Singer-songwriter Renee Maskin unveils her new single/music video, “Sage,” a track from her upcoming yet-to-be-titled long player, slated for release in 2025.
Merging indie-folk with country and experimental influences, Maskin’s work is as grounded in traditional songcraft as it is offbeat and distinct in its delivery. After decades of touring with bands, she has been releasing music under her own name since 2022. Before her solo endeavors, Maskin notably fronted Lowlight, co-writing four critically acclaimed albums and touring as support for The Pretenders in 2018.
In early 2023, Maskin’s full-band collaborative effort, & The Mysterious Wilds, reached number one on the NACC Folk charts. A solo effort later that year, Shimmer, was named one of 2023’s National Top Albums by The Aquarian, which also named her ‘Songwriter of the Year.’
A cinematic slow burner of a song, “Sage” is deceptively simple in its construction, with a repeating chord pattern grounding its soaring violins and stylistic picking. The song itself seems to be about a broken relationship or a haunted house. From a bigger perspective, it reflects the uneasy, fragmented times in the world around us.
Guitar Girl Magazine caught up with Renee Maskin to discuss the inspiration behind “Sage,” her forthcoming album, and her gear.
Thanks for chatting! Starting with a somewhat tough question: How would you describe your music in just five words?
Hey, thank you too! Yeah, five words is tough, but I’ll try: Offbeat Indie-Americana for misfits
Can you share the inspiration behind your new single, “Sage,” and the creative process involved in bringing it to life?
My boyfriend was talking about a house that he used to live in. It was crazy haunted. He has stories from that place that will make you believe if you’re on the fence about those sorts of things. The house was recently renovated by new owners. He said something to the effect of “sage ain’t going to be enough.” It made me laugh, and then I thought it could be a song. You could say that phrase about the whole world these days.
I start every morning with a French press and my guitar for a few quiet hours of writing before the day begins. I am a believer of the Nick Cave method of working. You put the hours in every day, whether you’re feeling inspired or not. And one morning, the chords came, and the phrase found its way in there, and soon the song was written. When it was time to record, I invited my friend Nicole Scorsone (Bernie Worrell Orchestra / Yawn Mower) to put viola and violin on the track, which I then edited down to where it currently is. I’m really pleased with how it all turned out. It’s quiet and yet sweeping and cinematic all at once.
The music video is wistful and, oh-so lovely. Who directed it, and where was it shot?
Thank you! It was directed and shot by John Decker, who is a really great filmmaker and photographer. He also happens to be my boyfriend with the aforementioned haunted home. He has the magic eye. We shot it at a place called The Strauss Mansion in Atlantic Highlands, New Jersey. It’s this weird hilly town along the Bayshore coast. You can see New York City from the shoreline. The town is loaded with history, including battles in the Revolutionary War. They say The Strauss Mansion is haunted too, so we figured we’d take the haunted song to the haunted house. We dragged in real cinema equipment as well as an old super 8mm camera and shot the video.
“Sage” is off your yet-to-be-titled forthcoming LP that’s coming in 2025. Can you tell us a little about it?
I’ve been writing this quasi-horror-themed record. The Criterion Channel was featuring a lot of old Roger Corman and Vincent Price films that I had been taking in. They started bleeding into the songs, and instead of fighting it, I decided I’d lean in. The world is in such a weird, scary place anyway. It’s an easy theme to write to, honestly.
Diving back into your history here, can you tell us a bit about how you originally got started in music? What’s the back story there?
Oh man. Like so many kids, I had an ear for music. And I didn’t have a ton of friends in middle school and high school. So I spent a lot of hours in my room with my guitar, and eventually got pretty good. The first thing I learned was a power chord, and the first thing I did with it was write a song. A bad one. But the impulse for songwriting was there before I even really knew what I was doing. And then, of course, playing guitar helped me connect with people and I started forming bands. I was thirteen when I started, and I’ve never questioned the path.
