Interview with Ari Okin

Singer-songwriter Ari Okin, releases her debut album Peach Conformity after the release of her transformative single, “Oog Denies The Storm”.

With "Peach Conformity," Ari delves into personal and universal themes of coming-of-age, sexuality, and navigating the complexities of young adulthood. As we sit down to discuss the stories behind Ari's debut album, her collaborative process with producer Grady Spors, and the lessons she's learned as a rising artist, it's clear that this is just the beginning of what promises to be an exciting journey for this talented musician.

1. Your debut album "Peach Conformity" explores themes of coming-of-age, sexuality, and finding your place as a young adult. What inspired you to delve into these personal and universal experiences through your music?

I was in a time of my life where every breath I took and every pb&j I ate was a step forward into getting to know myself better. I’m still in that time of my life; I’ve only known my self for so many years. Between the ages 18 and 20 where when I wrote these songs you hear on the album, and at this time of my life, I was undergoing some major changes. I was experiences certain feelings I had never tasted before, I was exploring what role I play as a romantic partner, I was learning how to fend for myself and come to terms with how it feels to make a mistake in a room full of strangers. Writing songs about all my young-adulthood oddities was my outlet for the feeling of uncertainty that comes with a time of transition. Songwriting has played the role of writing journal entries, and has helped me process and compartmentalize events that don’t make much sense in my head, turning them into silly tunes that get stuck in my head and get me to realize that nothing is as serious as my busy busy head tells me it is.

2. You've described your sound as a unique blend of rock, jazz, soul, and global influences. What led you to experiment with and fuse these diverse genres? How do you feel this blending allows you to express yourself as an artist?

I grew up listening to my dad’s jazz and rock and roll, my grandma’s classical and Bossa nova, my mom’s musical theater, and I went to temple twice a week for Hebrew school where all the melodies follow trope and melodic patterns found in middle eastern music. With this wild combination of musical ideas in my head, I interacted with music in the way that came naturally to me. What came naturally was to treat every song like a puzzle and insert myself in whatever way felt good, harmonizing with every prayer at Hebrew school, studying and mirroring every piece of a brass band, and celebrating the fact that there are no wrong ideas and musical participation exists to have fun and express oneself in a way that’s impossible otherwise. Merging all these learned textures of music gave me the opportunity to use my voice as a paintbrush, and the musical ideas I had gathered as I paint, painting portraits of my emotions and curiosities. Hearing so many different interpretations of how to create music and approach music showed me that there are infinite ways to be musical. This openness has helped me dive into any given genre and feel comfortable in knowing that I may make mistakes, but ultimately, that’s the best case scenario, as it feeds my curiosity.

3. As an Ethnomusicology student at the University of Washington, how has your academic background and passion for music history influenced the way you approach songwriting and production?

I’ve developed a rich appreciation for sounds and resources, that’s for sure. Music has always existed, regardless of access to cellos or drum kits. I’ve learned about the materials that people have used to create music, leaving natural resources in the sun to tighten the instrument and raise its pitch, hollowing gourds and collecting seeds to create a rattle, puncturing bones to create a flute… and so on. As a college student working part time for minimum wage, I don’t have much access to any fancy instruments. But so what, most people don’t. I’ve learned the value of every last thing around me: everything has a sound, pitch, timbre that I can use to knit a sonic sweater if I choose. For my songs, I’ve recorded the tapping of my shoes for percussion, struck bowls and cups for high frequency bells, there’s even the sound of a rattling dog collar in Oog Denies the Storm. 

4. Can you take us behind the scenes of creating your debut album "Peach Conformity"? What was the collaborative process like with producer Grady Spors?

I befriended a musician near my neck of the woods, Grady Spors, because someone we both knew told us we’d have great musical chemistry. I bussed to his parents house, in which he was basement dwelling for a few months, and we recorded whatever came to us. Because he was staying with his parents, we had a big ole box of instruments he had when he was a little kid, so we had all sorts of silly textures to play with, and of course his midi keyboard and technological genius as well. Eventually, he moved to LA, so we continued our musical connection long distance, sending  recordings back and forth and getting roommates and neighbors in on the songs. Luckily, both of my parents live in LA, so I visited every so often. Grady moved into a house that he had never actually seen before signing the lease, so when I arrived, we curled up in a tiny room and got to business over caffeine and the looming smell of black mold. We shot ideas back and forth, recording until we were delirious, and then we’d part ways and meet again in the morning. Grady has more drive than I’ve ever seen in another human and he was so helpful in helping me co-parent the creation of this album.

5. Who are some of the musical icons that have inspired your melodic sensibilities and vocal stylings? 

Joni Mitchell has absolutely guided my inspiration for the melodic gymnastics I try to achieve. I try to sing like I’m a hummingbird who floats right above a note and lands on it gently and proceeds according to landing. Her songwriting has shown me how to be expressive and sincere but also silly and unserious. Sarah Vaughan has shown me how to use my throat as a paintbrush and use my breath to create structure and something that feels like it has a strong trunk and branches but also leaves that dance in the wind. 

6. What advice would you give to other young, aspiring musicians who are navigating the challenges and joys of creating art, building a fanbase, and carving out their place in the industry? 

My advice is to lead with fun. It’s supposed to be fun, it’s supposed to be a form of play, it’s supposed to make you feel good and connected to yourself. If you feel like you’re distancing from who you are or who you want to be, take a big leap back, wiggle your toes, and go from there. There are no wrong answers, but if there had to be one, it would be trying to be someone you don’t want to be!