Anne E. DeChant

For some of you, it’s likely that Anne E. DeChant first caught your ear as the charismatic lead singer of Odd Girl Out, belting out perceptive songs overflowing with passion and social consciousness. They were a huge draw locally for quite a while; when the band broke up, DeChant dove headfirst into a solo career and delivered four intense and intentional CDs, including Effort of the Spin, Something of the Soul, a live "Storytellers"-like CD Live, An Evening with Anne E. DeChant and the jangly Pop the Star – the latter of which was produced by famed producer, Cantonite and husband to Marti Jones, Don Dixon.

DeChant recently completed her fifth effort, Girls and Airplanes at Rolling Thunder Studios in San Diego, with another high profile producer. Andy Ackland, who has produced rock acts like Dishwalla, The Darkness and Jason Mraz, produced Girls, giving it a tougher edge. Cool Cleveland Managing Editor Peter Chakerian spoke to DeChant after she returned from Florida last week, They talked about the new disc, the power of writing, travel, fly fishing, Joni Mitchell, and, well, the F-bomb. The interview is the latest installment of the Cool Cleveland Pop Quiz.

Cool Cleveland: Girls and Airplanes is your latest effort and it rocks. It’s got quite the edge to it. Talk a little bit about the creative process behind this disc and where you found yourself both personally and thematically when you began writing this record.

Anne E. DeChant : Thanks! I think it’s really something that just emerges with each CD. Believe it or not, I just start thinking about it, sort of write and gather and it emerges. I can’t say that I go into a project with a clear and linear way a project is supposed to be. It’s just not that intentional of a process, really. I serve the song, each one in and of itself. I will say of the title track, that song sort of fell into place and ease. Sometimes the best songs are the ones that come fast.

What is it about airplanes and travel that empowers all of us?

That is so true. Everybody feels brave when they’re willing to leave their comfort zone, so it gives you a feeling of “hey I’m pretty cool.” I’m swinging my arms real wide and high because I’m glad to be here and putting myself out there. When you travel, you run into new kind of culture – whether you’re here in the states or abroad. I think you feel good whenever you go beyond what you’re used to.

In the title track, you sing: I’ll never shut up, never give in/Never gonna keep my feet on the ground again/ I’ll never back down, never fit in/ Where you left off is where I begin. Who is your protagonist here? Someone you know? Or is it you?

I think people see me that way and a lot of people can relate to that. So thematically, it’s definitely about women who worked during WWII, that’s how I wrote it, but always within your subject matter there is a part of you in that process. Whether it is something from the past or present, it is always there.

Tell me about “Scattered.” Unless I’ve missed one somewhere along the way, it seems to be your first institutionalized F-bomb, at least lyrically speaking.

Hah! Actually, the first one was on Pop the Star!

That’s right. Now I'm the one who needs an F-bomb. I stand corrected. (laughs)

That word did it. That was how I felt about that time period in my life. That’s really the best word for it.

Did you ever see the film The F-Word? Why do you suppose that’s one of the few curses in our modern vernacular that has retained most of its power?

No!! I’ll have to watch that. (laughs) I’ll tell you I have a theory about it. I took phonics in college. It’s the pulsive sound and the letter F, which makes up one of the most powerful sounds. You have friction and implosive sound. Plus, it’s pleasing to say! Can you think of a better way to be pissed verbally? Sometimes, I think I have to cut out negative language, but I also don’t use the word fuck or say fuck you to people, but that’s just how it feels physically to say. What do you think? Sums it up in a burst.

Your anthem “Second Class Citizen” appears to have taken on a life of its own after the cruise you played with Melissa Etheridge. It seems to account a same-sex marriage in some way, and got some attention through The Advocate, but it also seems to transcend that framework on a number of levels.

