Fear\/Nothing<\/em> has finally arrived, an album that transformed Belle Game’s straightforward indie sound into heavy-hitting dream pop, almost relentless in its interrogation of the human soul.<\/p>\nAt the center of that sound is Lo’s uncommonly powerful voice – one that, in a pop realm, would give Adele a run for her money. While lots of synth-heavy dream pop buries vocals into a swirl of reverb and guitar distortion, Lo’s dramatic, mantra-like lyrics sit right up front in the mix, demanding to be heard and daring listeners to really feel something. Lo says that singing has taught her to really reclaim space for herself. “Many of us grow up in situations where we feel we have to be palatable,” she says. “I think music, for me, has always had a vein of challenging myself to see what goes beyond my current perspective of what I know, what I understand, of myself and of the world.” And it’s working well for her and the rest of Belle Game – in addition to the release of Fear\/Nothing<\/em>, the band is opening for Broken Social Scene’s latest North American tour. Audiofemme caught up with Lo while the band prepped for a sold-out date in Washington DC, and in a candid discussion, the singer discussed her personal philosophies, dished on working with Drew, and described those serendipitous moments in detail as vivid as the lyrics she wrote for Fear\/Nothing<\/em>.<\/p>\nAudiofemme: <\/strong>All in all it took four full years for you to follow up your debut \u2013 why was that? And what caused you to shift your sound from more straightforward indie rock to a dream pop, or as you refer to it, \u201ccrush pop\u201d aesthetic?<\/em><\/p>\nAndrea Lo:<\/strong>\u00a0When we wrote [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][Ritual Tradition Habit<\/em>] and toured behind it we had the utmost intention of writing and recording the next album right away and releasing it, and in that whole process, we had maybe three or four release dates [for Fear\/Nothing]<\/em> that never occurred, whether the songs weren\u2019t quite right or the market wasn\u2019t quite right or something was a little bit off. And it was serendipitous – despite our impatience in wanting to release the album, I really don\u2019t think it would\u2019ve been anything close to what it is now unless we took those four years. Not to get all existential, but I think it was so necessary because it was a process where we were \u2013 I wouldn\u2019t even say discovering \u2013 it was like a process of shedding, you know? We had released Ritual Tradition Habit<\/em> under different ideals and different understandings of what music was and how to create it and how we engaged with it. And in going through the transformations that occurred, both personally or as a group, we were able to create something that was a lot more honest. And I say transformation not only in the terms of tangible situations, but also internally, a lot of things were shifting. We were growing up, as I\u2019m sure many people can relate to. You look back and realize you had no fucking clue what you were doing, even when you thought you had it all figured out. It was a lot of growing up, a lot of stripping away our ideals of who we were, what meant a lot to us, what type of music we wanted to create. We went from wanting to make a certain type of music, to being like, fuck it, let\u2019s just make the space and just create.<\/p>\n
![\"\"](\"http:\/\/www.audiofemme.com\/wp-content\/uploads\/2017\/09\/Belle-Game-Press-3-1024x679.jpg\")
<\/p>\n