Music

ODALISQUE MAGAZINE INTERVIEWS MAGS text Ruby Rose In the exhilarating lead-up to the release of her new album Herified, Danish electro-pop artist Mags shares the excitement, pride, and emotional clarity she’s found in this chapter of her life. The album’s openness and warmth, blended with intimate, emotive lyrics, resonate with the multi-faceted nature of love that Mags explores. She offers a glimpse behind the scenes of the project – from her creative process to the introspective journey it captures.  Ruby Rose: With Herified so close to release, how are you feeling about everything? Are there any moments from the process which have really stuck with you lately? Mags: Thank you for asking! I am feeling good. I find that right before a release I enter a stage where one moment I feel beyond confident, like the album is the best art anyone has ever made and then 5 minutes later I am full of crippling self doubt and wonder if anyone will ever listen to it haha. Over the past 3 years I have poured my heart and soul into this album and if I’m being honest, I have spent all of my life getting to some of the emotional realisations that I express on this album. So long answer short, I feel super proud, excited, a bit nervous but mainly super ready for people to hear it. RR: Did you approach this album differently from your previous projects? I’m curious if a track like herified set the tone or was there another song that really shaped the direction of the album? Mags: This album is a lot more cohesive thematically than my previous projects. I find that it is a reflection of how much more secure I feel in myself and my emotions at this stage in life. I knew early on that I wanted the album to be called “Herified” and that was a first for me as I usually find the title after I have finished the project. Having the title made it easier to know what songs had a place on the album and which ones didn’t. It gave direction in not a limiting but beautifully curated way. I actually cut out two songs not too many months ago because they did not feel “Herified” enough to me. RR: You reference Monet in the album blurb, the idea that there are infinite ways to view something you love. How do you feel that philosophy takes shape in your music? Mags: Writing songs about love has always been what I’ve been drawn to – and I know I am not the only one haha. Love has so many faces and stages and I am fascinated by how my love for myself has also played such a pivotal role in how I have been able to love and receive love which is what most of my songs are about. All 8 songs on this album have been written about the same love but from entirely different angles and different points in time. The same love can cause such an array of beautiful and painful feelings and I have tried to authentically portray that on the album. RR: Following on from this, the title of your album encompasses a sense of action and reclamation transforming vulnerability into power. What personal experiences have made this theme important to you? Mags: I felt vulnerable in my queerness in my early twenties. I just didn’t know how or where to place my feelings although I always knew that they were real. So being in a healthy and beautiful relationship with the woman I am and have been madly in love with has been the most incredible, transformative, honest experience I have ever felt. Leaning in and experiencing that unstoppable feeling of love has been the best thing ever. RR: How would you describe the overall musical and emotional experience of this album?  Mags: Sonically the album is an open, warm and fun listen. It takes the listener through lots of different tempos and instrumentations. Some songs are primarily guitar based and others float in fun synths. Lyrically it is full of stories of falling in love with all that it entails. Feeling insecure, feeling over the moon and ultimately in my case feeling totally herified. It is definitely a pride filled album in all the ways. RR: Your lyrics have been described as ‘diary-like’ reflecting deeply personal corners of your mind. Is there a particular message or feeling you hope stays with your audience after listening to your album? Mags: There is a sort of bridge in the second verse of the final song on the album called “one thing straight” where it says “calling you out cause you’re assuming”. It speaks to a message I hope to convey which is that in the world we live in we should strive to ask more questions rather than trying to guess the answers. We should be a bit kinder to ourselves and others both on and offline. RR: Looking back, how do you reflect on the journey you’ve been on since your first release? How has that growth influenced this new album? Mags: I think the main thing that stands out is that I know more. I know more about myself and more about the industry. This release is my first release as an independent artist and I am really proud of that. I am so grateful for the setup and people I had around me for the first few years in the music industry; however, it feels so right to me that I now own the majority of the rights to my songs and have total creative control in all aspects of my art. I am going into this release with such pride and a confidence that I did not have when I first started out. And I think you can hear that on the album. RR: What’s your favourite part of making music? Was there a particular song on the

“Blurry Moon” – The New Single by Charlotte Gainsbourg French-British icon Charlotte Gainsbourg is back with a mesmerizing new single, “Blurry Moon,” out this Friday, September 19, via Because Music in collaboration with Saint Laurent. Produced and arranged by SebastiAn, the track shimmers with tender melancholy—Gainsbourg’s voice drifting through the song with haunting delicacy. The release marks a new creative chapter for both the artist and Saint Laurent, whose creative director Anthony Vaccarello makes his directorial debut with the accompanying music video. Shot against the twinkling skyline of Los Angeles, the “Blurry Moon” video follows Gainsbourg along the iconic Mulholland Drive, blending dreamlike imagery with noir-inspired aesthetics. Drawing on the surreal moods of David Lynch and Angelo Badalamenti, Vaccarello crafts a cinematic love letter to Hollywood’s illusions and desires—an elegant, intimate exploration of light, shadow, and longing. “Blurry Moon” is now available on all streaming platforms.  

