‘Pompeii,’ Cate Le Bon's sixth album released earlier this year, turned out to be a “record of dualities,” she tells V.F. While on tour, she muses on disaster, renewal, and survival.
along with a place in Wales, initially set down roots in L.A. while recording her third album, 2013’sshe ended up staying more than three years. “The last six months I spent waking up really early and leaving the city, to come to Topanga to go on hikes or to go to Malibu to swim in the ocean. Those, to me, were the places where you could shed and become invisible and get lost in daydreams,” Le Bon explains at a café down the road.
Le Bon, 39, is wearing an olive knit hat over her ash-brown hair, the ends peeking out in an unassuming shag. She describes her original hopes for a 2020 hibernation: maybe a studio in Chile or Norway, “a place that was really remote, where you could completely shed any preconceptions or any idea of an audience.” The pandemic upended all that. Instead, she found herself holed up at a friend’s Cardiff place—together with Presley and her co-producer,—where she had lived in her mid-20s.
“Bass, to me, is such a playful instrument,” Le Bon says, explaining how it guided her songwriting this time around, acting as the record’s spine and a spiritual tonic. “In choosing the bass to lead, I was maybe trying to pull things back from being totally drenched in despair.” The instrument flirts again in “French Boys,” this time with a louche propulsion. Over top, Le Bon’s voice pings between octaves: “Some noise / About / Some noise.
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