I think if you’re of the understanding that’s what it’s about, I guess it’s easy to say. I’ve had people buy the second class citizen shirt and know that’s how they feel and not necessarily about it as an individual story about somebody who killed themselves and hated themselves because they were gay. I sort of fictionalized the story in some places. But I think some people can relate for circumstances beyond the story. I had a middle-aged, blue-collar guy buy one of the “Second Class Citizen” shirts at a show recently and it came as a surprise to me at first. But something resonated there, maybe even as it relates to his own life, or I’m guessing he wouldn’t have bought it.

What will it take to stop that second class treatment of citizens in this country?

It’s gonna take what it always has taken: a group of concerned citizens not being afraid to vocalize, willing to take chances, speaking their minds and taking action. That pretty much is at a low right now. I hope [that] returns. I think health care has gotten pretty bad, the conservative right-wing fear ploys are a slippery slope, and the paranoia of same-sex marriage… ignorance is wiped out by education. As a collection of people, we need to be pissed off enough to be active, not apathetic. Change can’t happen any other way.

Social justice and faith seem as vital and critical to your songwriting as individual introspection has been over the years. What informs your songs these days? And how much of what you write is truly first person as opposed to being delivered through a character? Much of your work can be interpreted either way.

Anything that is human, really. It’s the same old story: conflict in life, suffering, and any kind of drama in every day life – which is where I think most real drama is –that’s what interests me. Whether it is in a book, movie or a story I’ve heard, at the end of the day it’s about the human condition. I write about a lot of different kinds of human beings. If I feel like writing from a specific gender or point of view, then that’s what I do. Because I’m interested in all kinds of relationships, a lot touches me, and that makes me understand pain, suffering or help bring something that might reach into cliché into clarity.

I’ve seen instances where you perform at churches and I’m particularly interested in how your faith and values are reflected in your music. And whether you see your religious performances as being different from what you do in the clubs…?

Well, my club shows are a lot more secular, but even in the church setting, they’ve given me the freedom to say, “No, I am not going to sing that.” If for instance, a song was too much about being a sinner and being helpless, and I don’t think that’s how God wants us to feel… I guess that extends to both varieties of what I do. How they’re different... I am acknowledging a higher power, because that is the construct of the church. It is a nice balance for me that I am able to do both. One kinds of relieves the other, if that makes any sense? I work for UCC (United Church of Christ) and there are reasons that will work. For me, it can’t work in a church if women can’t lead, it won’t work in one where same sex marriage and relationships are seen as derogatory or worse. I stay in parameters of my belief system.

I’ll say this, I don’t think God is wearing trousers. (laughs)

How much non-songwriting writing do you do and how has that helped you gain a foothold on your craft over the years?

I don’t do it prominently. I do a little journaling here and there, but if I am going to write, it is usually in the form of a song. It’s how I am comfortable. When I write, the music and lyrics come out at the same time, Peter. It is so integral to the process for me that it’s difficult to do separate. I’m not really inclined to write in other ways. It’s just not my thing, but I continue to be amazed at how people can write books and novels and many other types of structured, long form work. I admire that.

Does songwriting still feel like an art form to you after all you’ve done, or is it more of a matter of craft now?

It’s definitely an “art first” thing, you know. And you know the first line of lyrics is always starting with art and thinking and feeling about something. I am a pretty straightforward writer and I like to write within that structure because that’s where I’m the most comfortable. Always art before craft, though there is some aspect of craft to it when you think about the structure of verses and choruses.

Who are you listening to now, both locally and nationally, who impresses and inspires you?

Jane Siberry, I’m really digging Bob Dylan’s Blood on the Tracks, which I never have owned until this year. Locally, I don’t hear a lot of people because I’m usually working when they are. Becky Boyd. I love her voice. Tracey Thomas. Chris Allen is my good friend and I love his writing and sensibilities… Jesse Bryson, who is in New York now… really appreciate him. I actually had a friend suggest to me to pick up the new Brandi Carlile—

She has a magnificent voice and presence for someone so young.

I haven’t heard the new one yet, but I have it. The Story. Will have to listen to it.

