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Blog Showcasing Singer Songwriter Talent

Breaking the Silence with 6am – An Interview on Growth and Genre-Bending

If you’ve ever wondered what it sounds like when persistence shapes poetry, Toronto-hailing artist 6am is your answer. With roots in freestyling and battle rap, and a release schedule that would exhaust most, 6am opens up about what keeps his pen sharp, his melodies evolving, and his truth wrapped in carefully coded lyricism. In this interview, he talks about why freestyling remains crucial to his creative process, how his city fuels his dualistic sound, and what it takes to turn self-doubt into vocal strength. From his recent drop For the Better to his ambition of building beats from the ground up, 6am is an artist who refuses to stall creatively—or emotionally.

You cut your teeth freestyling and in battle rap circles—what do you think that background gave you as an artist that still shows up in your studio work today?

In terms of process, I start most of my songs by freestyling to get a concept and/or melody before actually writing the song. Sometimes I end up freestyling entire verses and hooks, and we just keep them as is because of how raw the energy is – it becomes a useful tool when I’m in writer’s block as well because I don’t have a chance to overthink what I say. In terms of mindset, it’s my relentlessness and ability to prepare for a session – once you have practised and rehearsed something so many times, you can adapt to the feelings you have in the moment while maintaining the vision. 

You’ve been releasing music since 2016, but your recent tracks like Blessings and TonyinLA feel like they hit a deeper emotional register—what’s changed for you creatively over the years?

Music is a craft that is impossible to fully master. So I don’t believe in a plateau. As I continue to hone in on my work, I continuously get better at conveying my emotions, whether that be sadness, euphoria, or showcasing the rougher edges of my personality. Nothing has changed in terms of my creativity; I’ve just gotten better at the craft 

A lot of your lyrics are drawn straight from personal experience. Is there ever a line you hesitate to cross when it comes to putting your life in your music, or is transparency a rule for you?

I rarely get that feeling because I’ve learnt to be cryptic with my messaging. If I feel like I’m going to say something that may have repercussions, I’ll make sure it’s presented with a bow on it. 

You’ve spoken about the rawness of Toronto shaping your sound. Can you tell us a bit about what it means to channel both the beauty and the betrayal of your city into your storytelling?

A major component in what shapes my mantra is balance, and Toronto is something that showcases both sides of the spectrum at the most polarizing degrees – the weather is a great example of that. It’s what shapes the people who live here. And you can see how multifaceted many of the artists that have come out of here are – Drake, The Weeknd, Tory Lanez. I believe the polarity is a reason why we have so many great artists coming out of the city. 

It’s rare to see an artist commit to dropping music every two weeks—what pushed you to take on that level of consistency, and how are you keeping it sustainable?

NOT SUSTAINABLE LOL

There’s a strong melodic streak running through your work now that sits right alongside your lyrical sharpness—did singing come naturally, or was it something you had to grow into over time?

I was not a good singer. To the point that I’ll catch myself doubting my abilities now. I only used to rap till  I learnt that the vocal cords are like a muscle, and that they can be trained. So I train them and practice night in and out.  In order to grow as an artist, things have to be learnt and skills have to be sharpened, and I knew I would have to learn how to sing if I wanted to have longevity and the ability to innovate creatively. I still have so much more work to do, but the improvement from when I first started to now should motivate anybody who’s thought about singing. 

You’ve clearly built a sound that doesn’t stick to one lane—how do you decide what a track needs stylistically, and are there any genres you’re itching to experiment with down the line?

I seek a feeling and vibe that I want to convey and connect with people on. I get bored easily, so it’s tough for me to stick to one style, but that’s what makes art so fun. You can do anything you want within the confines of 12 notes. I want to eventually get into my own production. I’ve dabbled before, and with a lot of hand-holding, I’ve contributed on a few beats, but I want to create my own EDM song (particularly some melodic house type sound) eventually, where I do everything myself from top to bottom. 

For The Better dropped on May 2nd. What do you hope people take away from it that they might not have picked up from your earlier releases?

That we are where we are exactly meant to be. Don’t doubt the process and smile through the rain – it would have happened with or without you being there.

Stream 6am’s latest single, For the Better, on all major platforms, including Spotify. 