total look Tanja Vidic and Abbe Mandegar Collaborationshoes Jimmy Choo text Natalia Muntean photography Sandra Myhrbergfashion Louise Dyhrfort Winona Oak’s journey is touched by alchemy. The 30-year-old artist has taken grief, loss, self-doubt, and the pain of her childhood and transformed them into music. Through some kind of alchemy, she has turned her darkest moments into something luminous – songs that resonate with raw emotion and unflinching honesty. “Maybe water,” she says when I ask which one of the four elements would describe her career. “Because I feel like it’s just like the waves. It’s been such a journey: big waves, all the different styles I’ve been exploring. My career has been a lot like waves, too. Up and down, up and down. It’s like life itself. It takes time to grow, to find your path, and to be true to yourself.” hat Piers Atkinsondress Abbe Mandegar and Tanja Vidic Collaborationshoes Jimmy Chooring All Blues art rugs Petrus BergstrandNordenskiöld FROM THE ISLAND OF THE SUN TO THE WORLD Winona’s story begins on Sollerön, a small island in the Nordic forests of Sweden known as the “Island of the Sun.” Growing up surrounded by forests, animals, and the echoes of her grandmother’s unfulfilled dreams, Winona found solace in the simplicity of rural life. “Being around animals was my safe space,” she recalls. “We had five horses, lots of dogs, and even a rescued crow that would sit on my shoulder. I didn’t have to think about how I looked or what anyone thought of me. The horse would love me either way, even if I looked like a troll.” Her grandmother, a gifted performer, was her source of inspiration. “She had this big personality, this joy for life,” Winona says. “She encouraged me to sing, to write, to dream.” From the age of five, Winona was crafting songs, mostly about animals, and finding her voice in the stillness of the countryside. By nine, she was playing the violin and piano. “It was a wonderful childhood,” she reflects. “It taught me to appreciate the quiet moments, to find beauty in the small things.” But Winona’s dreams stretched far beyond the island. After moving to Stockholm to pursue her passion for music, she embraced creative risk, and, in 2017, joined Neon Gold Records’ songwriting retreat deep in Nicaragua’s jungle. It was there she connected with Australian electronic maestro What So Not, co-writing his next two singles, Better and Stuck In Orbit. By 2018, she stepped into the spotlight as both the writer and featured artist on his single Beautiful. That same year, her career reached a pivotal moment when she co-wrote and featured on The Chainsmokers’ hit single Hope. The track became a global success, catapulting her into the spotlight and introducing her voice to millions. “It was surreal,” she recalls. “I went from being a relatively unknown artist to performing in front of massive crowds almost overnight. But it also taught me that success isn’t linear – it’s a journey with ups and downs, and you have to keep growing.” MUSIC AS A LIFELINE In 2022, Winona experienced the most profound loss – the death of her mother. It was a loss that shattered her world and reshaped her as both a person and an artist. “She was my person, my best friend, my source of love and guidance,” she says. “I always turned to her for reassurance. Losing her felt like losing a part of myself. There’s me before, and then there’s this different version after.” Writing about her loss became a way to process the pain. “Music saved me in ways I didn’t know it could. It became the only thing I truly wanted to do. I wrote With or Without You after she passed away, and when I performed it live, people who had lost loved ones came up to me,” she says. “They related to it so deeply. It felt like we were sharing the pain. That’s the beauty of music – it connects us.” The experience transformed her perspective on life and art. “It made me realise how fragile everything is,” she says. “You can lose your world in a second, but it also made me braver. I take more risks now because I only have this one life. I’m less focused on rules and more willing to be vulnerable. The worst has already happened, and grief forces you to evolve.” blazer Pearl Octopuss.ypants and boots Abbe Mandegar and TanjaVidic Collaborationjewellery All Blues and Pearl Octopuss.y THE MANY FACES OF AN ARTIST Winona Oak. Oaks. Johanna. They are all her, yet each serves a different purpose. While her work as Winona Oak is introspective and intimate, her new project, Oaks, explores the world of dance music, her new electronic alter ego. “It’s a way to take all the pain and dilute it, like putting milk in coffee,” she explains. This duality reflects her own complexity. “Winona is fragile, introspective,” she says. “Oaks is darker, more avant-garde. It’s like this club version of me.” For Winona, the separation is essential. “I didn’t want to confuse people or mess with the music algorithms,” she says with a laugh. “But really, it’s about giving myself the freedom to explore both sides of who I am.” “I’m never satisfied,” she admits. “I always want to develop myself, and my sound, and try new things, new genres, and mix things. I never feel like it’s enough. I’m always on to the next thing.” Winona’s relationship with her fans is deeply meaningful to her, and she often receives messages from people who connect with her music on a profound level. “I’ve had people tell me my music saved their life,” she says. “That’s overwhelming, but it’s also beautiful. It’s why I do this – to make people feel seen. When I perform live and someone knows the lyrics, when they sing along, that’s when I know I’ve touched someone.” Her latest EP, Salt, was released in February, and with it, Winona Oak is stepping into a new chapter – one defined by growth, resilience, and

