Born in France a coal miner’s daughter, Pauline Andres made a name for herself with a sweet and smoky voice that “perfectly conveys the thoughts and observations of an old soul walking home at closing time.” She grew up in a family of mainly Hungarian and Slovenian descent by the German border in a town where the local dialect was more common than the official language. Caught between the fun of it all and the harsh personal and social truths that lead to such an environment, Andres started taking notes.
Andres’ nonchalant style serves an inclination for ordinary suffering and every day disappointments combined with subtle literary references. Her lyrics are inspired by 3am drunks as much as they are by Lovecraft novels. She survived life threatening diseases, accidents of life or even tornadoes.
The songstress settled in Nashville, TN after several years spent mainly in London then Berlin, where she recorded the accidental EP Fuck You French Girl and 2 LPs: All Them Ghosts and The Heart Breaks.
She is currently working on a new album while producing several bands in town and just announced her first Electro-Pop EP “Tornado Season”, out in April 2021.
Explain the title of your album.
All Them Ghosts is a truly haunted record. Actual dead people and shadows reside in it, most of them from my family and hometown. I remember joking with my bandmates back in Berlin when we first recorded it; during a break we heard the sound of an organ in the warehouse where our studio was. And no one was there. My drummer went on a rant about this dead old East German lady ghost playing on a broken Hammond. We said “Yep, sounds about right. This record is cursed anyway.”
There are also actual ghosts of early mixes (recorded in Berlin in 2014) within the new masters (recorded in Nashville in 2020-2021), which is so fitting as there are both ghosts in the lyrics and the audio.
Back to the original ghosts: I grew up in a coal mining town in a family of mainly European immigrants (and one Italian…) and their lives were rough, some of their stories most people would not believe. But it’s all true. From the first line of the title track “I know he beat on her with his belt” to the last hopeful chorus of “Sweet Fortune Tellin’ Ma,” in which I address my Tarot reading mom for a little comfort: this is my ultimate “write what you know” album, and it’s about all of them ghosts.
Does your album have an overarching theme?
Well those “ghosts,” of course. And also their surprisingly positive influence and the way they can push us to do whatever it takes to extirpate ourselves from the dark. There is a lot of hope and definitely some wit weaved into the arrangements (carnival organs, bright accordions…) and the lyrics. Especially in the more Amerciana/country tracks that are “Fuck You French Girl” (true story line by line) and “Like in Every Country Song”, which is a complete joke and an ode to the outlaw country music that I love. I even conjured the ghost of H.P Lovecraft for “On the Doorstep” and the spirit of Baba Yaga for “She.” Oh, and Patsy Cline! So, we got some famous ghosts making appearances too. But really it’s about overcoming anything and seeing the beauty in that part of the process. I’m a very positive thinker, which this album does not reflect. But it does reflect my ability to see the beauty in the harder times too.
Who would you love to collaborate with? why?
Mark Ronson. No doubt. Because he is the best and such an inspiration to me as a producer. Production and songwriting are my favorite part of the whole music making process. I don’t care much for being on the road, I’m fine recording. But arranging and producing, really giving LIFE to a song, that’s where the magic truly lies. And he is by far one of the most powerful wizards around.
Name a perfect song and tell us why you feel that way.
Uff. It’s so hard to choose one but let’s go with “Heroes” by David Bowie. It’s perfect because it belongs to no genre, like Bowie himself. Sure you can argue it’s a rock song (really it’s pop?) and pop is not a genre. Pop reflects whatever a decade/era is mostly messing around with. “Heroes” is still an anthem no matter what decade you’re in, no matter who you are, that’s rare. It’s also a wonderful example of music business and PR – the true story behind the lyrics is far from “heroic” but who cares. In terms of songwriting, it’s uplifting but the edge is sharp, it’s sonically experimental and yet instantly accessible and the production is unreal. It’s truly perfect on all levels: technically, artistically, lyrically and commercially.
What 5 albums are you going to make your kid listen to and why?
These might be furry kids but it still counts as I take their education very seriously:
No More Shall We Part by Nick Cave & The Bad Seeds, because it doesn’t get better in terms of genius literary songwriting. Every single time I listen to “As I Sat Sadly by Her Side” my brain explodes. The references, the perfection in the writing and the impeccable arrangements all that with the power of the Bad Seeds and Nick’s gorgeous voice… It’s truly an album you can study for years and be inspired by for a lifetime.
The Dock of the Bay by Otis Redding. I adore Otis with all my soul and I would want to pass that on. It’s hard to think of a more monumental, more influential, more talented performer in the history of contemporary music. And the whole story turned to myth behind the recording of what would be his last studio work and most important legacy is both heartbreaking and mind blowing. Need I mention the flawless production, the billion dollar horn arrangements and of course, that voice.
The Highwomen by the Highwomen – in case I have the slightest chance of passing on my taste for (real) country/americana. It’s a long shot as most people in my life hate country music (disclaimer, they really just don’t know the genre and think pop country instead, but I have no time to take on the task of changing everyone’s mind (laughs)). Not only is this a feminist, pro-black, pro-woc, pro-queer, pro-LOVE country album, it’s also a wonderful treat for your ears. And as a songwriter, I can only bow in front of the great Natalie Hemby.
Próxima Estación Esperanza by Manu Chao. All my youth, all my reasons to learn Spanish and yet, an album from home because he is French (and my favorite kind, an immigrants’ son 😊 ). Again, an album that’s sonically unique and at the time very groundbreaking with lots of experimenting and playing around. It’s a gorgeous mix of different cultures and languages coming together to tell stories of love and peace, and featuring an anthem “Clandestino” that, sadly, remains more current than ever 20 years later.
Kill The Wolf by Matt Berry (ok note that I am answering those questions mid-October, I might give more light-hearted recommendations mid-July…). I am obsessed with this album. I discovered Matt Berry as an actor years ago but really got to love him with What we Do in the Shadows. And then I found out he was a musician and when I listened to this whole album I fell deeply in love. Every song on the record is good and I’m not hearing expensive production and yet, it’s perfect. The atmosphere is so unique and speaks to me on a very personal level, which is why I’d want my kids to listen. They would need to know: mom is not only a socialist (Manu Chao was the hint), she is a pagan too, big time. And this is a way to understand what this tradition can mean.
They would also have to listen to a lot of Springsteen, but, that’s for another time now.