LDDWYD (Love Don’t Do What You Did) came together really quickly from what started as a poem — what was going on in your head at the time that let it come out that honestly?
I’d actually written a lot of LDDWYD already in my notes app after this super intense dream about an ex. We were chasing each other through this dense forest- it felt really desperate and exhausting. When I woke up, it hit me that we’d been weaponising love and hurting each other over and over again. That realisation was so hard to come to and quite confronting, and the lyrics came straight out of that moment of clarity.
There’s that realisation in the track about loving someone who can’t love themselves — was that something you fought against for a while, or did you kind of know deep down where it was heading?
I definitely fought it for a long time- years. I was really in love with them.
But I think deep down I knew we were both struggling with self-worth, and that was kind of the root of everything. I’ll probably always love them unconditionally, but I had to stop loving them blindly.
The title feels pretty direct, almost like calling it out for what it is — did that come naturally, or did you go back and forth on it?
It kind of named itself, to be honest.
When I was in the studio with Sunday and Nadia, we just started calling it “LDDWYD” as a shortcut, and it stuck. It felt honest but also a bit cryptic, which I really liked.
You’ve described the song as an “introspective collapse” — when you’re actually in that space, what does creating even look like day to day?
It’s honestly not cute at all hahaha. It’s messy and really repetitive. I was basically just sitting in one feeling and trying to understand it through writing.
I wasn’t making full songs- it was voice notes, random lines, half-thoughts. Even the repetition in the track, like “you don’t know what love is,” came from saying it over and over because it hadn’t fully landed yet, and because it felt validating.
There was also this weird split where part of me was still confused, and another part of me could see everything super clearly. That’s where “I think life knows something I don’t” came from.
So yeah, it wasn’t structured at all- more like grabbing little moments of clarity in the middle of the chaos and not judging myself or trying to clean it up too much.
The video at Flinders Blowhole has that slow climb from sunrise to sundown — was that idea locked in early, or did it evolve once you were on location?
That was actually really clear in my head from the start. I brought it to Pat from Tunelab and he immediately got it, which made everything feel super easy.
But on the day we definitely played around a lot. The core idea stayed the same – the climb to the cliff edge symbolising my journey to the realisation, the emotive performance- but a lot of the smaller moments, especially the drone stuff, just happened on the spot.
Your Chilean heritage seems to shape how people connect with your music, especially within the Latin Australian community — do you feel that when you’re writing, or only once the songs are out in the world?
I think I feel my heritage more present as a sense of purpose when I’m writing.
I think about the women in my lineage who didn’t have the same freedom to express themselves, and that kind of pushes me to be really honest. Then visually, I like to bring it in more intentionally. Like the REMUSE Designs outfit was flamenco-inspired, and the braids and white liner were my own little nod to mapuche ancestral practices including long braids and face paint to symbolise spiritual transformation- just reinterpreted in my own way.
With Cry Until We Laugh, it feels like you move through a lot emotionally — grief, anger, then something closer to peace — did you always see it as a full story like that, or did it click later?
It kind of revealed itself to me over time, like a cool puzzle to figure out.
Looking back, it doesn’t just feel like the story of the EP- it’s actually how I move through heavy emotions in my day-to-day life. I really have to feel everything and ‘cry’ before I get to inner peace and joy. So it ended up reflecting how I process heartbreak in real time, without me even planning it. It’s so cool when that happens- when the art mirrors life like that.
Switching between English and Spanish adds another layer to the storytelling — do certain emotions just land better in one language than the other for you?
Yeah, 100%. Sometimes it just happens naturally- my brain will go to Spanish and I won’t question it. Other times it’s more intentional because it just hits harder emotionally.
You’ve mentioned having to “trust fall” into your community while making this — who were the people that really showed up for you during that time?
Definitely my family- my mum, dad, and little sister.
My friends and bandmates at the time were amazing. They gave their time and talent, and really believed in my music. That kind of support honestly carried me through one of the hardest times in my life- I don’t think I could’ve made this project or be the person that I am without music and my community.
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