Lowheart – The Art of Turning Vulnerability into Song text Alicia Hurst photography Mikael Jansson fashionAnna Sundelin Lowheart is an emerging indie pop artist whose music delves deep into the complexities of human emotion and relationships. With influences ranging from Beach House and Robyn to The Strokes and Alice Boman, Lowheart crafts a unique sound that combines glittering synths with heartfelt, honest lyrics. Their debut album, “Honeymoon Is Over,” is a journey through the highs and lows of life, offering listeners a blend of introspection and uplifting energy. Through their music, Lowheart aims to provide a comforting and relatable experience for those navigating the twists and turns of their own emotional mazes. Join us as we dive into the creative world of Lowheart and explore the inspiration behind their latest musical endeavors. Can you tell us about your journey from debuting with & “Lovely Weather” in 2022 to now releasing a new album? What inspired this new album?It’s been a very fun and challenging journey and I’ve learned so much since my first release. Creating my EP took quite a long time, I worked on it for over three years and by the time it was released I felt a strong desire to move on with something new. I had already started writing new songs by that time and wanted to push myself creatively, and the album was a perfect way to do that. Early in the process I came up with the title “Honeymoon Is Over” which kind of set the mood for the whole album. The exhaustion I felt after completing my EP was a catalyst for change, and “Honeymoon Is Over” became a symbolic representation of this transition. Growing up in a musical family, how did your upbringing with classical music and artists like David Bowie and Radiohead influence your music style as Lowheart?My dad is a classical pianist, and I grew up listening to him practice all day long in our living room. It was never quiet; if he wasn’t playing the piano, he was always listening to different kinds of music. At a very young age he introduced me to artists like David Bowie, Kate Bush and Blondie, who quickly became my musical heroes and my greatest source of inspiration at that time. When I was around 9 years old, he showed me Radiohead’s “In Rainbows”, which remains one of my favorite albums to this day. Growing up in this musical family, attending numerous concerts from a very young age and just spending time with musicians and other creative persons all nurtured my belief that I could one day follow a similar path. For me, music has always been the one thing I excel at and deeply connect with. There’s no better way for me to express myself. Could you share some insights into the themes explored in your first full-length album, “Honeymoon Is Over” ?“Honeymoon Is Over” is about facing life’s tough challenges when the fun and carefree times start to fade away, and reality hits hard. These songs reflect a time when I was questioning everything- myself and the world around me. I felt I had to deal with a lot of things that I had pushed aside for a while, and they suddenly demanded my attention. Each song in the album shows a bit of the emotions and thoughts I had during that time. What motivated you to delve into the indie pop world, and how did you find your place within it?I guess listening to Blondie and Radiohead as a young kid always fueled my dreams of being in a band and becoming the lead singer. When I was around 10 years old, I watched Sofia Coppola’s “Marie Antoinette” and fell in love with the soundtrack, featuring artists like The Cure, The Radio Dept. , New Order and The Strokes. It introduced me to a new world of indie punk music which led me into discovering other bands. Writing has always been a passion of mine, whether it’s in the form of diaries, short poems or lyrics. During my high school years, I formed a band with my closest friends, and this marked an important turning point. It was the first time I sang my own lyrics in front of others. I remember singing directly from my notebook during our rehearsals. It was a valuable experience where I learned a lot and it also created a safe space to try out different things. After high school I continued to make music independently and collaborated with different producers. However, it took quite some time before I eventually started to make music under the name Lowheart. “Honeymoon Is Over” seems to touch on themes of self-doubt and the challenges of maintaining relationships. Can you share some personal experiences that inspired the album content? When I started writing this album, I found myself in a place where everything