Celeste Corsano returns with the single “XS”, a song that cuts deeply into themes of body image, self-worth, and creative insecurity. Known for her emotionally transparent songwriting and art-driven sensibility, Celeste continues to blur the lines between music, poetry, and visual storytelling. In this interview, she opens up and offers answers to the questions of Myth of Rock, concerning both her personal journey and her music. Listen to Celeste Corsano, she creates remarkable art and has many important things to say!
by Dimitris Zacharopoulos
photos by Jerry Reganess
Celeste, you have just released your new single, “XS”. How do you feel about that?
I feel I was very excited to release this song, especially with the video. “XS” was probably my favorite song of all the six songs that I recorded. I think it wasn’t received as well as I would have liked, like as far as airplay, etc, but I’m getting more airplay lately on this song.
“XS” tackles body image, perfectionism and insecurity. What moment or experience first pushed you to write this song? What conversations do you hope this song sparks?
The moment that I saw a clothing tag for something I bought and it was an extra small, and the satisfaction I got knowing that I fit into it and concurrently the feelings that I had with not fitting in or making it to a certain spot with my music, or not being good enough or having a long way to go. I guess I would hope that the lyrics spark conversations about comparing oneself and their creative expression to others or the “industry standard” and how comparison often leads to dissatisfaction.
Your animated video with Brother JT is packed with symbolism. What images or themes were most important for you personally?
I love the last image of the person coming to terms with herself in the mirror and then jumping into the painting of the deer in the woods and becoming that wild being – of naturally existing beauty and not concerned with failure by any standards…just being. Also love when the girl is grimly determined to pass the audition for ballerina and she unzips herself to become a stick figure and dances haughtily in front of the shocked judges. Kind of represents to me how we can throw everything out the window to get what we think we deserve.
How do you navigate the constant pressure in the arts to meet certain “industry standards”?
I’m not really at that level where people care about what I do, but I do try to see what I HAVE done in this past year as a growth step and assess whether or not I should continue to go the route I do go on. I do love to write songs, so hope that love will continue.
Your vocal delivery in “XS” is delicate yet emotionally heavy. How did you shape that performance in the studio?
It was easy…. I feel all the words and just act out those emotions.
You worked with Ray Ketchem again. What makes your collaboration with him feel natural or inspiring?
It really does feel so natural and inspiring to work with Ray! I loved being in the studio with him. We had similar tastes and ideas for the song and I trusted his judgment on any small arrangement ideas he gave.
James Mastro has such a unique guitar style. What do you think he brought to the mood of “XS”?
James Mastro definitely added that New Wave feel which is what both Ray and I wanted…sort of like The Cars. I loved Jim’s guitar work with the new wave pulses and then the darker feel as the song comes to the end, which communicated kind of dark, sarcasm. My vocals and the synth also worked together to get that feel.
Your music blends pop, art rock, folk, Celtic touches, and experimental textures. Do these influences come naturally or do you consciously craft that mixture?
I couldn’t craft a song if I wanted to, hahah… although now after being in the studio awhile I can kind of think of arrangement a bit more stringently. I sang traditional Celtic music for many years and my late husband was from Scotland so we often listen to traditional Celtic music. I was always listening to and seeing all kinds of music so have eclectic tastes so I guess it influences my songwriting.
Growing up around musicians, how did your brothers Tony and Chris shape your sense of rhythm and musicality?
Tony is a very structured musician and Chris is not, so I get both sides…and fittingly I’m in the middle of them musically since I’m the middle child.
You’ve also lived deeply in the world of poetry and visual art. How do these disciplines feed into your songwriting?
I feel that writing a three minute or so song is a great challenge; to still be poetic but in a song format. I started out writing poetry long before songwriting. I’ve always loved the arts and visual art also inspires me. I recently wrote a song called “Sacred Geometry” based on the famous Gustav Klimt painting, “The Tree of Life”.
What did you take with you from the NYC punk and new wave scene when you were starting out?
All those years of seeing all kinds of music, including punk/new wave etc gave me a sense of true honesty and freedom for writing. My ear doesn’t really restrict what I’m writing. There aren’t really rules when I write, although I’m still pretty conventional by nature.
Looking back at the bluegrass and Celtic phases of your early musical life, do you feel those sounds still live somewhere in your writing today?
They do. In the meter and the melodic ornamentation that shows up vocally in some of my songs.
Many listeners compare your work to Kate Bush or Tori Amos. How do you feel about these comparisons?
I think that, physiologically, I sound like them, although I don’t imitate. My piano playing is not very good, so no comparison there. I think the fact that I listened to Kate Bush all the time probably seeped into the songwriting.
What was the most challenging part of creating the track, emotionally or technically?
I think the first challenge, was taking the risk to spend money recording it. The second challenge was getting across what I wanted the end of the song to sound like to Ray. And the third challenge was working with JT on the end of the video, which I love.
If you weren’t a musician, what other art form do you think you would have pursued full-time?
I often say that I wish so much that I had one other love/hobby besides music, so that when I’m feeling disappointed or discouraged, I could switch to that…. I don’t right now. I love to be outside and decorate and wear fun clothing…
Your lyrics often read like short stories or poems. Do songs usually start with words or with sound?
Usually combo. A song could start with something I wrote or a snippet of music and then I go back and forth between them to create the song.
In what ways do you hope to expand or evolve your sound moving forward?
I was hoping to find someone to collaborate with to grow my sound. There are a couple of things in the works…but I just hope that I continue to write and love the songs I’m writing enough to share them.
What does creative freedom mean to you today?
It’s an inward journey with no censoring and no fear. Just loving what is coming out and trying not to feel that I’m not where I’d like to be. Because here I am. Also, freedom to express during collaboration and not being bummed if the other person says that they’d like it another way.
What can listeners expect next — more singles, a full album, collaborations, or something we might not expect?
I have a single coming out in late January called “Space” which is a little bit like the song I released last December called “Nightbird”.
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If you read this, God bless you! If any of it helps inspire, great.
