Singer, songwriter, and artist Nicole Marxen’s evocative work has always defied genre. Now as her first solo studio album Thorns arrives on August 9, Marxen expands her creative viewpoint even further. Her haunting voice hovers over dark, chilling synths, thunderous percussion, and dissonant guitars as Marxen burrows deep into her personal disheartenment over both physical and emotional pain.

Marxen’s 2021 EP Tether was primarily synth-based, but the multi-disciplinary artist redirects to a more expansive, full-band experience on Thorns that is as mysterious and eerie as it is beautiful and bewitching. 

As a member of the Dallas-based band Midnight Opera and an oil painter, Marxen’s vision is broad yet focused enough to be profoundly hers. She has a keen eye for striking visuals- from alluring album artwork to mysterious imagery- that invoke the tones and contrasting colors of 1970s Giallo horror movies. 

Before the new album’s release, Marxen discusses her visual identity, working with producer Alex Bhore for a second time, and exploring personal afflictions on Thorns. 

Culture Flux: You’ve had a long career as a musician, but does this release feel different since it’s your first time releasing a full-length album as a solo artist?

Nicole Marxen: It definitely feels different. I’ve been playing music and touring since I was 19, so it’s taken me a long time to work up to this moment. I’m really excited to finally be here though!

What was it like working with Alex Bhore again as your producer? Did you approach the songwriting and production in a different way for Thorns than you did for Tether? 

I love working with Alex, he’s a dear friend and a wonderful collaborator. When I got started, I was craving the freedom to not rely on a band, and for that a more minimal, electronic set up made sense. With this record, we knew we wanted it to sound as big as possible, so we approached it with a full band sound in mind.

Sonically there are a lot of dynamics on Thorns. Does that correlate with how you were feeling during the time of writing it?

I think it comes from rooting into my voice as a singer. When I started utilizing my full range, the songs naturally became more dynamic. I love striking a balance between beautiful and terrifying.

“Thorns” explores your experiences with Body-Focused Repetitive Behaviors Disorder. Have you always been comfortable incorporating personal topics into your lyrics?

No, actually. Tether was my first venture into writing such vulnerable material. When I started the record, I wanted to keep challenging myself to let this work be personal. I saw each song as something prickly that I didn’t necessarily want to talk about, but needed to. I believe Thorns was the third song I wrote. My disorder is something that I struggle with daily, so writing about it helped me settle into sourcing from these uncomfortable places. 

You have a very unique visual identity. How has film and visual art impacted the way you present your music visually? Are there particular films or artists that have inspired you?

Thank you! I have a tendency to think about songs in a visual context. I don’t know how else to say this, but I often “see” music. Whenever I start writing a new song, one of the first things I do is make a mood board for it. Giallo films in particular were a huge inspiration for this record. 

As a fellow DFW resident, Dallas doesn’t often get discussed nationally in terms of its music scene. What is the scene like from your perspective as a local musician?

You’re right, it doesn’t. We get glossed over for Austin, but I’ve found the DFW arts and music scene to be incredibly special. I’m so grateful for my community; venues such as Texas Theatre and Rubber Gloves have been especially supportive of artists like me. I don’t take it for granted that I’m able to do what I do in a city like Dallas.