A conversation with harpist and transmedia alchemist Eli Owens
Having had the great fortune of meeting Eli in 2013 at VCU in the Photo/Film department their film work that year involved a claustrophobic set and an intricate audio soundscape. Reconnecting with them as a musical artist has been exciting to hear and see their work with regard to the visuals that accompany each album. The movie literate background is woven into each of these major works. The music is ethereal with gorgeous vocals lifted over the harp’s delicate sounds; it is a rich sonic delight.
After catching a few live shows here in Richmond the last two years I was able to interview Eli with Grim for lead up to the Grimalkin Fest last fall and have been excited to ask some questions about their new album being recorded now and their music practice, here is what Eli had to share.
T-Rav: When did you come to Richmond? Where did you grow up?
Eli: I came to RVA in 2011 for college. I went to VCU for both Psychology & Photo/Film. While I was born in England (and half my family is up there in northern UK), I grew up in San Antonio & then moved up to Leesburg, VA around 2003.
TR: How many years have you played the harp? How many do you play with or have?
Eli: I started playing around 2019 but really picked up the pace in 2021. I started out on this crappy little Amazon harp my mom had lying around for decoration, then this February I fell in love with this massive standing Camac harp (they’re very fancy harp makers in France) at the VA harp center and /just/ finished paying it off. Yesterday I just bought another travel harp … .and I acquired a PVC pipe harp (yes) from the Renaissance fair in Maryland a couple months ago….so somehow I have 4 now. And I want more.
TR: Are there inspirations that have shown a light on the path in music you have journeyed?
Eli: There are so many inspirations, old and new. Kate Bush. Tori Amos. Bowie. Prince. Psychic TV. Bjork. Fiona Apple. Joanna Newsom. Esperanza Spalding. Caroline Polachek. Moses Sumney. Grizzly Bear. FKA Twigs. So many more I always forget.
TR: Can you share with us the tuning struggle that is the Harp?
Eli: It’s pretty simple! You know how a guitar has 6 strings? Multiply that by 6. Pretty much every day. Try restringing one!
TR: What are the origins and inspiration of your new musical/visual project?
Eli: Well, I love a good myth. I also love a good trilogy, and this album is a continuation of the lore from my last two. It’s set in the “Eli Cinematic Universe” lol. The last album, in my mind at least, ended at the base of a cliff with the protagonist realizing that while climbing it may be futile, caving through it may not. Hence, this current album (Tapetum Lucidum) is set in a cave.
I’ve always had a fascination with caves and dark places. I pee and shower with the lights off, like a normal adult. I have this little steamer trunk I sometimes like to squeeze myself inside of just to turn away from the world for a moment. If I could sleep in a coffin, I would. Etc.
Caves are underworlds and unknown spaces. I find it really interesting that some of the most beautiful natural objects in the world are formed in caves (crystals, speleothems, gemstones) in complete isolation and darkness. We would never know without exploration and light. Caves are spiritual places, full of echos and time. I feel I have a lot to learn from them.
When I find the right sound, it stirs something in me and lyrics naturally flow.
They just come out, and I follow them. – Eli Owens
Photo by Todd Raviotta
TR: Has your sound or recording techniques evolved over your projects?
Eli: Oh yeah. I started out very acoustic and guitar-based, and have evolved to using more electronic textures and original sample packs. Lately I’ve been really interested in building virtual drum kits and synth pads with field recordings (of cave sounds and vocals recently). My first album was recorded in Dave Watkins’ studio (he’s so great), and Knock Knock was made in my little home studio room. This next album will be, as well.
TR: What is your composition method? Music or lyrics first?
Eli: I’ve never been a lyrics-first writer. For me, it always starts with a melody or a chord progression. When I find the right sound, it stirs something in me and lyrics naturally flow. They just come out, and I follow them. They mostly come in small spurts, and I revisit them when I’m called to. This is how all of my music is made — I really do feel like it writes itself. I just sit there and listen, and follow.
TR: What is the visual album production method when do you begin thinking in visions to the sounds? What is your approach with visual albums?
Eli: I have always been a highly visual person — I have narcolepsy which means I always sort of have one foot in the dream, and images often come to me out of nowhere and especially when I’m playing. Again, they paint themselves and I follow.
TR: Are there notable creative collaborators in making the new Cave visuals and the Tapetum Lucidum album?
Eli: Oh yes! Lots. Firstly, Sam Koff (most notably of No BS Brass and the producer for McKinley Dixon’s work). I’m really stoked about that collaboration. It’s amazing to work with another producer in such a collaborative way to build out the sound of the album, and he’s incredible. He has such a perceptive ear and really leans into the feeling of each piece.
O.K. Keyes is one of my best friends here in Richmond (he’s a multimedia specialist at the VCU Library Workshop) and long-time collaborator. We are both film nerds (we actually direct a filmmaking summer camp in Atlanta every year called Camp Flix) and he’s been a huge part of the visual for all of my work, from Coming of Age until now. We’re birthing this beast of an album together.
