Clara Cloud Summons Myth and Magic on Haunting New Single “Rabbit King”

Canadian singer-songwriter Clara Cloud unveils Rabbit King, the second single from her forthcoming sophomore album As Above. Known as “BC’s Kootenay fairy songstress,” Cloud once again proves her mastery of folklore-infused storytelling, this time reimagining the Orpheus and Eurydice myth through the lens of a crowned White Rabbit undone by his own tragic rise. With cinematic production, ceremonial rhythms, and vocals that feel equal parts ethereal and commanding, Rabbit King is a descent into a shadowed realm where seduction and ruin walk hand in hand.

Rabbit King reimagines the White Rabbit and weaves in Orpheus-like themes. How did these inspirations come together for you?

For me, thematically, the themes and imagery of the two stories came together in a really natural way. With Eurydice's fate, she ends up losing her life and her soul, tumbling down, in a way, to the Underworld. There are many depictions of her tale, and those like her, that end up tied to Hades in some way. Most of them begin as innocent in some way. Similar to the White Rabbit, who in many ways can be viewed as a symbol of purity and innocence, they did not know what they were in for when making a "deal with the Devil". At this point in the album, Eurydice's life has ended, and she is beginning her downward spiral (both literally and physically) into the Underworld, putting her at the mercy of Hades. In this analogy, Hades is our Red Queen figure. Coming across as trustworthy and kind, when he is really just trying to entice you, like a snake wrapping itself around you tighter and tighter until you are unable to move.

From a storytelling perspective, as Eurydice is experiencing this, I like to imagine this Alice-in-Wonderland-like story is her way of coping with the things happening around her. Hearing stories of past souls who have fallen into this trap, and simultaneously falling into it herself.

Your music often blends Celtic, folk, and chamber pop influences. What sounds or instruments shaped this track the most?

This particular track was produced by Sal Verma, a collaborator I first worked with on The Woods and who has (thankfully) been super involved with this album as well. He's got an incredible ear and a great understanding of what I hope for in this combination of genres. Plus, with his experience and love for darker, more cinematic compositions, I knew when I had the idea for this album that I wanted him to be a part of it. 

This track is definitely one of the heavier-feeling of the bunch, with dark string instruments sounds meant to feel as though they're pulling you down the rabbit hole. The use of string instruments throughout the whole album is meant to reflect on this blend of genres, with some more fiddle-leaning (Celtic), some more light (folky), and some heavy to bring that medieval, chamber pop vibe. This song definitely leans more to the latter, but still with some Celtic inflections making an appearance throughout the vocals, and the eclectic percussion brings a sense of folkiness. I wanted this whole album, and especially this song, to feel very visceral as if the song itself is sucking you down a spiral. 

The refrain “Ra ta ta ta” feels ceremonial. What role did rhythm and ritual play in crafting the song?

Funnily enough, it was actually the first part of the song that I wrote! With As Above, I knew I wanted to create a reimagining of Orpheus and Eurydice, with more focus placed on her experience. Ritual plays a huge role in the album thematically, as at its core, it's really a story of reconnecting with oneself and one's strength. Because I had this concept so strongly in my mind, I ended up writing the album backwards compared to my usual pieces. I had a couple of songs already written that I thought would fit well, but for the remaining, I wrote out the tracklist as if I were naming chapters of a book. Most of the songs on this album started as just a name. I knew I wanted a song called Rabbit King, with some kind of Alice in Wonderland imagery, for Eurydice's descent to Hell, and I knew I wanted it to be a patter-y piece with a repeated rhythmic refrain "ra ta ta ta . . .". I didn't know, though, HOW I wanted to execute it. Until one day, I was on a bus to Langley for a film shoot, and I remember feeling compelled to write. In that 45 mins, I wrote the lyrics to the entire song. That night I sat down and started playing with chord progressions while whispering "ra ra ra rata tatatata", which later became the intro. The song fell together in a lot of ways, as did much of this album and much of what I write, but Rabbit King was really built off of that rhythmic piece.

How does Rabbit King connect to the larger story arc of your upcoming album, As Above?

Rabbit King is the fifth song on the album. And, without giving too much away, the songs leading up to it allude to and depict the relationship between Orpheus and Eurydice (in Lemons, which is available on all streaming platforms as well), uncertainty creeping in and planting seeds of doubt, and Eurydice's ultimate demise. This song immediately follows her death in this story and allows the listener to follow her on her downward spiral into Hell, where the remainder of the album takes place.

You balance being both a performer and a music educator. How does mentoring young artists influence your own creative journey?

I truly learn just as much from them as they do from me! I'm still very much learning and growing as a performer and an educator, but I feel so lucky to have gotten to teach, connect with, and learn from so many incredible musicians since I started teaching 10 years ago. I also think that in a field that can feel so vulnerable and personal, it's really important to have someone in your corner building you up. Knowing there is always something positive to be found and built upon is something I constantly remind my students, and it acts as a reminder to myself. As a teacher, I'm a learner first (the two really go hand in hand), which can make things doubly cool, because every opportunity I have to learn and expand my musical toolbox, I know that I'm learning it to bring back and share with students as well. 

I once had a music teacher tell me that if you can't find an opportunity that feels like a good fit for you, you can create your own opportunities. As I navigate my career in both performance and education, I hope that any opportunities I create can act as both proof and a pathway for my students to create that space for themselves.