Interview by Amelia Vandergast 

Spyndycyt Gilds Existential Despair with Synth Pop Grace in ‘We Are All So Glad To Be Alive’

We Are All So Glad To Be Alive by Spyndycyt renders celestial light into philosophically avant-garde synth pop gospel. Though the familiar eccentric histrionics of Spyndycyt’s vocals carry the lyrics that make a mockery of Nietzsche’s nihilistic quest to find meaning in meaninglessness, We Are All So Glad To Be Alive is a rapturous departure from Spyndycyt’s former alt-electronic pop releases.

With polyphonic synth pop progressions which baptise you in the warmth of embracing how there’s beauty in the suffering and life, in its imperfect form, is deserving of gratitude, the revelation within the release will help anyone push forward with maximum momentum. The next time you’re tempted to attend a self-pity party, just hit play instead.

The Boston-based conceptualist and sonic architect behind Spyndycyt has never cared to conform to genre or emotion in any traditional sense. Where most artists build hooks, Sam constructs labyrinths of introspection; think of the track as a field guide to surviving the psychological quicksand that comes from dancing with your lizard brain. That primal, snarling voice hissing doubts and self-flagellations is outed here, then diffused with a holy fusion of synth grandeur and unfiltered spiritual reckoning.

Each verse reaches for transcendence while acknowledging the ugly, bloody scuffle it takes just to stay upright. But here, existing is framed as a sacred act, and each harmony is a hymn to the fragile ecstasy of carrying on.

We Are All So Glad To Be Alive is now available to stream on all major platforms, including SoundCloud. 

Review by Amelia Vandergast

Mimi Satanistá Poured Napalm Over Neurodivergent Fury in the Industrial Glitch Sermon ‘RAGE IS A RITUAL’

Mimi Satanistá

RAGE IS A RITUAL by Mimi Satanistá is a caustic cut above the rest of the plastic posturing of industrial pop. Raw nerves were threaded through the glitched-out waves in the progressions as the spoken word poetry sees venom cascade over the frenetic pulse of the adrenaline in the track. If you love artists in the same vein as Poppy, ANGELSPIT, and Vicious Precious, RAGE IS A RITUAL will dig into your desire to unchain your rage, allow it to tear through your skin and reach an outlet as it flows through the fervour of the rhythmic volition.

As a Mancunian, I can’t help but adore the way Preston’s Mimi Satanistá allows her North West roots to pull through in the cadence of her spoken word verses; there’s no pretence or assimilation here—just one unreckonable force moving to the vanguard of the industrial glitchwave scene with her refusal to contort herself for commercial potential to the expense of her authentic expression.

The centrepiece of the upcoming TRANSMISSION_FROM_THE_VOID EP plays out like a signal to the deviant and displaced. After surviving a psychosis diagnosis in 2022, Mimi found her voice in the chaos and tore through the static to build a lifeline for anyone still submerged in white noise. This is outsider music at its most confrontational and redemptive.

RAGE IS A RITUAL is now available to stream on all major platforms; discover your preferred way to listen via the artist’s official website. 

Review by Amelia Vandergast.

Witch of the East Cursed the TERF Crusade and Scored a Soundtrack for Resistance with Geist Girl

Witch of the East needs few introductions these days; she’s prolific in her mission of reshaping culture while too many still scrape around in the gutter, mistaking their thin-skinned bigotry for moral concern. Every track she creates, every post she publishes, every poem she breathes into the world is an act of resistance, which repurposes hate, exposes it, and uses it to charge a counterculture movement.

As a trans TikTok trailblazer, viral visual artist, poet, and darkwave siren, all her talents alchemise to advocate for trans rights and expose the most spectral sides of souls who’ve discovered the pain of self-awareness in a world that demands we sleepwalk through hegemonic fantasy. Instead of flinching from the darkness, she cracks it open and lets something altogether more powerful pour out.

Every day, Witch of the East puts herself in the digital firing line to bring awareness to the absurdity of the vilification of trans people. Since the UK Supreme Court’s ruling that trans women aren’t legally recognised as women — a ruling as vile as it is historically regressive — she’s only intensified her output. While others pander, she retaliates. While trolls try to bury her in hatred, she builds platforms from the ashes.

With the release of Geist Girl, she gave every prejudiced projection of hate a face by orchestrating a sonic exorcism around hypnotic oscillations, strobing synths and echoes of industrial machina motifs, pulling viewers into a haunted dreamscape where the violence of transphobia can no longer hide behind language like “concern” or “opinion”. Each message that appears in the video is real. Each one stings with the ignorance of those who don’t realise — or don’t care — that their words can kill. Their dialect is crass, common, and cowardly, regurgitated without a second’s thought for the consequences.

