Last year the Copenhagen-based artist dropped her debut album, Dozakh: All Lovers Hell, which tells a dystopian take on love, devastation, and death. This September, Tehran released an extended version of her LP, which has garnered remixes from Scandinavian artists such as HABIB1, Bella Boo, Kablam, and Merely. We met in her workspace to talk about her musical influences, rootlessness, and why being a Nazi killer ultimately hurts.
Where did the initial idea of extending your album come from, and how was your creative process of making it?
After I released the record, it felt as if it left me and became something that wasn’t mine anymore, and I felt that these questions inspired me to further explore my own work. I’ve done that through different ways now.
The first part was when I created an exhibition: Inherited Void. It was a way for me to physically manifest what the record was about. To create a physical space where you could understand, read, and experience the concept of Dozakh through other artist’s interpretation. And so, now it’s this organ that’s living its own life, and I can just be friends with it.