An Interview with Ezra Glatt
Ezra Glatt is a Toronto-based songwriter whose music quietly blends the warmth of 1960s and 1970s folk with a modern perspective. With the release of his new single, "Blossom," we caught up with him to talk about songwriting, lo-fi experiments, knowing when a song is finished, and why chasing streams has never been the goal.
Q: You’ve moved between more layered arrangements in earlier work like “Neverland” and much more stripped-back material like "Something's Wrong." What’s guiding those decisions in how “full” or minimal a song becomes?
A: It’s not really a premeditated decision. I just add stuff if the song feels incomplete and take it away if it’s detracting. Sometimes it’s a money thing as well. On my first record I was lucky enough to be on Tinpot Records, a record label started by Tom Rosenthal, where I would get some funding for each song. Without getting too deep into it, the idea of the label was to give artists money without expecting anything in return. That allowed me to get more studio musicians to play on my tracks.
Q: Your 2024 release “Eyes Of A Child (Cassette Version)” leaned into a distinct lo-fi aesthetic. Where does that relationship with lo-fi sit for you now? Sonic choice, emotional texture, or something else entirely?
A: At the time I wrote that song, I had been really into old cassette tape machines. I was constantly looking for ways to bring the music across in a more honest way, and I thought a tape machine could do that. In retrospect, I don’t really see it as a complete success. The noise of the tape machine is a bit distracting and it’s really the performance and production which make or break a song anyway. I have since sold the tape machine and gone back to digital recording. I’m not a tech guy. I just like to create things and the inconvenience of analog gear is too distracting. However, if I was rich, I would pay some devoted tech guy to record me analog. There is a je ne sais quoi to analog recording that just can’t be replicated using digital in my opinion.
Q: Since your first release in 2022, what have you unlearned about songwriting?
A: That people liking a song makes it good.
Q: Damn… Good answer. What does a typical writing session look like for you, if there is one? And how do you know when a song is actually finished?
A: I usually start with a guitar part that inspires a melody. After that, the song should write itself. I’m a harmony guy. It’s what interests me in music; oftentimes to my own detriment. On my second album, I grew a bit more brave with my harmonic choices and paid for it with fewer streams. Ultimately, I'm glad I went for it though.
For me, a song is finished when there is nothing I can really do to improve it. It’s definitely not when I'm satisfied.
Q: How do you protect your headspace when you’re writing from heavier emotional places?
A: Writing is what helps me get through tough times. Making something beautiful or meaningful out of suffering makes it much more bearable.
Q: Where do you feel like you’re headed creatively from here? Are there any directions, sounds, or approaches you’re intentionally trying to move toward or away from?
A: I’m always chasing the vision of what a song could be in my head. I just want to get closer to that vision.
Q: What’s something you’ve been consuming lately that has nothing to do with music?
A: Long-form YouTube videos. I recently quit short-form content altogether. It's a plague upon humanity and if you haven't stopped yet, seriously consider it. Sorry to be preachy, but I assure you it’s destroying your brain in ways you can’t even imagine. TEDTalk over.
It’s quite obvious that Ezra Glatt is an artist more interested in pursuing the song in his head than following trends. Be sure to check out "Blossom," and keep up with him as he continues to follow that vision wherever it leads. Connect with Ezra Glatt here: Spotify | Instagram | Bandcamp
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