that used to be so easy and fun suddenly felt tough and harsh. It was like a reality check, which is why I titled it Honeymoon is Over. Releasing music, especially as a debut artist, made me question who I wanted to be. I felt that everything was more challenging than I expected, from releasing music to being in a relationship after 1,5 years, staying connected with friends… These songs reflect a period in my life when I had doubts about myself and the world around me. But there’s also a touch of humor in the album. I believe the title or the expression “Honeymoon is over” is quite fun but also a bit sad. To me, it evokes memories of David Lynch’s movie “Wild at heart”, which I adore. I find it enjoyable to challenge listeners and perhaps even leave them a bit confused, haha… I suppose one of the toughest aspects of being in a relationship is navigating through the difficult and dull times without losing hope. In a way, that’s a central theme of the album as well. I explore and twist the concept of “Honeymoon is Over”. Can you

photography Sandra Myhrberg Beyond the Booth with Pretty Pink text Sandra Myhrberg With a sound that bridges the quiet of nature with the hypnotic pulse of underground clubs, Pretty Pink has carved out a unique space in the electronic music world. Raised in a small town in East Germany and shaped by the raw energy of Berlin’s scene, her music blends deep emotion with powerful grooves — a reflection of both her roots and relentless evolution. In this candid interview, we dive into the moments that shaped her journey, the lessons learned from world-class collaborations, and what fans can expect next from this grounded yet rising force in melodic techno. Sandra Myhrberg: You’ve performed all over the world. How has your background influenced your style and sound? Pretty Pink: I grew up in a small town in East Germany, surrounded by nature and a certain quietness. That environment had a big impact on how I feel music and what I want to express through it. I’ve always been drawn to warm, emotional sounds with a strong melodic core. Later, when I started discovering the underground scene in bigger cities like Berlin, I got inspired by those driving, hypnotic club grooves. Today, my sound is really a fusion of both worlds – emotional, grounded, but with an energy that moves you forward. SM: You’ve worked with huge names in electronic music. What’s one thing you’ve learned from those collaborations? PP: One of the biggest takeaways is that creativity has no fixed formula. Every artist brings their own energy, and it’s about listening, being open, and trusting the process. Sometimes magic happens in the first session, sometimes it takes a while to find the right flow. But you always learn something new, whether it’s about production techniques, storytelling, or just seeing how someone else channels emotion into sound. SM: Even with big achievements like Times Square and Spotify campaigns, you come across as very down-to-earth. How do you stay grounded? PP: That’s really important to me. I’ve built everything step by step, with a lot of love and persistence. Nothing was overnight. And I have a strong support system, friends, family, my team – who keep me balanced. I try to stay focused on the music itself, because that’s what it’s all about. The rest is beautiful, but not the core. SM: How do you balance life on the road with staying creative and inspired? PP: It’s definitely not always easy, but I’ve learned to find little moments in between. I travel with a small mobile setup so I can sketch ideas whenever inspiration hits. Sometimes it’s during a sunrise flight, or after a gig when the energy is still buzzing. I also try to keep simple habits, like going for walks, grabbing a matcha or taking time to reflect. Those moments help me stay connected to my creative side. photography Sandra Myhrberg SM: What’s one moment recently where you had to stop and think, “Wow, this is really happening”? PP: When I played at Brooklyn Mirage, I remember standing there during the intro and feeling this overwhelming energy from the crowd. It was one of those moments where everything just clicks. Also, seeing my face in Times Square for the Spotify campaign – I honestly had to pause and take it all in. Those are moments you dream of, but they still feel surreal when they actually happen. SM: If someone’s never heard your music before, what’s the one track you’d want them to start with – and why? PP: I’d probably say “Born Digital” or “Wildlands.” They really capture my sound – melodic and emotional, but still powerful and club-ready. I love the contrast between natural textures and electronic elements. Those tracks tell a story, and that’s what I always try to do with my music. SM: What can fans expect from you this year – in music, on stage, or beyond? PP: There’s a lot coming. I’m working on new tracks that go deeper into my melodic techno side, but still carry that emotional signature. There will be new collaborations, some fresh ideas for the live shows, and of course more Deep Woods events. I’m really focused on creating experiences – both through the music and through the way it’s presented. So yes, lots of exciting things ahead.