Earlier this year, you released a fantastic split EP called Chansons De Lune with singer-songwriter Sonofdov. What was the evolution of that project?
Dennis King (Sonofdov) is a really excellent songwriter, with a great sense for imagery. All of his songs are bleeding with a kind of magic yearning. I floated the idea to do a collaboration, and he actually took me up on it. So we started sending files to each other remotely, and it eventually turned into Chansons De Lune. I think it ended up being a quiet, beautiful little EP.
You’ve released a string of well-received releases over the last several years as a solo artist. Which one feels the most special to you?
My most recent, ‘Shimmer,’ was something I have been trying to reach for the past few years. I had been playing in bands for such a long time until the pandemic hit. Suddenly I found myself going solo, and it took me a little time to find my bearings. To write by myself, for myself. To record without having to answer to other opinions of what the songs should be like. It took some figuring out what my new processes would be. ‘Shimmer’ best represents where I’m at with my songwriting right now. Which is nice being that it’s the latest.
Let’s talk gear for a moment. What kind of guitar do you play, and how long has it been a go-to instrument for you?
Awesome, I get to geek out now! It depends. And it changes with the years. My main writing guitar at home these days is a little Godin nylon classical. I record a ton with it too. Live, I’ve been playing a beautiful Koa Taylor. But I’ve also been having fun with a recently purchased Gibson J-45. I may eventually switch it out when I’m less afraid of bruising it on stage.
I’m kind of in between electrics. I just sold my Reverend Charger, which I used a ton before 2020. I had taken it on a tour opening for The Pretenders, so it was a little hard to say goodbye. Once, my old band opened for Twin Peaks, who broke a string, and someone gave them my Reverend to play. I was actually really pissed at the time because nobody asked me if it was cool before handing off my guitar to Twin Peaks. But in the end, it made for a fun story about them playing it and me getting it back covered in their sweat. But, since I’m doing less with full bands these days, I decided it was time to find the Reverend a new home.
I keep a 25-year-old PRS under my bed for recording, and an Epiphone Sheraton in my closet for gigs when I need it. And I’ve had a revolving wheel of really cool guitars over the years. Not quite like Johnny Marr, but pretty good. A Jazzmaster, a vintage Hagstrom, a no-name acoustic I picked up in London a long time ago that was actually pretty nice. It’s fun to collect, and it’s fun to move them on.
What is your definition of tone? And has your tone evolved over time?
It evolves with the gear, the wheel of guitars. Although, I have to say that I have a hard time straying from Fender tube amps specifically. I just think the reverb is solid gold, and the amps themselves are work horses. I had a Deville 4×10 for years, now I have an old, beautifully beat up Fender Deluxe. In my mind, I’m in a surf band riding a wave of reverb sponsored by Fender.
Which do you enjoy the most: writing, recording, practicing, or playing live?
Ha! What kind of question is that? That’s like asking to pick a favorite child. I really love all of it. Every aspect of playing music has different challenges and different rewards. If I really had to pick, I’d say I’m a writer at heart. But I’d rather not choose.
What’s your definition of success?
For me, it’s living an artistic life. Even if it’s not always an easy one or a lucrative one. Or one that’s understood by the gen pop out there. Success is staying true to who I am and true to what brings me joy, which is making music. The work is the reward.
Thank you for the conversation! The last question for you is, based on your own experiences and lessons learned, what guiding principles or words of wisdom would you share with aspiring artists looking to carve out their path in music?
Go where the artists are, where a budding or thriving scene is. And show up for what’s happening. Even if you’re shy, show up to the show with a notebook and go scribble in the corner for a while. Show up to the party and be the wallflower with the sparkling water. Just be present. You’d be surprised at the crazy things that can happen over time by working hard at your craft at home and showing up where the action is outside.
Hey, it’s such an honor and a pleasure! It’s amazing to see so much support for girl guitarists these days. I can personally attest that this wasn’t always the case. I’m a fan of the magazine and the mission, thank you so much!
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