Myra Keyes Unleashes New Track "Foam" and Connects on the Creative Journey Behind the Music
- STAFF
- 6 days ago
- 8 min read
By: Staff
“Foam” is an emotionally charged masterpiece, blending introspection and vulnerability with undeniable brilliance.
In a world where music often seeks to categorize, one artist is carving her own path with a sound that feels at once familiar and completely unique. Myra Keyes’ latest track, "Foam," is a stunning example of this bold approach. With her introspective lyrics and genre-blurring style, she brings a fresh voice to the music scene, inviting listeners to dive into her world of reflection and raw emotion.
We spoke with Myra about the journey behind "Foam," a track that was born from late-night writing sessions and fleeting moments of solitude, capturing the quiet chaos of life. She shared how the song evolved from a demo idea into a fully realized piece, and how its title emerged as a natural reflection of the themes she explores. With its undeniable range and emotional depth, "Foam" stands out as a standout track, one that challenges the boundaries of genre while staying deeply rooted in personal experience.
In the interview, Myra opens up about the creative process that turned her initial vision into something much bigger, the unexpected ways life’s smallest moments seep into her songwriting, and how her own self-reflection plays a pivotal role in her growth as an artist. She also offers a rare glimpse into the intimate dynamics of her recording sessions, sharing how the collaboration with a talented team transformed her sound.
As "Foam" continues to captivate, we delve deeper into the artist’s world, exploring how vulnerability, spontaneity, and introspection all come together to shape her music. The full interview offers an inside look at the mind of Myra Keyes, where every song is a reflection of her journey.
Keep scrolling to get into it with Myra Keyes.
Here’s how it went:
Begin Interview:
Hello Myra Keyes, 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. After experiencing "Foam," and the exhilarating and powerful musical arrangement, incredible and unique vocal performance, it’s clear there’s a deep emotional attachment you have to this track. Can you share the story behind the song? What inspired you to create something so raw and reflective?
A. Well, I wanted to move in a poppier direction just to try something different, and I was very inspired by Djo’s “On and On” to create a track built around drums. ”Foam” was a song written specifically for drums and I’ve never done that before.
Q. The title "Foam" feels light and freeing but also like it carries so much symbolism. What drew you to this particular name, and can you tell us the specific meaning or significance to the message within the song?
A. It’s a lyric in the song that also sort of encapsulates the bouncy, airy feel of the music. That’s all. It’s not supposed to be deep.
Q. You mentioned that "Foam" came out almost effortlessly, like a "newborn standing up on two feet" (we loved this statement). What was it about this track that made it feel so natural compared to other pieces you’ve worked on?
A. Some songs just seem to arrive like they were right there waiting to be let out, and this was one of those. There was no stubbornness to it.
Q. This album was written during a pivotal time in your life, your sophomore year of college. How did the intensity of that period of self-reflection and personal growth inform the themes of procrastination and self-sabotage in your lyrics?
A. I wrote a lot of the riffs on train rides to and from classes, then I would get back to my dorm and work the ideas out. With homework and school obligations I had to put things off and be patient with snippets of music so it felt like I was always juggling responsibilities and kicking things down the line. When you do that it’s easy to get into a frame of mind that makes you want to say screw it, nevermind, none of this matters, and crumple everything up and start over, because the thread of continuity comes and goes.
Q. The writing for this album took place during late-night sessions and subway rides. That description is partially mundane and simultaneously so intriguing. What role did those solitary moments play in shaping the sound and lyrics of "Foam"? Do you think these fleeting, yet meditative times brought a different perspective to your writing?
A. Actually the redundancy of those daily activities informed the writing of all the other songs on the album, but “Foam” was the last song I wrote after I got back home to Oregon this summer, when I was on break, so there was no pressure with that one, it was pure fun.
Q. There’s a real genre vibe in "Foam". Is this particular musical genre style something you’ve always embraced from the very beginning of your journey, or has it evolved over time from influences or other genres you experimented with earlier?
A. It’s evolved over time. I don’t like writing the same thing twice, so it feels like my music is always moving in the direction that is my life. Whatever direction that is.
Q. The studio environment for this album seems to have been especially collaborative, with a lot of talented musicians involved. How did you assemble this iconic group of musical heavy hitters and what did it feel like having them alongside your journey?
