Religion just seems less oppressive there and more about people just allowing themselves to be expressive. You kind of walk past open shops and there’s music playing and people are having a wake and singing. That’s the most appealing thing about religion, but then I don’t agree with the institution of it.ĭD: Did the way religion appeared to be practiced in Mexico perhaps make more sense to you?Īnna Calvi: I guess, I don’t know enough about what it’s actually like to live in Mexico, but it seems to be something that people are a lot more passionate about. All the altars are really eye-catching, and I like the idea of aspiring for something more meaningful. It’s such a great advertisement for God, it almost makes me want to believe. I really love how colourful everything is, and although I’m not religious I love the imagery everywhere. That you can’t just be one or another.ĭD: Once you arrived what features of Mexican landscape, both natural and human, made a lasting visual impression on you?Īnna Calvi: The landscapes were beautiful. It’s really important to show vulnerability and strength. She wasn’t afraid to be a woman, and show her pain at the same time. Also the way Frida Kahlo addressed themes about being a woman in a way that was quite taboo at the time is inspiring. That’s not really what I am trying to get across, but her look definitely inspired me. She was very dramatic, very passionate and very much about expressing her sexual power. She was the first Mexican star to cross over to Hollywood. There are some really amazing female figures like Dolores Del Rio. This period with all this creativity by Mexican artists and others drawn there. I was always really interested in what happened there in the 40s and after the war. It really felt like the right place to go to shoot the album cover.ĭD: Were there any specific Mexican artistic works or cultural periods that you were drawn to?Īnna Calvi: Visually I love the works of people like Frida Kahlo and Diego Rivera.
There’s a lot of rich, cultural heritage there, and the natural landscape of Mexico has always looked very beautiful to me. Everything I do needs to be in line with my vision, expressing the sentiment of the music.ĭD: When Roger Deckker suggested you travel to Mexico for the shoot, what made you say yes?Īnna Calvi: I was really happy to go because I've always been interested in Mexican art and culture. I often draw sketches to feed my imagination.ĭD: Are these drawings very similar to the scenes depicted in the trailers and in your music videos?Īnna Calvi: I’ve been working with (photographer and video director) Emma Nathan for years, so we’re really on the same wave length in terms of images. I see the songs very visually, like mini-films.
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We spoke to Calvi to find out more about their Mexican journey, as well as her own personal one during the making of One Breath.ĭazed Digital: Could you feel the scope of these cinematic arrangements when you began to write the songs for One Breath?Īnna Calvi: I think about what the story is, and how to express it musically, so that leads me in to how to best arrange it.
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Travelling together they divided their time between the grand, private home of one of Deckker’s acquaintances, and explorations through the poorer surrounding rural land, as their patient local taxi driver became a tour guide of unusual natural spots and local villages. Mexico provided the group with much scope to illustrate the heightened states captured on ‘One Breath’, with its ever-present religious iconography set into kaleidoscopic scenery against vast ever-shifting skies. The last snatch of oxygen stolen, before you speak and destroy your own world. The birds silent, the candles snuffed out by the pressure. It is an audible conjuring of the stillness of air thick with the promise of a tremendous storm. She deploys this knowledge to sensational effect on the title track of One Breath, which forms the centrepiece of the record. Her musical inspirations also stretched further for One Breath, as she looked to avant-garde musicians such as Steve Reich and John Adams to be able to better understand the manipulation of time within musical compositions. One Breath is a portrait by Calvi of recently-trodden emotional terrain, as the singer delved far into a tremulous personal landscape to create her songs.
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