But Witch of the East gave them a platform they never anticipated: one where their bile was neutralised by art. One where their words served only to showcase how grotesque they’ve become. Refusing to contort herself into a distorted image to appease the obnoxious entitlement of people content to make hate an integral part of their identity, she gave us this:

“This video is a response to the wave of negative messages I received after publicly sharing my truth as a transgender woman. Following a major legal ruling that questions the identity of trans women in the UK, these messages came pouring in — each one a window into a growing cultural shift. But this video isn’t just about one person or one moment. It’s about what happens when fear turns into division — and how that division is used. History has shown us: it never stops with just one group. It always spreads. Until even those watching in silence realise: they were never safe either. This is a document. A reflection. A call to think deeper, love louder, and stand together before more is lost.”

TERFs, who posture as protectors while doing the work of oppressors, should consider this their reckoning. They’ve turned their backs on liberation to cling to a bigotry that masquerades as principle. Their obsession with borders — between male and female, between us and them — reveals more about their insecurities than any trans person ever could. They aren’t defending womanhood; they’re defiling it.

Witch of the East doesn’t owe them, or anyone else, an explanation. Her humour, strength, and grace should serve as a template to humanity, not the baying mob simping around JK Rowling like she’s the messiah of gender-critical ignorance.

And now she’s not stopping at a music video. She’s hosting a protest disguised as a gig. A space for fury, unity, and unapologetic resistance.

PROTECT THE DOLLS

This is a line in the sand.

The UK Supreme Court has ruled that trans women are not women. They’ve forced us into men’s bathrooms. They’ve stripped away our dignity, our safety, our rights.
We will not take this quietly. We will not disappear.

PROTECT THE DOLLS is a full-throttle protest show — a night of power and resistance — raising funds for trans charities, fighting for the rights of trans youth and the wider community.

May be an image of 1 person and text that says "PROTECT THE DOLLS HERE FOR CULTURE WITCH OFTHE EAST FLESH AVD PLANET A 小9 EX-A1 ISONDRICS +MORETBC SATURDAY 24TH MAY 2025 PARISH TEMPORARY TAKEOVERAT AT BREWDOG HUDDERSFIELD -29ZETLANDST ST HUDDERSFIELD HD1 2RA DOORS 7PM/ Il 14+ WITH ADULTS E8ADV WE CANNOT WWW.PARISHPUB.CO.UK TICKETS FROM SEETICKETS VINYL TAP RECORDS CRASHRECORDS/TURNTABLECAFE CRASHRECORDS/ TURNTABLECAFE TURNTAB THIS ALONE. STAND WITH HUS. TOGETHER FIGHT TRANS RIGHTS FOR DIGNITY FORLI LIFE. FEALALAFELOEROREEE CHARITY) MERMAIDS"

Line-up:

● WITCH OF THE EAST — goth, darkwave, and electronic resistance straight from the frontline.
● FLESH PLANET — ex-Allusondrugs / Allusinlove members, fusing grunge, industrial, and rebellion.
● A VOID — London’s chaotic grunge-punk powerhouse, armed with venom and heart.
● more to be announced

Saturday 24th May — The Parish, Huddersfield
£8 advance / Pay What You Decide
All proceeds to trans rights initiatives.

If you care about justice, you’ll be there. If you’re tired of silence being mistaken for neutrality, you’ll lend your voice. And if you still believe art can change the world, you’ll stand with Witch of the East. She’s already done her part. Now it’s your turn.

Discover, support and follow Witch of the East on all major platforms via this link.

Review by Amelia Vandergast

Francesca Pichierri Spills Kinetic Light Through Lynchian Shadows in ‘Nel Dolore Cerca La’

Francesca Pichierri crafted Nel Dolore Cerca La as a requiem for what could have been lost and a hymn to what remains. With 80s-esque reverberant synths that resound with Lynchian style hitting the same evocative sting as the imploringly soulful vocals, Francesca Pichierri allows the single to become a manifestation of the pain and pursuit for beauty that inspired the release.