Alba August: “I decided I was going to be the last man standing” text Natalia Muntean talent Alba August photography Martin Kiessling Alba August has had a busy few months. Two years after her debut album “I Still Hide,” the artist returned in October with a new EP titled “I Wish I Was Someone Else,” earning her the title “Swedish rock queen” from a music critic. “It was surprising because I didn’t see the EP as rock, but I relate to this idea in a way. I wanted it to be less polished, more raw, and I enjoyed being a badass in the music videos,” says August. Besides the developments in her music career, the Danish-Swedish artist graces both big and small screens, starring in “Stockholm Bloodbath,” a new movie by Mikael Håfström, and the Danish series “Bullshit.” Born into a family of cinematic royalty, August has been forging her path with a sense of self-assurance, introspection and a pinch of mischievousness. In this conversation, Alba reflects on her artistic evolution, navigating the complexities of creativity, self-discovery, and balancing her music and acting careers. Natalia Muntean: This is your second EP after your debut album. How do you see the musical journey that you’ve been on between these two releases?Alba August: With “I still hide“ I wanted more energy. During production, I was constantly pushing for more—choirs, layers, you name it. But this time around, I remember talking to my producer and saying, “Take away, take away, take away.” I wanted this to be different. The first album was me wanting to be excessive. Now, I craved something stripped down, more raw. These albums are like a showcase of where I am in my personal journey. Back then, I was in a different place, I had a more extroverted lifestyle, with a lot of partying. But now I’ve come to realize how sensitive I am to sounds and people. I’ve always been that way, but I’ve only just realised the source of all the anxiety. I needed to pare things down in my music. I needed to be more direct. It’s, for sure, a way of processing what’s going on in my life and my mind. Even with what I’m working on now, it will have even fewer elements. I always want to do things that I haven’t heard before. And I want to push myself in directions where I’m a bit uncomfortable. NM: What I understood about “I Wish I Was Someone Else”, the whole EP, is that it has hints of empowerment, self-discovery and living with one’s decisions. You’ve also turned 30 this year, so I wonder if that impacted the stories you tell or the music you put out in the world. AA: This EP focuses on some things I was struggling with. Trying to understand more about myself is something that I have always liked since I can remember, maybe since I was five years old. I’ve always been super anxious and felt very lonely but I didn’t realise that the feeling I felt was loneliness. Now, as a grown-up, I understand it. And then I realised that I always felt weird. All of these things started to resurface as I was writing this. So “I wish I was someone else” was absolutely a way to allow myself to be the weirdo I am. But it’s also about wishing I was normal. That’s what’s so amazing about being an artist and working with art – only when I am being creative I can fully be myself. It’s the only time when I’m really happy and Zen with being in this world. NM: You mentioned that you have social anxiety, however, you are an artist in the public eye and you expose yourself to the world. How does it work then?AA: In a way, being an artist it’s a bit like a persona. I think in private it’s harder to cope with being me compared to when I’m performing. NM: So is there a split between Alba in your personal life, so to speak, and Alba, the artist?AA: There’s a word in Swedish, hudlös, which means skinless and that’s how I feel in private, like I have no skin, more vulnerable, as if everyone can see inside of my body and I have no protection. But when I’m in character, when I’m acting or on stage, I feel strong and I feel like I have control over the situation. NM: Do you feel that on stage you have more freedom to do whatever you would like to do without being judged?AA: Yes, on stage I feel I have power over the audience. It’s clearer what my role is when I’m performing. Everything is decided: I’m going to be on stage and I’m going to do this and they are going to sit and watch. And in my private life, everything is uncertain, and I have a hard time coping with that. NM: In the video for “The Summer of 99” there’s a lot of footage from your childhood. How does it feel to revisit those memories, and how does it impact your music? Does reconnecting with your younger self shape the stories you want to tell?AA: I have mixed feelings about looking back. In a way, it’s a bit sad watching those videos when I was feeling so free, so unaware of how people perceive me. But I also just love the early 2000s. There’s something about that time. Life was so much about dreaming about what it was going to be when I got older. Looking back I also realised how creative life was. My sister and I were always rehearsing a dance or a play. There was always a project we were working on. And there was so much lightness, silliness and humour in the things we did. And it’s hard to find time and space for that as an adult because adult life is so much about achieving, making money and doing boring things. I feel

