Mirabelle Rose
As a musician and filmmaker, Mirabelle Rose brings a distinct and fascinating perspective to her work. The multi-talented Danish-German artist began her creative journey at an early age, exploring her passion for singing, writing, and drawing. Having grown up in both Germany and Copenhagen, her artistic perspective is influenced by her cultural background. Her artistic upbringing and exposure to diverse experiences have nurtured her creative spirit, leading her to craft deeply personal and evocative songs. She finds inspiration in stories, both real and imagined, often creating melodies that bloom from philosophical and emotional musings. Her vision also shines through her music videos, where she collaborates with cinematographers and directors to bring her vivid imaginings to life. Join us as we gain a deeper understanding of her creative process, the intersection of her passions, and her aspirations for the future.
Audi Locus (AL): Can you share your artistic background and provide insight into how you embarked on your musical journey?
Mirabelle Rose (MR): I grew up surrounded by artists. My mother is a musician and my father was doing all kinds of performance art and painting in the 90s. We lived in Prague till I was 4 and I was always taken to these exhibits and performances and so on. There’s this old video of me singing Hansel and Gretel (an old German song) at an exhibit where my parents were performing. I was wearing a kind of princess dress and I was around 2, the mic in my hands twice the size of my head. So I guess I’ve been singing and performing for a really long time and it was a great environment to thrive in as an artist. My mother and I were always singing together, reading a lot, and making up stories. I wrote my first real song after having my first teenage heartbreak at the age of 16, “Crazy Stupid Love.” It was quite sweet, I think you can listen to it on my SoundCloud!
AL: Not only are you a musician, but you're a director and filmmaker. How do these art forms intersect and influence each other in your creative process?
MR: I always see my music in images. Already while writing and always when I am on stage, I am making a film in my head while writing and singing. The reason I got into filmmaking in the first place was that I wanted to combine all these different art forms: storytelling, music, and imagery. Right now, I am combining these passions through making my own music videos and also with my next film project, a live action short film which will feature my mother's old music. At the moment I also edit a lot of my own work and my sense of rhythm and musicality also come in handy there, considering sound design.
AL: Considering your involvement in directing and creating music videos, how do you approach the visual aspect of your music to accompany your songs?
MR: Like I said before, I always see my music in images, often places. For "Ghost Town," for example, I always saw this old town in ruins somewhere in rainy Scotland. Then came the practical bit of making it affordable. The cinematographer and I found an old greenhouse where we could tell a similar mood and have a much easier and more affordable production.
AL: Could you share the inspiration behind your songs, "Willow's Lullaby" and "Ghost Town," and how the accompanying visuals complement your music?
MR: "Willow's Lullaby" was inspired by a film called "High Life." I was feeling the main character so much, being alone in space with his baby, Willow, and the mood of the film really got to me. After watching it, I walked home in silence and recorded the first demo on the couch of the apartment I was renting in Cologne. I was sitting in the dark and words and melody just rolled out of me. The visuals were made by my roommate and a mutual friend of ours directed it. I wanted to let myself “just” be the artist for the first video, and that was an interesting process that was important for me to learn to surrender a bit. I did edit the video and we talked about trying to create a bit of that space feel that I had felt in “High Life,” but used the German nature that is close to us. So, again, some production aspects often change initial ideas. For "Ghost Town," I think I was initially inspired by a book where someone comes back to their old home and now everyone and everything is gone.
AL: When can fans expect the release of your upcoming single and music video, "Demons"? Could you provide a glimpse into the content and explain how it compares to your previous work?
MR: “Demons” is very special to me, since I think it’s the most personal of my releases up until now. It’s about the demons that we only let out when we are with the people we are closest to and the frustration with your own flaws. Through the course of the song the character goes through a journey until she somehow accepts her inner demons. I think it’s very relatable and I can’t wait to share such a close piece of my heart. It’s also fun, because the song is more upbeat and danceable than my last two singles. I am hoping to release in September, the mastering is almost finished and the video that I co-directed needs some coloring.
AL: How do you navigate and blend different genres to create your ethereal sound? Are there any particular artists or musical influences that have shaped your style?
MR: It's really been a no rules process in the studio, finding the right sound for each song together with my producer Ralf Hahn. Ralf and I met a few years ago and immediately clicked. I was so lucky when he called to ask me if I want to do this studio project with him. I don’t really plan to sound particularly like someone or something else, but I do have lots of inspirations that have probably influenced me a lot. Some musicians that have shaped me are Joanna Newsom, Bat for Lashes, Aurora, and Karen O. All of them are storytellers with different approaches in production. I want to create moods and I really love choirs and poetry. So, I guess, when that comes together, my music blossoms. I am also working on learning to produce myself, so I think that my style keeps being fluid and will change overtime. A constant, however, will be working a lot with vocals and creating atmospheres.
AL: You mentioned drawing inspiration from stories for your songwriting. Could you elaborate on how storytelling influences your music and delve deeper into your creative process?
MR: I am influenced a lot by the world outside. Right now I am reading David Lynch's autobiography and also Camus’ diaries. I always make notes when I read something that inspires me or that resonates with me. I also have two songs that are inspired by old poetry. A story or wording just has to resonate with me on a philosophical or emotional level, and then it will give me an entrance to play with the story or scenario and find my own melody. Other times I do just have the idea out of my own life inspiration. I would say I am having a very personal phase in songwriting at the moment, drawing mostly from personal experiences. But even then, a lot is fantasy and dreams and scenarios that I make up in my head.
AL: As an artist, it can be both exciting and nerve-wracking to release new material. How does it feel to share your music and film with the world for the first time? What are your expectations and hopes for the reception of your upcoming release?
MR: the first time I released music was really anxiety inducing to be honest. It really surprised me how nervous I got on the release date, the adrenaline was really rushing through me. The second time I was prepared, so it was easier. With the “Demons” release, I really hope that the song can resonate with people on a universal level. Maybe it can even get people communicating about their inner demons. It would be wonderful if it could encourage open and honest communication. And, of course, I really hope to find musicians to collaborate with in the future and I want to play as many concerts as possible. I love playing live.
AL: Could you share any behind-the-scenes insights into the creative process behind your music videos? How do you collaborate with others, such as cinematographers or actors, to bring your visions to life?
MR: What I’ve learned is that it is not easy to be in front and behind the camera at the same time. Especially if there’s not a lot of time to shoot. I really enjoyed codirecting with my friend, Sophia Küstenmacher, for the "Demons" video, because it really opened up my perspective and it was great to have a sparring partner in the process. With the "Ghost Town" video it was easier to do both, because we went into the process of filming with little to no plan and no time stress. It was just me and the cinematographer, Aleksandra Dyja, having a great time in an old greenhouse. Here I also told her that we are codirectors, and that was really helpful, because I think she also felt empowered to give me directions. I really just love the teamwork behind filmmaking.
AL: Looking ahead, what are your plans and aspirations for the future as a musician and filmmaker? Are there any specific projects or collaborations that you are particularly excited about pursuing?
MR: At the moment, I am in film school and I have to make two films before I finish as a director. We are working on my third film now, which I am very excited about, because it is about a young musician and mother and deals with questions of motherhood and being an artist and a mother. At the same time, I have just attended a producing camp in Denmark and I am ready to start a phase of learning more about music production. I really want to create an EP and am talking to different producers and musical partners at the moment to create exciting new collaborations.
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Photos by Sophia Küstenmacher