The single is a meditation, not of transcendence, but one that compels you to sit with the heaviness that echoes through the instrumentals; allow them to wash over you and resonate with the pain you carry within. If any pop hit perfectly encapsulates what it means to be human, it’s this installation of pure artful evocation. The way the instrumentals evolve into an avant-garde darkwave flood of kinetic rhythms visualises the way that trauma allows emotion to take control and leave us on autopilot as it takes us to unexpected destinations.

The timing of the release—May 8th, World Ovarian Cancer Day—reinforces the weight of this final single from Cellule Stronze, a concept album rooted in the ongoing battle of Pichierri’s mother with ovarian cancer. Nel Dolore Cerca La isn’t abstract emotion—it’s a declaration, a vow, a sound-stamped moment of fear, love, and fragile hope. From the Apulian folk inflections to the crescendo of anguished screams to the real-life conversations Pichierri recorded while her mother recovered, the intimacy is the spine of the production.

Francesca Pichierri’s control over every compositional detail creates something that holds the weight of what words alone cannot express.

Nel Dolore Cerca La is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

‘Moon in Libra’ by Bryony Lloyd Suspended the Noise of Now in Timeless Folk Stillness

The reverie of the folk reverence in Moon in Libra belies the city Bryony Lloyd now calls home. With a voice that resounds as though it has never inhaled the smoke of industrial streets and becomes the epitome of harmonic purity, her standout single from her Ariel EP and all of the quiescent questioning it carries transports you away from the suffocation of modernity and noise, cradling you within its diaphanously seraphic atmosphere.

By letting her voice become the focal point as the motifs act as embellishments instead of a driver of momentum, it’s effortless to slip into Moon in Libra, which explores the grey area between platonic and romantic affection. Nothing about the lyrics, which strike hard with narrative imagery, feels tainted by the 21st century, giving this release a timeless touch to caress its expansive crossover appeal.

Through her discography, the Manchester-based folk artist invites her listeners into a world crafted through gentle vocal nuance and emotive introspection. Raised in South East London and now an unmistakable presence in Manchester’s rising folk scene, Bryony Lloyd has become synonymous with lyrical delicacy and haunting melodies, securing airplay on BBC Introducing and BBC Scotland. With performances at Green Note, London and YES, Manchester, her acoustic whispers continue to reach wider audiences—without compromising their intimacy.

Moon in Libra is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Ann Aarat Exorcised Liminal Longing in the Downtempo Nocturne ‘stay awake’

With her divine talent in sound design, Ann Aarat cast spectral shadows over the luminescence of downtempo trip-hopped sensuality in ‘stay awake’. Rather than jarring, the syncopated beats let you sink into the sporadicism of their rhythm as Aarat pours ethereal harmonies over the intricately poised textures and tones that will make any leftfield electronica fan feel right at home. There’s no urgency in the soundscape, only a hypnotic surrender to liminality as her vocals drift through the arrangement like half-remembered dreams. ‘

The second official single from the Delhi-born, New York-based artist was synthesised while she was studying at Berklee College of Music. Now making a name for herself as a DJ, singer-songwriter, producer, and experimental sound designer in NYC, Aarat takes her time with her releases – and it shows. The precise stutter effects, lush reversed vocal swells, and fluid atmosphere speak to her desire to make music that lives and breathes in its own sonic dimension.

Aarat’s background in Mumbai and her ongoing devotion to sculpting otherworldly tones through field recordings and Ableton have culminated in a track that scratches the itch for intimacy without spilling into confessional territory. If this is the sonic skin she intends to inhabit while working towards film scoring, she’s already found a place where nuance reigns supreme.

‘stay awake’ is now available to stream on all major platforms; for the full experience, stream the official video on YouTube. 

Review by Amelia Vandergast.

Jonathan Stephen Braught Raised a Kaleidoscopic Middle Finger to Convention in ‘Drug Shed’

Drug Shed from one of the most visionary troubadours of psychedelic country in the 21st century, Jonathan Stephen Braught, is a short, sharp sunstroke of sonic disobedience. Surfy, swanky, angularly kaleidoscopic guitars carry plenty of the instrumental weight in the single which ebbs and flows like the waves under the California sun as Jonathan Stephen Braught injects a little garage rock panache into the tropic psychedelic country pop earworm with his playful reprise of ‘I wish I had a drug shed’ which embeds itself into the playful vignette of mind alteration that conjures feelings of complete renegade freedom. Jonathan Stephen Braught is one of the rare kinds of artists you hear once and feel yourself become instantly endeared to. He’s a vibe in himself.

