Juliana, interviewed by Dave Rayburn for AMPED on the upcoming ELO covers album:

DAVE: ELO is well known for its incorporation of orchestral elements in addition to elaborate production aesthetics. Can you talk about the challenges and creative choices you faced when reimagining their iconic songs in your own style?

JULIANA: I did have a few worrisome moments, wondering, “How the heck am I going to deal with the string parts?” I didn’t want to piss off any ELO fans in any way, by neglecting important elements in the songs. But I also didn’t want to just copy anything just for the sake of being pointlessly faithful. Instead, I thought about what each particular song needed or didn’t need, and then I worked with what I had and didn’t have, and made adjustments. On some songs I played certain string parts on guitar, or on keyboards. In others (“Bluebird is Dead” and “Showdown”), I sang the string parts, or parts of them. On some songs I chose to reinterpret in ways in which the strings were not necessary (for me) and would not be missed (I hoped). When I record any cover song, I like to play around with it at first, going over it and over it on an acoustic guitar until it starts to feel like mine, and in that process it becomes less intimidating to think of the original looming over me, and the song starts to organically become something that feels natural in my own hands, with my own style and personality. If anything feels awkward or forced during this early getting-to-know-the-song-vibe-in-my-hands period, I will let it go; I won’t force any song to be recorded by me unless it feels real.

DAVE: Who joins you on this record, and how was it recorded?

JULIANA: Ed Valauskas played bass and Chris Anzalone played drums (both are from the Boston area). I recorded everything else, on my laptop, in my bedroom at home. Ed recorded his parts in his basement home studio and Chris recorded his drums in his rehearsal room/makeshift recording studio. The three of us got together a few times in that rehearsal room to run through songs together and to get a feel for arrangements and for bass and drum parts. Ed and I were there when Chris recorded his drums but Ed and I both recorded our stuff at our respective homes, individually, after the drums were done. There was a lot of file-sending going on. After recording was done, we sent all the songs to Pat DiCenso to mix at his place and he did a brilliant job. He’d sent me first mixes and I had him tweak a few things but mostly he totally nailed it right away.