Golden Mixtape

Knowing her album needed something more than her current locale could offer her, Mélissa Laveaux bought a ticket to Haiti and let the homeland of her parents to its thing. The sights, sounds, and all around culture worked overtime because it took Mélissa less than a week to record a Haitian inspired record. That’s where we’re starting but not where we’re ending. Read the words below, then not only are you going to want to pick up Radyo Siwèl, out now, but you’re also going to want to check her out live if you can in London on April 13th.

Kendra: You returned to Haiti for a boost of inspiration. What about being there pushed your creative juices to make an album in merely five days?

Mélissa Laveaux: Everyone was brilliant. The art was on point because most artists aren’t gearing their art towards being accepted by the west or the mainstream. Just making impeccable work.

Kendra: What Haitian elements do you hope listeners walk away with when they press play on Radyo Siwèl?

Mélissa Laveaux: Laughter and mockery. A lot of pride. The Haitian occupation meant some people were working as covert spies to bring it down, while others climb up on rooftops to shout their indignation. The latter were ruthlessly punished, lynched and exhibited to make others fear retribution. This did not deter Haitians from keeping up with their customs and keep trying to topple over the oppressive powers.

Kendra: I love the story behind “Le Ma Monte Chwal Mwen.” You’ve noted that it’s related to voodoo and spirits. Is voodoo something you’ve researched in depth before you were inspired by it musically?

Mélissa Laveaux: I can’t say I’ve researched voodoo in depth because I’m a scatterbrain. I definitely try not to say something off and I always welcome corrections from more knowledgeable people. However, I did get to read books about what place God holds in voodoo and what kind of strength that religion can bring. I also tried to find out more about each song, not realizing so many of these folksongs had origins steeped in the religion either.

Kendra: The song actually came from a hero of yours, Martha Jean-Claude. Was your childhood full of artists from the islands, or did you make room for North American acts too?

Mélissa Laveaux: At least ⅓ of the album are songs I first heard sung by Martha Jean-Claude. My childhood was actually more full of Top 40 Casey Kasem American radio. I listened to a lot of grunge and alt-pop (Blind Melon, Nirvana), Lilith Fair musicians like Sarah McLachlan, Tracy Chapman and Sheryl Crow. I also listened to a lot of 1920’s blues music once Napster and illegal downloading became a thing. Discovered Sister Rosetta Tharpe, Ma Rainey, Billie Holiday. Jazz and soul queens like Nina Simone and Aretha Franklin were excellent suggestions from my sister that became stables in my budding music collection.

Kendra: With the album out now, what is next for you this year? Touring?

Mélissa Laveaux: Mostly touring. Currently teaching middle schoolers in a Paris suburb (93!) about marginalized punk. I’m also putting the finishing touches on a hybrid performance (music and theatre) called “And Sometimes the Flower is Just Another Knife.” But touring and promoting Radyo Siwèl takes up most of my time these days. It’s very hard to get a vocal coaching or driver’s lessons in!

Kendra: If you had to make a Haitian inspired mixtape for those of us who aren’t familiar with the styles and sounds, what five songs would have to be on it?

Mélissa Laveaux:
Les Vikings – “Choc Viking”
Manno Charlemagne – “Le Mal du Pays”
Beetova Obas – “Si”
Lakou Mizik – “Gaya (remixed by Michael Brun)”
RAM – “M’Pral Domi Nan Simitye”