Slot Machine is such a vivid portrayal of modern digital addiction. What was the inspiration behind this track, and how did you come up with the idea of comparing our phones to a slot machine?
The first and only time I heard the analogy of slot machines being compared to phones was while watching The Social Dilemma on Netflix. When you use a slot machine, you never know when you’ll hit the next jackpot. The same applies to scrolling on social media: you never know when the next funny or interesting post will appear. So, you keep scrolling, hoping for that next rewarding moment to pop up on your screen. That’s why it’s so addictive—our brains crave those brief hits of dopamine.
You’ve mentioned that Slot Machine signals a new creative chapter for you. How does this single differ from the music on your debut album All the Colors of the Sky?
This single marks the first time I started a record completely from scratch. With my debut album, All the Colors of the Sky, it was more of a collection of songs I had written over the years—some were as old as six years by the time they made it onto the album. But for this second album, I truly began with a blank canvas, I didn’t even have the colors and supplies ready. At the start, I struggled with writing, which led me to journaling—at least three pages a day. This process helped me organize my thoughts and figure out what I really wanted to say with this new chapter of my music.
The song has a jangly, upbeat vibe but deals with heavier themes like the emotional impact of constant digital consumption. How do you find the balance between light and dark elements in your music?
I just like to wrap sad/heavy emotions in colorful wrapping paper. It’s fun to me. Plus, the irony adds to the message of the song. I feel like it reflects the way we often mask deeper feelings in everyday life, especially in the digital world.
You worked with an international team for this single, including producer Kim Wennerstrøm from Berlin and mastering engineer Jonas W. Karlsson from Finland. How did this collaboration come about, and what was the creative process like?
I discovered Kim while listening to music on Spotify. I was listening to Good Girl Killer by Paula della Corte, and I loved the production. When I looked up who worked on the track, Kim’s name popped up. After checking out more of his work and seeing that he’d collaborated with some pretty successful artists, I assumed he might turn down the project or be out of my budget. But my manager, who’s also a big fan of the song, encouraged me to reach out anyway. We sent the track to Kim, and to my surprise, he really liked it—and the rest is history! 😊As for Jonas, Kim recommended him for mastering, and he did an amazing job!!
Your vocals on Slot Machine have drawn comparisons to artists like Avril Lavigne and Alabama Shakes. Who are your biggest musical influences, and how have they shaped your sound?
Thank you! I love both Avril Lavigne and Alabama Shakes! I think whatever music I listen to has an influence on me in some way. I’m a huge fan of the Motown era—I love the soul and energy that comes from it. Frank Ocean is another big influence, especially his storytelling and unique approach to production. And of course, I absolutely adore Amy Winehouse—her raw emotion and honesty in her music really resonate with me. There are so many more, Vasco Rossi, Djo, Sam Fender, Aretha Franklin…
You’ve performed at iconic venues like Glastonbury Festival and Montreux Jazz Festival. How do those experiences inform your approach to recording and performing new music?
Oh, I definitely make music with the thought in mind that I want to play these songs live. I love performing, and it adds a whole different layer to the way I approach music. It’s more of a gut feeling than anything else, but knowing that I’ll be sharing these songs on stage really influences the process.
In Slot Machine, you talk about feeling discontent despite the constant entertainment from our phones. How do you personally manage the pressures of staying connected in the digital age?
Sometimes I manage it better than other times. I try to put my phone away whenever I can, but it’s definitely challenging—especially since I need it for my job. Still, whenever I get some time off or when I’m hanging out with friends, I tuck it away to be present in the moment.
Your debut album All the Colors of the Sky reached #5 on the Swiss charts and gained significant attention internationally. How did that success shape your approach to creating new music for your upcoming second album?
To be honest, it didn’t really shape my approach. I’m in a very privileged position where I can make the music I truly want to create. The only real pressure comes from myself—I always want to grow and improve with each song I write.
You’ve shared that music allows you to communicate and process emotions that you might not express otherwise. How has songwriting helped you navigate life and your artistic journey?
I’m not always the best at expressing my emotions or how I feel in the moment, but music helps me a lot with that. Writing songs gives me the time and space to think through every line, which allows me to really process my thoughts and emotions. It’s like a way of understanding myself better.
With Slot Machine marking the beginning of your new project, what can we expect from your upcoming second album in 2025? Are there any exciting new directions you’re exploring?
I always find it hard to answer this question because I don’t want to set specific expectations for what people will hear on my upcoming album. I just want listeners to enjoy the music, take their time with the lyrics, and really immerse themselves in it. I think it’s fun music—music that I truly enjoy creating. I poured a lot of time and thought into it, obviously. In terms of gerne, rock has definitely had a stronger influence on this album, making it a bit more in-your-face overall. It’s more critical of the world and myself, but there are also very vulnerable, quiet moments. I think it’s best if you just give it a listen! 🙂
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