Berlin-born artist Albertine Sarges opens up about her diverse musical influences, the emotional depth behind her latest single 'Friendship', and the evolving journey of her sound and creative process.

Albertine Sarges, a Berlin-born musician, is known for her eclectic sound and deeply personal lyrics. Emerging from a city renowned for its artistic diversity, Sarges’ music is a reflection of the myriad influences she encountered growing up—ranging from classical choir singing to Indonesian Gamelan and Midwestern Americana. Her work is a vibrant tapestry woven from her experiences and emotions, characterised by its bold genre-blending and introspective themes.

In this Q&A, Sarges discusses her latest single, 'Friendship', and how it represents a significant evolution in her musical journey. She delves into the personal stories and emotional landscapes that shape her songwriting, sharing insights into her creative process and the symbolism embedded in her music. Sarges also touches on the importance of friendships, the impact of her collaborations with other artists, and the continuous exploration of new themes and sounds in her work.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

I grew up in Berlin, at a time when the city was just becoming the place for creative runaways from all over the world, so I got lucky to gather my first musical experiences with a ton of different approaches and styles, from classical choir singing, to Indonesian Gamelan, to Midwestern Americana. My music comes from my big moods, the storms inside of me. Most of the time I just got swept away, but then I realized it’s possible to ride them (like a sandworm, lol!) The songs are my riding harness and offer themselves as a tool for others to allow their feelings. Socio demographic wise I am white, middle-class, cis-gendered, able-bodied, thirty-something, my parents were leftist academics with poor funds and a talent for affordable dinner parties.  

Your new single ‘Friendship’ marks the next stage in your musical journey. Can you share more about the evolution of your sound and artistic approach in this track?

In terms of creative progression, I don’t have a linear image. I see it rather like a network of rhizomes, creeping rootstalks, which work underground and allow new shoots to grow upward and be shown. Friendship has been sleeping for 7 years. Then I shot it out from the underground, ordained with the most precious little guitar solo, right after the first chorus.  

The story behind ‘Friendship’ is quite touching. How did this personal experience shape the lyrics and musical composition of the song?

Coming back to the picture of under-earthy matters, I collect memories and dwell on themes of emotions until the urge to let them come to daylight is big enough. Then I let all my desires flow into the songs without sticking too much to one specific event. When it comes to announcing songs, I often pick one event to bring my feelings across.

You mention the balance between love and loss in ‘Friendship’. How do you navigate these themes in your songwriting and what do they mean to you personally?

I resonate a lot with the story of The Little Prince. He comes to a planet and tries not to get too attached to its inhabitants. His point is that we will get hurt if one day he loses them. I lost my father and my sister, and recently, a good friend of mine died. So I had a lot to process. I’ve come to the result that it’s better to love and lose than to avoid attachment. I also did a lot of bird watching in recent years and to my surprise, I have had the same issues: Bird life is in danger, ecotopics are being destroyed by human’s insane capital interests, and it’s devastating. But we should still do everything we can to regain our attachment to nature, love and protect our planet. We will feel more alive.

The music video for ‘Friendship’ features a tender choreography around rituals of friendship. Can you elaborate on the creative process behind this video and the symbolism in these rituals?

My favourite score was the cup: A little cup of liquorice liquor that my friend and I shared solemnly. The simple act of sharing, in good and bad times. Then the synced walk: following each other, trying to stay in the same rhythm. That is something that I really struggle with because I am often working abroad on tours or in theatre projects, and I find it hard to remain on the same wave as my friends. To meet for an after-work pint is a privilege I usually don’t have. I also tried to show a sense of intimacy through the themes of whispering, hiding together and looking through the looking glass.

Your previous album, ‘The Sticky Fingers’, dealt with themes like feminist theory, bisexuality, and mental health. How do these themes continue to influence your current work, including ‘Friendship’?

