Enfnts Terribles

You’re currently in Los Angeles. Why is it such a good place to work on new music?

Since I moved to LA, I became such a better producer because I started working with all these different people that come from so many different areas in music as well. Some are from the Berklee College of Music in Boston and are amazing musicians, while others—like me—come from dance music and sampling. You end up working with all these different people with different skill sets, so all these collaborations are probably what’s special about LA to me.

You’re a DJ and producer. What fascinates you about electronic music?

I grew up in a small town in Australia, and I had friends with older siblings that were really into dance music. Therefore, we got into it and started listening to Squarepusher and Kraftwerk. That drifted into raving and when I moved to London, I got so into the scene there. It’s such a great culture and fun community. I was on forums and love this side of it because I was finding new music and got to engage with the community.

During that part of my life, I was going out a lot and got into DJing. You make something, give it to a DJ, and hear it getting played in the club, which is so exciting. It’s also so fun to work as a producer and songwriter having that background because it helps me realize that all these years consuming music in that way is something I can bring to the table. Combining that with songwriting and pop music, which is, in essence, making the simplest idea, is the most satisfying.

How did the London club scene shape you?

Even when I was in Australia, I was so into the music coming from the UK. It definitely shaped my palate of things I gravitate to soundwise, even when I’m making pop music. I was super inspired by artists like James Blake, that came from being a purely electronic artist, or Mount Kimbie. There were so many artists coming from the UK that had this unique palate with these incredible sounds and textures. In being influenced by that scene, I still feel like I’m injecting that in my music now.

Dancing in a club seems to be super far away at the moment. How do you try to fill that gap in your life?

I think it’s by making a lot of new music. I just had such a fun week and worked with some friends. We all got tested before and we were just looking forward to being around people. When you’re writing stuff, you’re so excited that you’re dancing to it. I fill the gap by experiencing music with friends and truly get excited about creating music. I do miss going out, hearing live music, and going to festivals, so I really hope we get that back this year. That’s definitely a missing part of my life right now.

What’s the first thing you’re going to do when you’re back on stage?

I haven’t allowed myself to think that far because I get too sad about it not being right around the corner. I just try to get excited about making new music, which is something I’m doing right now. It’s been kind of nice to have this break and making so much new music because I will approach it with a fresh take. I don’t know what I’m going to do, but I can’t wait to return to a stage.

There are only a few female producers and DJs that get the recognition that they deserve. Do you feel that people in the industry treat you differently because you’re a woman?

I think less so now. There are more female producers and artists, so it’s less like a novelty thing now. When I first started out, I felt like I had to prove myself above and beyond. I don’t feel like that anymore. Since I moved to LA, it’s been so great working with artists because for some young artists it’s nice to be in the studio with just girls and write a song. There are always pros and cons in that way.

What do we need to change to stimulate equality?

Just acceptance that opportunities aren’t always handed out equally to everyone. At all levels, there needs to be an effort. We need to have women at the top levels of record companies, we need black executives in the major labels, and we need A&Rs of all genders (editor’s note: Artists and Repertoire look for talent). We have that, but we need more of it because that will help it trickle down. There’s already been so much progress, but there’s also so much more that has to be done. I want to be better at knowing my worth when I’m working with a male producer. It doesn’t come naturally to me to ask for the same amount, which is something we should look out for within ourselves and also within our community and industry.