Jammerzine has an exclusive interview with the multi-talent known as Adrienne LaVey. From rising Youtube star to Opera singer to multi-instrumentalist, we think we get a total picture of who Adrienne is. But do we actually get that total picture? We are all more than the sum of our parts.

Adrienne, to me, is parts of a massive multi-talent spread throughout time and timelessness. Her creativeness and originality would fit just as well on the current west coast as it would in the Third French Republic.

And all of this culminates into her debut single titled ‘Goddess in a Glass’. A modernistic sonic vision of her passion and knowledge of absinthe and the culture surrounding it.

Absinthe carries a lot of undeserved weight around it. Mainly because of competition (check out the interview for this story). There are also misnomers. Gross misnomers. Adrienne sheds a lot of light on those and more with ‘Goddess in a Glass’.

In this interview, we talk with Adrienne about those misnomers, her music, ‘Goddess in a Glass’, and her career in opera.

About Adrienne LaVey

Adrienne LaVey is an operatically trained mezzo-soprano with a passion for absinthe that shines through in her solo debut single “Goddess in a Glass”.

“Goddess in a Glass” is LaVey’s first single, transports the listener to the opulent world of the Belle Époque, its artists, and the golden age of absinthe. She has a unique sultry, dark, and rich operatic voice with a shimmering upper range, and, intertwined with the neoclassical orchestrations of producer Tim Janssens, creates a captivating musical alchemy.

Miss LaVey’s passion for the 19th century led her both to more than a decade of operatic training as well becoming an absinthe enthusiast. Since 2016, LaVey has reviewed over fifty absinthe brands and has made educational content about absinthe on her YouTube channel and TikTok account.

LaVey has spent 12 years studying operatic voice, trained in seven different languages, with a focus on 19th century French and Italian repertoire. LaVey made her musical debut with Beauty in Chaos on the title track of their album “The Storm Before the Calm” in 2020, has collaborated with KOFN Underground’s “Lost in the Sea of Empty” in 2021, and the new industrial/ethereal fusion project Synthetic Requiem.

“I’ve always disliked how absinthe is mostly portrayed in pop culture, including music, and I wanted to write a song that told the truth about absinthe. The inspiration for ‘Goddess in a Glass’ came to me, literally, from a glass of absinthe one night,” says LaVey, “To me, absinthe is a manifestation of the divine feminine and creativity, and the green goddess gave her blessing of inspiration to many artists, writers, and musicians in the 19th century and even now. ‘Goddess in a Glass’ is a love letter not just to absinthe, but to artists as well. Perhaps you can taste divinity and inspiration when you listen to this song and have a glass of absinthe.”

“Ascending from the depths of a green and mysterious earth comes the decadent majesty of Adrienne LaVey. Her debut single melds the parallels of classical opera and singer-songwriter genre, pushing boundaries for operatic singers to cross over into the balladry of a commercial forum. Once you’ve nestled into the caramel warmth and tectonic beauty of her performance, you discover a deep appreciation and expertise in Absinthe, a long misunderstood liqueur cure-all which she’s enshrined in her title release, “Goddess in a Glass.” Her sensual melodies and harmonies haunt, lift and chant with you as a reminder of the magical ways this herbal jewel can elevate your senses.”
– Whitney Tai, singer/songwriter

“In ‘Goddess in a Glass’, Adrienne LaVey perfectly captures the delicacy and romance of the Belle Époque. The haunting music and lyrics are a beautiful tribute to absinthe, a spirit that has inspired artists since the nineteenth century. Adrienne paints a picture with her voice that is sure to transfix listeners, leaving them wanting more.”
– Marielle Songy, absinthe drinker and cultural journalist