We are less than halfway through the year and already some of the spots in my end-of-year list are starting to solidify. A Broken Heart is an Open Heart fell unexpectedly in my inbox and I truly have been unable to stop listening. A dark, sultry, doom-influenced pop powerhouse that inhabits a confident middleground sonically between Lana Del Rey and Chelsea Wolfe, albeit with the kind of pipes that would put just about anyone around to shame.

At times warm, crushing, heartening, gutting, and all the while possessing an eerie grace, ABHIAOH is easily inhabiting a spot high on my list this year. Ms. Lemon graciously spent some time answering my questions from across the world.

LAMB: One of the things that has really resonated with me about your record is just how carefully and intentionally written and thought through it is. You seem so focused on telling all these stories and types of doomed love and broken love stories from different angles. How do you get in the right mindset to write from different perspectives? What made you want to tackle such a huge
topic so wholly?

Louise Lemon: My life. I think writing is about trying to find that inner core of yourself and I really tried to reach that place while writing this record. I try to not censor myself. When daring to open up like that and facing these feelings I get to own these event in my life that I might have felt haunted me. This, of course, makes me take charge of the not-so-beautiful
things in life and I can actually make them beautiful in the end. So I wrote about these
feelings, those desperate feelings that makes me want to leave my own body, as well as
those where I realize I have a part in creating this.

I try to find these small things that are the most important things. When you miss
someone you can say you miss them, but what you really miss are those simple quirks
that as a whole make up this person, I try to find these small but so important things
when I write. I also try to let myself be free—to write from the perspective of how
something felt for me.

LAMB: I think I saw somewhere you speaking about the recording process for some of these songs–
recording in a mansion maybe? I was wondering if you might speak a little more to that and how
your environment helped shape the songs.

LL: The album was recorded in a beautiful studio in Copenhagen. It really was the perfect
place to record, a big open space, big windows with sun flowing in, built in the ‘60s and
filled with vintage equipment. The environment really affects the way I feel and this
studio was perfect for me and this record. I felt very at home and this place made it very
effortless yet focused to record. The week after recording I went to New York to mix it
and it was nice to change the scenery for the mixing, to hear it with new ears in a way.

LAMB: What was your upbringing like? The blend of genres you’ve dubbed “death gospel” obviously is a pretty specific blending of subgenres–how did you get there? What helped lead you down that
path of creative expression?

LL: Yeah I have a really specific music taste. I am very hard to please but what I love I really
love. I think that’s my general feeling towards most things in life, I am very black and
white about things. I grew up listening to a lot of music from the ‘60s and ‘70s, I guess
that’s why I love the organ so much. We listened to Crosby Stills Nash & Young, The
Doors, Led Zeppelin, Allman Brothers. These kind of bands really influence what kind of
sounds I enjoy.

I think I’ve also always had a melancholic side to me. I am very reflective and very
emotional, which makes me think so much about feelings. This kind of way of being is
the main reason to how I’ve found the way I am writing.

LAMB: You clearly have a lot of amazingly skilled collaborators–from your backing musicians to the artists you choose to work with (the album art is gorgeous by the way)–who gave you the best
creative advice or critique during the writing process and what was it?

LL: Interesting question… I am very meticulous about my work and who I collaborate with. I
am my best is when I work with people I really trust and admire. This makes the creative
process very easy when everyone is on the same page and working towards the same
space.

I think my band I work with are the ones that have influenced the record most. They are
definitely my compasses and we have grown so much trust together. Anders
Ludwigsson that plays keyboard have always done the arrangements with me, Johan
Kvastegård colours the music so much with the way he plays the guitar, he is really a
emotional musician just like me, Petter Nygårdh that plays the drums possesses so
much knowledge about music and has a very strong inner compass that I also really can
rely on. Randall Dunn who produced the album also made the record sound the way it
does.

LAMB: When can we start planning on a US tour to see you play?
LL:I’ve been to the US to record and make videos several times now so it is definitely time to
come back and play real soon.