November 21, 2022

From the Southeastern Woods of Louisiana, Rayne Kristine Spoke with A&R Factory on Her Motivation to Create Moody Tracks for Lost Souls

By Azlyrics

From the Southeastern Woods of Louisiana, Rayne Kristine Spoke with A&R Factory on Her Motivation to Create Moody Tracks for Lost Souls

Posted on 21 November 2022

Whether it comes to you in a crowded room or grips you in the midst of your reclusive routine, loneliness has become endemic across the globe, here to shatter the stigma and to comfort the lost souls is the neoclassic electronica artist, Rayne Kristine. Who sat down with us to discuss her inspirations and motivations to bring a slither of solace to those who find beauty in melancholy.

Rayne Kristine, welcome to A&R Factory! We were introduced to you via your stunningly serene neoclassical EP, Transient, which was released in September 2022, but you have been involved in multiple projects since you entered the music industry in 2006; is the EP a departure from your former projects? 

Thank you, it’s a pleasure to talk with you. Neoclassical music has always influenced me in some way, ever since I was a teenager. However, I also wanted to give the music on Transient a dark “soundtrack” vibe. This is most evident in “Charon’s Vision,” where the distressed sounding vocals tie in with the synth layers.

How did you first immerse yourself in the music industry, and which artist(s) sparked that passion?

At 14, I fell in love with opera, and my musical journey began. I ran across a few of Loreena McKennitt’s tracks and was spellbound. A few of my other favorite artists/bands were Enigma, Cocteau Twins, and Dead Can Dance.

We love your motivation to create moody tracks for lost souls; where does that inspiration come from? 

The world is filled with people who feel isolated from society in some way, yet they often find beauty and comfort in things that others disregard. They tend to connect with melancholy music more so than happy music. They may be labeled as “weird” or “morbid” for this preference, but music is a cathartic experience for them. If my songs can touch the hearts of shy loners, then I have succeeded as an artist.

You make your music from the woods in the Southeast. How much of a bearing does that have on your sound?

The woods can be quite spooky but so comforting at the same time. Whenever I feel unmotivated, a walk in the forest can set me on the right path again. There is no painting on earth that is as beautiful as nature. Trees cloaked in a cold morning mist, the shimmering sun peeking through the trees…. It’s the perfect visual for the type of music I create.

What draws you towards instruments such as the harp and the glockenspiel? 

As a kid, I was mesmerized by the mellow strains of the harp. It sounds like no other instrument. Just playing a simple glissando is therapeutic because you cannot make a bad sound. The chime-like tones of the glockenspiel are also captivating and eerie.

You create all of the visuals for your music along with producing it. Is it important for you to be in complete control of the final product?

Yes, I prefer to be. You know your own music better than anyone. Being self-sufficient gives me a better idea of how to frame the overall project, and the visuals play a role in this process. In addition, I also have a better idea of how to execute future works. Photography is my passion, so it makes sense for me to design the album artwork.

You’re currently working on an LP for your other electronic project, Silver Carpet; can you tell us a little more about that?

Déjà vu is scheduled for release in the Spring, and I’m halfway finished with it. It is so strange how you can love a track one minute and despise it the next!  The album will feature more industrial elements than my previous music. It’s coming along, but all things take time.

Listen to Rayne Kristine’s EP, Transient, on Bandcamp and Spotify.

Follow the artist on Instagram.

 

Interview by Amelia Vandergast