Operating somewhere between the sonic smog of lo-fi country, basement Americana and psych rock, Braught’s songwriting becomes the perfect circle in the unfiltered, weirdly witty, raw, and deeply human Venn diagram. His refusal to sand down the edges only amplifies the magnetic pull of his offbeat charm. From the opening hook to the last warped reverberation, Drug Shed rattles with the ragged joy of a brain just unspooling.

Written, recorded, and mastered in a creative flash fire as part of his latest project, Unorganized Crimes, Drug Shed is a bleary, unapologetically imperfect dispatch from a mind determined to make noise that tells the truth—even if it’s duct-taped together with half-broken guitars and fried drum loops.

Drug Shed is now available to stream on all major platforms, including SoundCloud. 

Review by Amelia Vandergast.

Clay Goodman Let His Lyrical Vulnerability Echo in the Lo-Fi Reverie of ‘Hello’

Clay Goodman

Clay Goodman made a soft yet indelible entrance with his debut single, Hello; a fitting title for the lo-fi acoustic release that quietly beckons listeners into his alt-indie introspection. The short, sweet, and saturated-in-delay track resounds in the raw vein of Elliott Smith, using gentle yet emotively aching guitar lines to create the atmosphere that the seraphically ethereal vocals drift into. It may be a very brief introduction to Clay Goodman, but it is one that makes an affecting impression and one that proves that once he’s ready to take the leap with a less abstract single, he’s going to take the alt-indie scene by storm.

After a decade of writing in rural Virginia, Goodman’s decision to launch with a track that holds itself back from grandeur is a statement in itself. Every part of the track, from the minimalist production to the distant vocal presence, was shaped entirely by Goodman himself, revealing not only his artistic intent but his restraint.

Rather than using polish to mask the fragility, the production lets it breathe. There’s no demand for resolution—only a request to listen closely. As the reverb trails behind each phrase, the weight of creative solitude lingers, making this lo-fi lullaby feel like a secret you weren’t meant to hear, but needed to.

Discover more about Clay Goodman via their website. 

Review by Amelia Vandergast.

Oslo Electro Pioneer Y is Nature Wired Espionage into Electro-Intimacy in this Exclusive A&R Factory Interview

Evasion by Y is Nature

In conversation with A&R Factory, Y is Nature unpacks the mechanics behind Evasion!, a cinematic concept album rooted in spy fiction aesthetics and laced with ironic self-awareness. From John le Carré to D’Angelo, the inspirations are as eclectic as the execution is sharp. The Oslo-based producer discusses how spontaneity and collaboration shaped the album’s character, how Portishead’s influence informed his preference for female vocalists, and how themes of disinformation and emotional ambiguity creep through the tracks. This isn’t about pastiche or homage—it’s about refracting big emotions through playful motifs and sonic espionage.

Welcome to A&R Factory, Y is Nature – it’s a pleasure to have you with us to discuss your latest mission, Evasion!

Evasion! strikes a fascinating tonal balance between the melodramatic flair of classic espionage tales and subtle personal introspection—how did you shape the emotional undercurrent of the album without tipping into parody or pastiche?

Hehe, good question. I guess it is kind of tricky. But one thing is that I never set out to do a straight-up imitation of espionage film music. I’ve been approaching the theme, let’s say, through more of an alternative/indie rock/pop lens. The other thing is that we’re all fully aware this experiment dances on a fine line between cliché and stylized expression, and that it’s very much subject to scrutiny. That’s why we try to embrace the universe and concept with a sense of humor — like in our first music video Transition, where two adult spies play hide and seek in the forest with toy pistols. It is meant to be fun and at the same time heartfelt.

The project feels meticulously composed, yet there’s a sense of looseness in the arrangements that allows each track to breathe. What role does improvisation or spontaneity play in your creative process, especially within the context of a genre as stylised as spy pop?

Another very good question. And you’re right – It’s definitely composed, but at its core, it all starts with some kind of improvisation. I tend to begin from scratch, usually with a guitar, piano, or a beat, and then build from there. On Evasion, there’s one track in particular, Take Care of Mewhere the starting point was the ascending five-note motif from Tchaikovsky’s Swan Lake, Op. 20, before it veers off in quite another direction. Beyond the composed chords and melodies, the background soundscapes — often made up of synth arpeggios, LFOs, and other ornamentation — are pretty improvised. That, along with field recordings and samples, adds an unpredictable texture to the whole thing.

