Start Listening To: Merryn Jeann

Merryn Jeann's music is a tapestry woven from dreams, reflections, and the raw authenticity of the human experience.

Hailing from the picturesque landscapes of Arakwal Country in Northern New South Wales, Australia, Merryn's musical journey is a testament to her deep connection to the essence of artistry and self-expression. Her ethereal soundscapes and captivating storytelling have garnered attention worldwide. In this candid conversation, Merryn Jeann invites us into her creative realm, where fluidity intertwines with introspection, and where the unexplainable finds its voice through melody and lyricism. From her musings on the inspiration behind her latest album to the intricate interplay between visual and sonic arts, Merryn shares insights that illuminate her artistic process and personal evolution.

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

Heya, my name is Merryn Jeann, I’m Australian artist living on Arakwal Country in Northern NSW. I have spent most of my 20s living in Paris but came back to Australia after a deep call home from the Eucalypt spirits. My music is fluid in its words and musicality. I don’t really know how to describe it, it just is what it is…I play music to connect with what I believe and trust is something as close to the unexplainable as we can get, like all art, it feels like a duty and I absolutely love it. I am silly but a self reflective person and I think this comes through in the music.

‘Subconscious Love Connections’ was inspired by a voice message from a friend during the lockdown in Paris. Can you elaborate on how that message influenced the song and its creation process?

I was far away from my dear friends and one morning I woke up to a voice message (that is in the song) from my friend Maeve who was in a bit of a ditch. That night I had dreamt of her, so I wrote this song that day, with my sweet piano at home in the living room. It’s gone through many flavours from pop to RNB intentions but i believe we found a balance between with the album version.

The music video for ‘Subconscious Love Connections’ was shot at a local gas station with friends the song was written about. How did the choice of location and the involvement of friends contribute to the visual storytelling of the song?

My friend Bernie Gooley works at this petrol station. He is a visual artist that usually works with paint, light and sculpture but whilst he’s at work, he makes the most iconic videos using the CCTV cameras. When I told him about the song, he suggested we make a video there, so we did and I don't know if there’s much more to it! The friends in the video are the friends who were a part of the original voice message that sparked the song, so that’s pretty special.

Can you give us a glimpse into the themes and inspirations behind Dog Beach - your new album, and how it differs from your previous works?

This album feels like a coming of age, a true acceptance of myself as an artist. It’s diverse in its sound, each song it’s own world and I really love this about Dog Beach. Spending time at the dog beach near my mum’s house over summer a couple of years ago gave me the title of the album as well as the intention of the energy of the music. I didn’t know what I wanted it to sound like but I had a deep understanding of how I wanted it to feel because of this. Its bigger production, less intimate and more playful than my debut album which is much more delicate, cinematic and specific. Dog Beach is sillier and with many more musical elements too.

‘Nun at the Airport’ was inspired by a surreal moment during the pandemic. Could you share more about the creative process behind this track?

I began writing the song in an airport hotel room whilst in a quarantine period pre getting on a flight back to australia. I had my guitar and mic with me so once seeing some Nuns at the airport, I almost instantly began writing the song about nuns feeling far from god that were about to fly to try and get closer. It was a literal and theatrical response on my behalf but as the song took shape  I guess it became somewhat metaphorical from feeling disconnected and trying to reconnect  to whatever it is that fulfills and/or guides you.

You've been described as a multidimensional artist, thriving in both visual and sonic arts. How do you approach the intersection of visual and musical elements in your work, especially considering your background in Fine Arts?

I don’t consider much, I just gollow and do. I think that’s why I left art school because things feel too intuitive to me and I have never really thought to break down the art I'm making… i find interviews pretty hard haha

Once I show up, I just follow what comes, I like to see where it takes me then go for the ride. 

Your sound has been compared to artists like Caroline Polachek, Cat Power, Weyes Blood, Feist, and Kelsey Lu. How do these comparisons resonate with you?

Honestly, I wrote some of these artists, not as comparisons but as references to how I believe my music and art can be seen. Others I've been compared to musically which I'm flattered by. I resonate with their musicality, their theatrical and mysticism, their appreciation for depth and persistence to always be honest and expressive in their practices. 

After living in Paris for many years, you returned to Australia to study Fine Arts in Melbourne. How did that experience shape your perspective on your music-making process, and in what ways does your visual arts background influence your music?

It gave me permission to bring visual arts and performance into the music. I’ve never seen myself as a musician, rather an artist and performer and being at art school helped me move into that in big ways. 

The album is produced by Rob Ellis, known for his work with PJ Harvey. How did the collaboration with Rob Ellis come about, and what was the creative dynamic like during the production of Dog Beach?

The contact came via a friend and artist on our label Rescue + Return Records Stephen Munson/SPACEMAN. He had worked with Rob with another artist SWANN a few years ago. We were looking for a producer and thought to ask around and Stephen suggested Rob. Of course I was over the moon, i didn’t think it would happen but knew it would be killer if it did. We got along really well and are now dear friends. Our creative process went like me sending the demos to Rob, him letting me know which ones he believed were the strongest, i agreed with most of his thoughts, then just getting in the studio with Chris, Ben Rob and myself and just gave it a red hot go! We used a lot of demos in the end which was surprising to me but great as i understood that there was so much of my sound in those demos, so it was important to keep them.

You co-founded the label Rescue + Return Records. How has having your own label impacted your artistic freedom and the way you approach your music career?

I have been so lucky to work with my then manager/kind of manager (because i’m looking for a manager and in the meantime he’s pretty much doing most things still) Etienne. From day dot he's been passionate, honest and wanted me to do what i want to do. I reckon I'm a slightly tough artist to work with so I think putting the label together meant the two of us could stay independent and true to ourselves. It helps to get grants etc as well which is the way things go when you don’t have a major label or big independant backing you. I believe I needed someone like Etienne during my 20’s, still vulnerable and unsure. From our relationship and the label I’ve learnt to stay true to myself and been encouraged to do so, which is such a beautiful blessing and now there’s no question that I'll do only that forever.

What do you love right now? 

Watching the tomatoes I grew at home grow juicy and red.

What do you hate right now?

The Genocide of the Palestinian People. 

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

Songs of Leonard Cohen or Dummy by Portishead. They are both so so incredibly good albums. Flawless and poetic. It reminds me to keep my integrity and to remember why albums are so important. I hope respect of the album philosophy comes back, it’s so important for our attention spans, our artistry and sense of wonder.