Los Angeles, CA. East side all day.
It’s felt like a surreal dream. No one tells you about the extreme catharsis you feel after finishing a record–all this hype and pressure builds up to the release date, and then once it is out in the universe, you feel extremely free. I’ve been really grateful for the positive feedback from Ilium, but I’m almost more excited about getting back in the studio to work on my next solo album. I feel a sense of playfulness and a confidence in taking experimental risks that I didn’t have before.
Tsuruda and I have been friends and collaborators for years — we’ve definitely always shared a passion for abstract sound design and experimental music. The PAINT project is the beginning of our attempts to synthesize our shared vision of electronic music as an art form, incorporating visual aesthetics at live shows and also pushing the boundaries of music that isn’t boxed in by genre definitions.
It’s been great, we’ve both really challenged each other to create beyond our individual comfort zones. It’s also felt really natural in the studio, because we have complementary strengths and weaknesses when it comes to production techniques. I’ve pushed him to incorporate more cinematic soundscapes, abstract breakdowns, and obscure samples, and he’s pushed me to allow more club-driven rhythms and halftime-influenced structures. The end result is a sort of fusion that hits beyond what we initially imagined, and we are both really excited to release the EP.
Tsuruda comes from an all-encompassing love of hip-hop, whereas I draw inspiration from electronic music and the fusion of technology and art. We share an overarching love of jazz music, and we’ve tried to structure our writing process around those influences. It’s actually worked out really well because I’ll be able to start a tune that has electronic origins and some weird sound design, and Tsuruda can lay in some hip-hop elements to create tracks that have a more danceable, hyped energy that is uniquely different from our solo work because of the diversity of influences.
I’m not really surprised by the outcome of each track. Going into writing the EP, we had a pretty clear vision of what we wanted to include and exclude. Additionally, since we were working with 20/20 LDN on the release, we wanted to target the EP towards the global half-time movement. I have a lot of respect for Ivy Lab, and their work fusing drum & bass production techniques with hip-hop rhythms was definitely on my mind while writing the EP.
Touring with Mono/Poly has been fantastic. We share very similar intellectual beliefs, and it’s been dope to tour with an artist who I can learn things from while on the road. We’ve been playing some pretty out there venues, from a vegan metal bar in Seattle to a posh club in Costa Mesa, it’s been wild to test my new music out on such diverse crowds. The feedback that has been most shocking for me personally is that at almost every show I’ve had someone tell me they had no idea I was a woman, and that’s been a crazy thing to realize. Until the WannaCry tour I didn’t understand people thought I was a dude because of my musical style. Learning that has made me more proactive about promoting women in electronic music, because it is really important to me to see more female artists behind the decks in the future.
!!! I’m really stoked to get out on the Primary Tour with Tsuruda and X&G. We’re all old friends, and I actually played my first show as Huxley Anne with “G” of X&G. When possible, Tsuruda & I will be performing a full PAINT A/V set in venues that are equipped for this sort of thing. I’ve been spending a lot of time preparing for that, learning new techniques for visual work in Max/MSP, Resolume, and Adobe AfterEffects. Most of my studio time is currently spent creating new content for this tour, with visuals and music, and I can’t wait to share all the new material in a live setting. Every tour I go out on I want to continually push myself to be adding new elements to my performance. Slowly building a whole production takes a lot of time and troubleshooting, but it’s so rewarding to finally see everything come together at a show.
I’m really inspired by concept albums, full creative works that tell a story, and share a narrative with listeners. That type of work has a very deep meaning to me, so towards the end of the year I’ll be working on my next full-length album, and it will definitely include a deeply entrenched narrative that I can’t reveal this early on. You can expect some dope features, I’ve been really enjoying opening up creatively to other artists this year, and I’m definitely going to include some more collaborations on my next release. I know this is all very vague, lol, but expect the direction to grow out of the raw combination of sound design, female empowerment, and honest expression I’ve been working on this year. I am a seed, not yet a flower in full bloom.
Courteous Family is my family in LA. We all moved to Los Angeles around the same time in 2014, and we’ve been a crew ever since. A lot of the artists have become like brothers to me, especially Woolymammoth and Hapa. Having a creative community around me is essential — my ideas can get really alien without other homies around to ground me, and Courteous Family is that grounding influence I need. In the next year, I’m hoping to develop a whole merch line with them, do some dark Gucci shit.
I’ve been all over lately — as always, the homies, Mad Zach has been writing some tunes lately that blow my mind with his innovative techniques. EPROM, Ash Koosha, Blanck Mass. I’ve also been revisiting 2010 electronic music, old Ninja Tune sampler records, Two Fingers. Artists that have been inspiring me include Jlin & Sevdaliza, two fierce women who are pursuing their passion relentlessly this year. In the goddess squad, I see them as blooming flowers, the musical work they are doing is otherworldly & they are nourishing our planet with artistic nectar.