Your last effort Pop the Star was produced by Don Dixon and it definitely had his touch and jangle to it. Andy Ackland, who has produced rock acts like Dishwalla, The Darkness and Jason Mraz, produced Girls. Talk about their difference in approach and what you learned from both of them in them recording process.

I think with Don, I learned how to relax with my singing. If I was getting tense, he would say, “I am getting so mad at you right now.” He has this casual manner for the most part, but he’s very intense underneath and you’re aware of it. He’s very creative and keeping you focused… instead of getting distracted [by] all the esoteric equipment. I am convinced that he can see sound. We recorded in a lot of different places, and everywhere we did, I was convinced that he can see it. That gets you to thinking more organically.

With Andy, we were in the studio and in front of a board most of the time – the way most people think of recording. He’s a little slicker, traditional in terms of what you think of. Both were great listeners, who made treated me seriously. Easier to think about their similarities… both could be counted on for silly experiences and both are interested in songwriting and artists trying to do something of quality.

Non-sequitur: Joan Jett, Joni Mitchell or Joan Baez?

That’s a good one, but difficult! I like to be around people who are better than me. I’d love to open for Dylan the day after my release. He’ll be here in Cleveland soon! Tell him I’m good at shutting my mouth! (laughs) Joni Mitchell would be a really interesting person to be around. What a great songwriter. “A Case of You” Is amazing and “Both Sides Now” – I can’t believe she wrote that when she was a twenty-something. She seems to be thoroughly interesting. She’s a painter, a thinker, ponders life and tells stories of people. She’s got a little political side, too. She’s my choice.

You’ve been at this singer-songwriter gig a long time. In fact, going through my notes, I realize that the first time we spoke was 15 years ago, during your Odd Girl Out days. What, if anything, would you say is your secret to such longevity?

I love what I do. And I try to do it to the best of my ability, which is an ongoing process. I still haven’t knocked it. (laughs) Longevity. I would say that it’s really rooted in the pursuit of the stuff that I love. I’m not interested in much else, honestly. Fishing, hanging out with children in my family and playing music. That’s what I do. I love a good show and a crowd understanding what I’m saying with a great band and good lyrics that to me is a gift.

Fishing? Seriously? That’s great!

Oh my God, I am obsessed with fishing. Obsessed with it. I learned how to fly-fish in May. I would do it for eight hours straight. Sometimes I’ll get out there and realize I’ve not eaten all day, so I’ll call my sister and ask her to bring a sandwich! I love nature. For some reason I took to it from very young. I remember my Mom always saying to my Dad when he was going to be outside to take me. I was 4 or 5 years old… very young… my Mom would say, “She wants to go!”

Do you stay in touch with Victoria, Alexis and the guys from Odd Girl Out?

Mostly Alexis, because we’re still working and playing shows together. I think Vic is working with her a little bit now, too. Brian came to the last CD release, but none of us are together on a regular basis with anybody. We still really enjoy each other’s company, though.

After all the high points – Lilith Fair, The White House, opening for Nora Jones, Train, Vonda Shepard, 10,000 Maniacs, Stevie Nicks, Joan Jett and many other artists, the Vagina Monologues, radio and TV performances, hundreds of club gigs – what haven’t you done career-wise that you aspire to at this point?

I guess that I aspire to have a hit on the radio, to write a song for a film and win an Academy Award, because frankly, I hear the winners and think that I could do that! (laughs). Bigger audiences, more radio, more financial reward. That’s it.

Anything else to say to Cool Cleveland readers?

Come to the CD release! And to everyone to has supported me over the years and shared my songs amongst each other and with me, I am truly grateful. Stick with me! (laughs)

Anne E. DeChant launches her new effort Girls and Airplanes with a CD release party and performance this Friday, July 13 at 9PM at the Winchester, 12112 Madison Ave., Lakewood. For info, visit http://www.anneedechant.com and http://www.thewinchester.net

From Cool Cleveland Managing Editor Peter Chakerian peterATcoolcleveland.com
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