Your debut album Nymph finally arrived. What’s the main sentiment you have now that it’s out?
I’m actually very happy that it’s out. It’s nice to be able to talk about it with people that know what it sounds like. It was always weird trying to conceptualize the sound, and it’s nice that people can add to the conversation. It’s not just me describing what it’s going to be like and how personal it is to me. The album has more life now because other people are attached to it. It’s what I always wanted, and I like to have people engage with Nymph rather than have it for myself.
Nymph sees you dive into different soundscapes. What would you consider your main inspiration for Nymph?
I listen to a lot of different music, so there’s always going to be a genre-blending to how I make music. I listened a lot to Madonna, and she’s definitely someone who has lived in different eras and genres and played with different things while staying authentic. That’s something I only hope to do with my own music. It’s the benefit of being able to listen to other people’s careers in hindsight. I can consume all these decades of Madonna in just one session and can look at it as one whole rather than having to engage with it as it’s coming out.
That’s why—when I do my own music—it ends up being blended like that because I have been consuming all these different genres. For me, it’s the missing part of hearing it or all this mixed up together. Most people stick to one genre, but I lean into playing with it much more. That’s the space left empty for me. I don’t want to be too much in someone else’s name but want to make something unique. I like to fill the missing part and want to make something you may crave in the assets of it.