There is something woodsy and nature-rooted about Anna Tivel’s songwriting. It calls to mind mountain hiking, tall pines, mushroom foraging. The clink of a water bottle against a caribiner. The gentle tiptoe sound of dew dropping from treetops. Maybe it’s Oregon that’s seeped into her bones. Maybe it’s just the way her intrinsic poeticism steers things.

Listening to Tivel’s music tends to conjure the words of other writers. Consider some of the final lines from Barbara Kingsolver’s Prodigal Summer:

“Solitude is only a human presumption. Every quiet step is thunder to beetle life underfoot; every choice is a world made new for the chosen.”

Or, consider the poetry of Wendell Berry or Mary Oliver or Andrea Gibson. Each seemed to have plucked their pieces from shrubs and vines – or at least from the air around their foliage. Indeed, some of these names came up in our recent conversation with Tivel about her new album, Animal Poem, which drops August 29 on Fluff & Gravy Records.

Much like a walk through the woods, Animal Poem offers listeners a pathway toward retaining their humanity in a world that can feel inhumane. Though Tivel notes she began writing this album two years ago, she was conscious of the shifting geopolitical landscape and the way the chaos in the news might – or might not – echo into people’s private lives.

In the end, she suggests that life is mostly made of small moments between people who are guided by love and who are trying to understand one another. Those are the moments of dissonance where our commonalities have the best chance of prevailing. To hear Tivel tell it, that is the basis of her job as both poet and songwriter.

With so much going on in the world geopolitically, so many people are struggling with how to make art and why to make art and, of course, feeling compelled to continue to make art. But there’s this existential part of it that I feel like you’re addressing on this album. Maybe also in the creation of this album, which I’m guessing was recorded well before what’s happening today, and will be different from what will be happening when we publish it.

So, when you think about this album now, and what you were working through with these songs in that moment, how has it aged in your mind?

Anna Tivel: That’s funny, I was thinking today how, in this particular year so far, I’m having trouble [writing songs]. I’m having a lot of trouble finding the core of what I mean. I always feel like writing is this search for something a little beyond your understanding. You’re just moving through the world kind of trying to express what you see and what you’re learning and what you’re reaching for. And I’ve been finding, in this particular moment, it’s just so loud and it’s so tangled. I’m writing a lot of angry things that I will never play, [about] not understanding and not even knowing what to reach for to try to understand.

This album was all written like two years ago now, in a state of the world not dissimilar from this one. I was reading a lot of Wendell Berry and just thinking about big, overarching systems and how impossible it is for those to stay about people. [I was thinking] about the earth and kind of thinking about how these smaller communities … function and how things ripple outward. But, the really small things, like your family or your neighborhood. Power lies in these very mundane but magical lives we’re living. How we’re touching the person across the street from us or how we’re figuring out our own hearts, and how powerful that is in the overarching, huge system that [can] become very inhumane so easily.

I think there’s a lot of that there – a lot of love and immense, wild power. All these things are coming out of the technological wavelength that we’re on. And then things like love [that] just can’t be snuffed out.

As you were talking about what we’re reaching for, and the small things, I kept thinking about this image at the end of this record, in the song “Meantime.” The swing set that nobody used and this family that, maybe there was abuse, but the dad built the swing set. Nobody went out to play on it, and they left, and the swing was still there, blowing in the wind.

A swing doesn’t know what it’s reaching, but it’s always there to lift you. What a beautiful thesis that it is for this record, coming as it does, at the end. Can you talk a little bit about that song, “Meantime,” and your decision to place it second to last? Does it feel to you like that’s what this record was reaching toward? I’m always interested in how sequencing tells the story.

Sometimes [sequencing] is really just meaning-based, or it’s sort of sonically based. I really liked the idea of this record kind of starting with this song that expands as much as the whole country. And then going all the way down to the last song, [which] is just very quiet, about love between two people, or what it is to build the language of love with the people nearest to you. I like there to be some kind of journey on a record, where you’re taken through different stories and different lives, for there to be some sort of arc.“Meantime,” to me, feels [like] that’s what I’m trying to say, but it takes place in a very small image. It’s one neighbor. There’s always a lot of neighbors in my music. [I’m a] very voyeuristic neighbor, probably.