Diane Emerita on Music, Memory, and Momentum text Sandra Myhrberg After a whirlwind year filled with praise from major media outlets, airplay on P3, and a standout performance at Way Out West, singer-songwriter Diane Emerita finds herself both exhilarated and grounded. Her music—intimate, conceptual, and often rooted in family and memory—has resonated widely, yet she still writes songs on her mother’s piano and juggles her music career with a mathematics degree. Sandra: You’ve had quite a whirlwind year—praise from major media, airplay on P3, and a performance at Way Out West. How has this rise affected you, both creatively and personally?Diane: It is fun and scary and interesting. I am taking my time to process it all. I still can’t believe I have done certain things like having a song of mine in the game SIMS. But then most of the times I am just myself and not my “artist persona” so really I am quite calm and don’t think about it too much. I study a bachelor in maths and besides music that pretty much fills up my thoughts. Creatively, I am just excited that people seem to get something out of my music and buy tickets to my shows and that I get to see how far the music can reach. I remember a line in Frank Ocean’s song Futura Free saying “Play these songs, it’s therapy momma, they payin’ me momma, I should be payin’ them” and I resonate with it a lot. I get so much out of reflecting my own thoughts and emotions and expressing them through my music that mostly I am just thankful that I get to do and make a living out of it as well. So then, I write and sing to find out what I have to say. S: Your music feels deeply personal, often rooted in storytelling. “Indigo Bruised” is another collection of songs based on stories about your family. What draws you to these themes, and what can listeners expect from this EP?D: I looove storytelling. I like to intentionally work with concepts because it somehow becomes a challenge for me to master – a problem solver. Music and the visual expressions, including styling and performances become so much easier for me to coordinate when they have a connected concept. I get emotionally invested. Also I think it is quite refreshing working with themes because it is easier for me to understand where I start and where I draw the line and move on to the next project. For instance “Indigo Bruised” has four tracks in it because I wanted to dedicate one song to my mom, sister, father and brother, simultaneously as making each symbolise a season as well. But there are only four seasons, so that is how many songs I made. Listen to “Indigo Bruised” and see if you can guess which song is what season. (Either way you are right) S: You’ve continued working with producer Hampus Norén, who also contributed to “Traveling Forever.” What is it about this collaboration that keeps you coming back? How has your sound evolved together?D: I think I like the way how he challenges me to let go a bit. To see it all more as a game than something serious. Well I still take music very serious because it makes me feel so much, but it has definitely been a nice journey to allow some imperfections into creating the sound of my songs. There is a clear seriousness to the songs I released before “Travelling Forever”. Hampus brings in an aspect of playfulness and “dirt” into the productions. He likes for it all to not sound all too clean and perfect, which I think helps giving the music emotional depth. And also it takes a long time for me to let someone into my creative space, so he has also become a comfortable teammate to keep because he know gets me. I know what I want my music to sound like and I always have very clear references for the production if I am not producing myself and then he always manages to give me more than I’ve asked for, which is great. And then we have our incredible mixer Sven Johansson who just elevates everything we do and gives the sound the last needed edge. S: Despite all the buzz, you still write your songs at your mother’s piano. Is that a grounding ritual for you? What’s your songwriting process like—does melody come first, or do lyrics lead the way?D:I have a lot of siblings, so my mother’s place is a very lively house. Most of all I love playing on her piano because I get to disappear into my own bubble in the way I always have done even when I was younger and was still living there. So I float away into my bubble, but life around me kind of goes on. My songwriting process is a long one, I play the piano and after some time, perhaps weeks or a day or a second lyrics arrive. But the music, the playing always comes before the singing starts. I also love when some of my siblings start singing to along to what I am playing. You could indeed call it a grounding ritual, it gets my creativity flowing. I feel like Sampha’s song “No One Knows Me Like The Piano” when I play. S: You’ve described Malmö as a creatively thriving scene. How has the city and its artistic community influenced your work?D: Malmö feels warm and open both in climate and culture of the people. I really love the fact the artistic community is inclusive and welcomes everybody. Like there is no need to feel like you are competing with other artists for attention of others, everyone kind of supports everyone. It sounds very cheesy but ultimately I find it to be a very respectful, warm and vibrant place. I work mostly in Stockholm when it comes to music, so when I am at home in Malmö I get to chill and study which for me