I think that friendships are the most undervalued relationship in adult life. People start to prioritize their romantic relationships and families, trying to juggle work and quality time. But often I have the impression that a life only with a husband and kids is a very lonesome and small world. You can easily connect the dots from my song Friendship to topics of feminist theory (kinship, solidarity, a life outside of motherhood) and mental health (loneliness epidemic, burnout cult). 

You’ve worked with a variety of artists, including Holly Herndon. How have these collaborations influenced your music and artistic vision?

Walking in other people's shoes can be incredibly educative and beautiful. You get to share someone else’s vision and technique without having too much responsibility, it’s refreshing. But honestly, I also do it out of financial necessity. With a band my size you can’t make a living in the era of streaming services.

In ‘Friendship’, you talk about the importance of taking good care of your friendships. How do you personally maintain and nurture your friendships amidst your busy career?

I have a couple of friends who I exchange long voice notes with. I love listening to my friend’s „podcasts“ when I am arriving at a hotel or cleaning my dishes. Another thing is the 8-minute phone call. (Try it! Strictly 8 mins, everyone has time for that). But if I’m in town I like to meet up somewhere quiet, a home or a visit at the many Berlin lakes, and have hour-long conversations and walks. For my bigger circle of friends, I host dinner parties. Preparing beautiful food for my friends is my love language. In fact, when my friend died earlier this year, I adopted her frying pan and couldn’t stop frying things, crying in my gravy, trying to connect to her.

Your music often blends different styles and genres. How do you approach genre-blending in your songwriting and production process?

Genre is a tricky one. If you grow up in a specific tradition of song, for example, you play Western guitar, growing up in the Midwest as a working-class boy, like my friend Nathan Vanderpool, then Americana is a genre that you just swim in and maybe at some point try to swim away from, etc. But I didn’t have a clear path in front of me, Berlin doesn’t have a strong imprint for songwriters. I certainly have influences, but I leave it to music journalists and my team to put me in categories, playlists and venues.

Can you share any insights or stories from the recording sessions of ‘Friendship’? What was the atmosphere like in the studio?

I remember how I expected my friends Rosa and Danika to come to my studio to record the backing vocals for the song. I baked bread, bought mozzarella and tomatoes and harvested an entire basil. I brought oil and balsamic in little bottles. Everything neatly packed with cool packs etc. Then I prepared this lush caprese for them on huge plates, between the amps and drums… Everything was ready and it looked and smelled fantastic, but minutes passed, then an hour, and eventually I realized to my horror that the meeting was tomorrow. So I spent the day eating four portions worth of Caprese in my dusty studio room, editing the guitar takes. The next day, when they came, I invited them for a Döner. I never told them. If they read this now, they know. I’m so sorry!!!

What can fans expect from your upcoming projects following ‘Friendship’?  Are there any new themes or sounds you’re excited to explore?

My upcoming album is about people I adore, people I miss, places I want to be in. There are, I think, a lot more organs and keys in this album. Also more chorus and delay effects, I would say this coming album sounds a bit "bigger" than the last one. There are surprises and Easter eggs to find in it, as always. You find famous people speaking in them, for example, quotes from David Attenborough and Anthony Bourdain, which speak again for my love for nature and food.

What do you love right now?

I sometimes love random strangers on the street so much that I have to hide it. I also love birds. I love my friends, my partner and my band members. I cannot tell you how much I love Bistecca Fiorentina and how guilty I feel when I eat it.

What do you hate right now?

I hate acts of violence against humans and nature. I also hate buckwheat for some reason. 

Name an album you’re still listening to from when you were younger and why it’s still important to you?

Spirit of Eden from Talk Talk is still unfolding and evolving when I listen to it. Such a vivid and creative album full of moods.

Looking back at your career so far, how do you feel you’ve grown as an artist, and what are some key lessons you’ve learned along the way?

I am trying to work under a couple of rules: Say yes to challenges, show up, and allow myself to be in the centre of things when it is my project. Don't try to please everyone, it will help no one.

I also had a nice mantra for this album. My album is my personal buffet: I just put things in it, that I have an appetite for. As a result I have made an album which I personally find daring and soft at the same time, and that makes me really happy.