Introducing an exclusive interview with Denise Marsa, the dynamic force behind the upcoming album ‘PIVOTAL’ and its electrifying lead single, ‘Kiss Me In The Rain’. ‘PIVOTAL’ marks a significant milestone in Marsa’s career, heralding her first full-length release since 2012’s ‘LIVE FOREVER’ and her cinematic debut since 2011. In this eagerly awaited return, Marsa showcases a bold evolution of dance-pop, propelled by the infectious energy of new single ‘Kiss Me In The Rain.’
In this interview, Marsa unveils the creative process behind ‘Kiss Me In The Rain’ and its selection as the album’s inaugural single. Reflecting on her prolific songwriting journey, Marsa shares insights into the genesis of ‘PIVOTAL’ and the transformative shift in her musical approach. As anticipation builds for the album’s release, Marsa offers a glimpse into the thematic richness of ‘Kiss Me In The Rain’ and its profound exploration of love, connection, and the enduring power of romance.
PIVOTAL, your new album, will be released on 14th June. It features the single ‘Kiss Me In The Rain’. Why did you choose this as the first single for your first release since 2022 and your first full-length film since 2011?
I released a full-length album ‘LIVE FOREVER’ in 2012. I’ve been releasing singles since 2020 and up to January of this year. After the release of ‘FLOAT’ and the ‘FLOAT’ Remix in 2022, I started writing new songs, non-stop. I’ve always been a prolific songwriter; however this was different, I found myself writing less genre-specific songs. It all started with a song I released as a single in 2021 and played pretty much all the instruments on, ‘All This Time Alone’. It was the beginning of a new sound and approach to my songwriting. Then came ‘Float’ and we had so much positive feedback and reviews with the ‘FLOAT’ tracks and videos, I was pumped up and inspired. I also started thinking more about music videos once I released The Cowgirl and The Alien series. I had the idea for the 3rd animated music video in The Cowgirl & The Alien series as we worked on ‘Kiss Me in the Rain’. It took me a while to get the storyboard together so when it came, it felt like, that’s the first song from ‘PIVOTAL’, the continuation of the series, a great way to start the album.
After establishing your mark on the dance-pop landscape for several years, ‘PIVOTAL’ is anticipated to be your most exciting, pop-led offering yet. Would you say it’s a fresh reintroduction to your signature style or are you entering a new artistic era?
It’s different, so yes to a new musical era. I have not done many dance tracks in the past; however, this album brings in a style of music that works well with dance remixes. I have a great team, based in the UK, working with me on the first three singles from the album on remixes. ‘Rainbow’ is next with ‘Don’t Count Yourself Out Yet’ leading us into the album release. The UK remix team is called Until Dawn and I love working with them.
Can you tell us about the meaning behind ‘‘Kiss Me In The Rain’ and is it a reflection of personal experience?
It was 2022 and we all started to reconnect again. I think at the time I was imagining what a new relationship would feel like. How being loved creates this magical sense of immortality. “To be loved…makes me feel like I will never die.” I was really appreciating what love, and the various types of intimate relationships I have had, brought to my life and consequently my music. It’s about connection and romance, being hopeful, and exploring.
You often incorporate lyrical themes of fantasy and imaginative storytelling into your songwriting. Your animated series ‘Cowgirl & The Alien’ paints a mesmerizing sci-fi love story for ‘Kiss Me In The Rain’. Do you find visuals to be an integral part of your music?
Yes, I have often been called a storyteller; a painter using words and music as my canvas.
Will ‘Cowgirl & The Alien’ continue with the upcoming visuals for ‘PIVOTAL”?
Humm, maybe…that may be something to think about in the future.
You co-produced ‘Kiss Me In The Rain’ alongside Janosch Roth, Anna Paulin, and Viktor Becker of Lautstumm Studios in Germany and esteemed British guitarist Paul A. Harvey. As a collective, how did these collaborations help to construct the career-defining sound of ‘PIVOTAL?’