Franc Moody’s Chewing the Fat: A Raw, Honest Evolution of Sound text Maya Avram With the release of their new album Chewing the Fat, Franc Moody’s ubiquitous sound has become somewhat introspective. From sonic references that nod to the duo’s rich British heritage to close collaborations with friends and family to produce gripping artwork, the duo present their most personal record yet. Maya Avram: Tell me about the creation process of Chewing the Fat. Where did the name come from? Ned Franc: This album is probably the most raw and honest record we’ve ever done, both sonically and lyrically, which makes it the most powerful, in a way. We felt that Chewing the Fat, [meaning] general discourse — whether it be light or heavy — shows the creation process of the record. Jon Moody: Also, it leans into the idea of sharing your process with other people. When you’re “chewing the fat,” you’re having a natter with whoever it is, addressing things with other people, with family, friends and support — [the name] is quite a nice way to turn that process into a lighter statement. At the end of the [Into the Ether] campaign, we found ourselves slightly going through the motions, restricted in the kind of sonics we were writing and what we thought was Franc Moody. So it was time for a shift up, scale everything back and go back to the drawing board. We had a long, hard think about what we wanted to be, [revisiting] everything including the live setup. Now the band is smaller and the act is more direct, aligning with the style of writing we wanted to achieve — a bit more raw, a bit tougher, with less disco elements — and easier to digest, in many ways. NF: Sometimes having a smaller amount of tracks, fewer elements, gives the sound a greater power. MA: You announced the release of Chewing the Fat at the end of last year while on tour with your previous album. How much did working on it intertwine with performing previous material? Did it help in the evolution of the Franc Moody sound? JM: It’s been interesting. The new songs are hitting nicely and it feels like they’ve come together exactly how we wanted them to. Playing the older tunes, which have an older format, required us to rework our approach. But it’s been great, it gives them a new lease of life. It’s been quite a fun process. MA: Themes that come up throughout the album revolve around legacy, both in terms of your British identity and the development of your new sound. How do you balance that with global influences like disco and electronic? JM: It’s something we set out to do from the word go, actually. We wanted to fit into that world while appealing to multiple cultures, have the sound be acceptable to a lot of people but not sit within the pop mainstream. We want our sound to have its quirks and characters and be as honest as possible. The British thing has worked better abroad, which is funny. NF: People used to think we were a solo French man. All that ambiguity adds to it a certain mystique, I suppose, which is important sometimes. JM: I mean, [when we started] the project, we were listening to the likes of Daft Punk and Jamiroquai, which have a huge global reach while the sound is very punchy, direct tunes that can be listened to anywhere. Things have morphed and changed a lot since then, but that was very much at the forefront in the beginning of the project. MA: The album is very dreamy as well; there’s a sense of optimism to it. JM: We rent the studio here in London from Damon Albarn, [lead singer of] Blur and Gorillaz, so we’ve got access to their synth cupboard, which is amazing. There have been a couple of weapons that we’ve dusted off from this in writing Chewing the Fat, like tough guitars and bass, more direct drums, which lend that dreamy soundscape. I don’t know about you, Neddie, but I think this record is the closest we’ve got to where we want the sound to be. NF: When you do an album, you want to complete it knowing where you’re at in that moment, and with this one, we definitely did. This feels like a very realised project. MA: In addition to the album release, what are you excited about for the future? JM: Personally, I’m excited about opening up the live vessel and realising the potential of the new setup. The way it’s structured now expresses the real personality and flair of everyone on stage, and that’s an exciting thing. I hope that it can grow, and so our amazing drummer, Dan, bassist Rosetta, and Ned and I can find our personalities within that, and that it shapes the next record, too. NF: I agree. Every record we do is like the start of a new era, a new look, a new production, a new sonic, and now new personnel as well, and this one’s the same, and we’re at the very beginning of it. So I’m excited to see where it goes and where it takes us because I feel so proud of the record. I can’t wait for people to listen to it.

