We spoke with Snowapple about “Utopia” and more!

Q: Hi! “Utopia” is such a big, loaded word. When you hear it, what kind of place or feeling does it bring to mind for you?

A: Eva : It’s true, for me Utopia is a place that is constantly changing, that has a variable form. Maybe it’s a world that adapts to each person to give them hope?

A: Lau: the word reminds me of both the word utopia and its counterword dystopia. It gives me the feeling of looking for balance between light and darkness. And all the grey areas in between.  

Q: There’s this mix on the album — it feels both dreamy and a little unsettling at times. Did that contrast just happen in the studio, or was that the goal from the start?

A: Eva : That was the goal from the outset. We worked hard on contrast, on stage, in the music, and in the lyrics. I think the musicians and composers really brought that feeling of rupture and loss of balance to life.

Q: You recorded in Italy — that sounds incredible. How did being there shape the sound or the mood of what you were making?

A: Lau: I can’t think of a better place to record than in Nature. Giulia Pastorino is an amazing host and made us feel at home. We not only recorded in Italy, but there are also a lot of Italians playing on the album. That really shaped the sound quite a bit. The contemporary string arrangements of Alessandro Bono. The unique blend of guitars of Matteo Cerboncini and Giulia Pastorino. The well-balanced, subtle percussive, and sometimes electronic drum sounds of Giovanni Iacovella. And of course, Eleonora Liuzzi on violin. She is just a genius. 

Q: Snowapple’s always blurred the lines between music and performance. When you were working on Utopia, did you approach it more like an album or more like a live experience?

A: Eva : We wanted to approach it as a total project, a research laboratory on potential futures, where everyone could contribute a snippet of their vision of tomorrow. We created numerous shows, like snapshots, set up residencies and workshops, and of course, the album.

Q: There’s a real emotional thread running through this record — almost like you’re trying to get back to something deeply human. Was there a moment or feeling that kicked that off for you?

A: Eva : We wanted to look for the human behind these nightmarish visions of the future that assail us every day. We are very sensitive to issues such as ecology, artificial intelligence, of course, social issues, and inequalities that are growing every day. But the idea was to look for human resources and emotions in the face of this fast-paced world. Wondering how to remain human and how to continue feeling?

Q: You’ve mentioned influences like Patti Smith and Portishead — but what were you actually listening to while making this record? Any surprises?

A: Lau: That’s a good question. I think the choice of instruments and the unique blend of musicians is what shaped the album most. But for some songs, I listened to Klaus Nomi, Nick Cave, and Patti Smith. And quite a lot to Laurie Anderson’s collaboration with Kronos Quartet. I’m also a fan of Songs from the Bardo, which she made together, actually, with Jesse Paris Smith on Cello (who is actually the daughter of Patti Smith, and an absolute unique talent) and a Tibetan monk called Tenzin Choegyal. Furthermore, “Gold” from Alabaster dePlume. 

Q: You’re a women-led collective that works across Amsterdam, Paris, and Mexico City. That’s such a unique setup — how does that mix of cultures and voices come through in your work?

A: Eva : I believe it is a necessity for us. We imagine our shows as living material that transforms depending on where we perform and with whom. I think that today it is essential to listen and create encounters, to fight against a dominant culture and a single voice. Our narrative must evolve constantly, and we must always seek to understand each other, to create a common language.

Q: “I, Cyborg” has already won awards — what’s the story behind that song? It feels like there’s a bigger idea running underneath it.

A: Eva : “I, Cyborg” is based on Donna Haraway’s Cyborg Manifesto, and proposes pushing the boundaries of gender and nature to embrace a hybrid figure that destroys categories. Becoming a cyborg becomes a deeply liberating political act for women, who become more enviable than goddesses.

Q: You’ve played these songs all over the world — from the Netherlands to Mexico to the UK. Do different audiences respond in different ways?

A: Eva : Absolutely. I think certain themes resonate more strongly with certain cultures. For example, the concept of collective consciousness that we explore in the album really struck a chord with Mexican audiences. And issues surrounding body image, which we explore in songs like “My Body” and “Mirror,” really resonated when we were in Turkey.

Q: And looking ahead — you’ve got the Glastonbury show and the tour — but what else is coming up for you this year? What’s next for Snowapple?

A: Eva : Lots of things! We’re currently working on a new project, a new album and show, based on a very loose adaptation of the characters from Shakespeare’s A Midsummer Night’s Dream. This project will play on the idea of the break between tradition and modernity, both musically and thematically, to address issues of power struggles, between oneself and others, between oneself and oneself, and between society and oneself. Exciting!