There’s this feeling on the record, I think, that we hold all these things and we’re contributing to all these things – such pain and also such beauty. And we’re all sort of trying to separate ourselves from each other [and] from these big forces.

You can recognize yourself in everything, both the good and the bad. But inside of me is so much love and there’s so much cruelty and so much confusion. And becoming part of a family or a community – or a global community – it’s almost like the deeper you [go,] the more you recognize that you are just like everybody. You hold all those things and they hold all those things, even if they feel ugly or small or huge or powerful, they’re in there.

You’re reminding me of the poem by the late, brilliant Andrea Gibson. When I first heard their line, I actually thought of you. And then listening to this album, it came back to me.

The line is, “Do you know how many beautiful things can be seen in a single second?” It’s from the poem, “In the Chemo Room…” It’s thoughts from chemo, which is such a hopeless, awful thing, theoretically. And yet, all of Andrea’s work is so full of hope. I feel like that is so true to what this album conjured for me. I’m wondering if you have any kind of relationship with their poetry or if you were even aware of that parallel.

Yeah, I wish. I wanna take it in, because my good friends in Portland were just telling me to go read their work. I haven’t yet, but I resonate a lot with that. Like, you can just look all around you and see horror upon horror. [But] we are stunningly alive. Full of love and mystery, all at the same time. You’d die if you couldn’t hold that. You can kind of lean in either direction, or you can kind of like just sit there in all directions at once. That’s the journey of the whole thing.

While I’m bringing up poets, you mentioned Wendell Berry. One of my other favorite lines is from him: “Be joyful though you’ve considered all the facts,” Right? Like, this whole idea that we are animals among animals on this planet. Everything’s brutal – and there’s joy. And there’s love, you know. This is such a vital part of what every poet says, right?

There’s a song on here called “Animal Poem,” but the fact that you chose that phrase as the title of the album seemed to resonate. What was it about, to you, to choose those two words as the title of this project?

It’s exactly that. I feel very much like I want to be another being on the earth [who is] trying to express all those things at once, that everybody’s feeling, going through, and finding ways to say to each other.

There’s so many ways that we hold the word “animal”: Wild, untethered, maybe dangerous, maybe instinct[ive], maybe disturbing. … A poem is such an intentional, beautiful way to capture a small part of being. I like the idea that maybe this whole thing is just [us] running around confused, trying to find a little beauty, in what often appears to be utter chaos.

But where is the line, in your mind, between poetry and music? Is there any difference? Is it something intrinsic to the piece? Or, how do you decide what gets music added and what stays a poem?

Yeah, maybe I just think it all comes from the same place – the raw urge to express something. The way that music, or any art form, allows you to express it a little more honestly, because it’s not so straightforward.

When you can live outside the exact facts and use all the colors and the sensory details and emotion of a thing, sometimes that feels more true than being like, “Ted went to the store and bought an egg.” You know? There’s all the other things that happened in that moment that informed the way Ted’s heart was moving, that can be more readily got-at with art. There’s all these ways that people do that.

Ted’s egg was actually quite an experience for him.

Yeah, I mean, why did he go for just one egg? That’s my question.

There’s only one egg left. Poor Ted.

Logistically, when it came to making this record, you noted that it was a group of people in a room just kind of playing together. Was there rehearsal? How many times did everybody else hear these songs? And what was the creative process in that circle?

It was really free. I loved making this record. It felt, to me, like a bunch of freedom. Hearts in a room, just having our thing.
Some of us had toured together a little bit, so we played some of these songs in various ways. Some were new. We sort of just sat and played together for a day or two beforehand. We tried really hard not to make parts. [We were] really trying to at least get comfortable with the forms, so you know where the bridge lives, so it doesn’t surprise you. But [we didn’t do] so much that people settled into things.

Then we just sat in a circle. We didn’t wear headphones, which I loved, and we put my voice through a little monitor in the middle of the room. I’m fairly quiet, so everyone could at least hear the words. We mixed ourselves and just played music in the room together. There was no turning yourself up in the headphones or adding reverb. It just was what it was.

That felt really free. It felt like we forgot we were making a record. Just trying to feel the thing in the moment. I love this group of people. I’ve done a lot of touring with [them] over the years. [I’ve] known them a long time and really respect their musicality, but also their spirits.

Photo courtesy of the artist.