Felix Sandman on Yue, Reinvention, and the Journey to Self-Acceptance text Ulrika Lindqvist photography Ellinor Sjöbergfashion Ulrika Lindqvist With the release of Yue, his second album, Felix Sandman takes listeners on an intimate journey of self-discovery, anxiety, and transformation. Drawing inspiration from past struggles, relationships, and the ever-present symbolism of the moon, the album marks a turning point in his artistry. In this interview, he opens up about his creative process, the shift in his musical direction, and what’s next—including upcoming live shows, acting projects, and his dreams of venturing beyond Earth. Congratulations on releasing your second album “Yue”, can you share the inspiration behind the album? Thank you! I would say that the mental state that I was in, because of past experiences and how I lived my life in a very bad way at the time, was one half of the inspiration. My interests, my relationships and the moon was the second half. Throughout the album, the moon remains a constant reference, symbolizing the search for a guiding light in times of darkness. Yue chronicles my anxiety and reflects on the expectations both I and other people have of me. I write about how I wonder what a person is without a purpose, while trying to find myself in the noise of the surrounding world. The introspective essence of the ”Sandy Karlo” part of the album puts forth a more subdued side of me. The other part picks up the pace a little bit. The isolating anxiety transforms into a more reactive quest for my new self, for love, and finally landing on self acceptance. Even if the melancholy is still present, the aura gets a bit more playful and the sound is based on live recorded instruments. Especially on the focus track Nylon. Why is the album called “Yue”? Yue translates to ‘moon’ in Chinese. Since the moon, in all its different shapes and forms, was the leading symbol of the album, and the fact that I love Chinese and Japanese culture, made it the obvious choice. Also, my favorite character from Avatar: The Last Airbender is named Yue. She sacrifices her soul to give back the light that was stolen from the moon. Space seems to be a big source of inspiration for you, would you like to travel to space? If yes why and if no why?  Haha, I guess space is a big source of inspiration. I could go to space. I feel like I’m one of those humans they talk about when they talk about humanity and how we’ve always looked up among the stars and wondered what lies beyond… that might be an ”Interstellar” quote haha. But yeah I mean, it would be awesome, a once in a lifetime feeling of not being stuck on this earth, feeling zero gravity. Imagine setting foot on the moon or another planet, that has to be the biggest adventure we can go on. Your ep marked a new musical direction for you, how did that change come about?  After being forced to stay away from music because of my mental state and the fact that I didn’t want to do it anymore, I could only focus on recovery (and some acting). After almost two years I slowly started to feel that the time off was life saving and necessary. It made me see things differently and made me realize the changes I had to make in my life. It also gave spark to the idea of making music again, but in a completely new way. Without compromise, with respect to the creative process, with full focus on exploring my potential within the genres I’ve always identified with and the passion of creating a full body of work. Basically doing stuff that I actually like, that will get me somewhere, rather than the soul draining- fake ”good exposure” bullshit. That was the only way I could do it again. So I called my friend and producer David Husberg and asked him if he wanted to take time and explore with me in the studio. That led to the creation of Sandy Karlo. You’re doing a concert at Kägelbanan in Stockholm in March, what does the preparations before a gig like that look like?  We played a show at Way Out West last summer. Before that show we produced, or created, the whole tour setup. We build the stage design, program the light show, make live arrangements for all the songs, maybe pick out some drip to wear for the show and then rehearse it all. The WOW show was crazy, so now before the show in Stockholm we just have to rehearse the songs a little bit to freshen up the memory, and of course do a shit ton of marketing to make people buy tickets. jacket & jeans Arketshirt J. Lindebergrings talents own leather jacket J.Lindebergtrousers Hopesneakers New Balancesunglasses Chimisilver ring Ennui Atelier coat Stand Studiosshirt Hopejeans Dr. Denimshoes Dr.Martensbracelet Core Rd Knitting Cogold jewellery privatesilver ring Ennui Atelier coat Stand Studiosshirt Hopejeans Dr. Denimbracelet Core Rd Knitting Cogold jewellery privatesilver ring Ennui Atelier You also act, what are the biggest differences between acting and creating music and performing?   They go pretty well with each other. In music, I play the different characters of myself. Right now I’m Sandy Karlo, in everything I create, from the lyrics to the music production, from the visual expression to the public output and live performances. In film, I play the characters of others. Although that’s a different feeling, it kind of works the same way and has the same depth to it. I would say that the biggest difference between them is that when I work with film, I don’t have to be involved in- or responsible for every department’s contribution to the final product. With my music career, I’m literally involved in everything. So if I’m only working as an actor in a production, it can sometimes be a nice break for me. You have a strong and devoted fan-base, what do they mean to you?  The fans obviously mean the world to me. Any person who appreciates what

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