Mary Lattimore - The Contemporary Path for the Harp

To mark the release of her latest album, titled “Goodbye, Hotel Arkada” and steeped in an ancestral melancholy that only a harp can conjure, we had a chat with Californian Mary Lattimore, one of the most exciting performers of the instrument working today. We talked about her latest work, her love of cinema, what it was like to collaborate with heavyweights of the alternative scene such as Lol Tolhurst and Rachel Goswell, and much, much more.

Hi Mary! How are you? Where are you answering us from?

All good, I'm answering you from a hotel in Philadelphia.

You've just released a new record titled “Goodbye, Hotel Arkada”. A record steeped in melancholy, whose title refers to a Croatian hotel you're fond of, which has recently undergone a brutal renovation... can you tell us a bit more about the choice of this title?

I loved the way that hotel looked before the renovation. But for me the hotel itself isn't as important as the broader idea of holding on to something in your mind before it fades away or changes. Because change is inevitable, both the good kind and the bad kind. Everything changes and renews itself, shifts shape, gets torn down, gets rebuilt. If it's something we love, it's our duty to make it immortal before we lose it, using the eyes of our imagination in an artistic way. It's about recognizing the value of the ephemeral.

Comparing the title, the song titles, the cover art, and of course the music of “Goodbye, Hotel Arkada” with your previous solo work, “Silver Ladders”, I sense a much more earthbound feel, less abstract scenery and less spacey atmospheres, along with a darker mood. Is that just my impression?

Yes, what you're saying makes total sense! “Silver Ladders” is pure emotion. A good chunk of that record was recorded quickly in Cornwall, where I was sort of immersed in a flood of new experiences and poetic impressions. “Goodbye, Hotel Arkada” had a longer, more controlled gestation - it's the result of a lot of careful editing and selecting, it was recorded and composed in a completely intentional way. I think these two records represent two different sides of how I play. Back when I made “Silver Ladders” I was able to let go more, because Neil (Halstead, ed.) was there taking care of the production, so I felt freer, lighter. But I also like being more reflective, fully in control of what I'm doing, and so “Goodbye, Hotel Arkada” sounds more cautious, more grounded, as overthinking as befits a Virgo. I really wanted to shape beauty with devoted intention, as if I were making little paintings.

Besides your usual collaborators, for your new record you brought on board heavyweights of the alternative scene such as Rachel Goswell of Slowdive, Roy Montgomery and Lol Tolhurst of The Cure! What was it like working with them? Tell us something about the creative process behind these collaborations.

I deeply admire these musicians, and I'm lucky that, at this point, I can call them friends. We collaborated remotely. As for the track with Lol, I simply sent him the song and he added his parts. I got his contribution on New Year's Eve, in the middle of a party I was hosting, so I ran off to my room to be alone and listen to what he'd added. It felt perfect to me, and like a good omen for the year that was about to start. The track with Roy, on the other hand, came together like a pen-pal exchange, sending the piece back and forth to each other. When we made it he was in New Zealand, while I was at an artist residency in Wyoming. We had so much fun trading things back and forth. With Rachel, I simply asked for some vocals, and she happily granted my wish, from the UK all the way to California. These are artists I admire enormously, and I let them add whatever they felt was right, with complete freedom. They're heroes!

The track with Lol, quite possibly the most melancholy and dramatic of the bunch, is titled “Arrivederci”, in Italian. Why that choice of language?

It's a song I wrote after getting fired from a job. I was supposed to play harp parts for a wonderful Italian musician's record, but unfortunately the sessions didn't go very well. So I went home, cried my heart out, and wrote something for myself. Thank goodness for the result - sometimes it's good to write music when you're falling apart. I'm also learning Italian, so maybe one day I'll be able to say the song's title with less of an American accent, or at least I hope so!

Actually, during your latest tour you played quite a few Italian venues, including my hometown of Naples... what was it like playing around our country for a good stretch of time?

I love Italy, and I really loved visiting Naples. I truly hope my tours keep bringing me back to Italy. It really is one of the most beautiful and art-filled countries in the world. The people are so lovely, and so purely in love with beauty, food and culture.

You play and compose for harp, a fairly ancient instrument. Yet the way you use it is incredibly modern, rooted in the contemporary. Usually the sound of your harp echoes through ambient scenarios or even post-rock. How did you come to realize the harp could work in these genres?

I had no idea until I started playing with some friends in 2015, in Philadelphia, mixing for the first time the music I played with the music I loved listening to. It was amazing to discover how many different moods I could evoke with my harp.

Browsing through your accounts on various social media, I noticed you're a big film buff. What films you've watched recently would you recommend we check out?

One favorite among the films I've watched recently is "Purple Noon", which was recommended to me by my friend Samara Lubelski. Wonderful Alain Delon, wonderful settings. I loved it, it's really thrilling!

Actually, I think your music is very cinematic. Have you ever considered composing more often for film or TV series?

Thank you! Yes, I've been composing for film lately. The first two films I worked on were shown at several festivals last month. Discovering all the work and the process behind a film was truly an eye-opening experience for me. I'd really love to compose more for film... if there's an Italian director among our readers looking for a composer, feel free to get in touch!

What's in heavy rotation on your streaming accounts? Come on, recommend us something to discover!

Lately I've been listening a lot to "7" by Beach House. But also the music of Jeremiah Chiu, a fantastic synth player, who I've been on tour with for a few weeks. I recommend his latest solo work, but also the record he made together with Marta Sofia Honer.

That's all for now, Mary, thank you so much for your time. Until next time!

Thank you! See you soon (in Italian, ed.)!

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