Today, we’re excited to welcome Martin Howth, the captivating solo looping project of vocalist Audra Mariel. Known for weaving ethereal, meditative vocal tapestries using nothing but her voice and a signature green suitcase loop station, Martin Howth’s music blends haunting harmonies, thoughtful lyrics, and a deep sense of place. With her new album “Distant Dissonance”, recorded live in historic spaces across New Jersey, Martin Howth brings us a collection of songs that capture both the beauty of imperfection and the magic of the moment. Let’s dive in — welcome, Martin Howth!
Hi Martin, welcome to Femme Metal Webzine. How are you? And how this period is treating you?
Hello. Thank you. Times are tough. Grateful for music.
Martin Howth conceiving her new project
“Distant Dissonance” LP was released back in April via Nefarious Industries. When did you begin to conceive the whole project?
The songs on that album are written over approximately 3 years between 2018 and 2021. They were refined in performances over that time and in the period before I started recording. I wanted each of the songs to be recorded live, as I never use pre-recorded tracks, and wanted to maintain the integrity of the project during the process of making the album. I decided to record each song in a different historical space that lent itself in some way(s) to the song; the mood, the story, and the sound/character of the space.
Recording in various and different locations
I know that “Distant Dissonance” LP was recorded in various and different locations such as the Georgian Court University campus (the former Gould Estate) in Lakewood, New Jersey, or the Historic Strauss Mansion Museum in Atlantic Highlands, New Jersey. How did you choose these locations? And how difficult is access to the public?
I curated and hosted a music series via the Atlantic Highlands Historical Society at the Historic Strauss Mansion Museum from 2015 to 2021 called “Music at the Mansion.” I was familiar with the various spaces there and had such an affinity for the house. I loved hearing music being played there. There were many unique spaces where I might record, and the folks at the Historical Society were kind enough to give me access to them. I recorded half of the album there; “Distant Dissonance”, “Dear Dorine”, “Maneater”, “Cicatrice”, and “Becoming//Unbroken”.
When I was searching for a place to record the other half of the album, I met my friend, Dr. Marci Mazzarotto, who suggested I take a look at the Georgian Court University Campus. She graciously gave me a tour of some truly unique buildings and rooms on the campus and was very instrumental in getting me into those spaces to record. Both the Strauss Mansion and the Georgian Court campus are open to the general public. They host events of their own and also allow folks to rent space. I cannot speak to how easy it is when it comes to gaining special, private access to these spaces, but I imagine it wouldn’t hurt to ask!
The challenge of recording in various and different locations
As mentioned before, the “Distant Dissonance” LP was recorded in various and different locations during live sessions. How challenging can the recording be in a place that is not familiar?
I enjoyed that challenge. The space became an additional element, its sort of character in each song. I also carefully chose spaces for the environment and sound they would lend to each track. Axolotl, for instance, a song that begins with a waltz and uses a lot of imagery around dancing, was recorded in the ballroom at Georgian Court University. Sometimes we’d be
contending with environmental factors like heating vents or foot traffic, but sometimes those elements would also just become part of the recording.
The cover art for Martin Howth”Distant Dissonance”
The cover art features a collage by Corrine Henn with additional artwork by Daimon Santamaria. What can you tell me about the visual concept artwork?
Corrine is an extremely talented collage artist and a treasured friend of mine. She shares her artwork on Instagram using the handle @Ladykingcollage. So I suggest checking it out to see more of her work. She designed the artwork for my first album, “The Wayward Warbler.” And I knew I wanted to use a piece of hers for this LP also.
I like the idea of using collage as a medium for designing art for this music because the songs themselves are sort of collaged; tracks are layered and woven together to create each song. Her work is whimsical and thoughtful and the piece I chose felt fitting for the piece as a whole. The album features themes and imagery around space, the moon, and the vastness and interconnectedness of the universe, so I wanted the artwork to reflect this.
Daimon Santamaria is another very dear friend and a true Renaissance person; a gifted songwriter, musician/multi-instrumentalist, artist, and graphic designer. He generously worked with me for hours to craft the images and layout for the back cover with this in mind. And also created the image that graces the center label of each LP. He based it on imagery from some of the song lyrics on the album.
The single “Dear Dorine”
Which details can you share about the singles “Dear Dorine” and “Axolotl”?
The inspiration for “Dear Dorine” comes from the autograph book of a young girl named Dorine, something I found at a flea market one summer. She was in school in Pillow, Pennsylvania from 1940-1945. After reading through notes and little rhymes friends and teachers wrote (many in impeccable cursive handwriting), I gleaned bits and pieces of a story— what was going on in the world at the time, and specifically in young Dorine’s life. The intention was to write a letter
to her and provide some insight and support from an adult’s perspective. As I wrote it, I realized that the song ended up being more of a letter to a school-aged me, though Dorine is still the subject addressed in the lyrics.
“Dear Dorine” actually inspired a second project that I released in tandem with the single and accompanying music video. It’s a little piece called “Yours ‘Til You Tear it Out: Conversations Around the Inseparability of Self and…Self.” It’s a series of interviews I conducted with some adults and their younger selves that culminate with a dance sequence I edited to the song “Dear Dorine.” The piece is present on my YouTube channel. And more information about the ongoing “Yours ‘Til You Tear it Out” project is pinned to the top of my Instagram.
The single “Axolotl”
“Axolotl” is about loss and regrowth (axolotls can regenerate). At age 28 I was diagnosed with Spinal Muscular Atrophy, a form of Muscular Dystrophy. At the time, I was an aspiring actor, auditioning and performing in a few tours and stage productions. They said my case was mild— “Type 3/Type 4,” the doctor had told me. I wouldn’t know at what rate or to what extent my body would deteriorate. There is no treatment and no cure. It’s hereditary, so I was advised to seek genetic counseling if I was planning on having children. “Yes. I know. It’s very sad… but we’ll be here when it gets worse! Ok?” The doctor patted my knee as he said this to me.
My body wasn’t my own– I was frustrated as an actor losing control of my instrument and eventually left the theater. I was engaged and had wanted very much to become a mother, but I was with a man who was unfaithful and vacillating about marriage, so I walked away from that as well. The song “Axolotl” begins with a dream of dancing, and ends with a waltz, as I often dream of doing things my body cannot do in my waking life.
A nod to Mexico’s “Cielito Lindo”
It speaks of “inertia,” which refers to both physical limitations and limitations imposed on oneself, being unwilling to leave harmful situations. The ending nods to a traditional Mexican folk song because axolotls are native only to Mexico City. The song “Cielito Lindo” inspired the ending; it’s one that always moves me because it advises to “sing, don’t cry,” which is ultimately what I decided to do when I lost my theater “limb.” Music was the limb that I grew to replace it.
Further plans for Martin Howth
What lies ahead for you right now? Any chance of a European tour? What are your next plans?
I would love a European tour! Do you know anyone who’s booking? I do all of my bookings and try to play at least a couple of shows a month. I perform as often as I can, though I must be choosy when it comes to locations and settings. Looping vocals live can prove challenging in noisy bars and large venues. So I tend to opt for non-traditional venues and listening spaces. In addition to performing, I plan to release the new single “Oh, Possum” in 2025 to raise funds for survivors of domestic and sexual violence. Please look out for that, I’ll be sharing about it in the coming months!
Closing words by Martin Howth
So, Martin, we’re almost at the end. Please feel free to say hi to your fans and readers. Thank you so much for this interview.
To anyone who has read this far, I thank you for your interest in any of this. I always feel that the sharing of art and music connects us as humans, and I’m happy to be a little less alone in the world. I thank those who didn’t make it this far also, though they’ll never know.