Carla Patullo Releases "Nomadica" and Connects on the Deeply Personal Journey Behind the Music
- STAFF
- Aug 28
- 7 min read
By: Staff
“Nomadica” is a breathtaking masterpiece, where grief transforms into an ethereal journey of healing and connection.
Carla Patullo’s latest creation "Nomadica (feat. Martha Wainwright, The Scorchio Quartet, and Tonality)" is a powerful exploration of loss, healing, and the ethereal space between life and death. This deeply personal album takes listeners on a transformative journey through grief, memory, and reconnection, beautifully woven with the sounds of nature, orchestral swells, and haunting vocals. With collaborators such as Martha Wainwright, the Grammy®-winning Scorchio Quartet, and the vocal ensemble Tonality, Nomadica is a hauntingly immersive experience that transcends traditional boundaries of music.
We recently spoke with Carla Patullo about the creative process behind this emotionally charged project, which revisits the sudden loss of her mother and the profound impact that loss had on her artistic vision. Carla delves into the powerful role of imagination, the collaboration with such esteemed musicians, and how the album’s intricate soundscapes were crafted to evoke a deep emotional response. From exploring the liminal space between life and death to finding acceptance in the echoes of the past, Carla shares the intimate story behind Nomadica and the personal growth that emerged from such a vulnerable creative journey.
The music in Nomadica is a testament to Carla’s resilience, transforming grief into a sonic landscape that is as beautiful as it is healing. It’s an album that invites listeners into a space where memory and spirit intertwine—an unforgettable journey that leaves you feeling connected, moved, and deeply understood.
Keep scrolling to experience this incredible work, fueled by the world's most powerful emotions.
Here’s how it went:
Begin Interview:
Hello Carla Patullo, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more intrigued to get a deeper look into both your brand and your personal and professional inspirations.
Q. We want to start by saying that we are so sorry for your loss. Turning your grief into such a beautiful piece of work is a truly remarkable transformation, and we feel honored to have experienced it. The incredible movement of the music felt almost otherworldly, and your vocals were so powerful and emotionally moving that it's difficult to put into words how incredible they are. We believe your goal of connection has truly been accomplished. When did you first realize the power of your voice, and what moment in your life shifted it from a personal, intimate expression to a tool for sharing your story with the world, ultimately laying the foundation for the impactful career we see today?
A. Funny enough, I wrote the first song I can remember on my own at a very young age, maybe 9 or so, and it was called 'Lies, Lies, Lies' so I think I've always been drawn to singing out my emotions. I loved artists like Tina Turner who sang their hearts out, and I always saw music as an expression of emotion. When I got into film scoring, later on, I realized the power music had in telling stories and eventually I combined those two elements of emotional outpouring with creating a story arc as part of an album's progression. The movie All of Us Strangers by Andrew Haigh was a big inspiration for this album and helped guide my story in some ways.
Q. You’ve spoken about revisiting memories with your late mother through music. What role does imagination play in your songwriting, especially when dealing with the complexities of grief and loss?
A. Yeah, it was an emotional trip to go there musically. Since I had a run-in with death about five years ago, I've felt the presence of my mom just around me throughout the days. I think my own experience opened me up to the possibility of staying connected to her, so it's easier for me to imagine her, or to feel her energy, or to find her support inside of me. Imagination is a funny word because it has a connotation today of something make-believe or not real, and these "visits" feel very real to me, and they play a big role, especially during the composing and when I record my vocals.
Q. Since NOMADICA is a deeply personal and emotionally charged journey, was there a particular turning point or moment during the creation of this album where you felt that you were finally able to come to terms with your grief over the loss of your mother and connect with her in a way you had not before?
A. Yes, that turning point actually started to happen during the creation of my last album So She Howls. The final track was an expression of my realization and appreciation for the different moments of tenderness I've felt throughout my life, and many of those were with my mom. Writing that track opened up something inside of me and inspired a lot of the concept behind NOMADICA, which is to revisit these moments. Although in NOMADICA, I explore both the beautiful moments and also the more difficult ones where I needed to find acceptance.
