CMJ New Music Report - March 2012 - Tasting Grace
CMJ New Music Report - March 2012 - Tasting Grace
CMJ New Music Report - March 2012 - Tasting Grace
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THE GREAT<br />
PRETEndER<br />
Role-playing with Alex Winston<br />
Alex Winston would like to clear something up. “First, I would like to say that<br />
I’m not an Elvis-obsessed person,” she says. It’s an assumption people might<br />
have made after seeing her in a white studded jumpsuit or after hearing her<br />
threaten to “Kill the bitch that bats an eye at Elvis” on her Velvet Elvis EP.<br />
Winston says the King only indirectly inspired the EP’s title track. The idea<br />
for that song came from the documentary Married To The Eiffel Tower, which<br />
is about objective sexuals or “people who fall in love with inanimate objects.”<br />
Winston’s inanimate object of inspiration? A velvet Elvis painting she saw in a<br />
second-hand store in her hometown of Detroit. “In the ’70s, if some girl who<br />
was an objective sexual saw this painting, she would definitely fall in love.”<br />
OK, Winston is not an Elvis fanatic. But is she a Mormon?<br />
by Christine Werthman<br />
It’s a fair question after listening to the song “Sister Wife,” where, amid layers<br />
of chiming synths, tinkling bells and puffing percussion, Winston sings about<br />
vying for the attention of a shared Mormon husband. She doesn’t have a<br />
polygamy fascination, but she is interested in the idea of “feeling like you have<br />
a sister wife because you have to share something that you love and don’t want<br />
to share.” Instead of embodying the people in the songs on her EP and her<br />
debut album, King Con, Winston is simply finding inspiration in role-playing.<br />
So if she’s not an Elvis maniac or a competitive Mormon, who is Alex Winston?<br />
Winston is a 24-year-old singer/songwriter who lives in Brooklyn but grew up in<br />
the suburbs of Detroit. Her dad owns a scrapyard there, but music has always<br />
been his passion. Winston remembers him dragging her to guitar conventions<br />
when she was only 5. “He wanted me to start playing [guitar] when I was 7. I<br />
was like, ‘No way, you’re crazy. I can barely read.’” At the age of 10, she started<br />
playing guitar and taking opera lessons, lessons she pursued for a decade.<br />
12<br />
Winston still appreciates opera, but in terms of her own frolicking, Kate Bush-<br />
styled pop music, “It’s not like Puccini inspires my songs,” she says.<br />
Winston played in bands in high school, but it wasn’t until she was 18 that<br />
her songwriting skills started to congeal. She made demos of her original<br />
material on her computer and shared them with other artists and producers<br />
in Detroit, but many of them were more interested in reshaping her sound<br />
rather than working with what she was offering. She found a better fit in the<br />
<strong>New</strong> York-based producers and DJs of the Knocks, whom she met through a<br />
friend. “What I really liked about them was that they weren’t trying to change<br />
me,” she says. Feeling a little stunted in Detroit and wanting to be closer to<br />
her team, Winston moved to <strong>New</strong> York.<br />
Winston wrote the King Con songs over the last two years, and she recorded<br />
most of them at Brooklyn’s Mission Sound. The first time she played her<br />
material live was during <strong>CMJ</strong> 2010 at Public Assembly. “I ended up showing<br />
up to the venue at 1 o’clock, and we weren’t playing till about 6. So I thought,<br />
‘I’ll calm my nerves, I’ll have a couple drinks, whatever,’” she says. “By the<br />
time we started playing, I was a little drunk. [That] was not a good show, but<br />
I definitely learned a lesson.”<br />
If the buzz on Winston began that <strong>CMJ</strong>, it escalated considerably in 2011 with<br />
the release of her music video for “Sister Wife.” Most directors pitched her<br />
polygamy-themed ideas, but none of these compared to the winning treatment.<br />
“The first thing I read is ‘cat puking blood,’” she says, “and I was like, ‘Of course!’”<br />
The final video was based off of a 1970s Japanese horror film called House, a<br />
gory flick where cats do indeed puke blood. “We were trying to capture that, but<br />
I don’t think a lot of people got it. They were just like, ‘This is fucking weird.’”<br />
Photo by Guy Eppel