Can you talk to us more about your latest single “77 Skeletons” – what was the germ idea for the song?
The song is rooted in a deep frustration both with life and oneself. I actually wrote all the music before ever writing a lyric to it, so it was very musically based. It was an old demo that I had made and sat on for a while, before coming back to much later to add vocals to it. But the underlying emotion was always there, I just needed the right time to pounce on it vocally.
Did any event in particular inspire you to write this song, or was it the built up trauma from your early life?
I think it was just a brain dump of an overall feeling I had at the time. I wrote the song after graduating from undergrad and I felt totally adrift. I didn’t have a decent job, still lived at home with my mom, and I felt like a total loser.
How was the filming process and experience behind the video?
It was a ton of fun. For the forest shots we drove around just south of San Francisco searching for the perfect spot to shoot. The weather was on our side that day, a bit foggy and cold. The mood was just kind of set by the atmosphere of the forest, so it was really easy to get into it. The blue shots were actually all done in my kitchen. Sorry to ruin the magic…
The single comes off your new album Metanoia– what’s the story behind the title?
God, I wish I could remember how I found the word “Metanoia.” I think one day I was in a Wikipedia rabbit hole and stumbled upon the word, which Carl Jung defined as a ‘spontaneous attempt of the psyche to heal itself of unbearable conflict by melting down and then being reborn in a more adaptive form.’ I thought to myself that there couldn’t be anything more fitting. I knew as early as 2014 that it was going to be the title of my first record, no matter what went on it.
What was the recording and writing process like?
The album took forever to write. Some of the songs I’d been sitting on for years and years. By the time I really started to work on it as a singular, cohesive project though, it took about 6 months. When we finished the final mixes and the work was finally done, it was bittersweet. I was proud of what I’d made but I also felt like my purpose for being was gone. A lot of it was done alone, or with just one or two other people, so it was somewhat of an isolating experience as well. But I think, due to the subject matter of the record, that’s kind of how it had to be.
What aspect of your life did you get to explore on this record?
I think the album represents a chronological journey through the trauma of my early life, eventually landing in a place of acceptance. The first half of the record is angry and defeatist, while the second half is a little more mature. It was an incredibly emotional experience, exploring so much loss. But it’s a record that I needed to make for myself, first and foremost, in order to effectively process everything that I had gone through.
What role does San Francisco play in your music?
San Francisco plays a huge role. The scene here is so supportive and vibrant, you just have to seek it out. Once I threw myself into it, I found so many like minded creatives to collaborate with and be inspired by. Everyone kind of looks out for each other, which isn’t the case everywhere you go.
How have other San Fran artists influenced you?
My all-time favorite band, Third Eye Blind, are from the Bay Area. They were my first concert and I’ve seen them dozens and dozens of times. It’s been a trip to go from a 7 year old kid in the crowd at a show of theirs to an adult collaborating with former members. A total dream come true.
Any plans to hit the road?
I’ve got something in the works but I can’t spill the beans just yet!
What else is happening next in Morsifire’s world?
My next single, “Contact” featuring Emily Afton comes out on August 16th, and then the full length album will drop on October 11th!