Brian Hoeg is another long time friend of mine and fellow VCU Photo/Film alum who’s helping us with the cinematography. Eris Deo is as well, they will be helping us develop some of the practical SFX for the dancers (they work with a huge SFX company in CA now making costumes for, like, Kanye West and shit!)
We’re also planning to work with various VCUarts grads for animation, costumes, and choreography for the album.
TR: Do you have a timeline for the project you are developing presently?
Eli: I’m really trying to follow the flow of the work, especially since I’m dealing with caves and things that take thousands of years to form. But deadlines are also good, lol. So I’m hoping to get this baby out into the world by Spring of 2025 with a single coming out before that to tease it.
TR: Are there connecting or evolving themes between Coming of Age, Knock Knock, and your new work? Do the EP’s fit into this?
Eli: Yes — I structure my world very narratively (or rather, it structures itself) because I was raised on LOTR and Star Wars and it just feels right. Coming of Age takes place in a forgotten kingdom with a Sleeping Beauty-esque princess awakening and finding her way out. She ends at the foot of a mountain, where Knock Knock starts. The protagonist in Knock Knock embodies the archetype of the Seeker/Hero trying and failing to ascend the mountain, until finally they end up at the bottom and decide to go through the mountain instead. Tapetum Lucidum follows them into the caverns as they go through somewhat of a death and rebirth.
TR: Are there songs you would like to play live but will not be able to as the studio layering is too much for playing in person?
Eli: “Layperson” is particularly difficult to play live because of the layering. I can and have figured it out before, but it never quite feels right. I’ve also found that I actually prefer playing stripped down, especially with the harp, and think I’m going to start leaning into that with my future performances. More live looping, more focus on the vocals and harp, the heart and soul of the pieces.
TR: During your live looping song that I have seen you close your sets with, there is the mention of things “going wrong”, is there a memorable version or performance when things went unexpectedly right and better than you thought?
Eli: Nothing really memorable, but I have actually had many takes of that song go off without a hitch. I just don’t rehearse them enough for that anymore, and I kind of like the challenge and the risk. It’s fun!
TR: Are there new songs you are particularly excited to add to your live set?
Eli: Yes, “Chamomile” (the single dropping in the fall 2024), and “Peace in Rest,” a more stripped down harp/vocal piece with lots of soul.
TR: As a solo artist do you have ambition to hear your compositions with accompanying musicians live or in the studio?
Eli: I used to really dream of having a full band or chamber group backing me live, but it’s incredibly difficult to coordinate or sustain. I think I’d love to team up with a percussionist, but that’s about it. Maybe a cellist or woodwind here and there. I’ve always been a lone-wolf of sorts and I enjoy it that way. I think with my music being so deeply personal and introspective, the performances also kind of serve as a window into my soul and being alone on stage really amplifies that.
TR: Was there a highlight moment from this year’s Grimalkin Festival? I had a blast at night 2.
Eli: Yeah, it was such a good time! I really loved seeing Eat the Cake perform (the 7 piece outfit from Baltimore) “Killing in the Name Of”…they blew the original out of the water. It’s just so awesome to see queer black musicians kicking ass and a bunch of gays headbanging and dancing together. What a great way to close out the fest.
TR: Related to advocacy, visualization, and bringing awareness to invisible disability are there aspects of being a performer with narcolepsy that influence your musical work and message?
Eli: Oh definitely. To elaborate, I have narcolepsy, bipolar II, and ADHD and the whole next album explores my struggle with all of that, particularly my tumultuous relationship with rest and darkness. I resist them, and they fight back. Part of me thinks that spiritually, I have some sort of karmic lesson to learn from having narcolepsy and being a literal dreamer (real subtle, guys). I think perhaps in another time and place I would have been regarded as some sort of magical healer or soothsayer, and I’m trying to embrace that as a positive side of this condition. Thus, I’m venturing into a world of darkness, rest, and time to connect with that part of me. That part of all of us, calling us to slow down, to listen, to confront ourselves and see with inner vision. To pay attention to dreams and symbols and sounds and feelings.
Funny enough, I think the most difficult thing about having these invisible disabilities is that it’s so easy to question yourself and doubt your own pain. The depression really likes to latch on to that line of thinking. “You’re just weak, you’re just making this up, you just want stimulants because you’re a drug addict, everybody is tired…” Basically, the message I constantly battle with is that if I’m suffering, it must be because of something I did, like it’s somehow my fault. That’s both an unproductive and uncompassionate way to approach any situation. Our society has conditioned us to accept punishment and self-hatred as first responses to any sign of struggle, and every day I have to set aside a decent amount of time listening to those messages and countering them. Soothing them. Holding them with love, for myself and for all the other humans on our planet. In many parts of the world, they don’t even have a word for self-hate. This is a cultural invisible disability we have to learn to identify and heal, in my opinion. We are all connected.
TR: Where can we find and support your music?
Eli: I’m everywhere.
https://elizabethowensmusic.com
https://instagram.com/elizabethowensmusic
https://facebook.com/elizabethowensmusic
https://elizabethowens.bandcamp.com
https://www.youtube.com/channel/UCvdbGoQSbGOyOi1Mzhc3k-w