A. Scott Weddle was building a studio in Portland and it was an opportunity for him to kind of break in the equipment and rooms and try out some things sonically. He engineered the entire project and accompanied on a variety of instruments. I’ve always worked at Jackpot! Studio but with these new songs it felt like a change of scene might open up some doors creatively, to different sounds and methods, and yeah, it was just supposed to be a bunch of demos. Joe Mengis played drums on my last two records and I absolutely love his style, so it was a no-brainer that he would be involved again.
Q. You initially set out to record a demo album that was stripped back and raw, but the project quickly transformed into a full project. What was the turning point when you realized this shift was happening? And what did you learn about your own creative process as a result?
A. I had so many songs, like eighteen, and so doing a big album was just not feasible and too expensive, so the plan was to get demos of all the pieces just to capture them so I could maybe embellish and work them out later. But listening back to the first eight that we started with, we kind of liked where things were moving and there was a cohesiveness to those tracks, so I decided to double down with what we had and put out another LP.
Q. You mentioned that the studio in Portland felt like a "time warp," a place where time seemed to fly by. How did that environment affect your creative flow, and what was it about that studio that made it feel so conducive to the recording process?
A. Scott Weddle is the most talented engineer I’ve worked with because he’s also an incredible musician. We had a really great rapport from the first day and things moved fast. His intuition is so sharp and he was encouraging and made everything flow comfortably and smoothly. We didn’t waste any time at all. Credit to him.
Q. As a songwriter, you’re known for being self-critical. Do you find that this self-reflection helps you grow, or does it sometimes feel like a barrier? How do you navigate those moments where you question your work during the creation process?
A. Both. I think it should be a barrier because the only way to grow is to navigate those obstacles and figure out a way to get around and over them. Being critical of yourself is holding yourself to a higher standard. I don’t question my work too much because it’s instinctive and natural, making music, and I’ve been doing it since I was old enough to walk and talk. I mean I don’t remember NOT doing it.
Q. Working with Scott McPherson, who you’ve admired for his work with Elliott Smith, must have been a powerful experience. How did his involvement shape the final sound of "Foam," and what did it mean to have him contribute to your project?
A. Scott McPherson did not play drums on “Foam.” Joe Mengis played drums on that song. Scott McPherson played drums on “Save It All For Later” and “Struck.” Scott M. was a friend of Scott Weddle’s, and Scott Weddle thought Scott M.’s style might work with those two songs because they seemed to want a lighter touch, a different approach, and also Scott M. happened to be in Portland that week, he had flown in from Minneapolis to play a show, and so we asked him if he’d be interested in playing on those songs, and he said yes. And he played brilliantly. It was one of the biggest honors of my life getting to hang with him and having him play on those two songs. But getting back to Joe’s drumming…he knocked it out of the park on “Foam.” And I have to say, I kind of wrote it with his style in mind. I just love the way he plays. It’s an embarrassment of riches to have two drummers of their caliber on my record. I’m really lucky. And they are the sweetest humans, all three of those guys, Joe and Scott W. and Scott M.
Q. You have a show coming up at Reggies in Chicago, which sounds exciting. As you prepare for a live performance, how do you approach bringing the intimate, reflective energy of "Foam" to a stage in front of an audience? What do you want fans to take away from your live shows?
A. I haven’t even played it live yet, so we’ll see. I only hope that people who come to my shows leave feeling it was worth the price of admission. You want to leave an impression. They’re busy people and they see a lot of shows, probably.
Q. Outside of music, who or what has had the biggest influence on your personal growth or artistic perspective?
A. All the people in my life who inspire me…from friends and family to educators and mentors to the artists I’ve worked with and the artists whose work I aspire to…visual artists, writers, performers…there are too many to name.
Q. If there’s one thing you want listeners to take away from “Foam,” what would it be?
A. That they bob their heads and hit play again. And again.
Q. We can't thank you enough for sharing these intimate details! So, what's next? Can you give us the inside scoop on your upcoming projects and what fans should be excited about? We'd love the readers to hear the news directly from you!
A. Oh man, I have so many songs and so many plans, but right now the focus is on finishing school and getting my MBA. But I’ll always make time for music, so I’ll continue to play out live and record new stuff, and maybe when college is wrapped up, I’ll have a second career. I have a lot of interests but music is central to them all.
Myra Keyes, thank you so much, we appreciate you taking the time to talk to us!
End Interview