I think the looseness you’re picking up on might come from the need to make quick decisions — especially when working with a group of musicians and vocalists, many of whom I didn’t know that well before heading into the studio. There’s also the practical reality that this project was tied to a hard deadline. We risked losing some funding from the Norwegian FLB, so we had to push through and finish. That urgency can create a kind of raw energy. So you could say that, on the other hand, it hasn’t been all that spontaneous, hehe. I really felt like I had to carve out something really personal and meaningful—fast.

Your studio on Christian Kroghs Gate in Oslo has become the command centre for this release—how does your environment influence your sonic decisions and the atmosphere of your recordings?

Well, I think my studio has been more of a technical command center — the place where all the ideas come together, if that makes sense? It’s where I shape the pieces and bring everything into form. But in terms of inspiration, I’d say it’s more about cultural impressions, personal taste, and life in a broader sense that really influence the ideas. The studio is where I refine them, not necessarily where they begin. With Evasion, I’ve been in many different spaces along the way. But again, good question! I have to think more about that one…

You’ve enlisted a range of musicians and cultural contributors to build out this sonic espionage world. What were you looking for in your collaborators, and how did their input shape the final cut of the album?

I wanted the project to become a platform for me as a producer to collaborate with many different creative people — partly because of my immense need for socialization, but also to experience, learn, and expand my network. Over time, music has become something I need to do in collaboration. I can come up with ideas on my own, sure, but I don’t want to walk that long and dusty road entirely alone.

I also have to say that I was specifically looking for female vocalists. It’s a bit hard to explain exactly why, but Portishead has been a source of inspiration for this project — so maybe that says it. More broadly though, I wasn’t searching for any one type of person. I just wanted to work with people who felt drawn to the idea and wanted to step into this universe. And Im so grateful and happy to have found both Martin, Tuva, Ronja, Sindre, Einar and many more talented creators and artists who all have been a major part of the shaping of Evasion.

Was it important for you to build a conceptual framework around the project first, or did the sonic identity of Evasion! emerge more organically as you wrote and produced the tracks?

The whole spy thing came from the start. I wanted the project to have something cinematic and conceptual. In my case, it made the whole affair of making new music and crafting an album a bit more intelligible — both from an internal and external perspective. It’s just easier to explain what you’re doing when you have something clear to hang it on. But it took a while for me to settle into an even more direct understanding of the concept. Namely, the concept of spy pop.

Themes of surveillance, deception, and emotional ambiguity run deep in the album—do you see Evasion! more as social commentary, a personal reflection, or a calculated mix of both?

I think it’s a little of both — and a kind of cinematic imitation. As far as social commentary goes, it’s maybe mostly about trust or distrust in information. Nowadays, with so much disinformation, misinformation, and general noise circulating online, you can easily get disoriented and lose your ability to distinguish truth from fiction. And I like to believe that there are certain truths out there. And that these truths are important and have real value.

On the personal side of things, there are definitely some aspects of the spy figure that I identify with. That’s also part of the story I’m telling — but I’ll leave that for another conversation.

With your background in indie and neo-psychedelia, what drew you towards the cinema of spy fiction and its soundtracks? Was there a particular moment or influence that pushed you in that direction?

Well, I had read some John le Carré and had “Really Love” by D’Angelo stuck in my head for more than a year. That intro — the chord, the Spanish guitar vibe, the swingy rhythm — was all something I was really into at the time. I thought it had a real “spy feel” to it, so that became the seed of the idea: Spanish guitar, swing beats, and a very sneaky vibe. The project turned out quite different, but I think you can still hear traces of that D’Angelo inspiration in there.

There’s a tongue-in-cheek charm to some of the motifs in Evasion!, despite the gravity of the themes. How do you maintain that delicate tonal friction without undermining the tension you’ve built into the narratives?

Well thank you! I am trying to strike a balance between seriousness, playfulness, and humor. I have a tendency to write soft, romantic tunes, so leaning into more humor and upbeat, rocky material is actually a bit of a challenge for me. I love irony though and maybe this album just says something about me as a person. The Y is Nature project can in that sense be a gateway or a symbolic venture into the mind of a true Danish-Norwegian musical agent — someone who tries not to get completely overwhelmed by big emotions, but still loves to dig just a little deeper.

Evasion! Is out NOW! Stream the LP on Bandcamp.

Interview by Amelia Vandergast