In this laid-back chat, we hang out with Anastasia Coope, an artist who effortlessly finds inspiration across painting and music. Anastasia’s musical journey began a bit later than most, sparked by the isolation during the COVID-19 pandemic. Known for her experimental sound and captivating visual art, she opens up about her self-taught musical path, how she balances her dual passions, and the inspirations behind her upcoming album, «Darning Woman.» Get ready for a chill conversation as Anastasia shares her creative process, the joys and struggles of being a solo artist, and what she’s got planned next.
Alright, let’s start with a straightforward question. Tell me about yourself. How did you end up in music? Why music, and what was the trigger to pursue it as your career? Just to give people some context.
I’m Anastasia Coope, a painter and musician. Music was the latest development in my artistic journey. I only started making music when I was around 16 or 17, which feels late compared to most musicians who seem born with that interest. The shift towards music accelerated during remote college sessions due to COVID. Having a lot of time alone played a big part.
Was this isolation a trigger for your music career?
Yes, definitely. It wasn’t exactly a ‘COVID album,’ but the solitude and boredom were where a lot of the inspiration came from.
Are you self-taught?
Yes, I am. I did participate in choir as a kid, but I never really cared for it, though I always liked how voices sounded together. I also tried playing the clarinet in the band, but unless I’m deeply interested in something, I can’t stick with it.
So you’re more of a solo artist, then? You prefer to write solo?
Yes.
I noticed you’re a painter as well, which I thought might be an extension of your music. But you’re primarily a painter, right? And music came afterward?
That’s correct. I’ve always expressed myself through drawing and painting; it was a major part of my extracurricular activities as a child. I attended art camps and the like. Initially, painting was my primary focus, but now I consider both arts equally important, without a hierarchy.
You’ve found a balance then? I assume this since I’ve seen your artwork on your tracks. Did you create all of it yourself?
Yes, before signing with a label, I did everything myself. Everything had to be just so. I’m very particular. My record cover features a self-portrait, and one of my single covers incorporates a painting of mine in the background.
Speaking of the label, you signed with Jagjaguwar, correct? They brought in graphic designers?
Yes, they have a team of graphic designers. It’s been a marvellous experience because I can submit my ideas and they execute them. I love generating ideas but find executing them, especially in Photoshop, rather tedious. It’s nice now to focus solely on the creative aspect and let the team handle the rest.
I saw a fantastic picture with a balalaika on your Instagram. Do you have any connections to Slavic culture?
People often ask that because of my name, Anastasia, but no, that’s actually my roommate’s guitar. He found it on the side of the road, and it’s broken.
Your music is quite experimental. Is this a reflection of your background, or was it always the type of music you wanted to make? Why not choose a genre like R&B, for instance?
I’m not sure. I don’t really set out with a clear end product in mind; it’s more about the process for me. I just start with an idea and keep tweaking and experimenting until it feels right, similar to how I approach painting.
That’s fascinating. It sounds like the process of creating music is very similar to painting for you—trial and error, adjusting and experimenting until it feels complete?
Exactly. Painting requires a lot of reworking to get a piece just right, but music feels even more labor-intensive, which I find more engaging. I can spend a lot of time on music. The energy I put into music is different but comes from the same creative impulse.
So you feel that recordings are more tangible than paintings?
Yes, I do. Recordings feel more final, more concrete. Paintings always feel like they’re still evolving, still in flux. Music, especially the recordings, feels more definitive.
I’ve enjoyed your NTS show, ‘Coconut Trip,’ a few times. What was the concept behind it?
It started from discussions with a friend who featured one of my songs on his show. I’ve always wanted my own NTS show. It’s not a resident gig; I just enjoy making playlists that tell a story or convey a mood, which I then mix myself.
And Catherine Ribeiro? Is she an influence of yours?
I discovered her while touring with Avey Tare from Animal Collective. I was influenced by her and other powerful female vocalists, like Brigitte Fontaine.
Who else influences you currently?
Lately, I’ve been listening to Cindy Lee, especially their latest two-hour record. It’s been a significant influence on my recent writing.
Your album, ‘Darning Woman,’ has just dropped. Can you share more about it? The title suggests a theme—do you see it as women fixing things?
The album is quite short, just 21 minutes, but dense with ideas that I’ve been refining over time. The title ‘Darning Woman’ came from the newest track I added; it represents not just literal mending but a more active, dynamic process.
What are your plans for 2024?
I’m playing a few more shows across the US before heading out on a European tour in the fall.
Any music videos planned?
Yes, the video for the album’s title track “Darning Woman” is already out there. It’s one of the most expensive projects I’ve undertaken. You can watch below:
Interview and photography by Andreii Zoluya
