Since releasing her debut EP, Strange Darling, back in 2015, Californian artist Miya Folick has built up a strong following of listeners who’ve followed this artist’s journey from self-taught songwriter, recording her effortless vocals and simple strings at home, to a ferocious frontwoman, backed by her trusted band members. Taking inspiration from her family, friends, the Los Angeles music community, her Buddhist upbringing, a fascination with dance and movement, and most of all, her own life experiences, this enclosed approach to songwriting imbues her music with vivid energy and life, an aspect that has drawn in a growing fan base on and off line.

This year has seen the release of the musician’s second EP, Give It To Me, which introduced a louder, more dynamic, punkish side of Miya Folick. Here at TMR, we were particularly drawn to two singles from the record - ‘Trouble Adjusting’, the transitional track that burns creative chemistry and guttural screams, and ‘Woodstock’, Folick’s homage to Joni Mitchell’s 1970 single of the same name. We discuss what these songs mean to the West Coast talent, plus how life has changed over the last two years and what the future could hold for this alternative artist.

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TMR: How have things been since releasing your second EP, Give It To Me?

I'm working on my full length now, so, busy.

TMR: The video for ‘Give It To Me’ is pretty special and your performance is so composed considering the setting. Are you a fan of roller coasters? Is that where the idea came from?

I do like roller coasters but I'm not a huge adrenaline junkie. Eva, the director, came to me with the idea, and I thought it was a good one.

TMR: I suppose tracks like ‘Give It To Me’ and ‘Trouble Adjusting’ are structured like a roller coaster, with those reprieves of melodic serenity and then launching into volatile punkism. Was that an intention while writing these songs?

I think that's just how I am. Soft and hard.

TMR: What’s your favourite songwriting environment? And why?

Anywhere. I don't care. An elevator, my bedroom, bathroom, studio, walking around the city. It doesn't really matter.

TMR: Alongside original songs on the Give It To Me EP, you’ve also covered Joni Mitchell’s ‘Woodstock’. Did you feel the pressure covering a song by one of your heroes?

No. Maybe I should have. I just didn't think she'd ever hear it, so I didn't worry. That song also feels somewhat biblical to me, or like a fable. Maybe Joni would disagree, but, to me, it feels like that song belongs to the people.



TMR: The EP contains textures of punk, rock, grunge, does that reflect the kind of music you listen to?

Yes. I listen to a lot of different music. But I also don't listen to very much music.

TMR: How have you found settling into the Los Angeles music scene. Are there any local upcoming bands/artists we should be looking out for?

I used to be pretty active and out and about all the time. But, lately, loud environments are too much for me.

TMR: Speaking of settling in, would you say ‘Trouble Adjusting’ sums up that time in your life? Or does it relate to something else?

Yes. I think it does. I was really trying to connect and to insert myself in situations where I felt somewhat alien. Now, I feel more comfortable. But, I've also retreated a bit now that I've found my people.

TMR: When we reviewed the track, we couldn’t help but get a sense of you as a live performer. How has your live set evolved over the years?

You learn tiny lessons every show. Sometimes they are conscious and sometimes subconscious. I think I'm still exploring, but I feel very free. When I first started playing I think I felt more like I was trying to provide a certain type of performance for the audience. I still want to effect the people who come to see the show, but it's more of a give and take now. I let them in.



TMR: Do you still play tracks from 2015’s Strange Darling EP? Do those songs still feel present to you or like a world away from the artist you are now?

We still play them here and there. We always play ‘I Got Drunk’ and usually ‘I Think This Is The Dream Where I Met You’ or ‘Oceans’. We recently started playing ‘Strange Darling’ as we have a synth player who joins us sometimes. Sometimes I dread playing these songs before we start, but once we start playing I just get lost in the story.

TMR: It’s well documented that you taught yourself guitar (aside from a handful of lessons from an old school friend) and songwriting. However, was there any point you felt like the obstacle was too great or you’d come as far as was possible?

I still feel like a pretty terrible guitarist, but I don't let it stop me. I just love making songs. Sometimes I feel blocked creatively but that doesn't really have anything to do with skill. I just tell myself that it's just a phase and it will pass.

TMR: Who was instrumental in inspiring your craft?

My band gave me a lot of confidence and inspiration. My friends and family are my biggest support. Then, those people who come and go from your life, leaving little imprints, shifting your perspective a degree.



TMR: I also read that you’re fascinated by experimental dance, especially the performer Yvonne Rainer, and your video ‘Oceans’ is set around some unusual choreography. Can we expect a return to this art form in the future?

Yes. There's a movement video for ‘Woodstock’ coming soon. I'm sure it will just be the beginning of many.

TMR: Of course, you’ve only just released your second EP, so asking about the next step may be pre-emptive, but what does the rest of 2017 and 2018 have in store for Miya Folick?

Playing a few shows in California in December. Working on my album. It will come out in 2018.

-Hannah Thacker