Seven of the nine tracks on PIVOTAL were produced in collaboration with the Lautstumm team led by Janosch Roth, whom I met while working with his brother Tobe Baer. Janosch and his team are an important part of the sound we hear on PIVOTAL. I think the big shift came when Janosch and I worked on ‘Float’ together, and the response it received. We had been working together for a few years, on my songs and other clients of mine. It was during the pandemic and things were quiet, however, I was filled with emotion and writing songs. During most of the pandemic, I co-produced a live-streaming series at Saint John’s in the Village, an Episcopal church in my neighbourhood in the West Village every week. The programs were mostly classical and world music. I think without realizing it, the music was influencing my new songs. When you listen to music live it permeates your senses; I had not been going to live concerts much before the pandemic. It was a feast to my soul. As things opened up again Janosch’s studio work grew, and his live concert engineering work was coming back in, and he brought in other musicians and producers to work on his studio projects. That’s when Anna and Viktor stepped in to help with working on my tracks. They are both extremely talented artists. Working with European artists was amazing, and I loved having another woman on the team. They are a big part of how ‘PIVOTAL’ sounds as well.
British guitarist Paul A. Harvey worked with me on the track, ‘Dry Spell’, the most recent song I wrote while in Los Angeles in September of 2023. I wrote the song on a mini-Casio keyboard, and then the next day I recorded it at my neighbour’s home studio in West Hollywood, Anton Uhl—just piano and voice. I then sent this to Paul with a reference or two, where I could hear the track going. He also listened to the finished tracks on PIVOTAL, so the new song would fit in.
Another piece of the puzzle was that I recorded seven of my vocals in an actual recording studio with a talented producer and engineer. It had been a while as I had been recording my vocals in my own home studio, engineering the sessions myself. It was great, like the beginning of my career, when I recorded in some amazing studios around the world. I could focus on just singing. And I did. I worked with Brad Marripodi, a producer from the BMG Production Music team. They are representing some tracks from my back catalogue, and they have been super supportive of my work. Two of the tracks, ‘Don’t Count Yourself Out Yet’ and ‘Rainbow’ feature the lead vocals that I recorded in my home studio in New York. This version of Rainbow was remixed/produced by Until Dawn, however, Janosch mixed my vocals and Paul plays acoustic guitar on the track. It’s the last song on the album.
Can you tell us about any of the production techniques used in the making of ‘Kiss Me In The Rain?’
I think I did a bit in the question above, however, let’s add to it, I write the songs, and record them on my Protools software, playing a track at a time. I work very fast and feverishly. I know when it’s a good one and I want and need to get it done. I play basic parts, use a drum pattern, establish a feel, tempo, key, bass, a guitar line, synth part, strings, and backup vocals, and then send the stems (raw tracks) and references, a brief of sorts, suggestions on how I hear the instruments sounding and the song produced, and the direction it could take. It’s all about the creative process and what leads to what. Then we go back and forth a few times. Some of the stems I played may make it on the album or not, and if a part is crucial to the song, like a riff, I ask them to be sure it stays. Parts can also be replayed better. I taught myself keyboards to write. I love what the team did, it was so exciting for me, as I felt they were in tune with me, and they lifted my work. They would send drafts, and I’d love what I heard and make some suggestions and comments. One day Viktor was doing some work on ‘Kiss Me in the Rain’, he sent me a draft and I imagined a male voice in my head- singing this part (kiss, kiss, kiss, me, me, me, rain, rain, rain). I knew he sang, both he and Anna have great voices, (Anna provides backup vocals on a few of the tracks), so I recorded the part on my phone and messaged it to him and asked him if he would please sing it and to add lots of delay, to make it dream-like-and mesmerizing. He sent it back, in a message –”Like this, does this work?” – I was so excited and wrote back “YES! Exactly!” That’s creative collaboration, trust and being in sync yet all the while we are in different countries. I have never met the team in Germany. Only phone calls, emails, and texting. Fairly brilliant.
If your fans can get one message from ‘Kiss Me In The Rain’, what would it be?
Love and be loved. And I love CelebMix, big thanks for all your support!