Q. In your description of NOMADICA, you mentioned it as a "dream land in between memory and grief," almost like an exploration of the space between life and death, where memory and spirit intertwine. How did you approach the concept of "NOMADICA" as a liminal space, and how did you want your listeners to feel when they enter that world?
A. Yes, exactly! I want there to be some tension between these two worlds because they are not accessible in the same way or at the same time. And to me, that's okay. We can experience the desire to go to those hard-to-access places, like the train ride there, as in the track Nomadica, or we can experience actually being there, like in Lightning. I like that it's a dynamic ride, sometimes intense, and sometimes relaxing, and I hope that the listener can experience the intensity of emotion, but at the same feel safe to do so.
Q. In the track ‘Fly Under,’ you collaborated with Martha Wainwright. What was it like sharing this deeply personal experience with someone who had gone through a similar loss? How did that influence the song’s final shape?
A. Martha Wainwright is an incredible songwriter and singer. Her ideas for lyrics were inspiring and took the song to a new level, and when we got into the recording studio, her first take blew me away! Her vocals are vulnerable and powerful at the same time, and she was able to convey the exact emotion of the song.
Q. Throughout the album, there’s a constant presence of water, wind, and trains. What do these elements represent for you, both personally and in the context of the album’s overarching themes?
A. These sounds mostly represent the idea of traveling. I wanted a sense of motion through so that as the album continues, you get the sense that you are going farther and farther away. So far that you have to travel by train, air, and water to get there. That constant state of moving helps me evolve and get deeper into the memories and the emotions.
Q. You’ve mentioned the importance of collaborating with the Scorchio Quartet and Tonality. How did you make the connection with these extremely talented musicians?
A. I first met Martha Mooke, the leader of the Scorchio Quartet, in New York City. We were writing music for a BMI program, and we hit it off, both musically and personally. She's a powerhouse electric violist, who is touring with Laurie Anderson right now, and she always brings the best energy to every encounter. Similarly, Tonality, led by Alexander Lloyd Blake, brings depth and compassion to all of their work. When collaborating, you can feel vulnerable and nervous, but both Scorchio and Tonality add a sense of ease and artistry, so the process becomes full of fun and beautiful moments.
Q. As someone who’s composed for a variety of visual projects, do you see NOMADICA as a visual experience in its own right? Are there any particular images or visuals you associate with the music that you’d love for listeners to envision while they listen?
A. Yes, definitely. I imagine traveling to an otherworldy place. I think that can look different for everyone. I remember working on the album cover and having discussions with the super talented artists Jamie Dwyer and Olivia Marquez about what Nomadica, the place, looks like. We talked about nature, forests, clouds, trains, flight, my mom, and many other ideas. I think there's a little bit of an astronaut look to the final album cover, which I love, because it gives that sense of exploring the unknown.
Q. What were some of the most challenging aspects of creating NOMADICA, especially considering the personal nature of the album? Were there any moments during the process when you questioned whether you could complete the project?
A. Actually, I didn't want to finish it. While writing and recording, I was visiting my mom a lot, and it was amazing. And I didn't want to stop doing that. I don't have to stop just because I finished the album, but I'm not as immersed in it as I was during that period. It was really hard to say it was finished because it meant letting go.
Q. Carla Patullo, thank you so much for opening up about this incredibly personal journey. Now that you’ve created such a deeply transformative body of work with NOMADICA, what do you see as the next step in your musical journey? Are there any projects or themes you’re feeling drawn to explore as you continue to evolve in both your artistry and personal growth?
A. I'm starting to compose the score for a new indie sci-fi film called Brother Save Us. It's a great story and I'm really connected to the characters in it. The director, Jesse Behrenwald, and I have very similar musical interests so I'm so excited to dive into it musically and work with him!
Carla Patullo, thank you so much, we appreciate you taking the time to talk to us!
End Interview
We’re happy to have shared Carla Patullo’s exciting journey with you and uncovered such inspiring insights about their creative process.
