of the world- where the pursuit of novelty was the fuel of these amazing innovations. If I had to pick a camp, I wanted to be in that one. I certainly played with a lot of sampling early on in my teens, as Lorde came out with Pure Heroine and I was fascinated with her production on that album. Lots of hours on Garageband (laughs). But in my imitation, I discovered which styles fit and didn’t fit. Everyone has their heroes and want to emulate them, and it is fun to sit in their aesthetic world, but it takes a lot meditation and sitting with yourself to discover your style. I am still discovering it. I think I am starting to not shy away from my idiosyncrasies– and just face them with friendliness. Everything that makes me unconventional and weird needs to be put into the art, because that is literally what separates it from anything else. That was a liberating feeling when I realized that. And I guess my generation is rejecting genre conventions because we are in a cultural flux right now- social media and apps are almost superseding genre categorization. Artists will perhaps no longer be under “rock” or “pop,” but the app they were discovered on. I think that’s already happening.
6. What’s your view on the role and function of music as political, cultural, spiritual, and/or social vehicles – and do you try and affront any of these themes in your work, or are you purely interested in music as an expression of technical artistry, personal narrative, and entertainment?
DAVIA SCHENDEL:
Music, like any other form of art, provides reflection and catharsis. It’s a balance between those two elements and I think you can make a very entertaining song while illuminating what is happening in the world. The most personal song can become political and vice versa– I think you can put as much intention into how a song will be perceived, but the audience will always form a unique relationship with the material. Our songs are the soundtracks to people’s lives– moments that we never will truly see, like a train ride, or a painting session, or a haircut. As musicians, we shape space and perhaps, give levity to the mundane. That’s why I listen to music– it elevates my day, mood, and perspective. I think I chase novelty a little bit– I want to feel newness, travel in my mind to different perspectives. That’s what I integrate in my practice– emotional transportation. However, if I do want to say something about world affairs or the political climate, I will put that intention in the writing process. I think it is important as an artist to be aware of what is going on– escapism is lovely, and we need it, but there is a way to integrate a powerful melody and a message. For example, since Roe V. Wade was overturned last year, which felt like a punch in the gut, I really have had to reassess how I show up as an artist. A lot of my material has themes revolving around sexual agency and how independent I am in these decisions, so how does this new era we’re in affect our agency? And the perception of autonomy and agency? I have yet to see how I process that in song, but it will happen. I have a couple of songs in progress that are more humorous in addressing certain issues, because I think my way of processing the absurdity of how certain world events have played out is with humor. That reflects back on the catharsis element – humor releases tension.
7. Do you think is it important for fans of your music to understand the real story and message driving each of your songs, or do you think everyone should be free to interpret your songs in their own personal way?
DAVIA SCHENDEL:
I would want everyone to form a personal relationship with the material. That’s the best compliment a musician can receive– that a song brings some kind of emotional response or reverence in the listener. Nowadays, songs are being used more and more as aesthetic signaling, as people are “cinema-tizing” their lives with short video documentation. For example, you’re seeing music by Kate Bush, who I adore, becoming the soundtrack to recipe videos due to the trend on an algorithm. I’m sure Kate Bush did not enter the studio in 1984 and imagine her song being number one almost 40 years later due to the re-contextualization of its meaning with a TV sync. But what matters is that a great majority of people are connecting to the material. And if people are finding my song to inspire them in any way that is benefiting their lives, that is wonderful and I’m grateful that they are connecting with the music. With some of my material that is more obscure, I am not worried about perception. If it’s experimental, I’m happy if the interpretations are varied. If the song is confessional, usually people lock into the meaning and that is a very communal experience, akin to storytelling.
8. Could you describe your creative processes? How do usually start, and go about shaping ideas into a completed song? Do you usually start with a tune, a beat, or a narrative in your head? And do you collaborate with others in this process?
DAVIA SCHENDEL:
It varies– sometimes the magic happens when you sit down with your guitar and the song comes fully formed, or I sit down with a drum pattern on my DAW and play along with bass, guitar, or synthesizer. Or, I’ll be on a walk, and I’ll hum a melody and then record that on my voice notes app. Or, most recently, I had a dream that was so vivid– a full conversation happened between me and someone else. So I write down the lyrics, not really worrying about cadence, and think about the lines that really draw me in. Then, when I sit down to write the music, I sing out the lines and feel which key or tempo really suits the content of the story.
The most important thing for me is consistency– I might write a song one day that is not the most inspiring, but I learned how to mix vocals in a unique way, which I will apply to the next track. In collaboration, it’s a conversation- if someone sends me a song, I listen to it and map out the emotions space it’s creating. Where I fit in is to serve the song, and I see that as a great opportunity to create another element to my persona, or even a new character. Every musical attempt is a lesson– I learned that a lot while learning bass guitar, which was a very fun process and I wrote a lot during that period. Now I feel like I am getting into a lot of dream songs– stories that my brain presents at night. Could be a project unto itself.
9. What has been the most difficult thing you’ve had to endure in your life or music career so far?
DAVIA SCHENDEL:
Losing people I love. The past three years have been brutal– I lost both of my grandmothers and other family members who were very important to me. Grief really has irrevocably changed me, and I am sure that most people who have gone through losing a loved one will resonate with that sentiment. What I realized in my healing process is that not only are you grieving the people you lost, but the person they allowed you to be in their presence. But what it has given me is the perspective of how joyful life can be if I just shift my eyes to the positive, even in the mundane day-to-day rigamarole. I try to really take each day as an opportunity to enjoy life and realize that there is so much to discover. Nothing prepares you for grief– it’s like a character that enters the stage of your emotional life and never really leaves. It might take exits here and there, but always comes back unannounced. I’ve been afraid to write about it because it is so difficult to even discuss. I don’t know if I would be able to perform a song about my grandmothers without getting emotional, but maybe I need to do it for my own catharsis. We shall see.
10. On the contrary, what would you consider a successful, proud or significant point in your life or music career so far?
DAVIA SCHENDEL: Being able to perform at venues again has been a blessing. Anyone who is reading this, I urge you to go see a show at a local concert venue and give them your support, because without them, independent artists would not have a home. I toured for half of 2022 and that was truly the beginning of a new era for me, creatively. Reconnecting with others through music and meeting new people has given me a lot of faith. In an increasingly isolated world, musicians always manage to keep in touch, even if we live worlds apart, so that re-entry into the real, tangible world has been a significant shift in my life. Being part of a community is so important to me– I like having my creative time alone, to develop ideas, but the ideas would be nothing without audience and collaboration. I am really looking forward to what this new year brings, and I hope to play in Europe this time as well as more cities in the US, like Minneapolis where I have some family, and Chicago, Portland, and Philadelphia– places I have not performed in yet but people are beckoning me there, so I must go. And I am very excited to release more material. I am just a very lucky person– and very grateful I get to be an artist in this lifetime.
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Photo credits: Florentina Mocanu