Music

Interview with Adele Marcia Kosman text Alicia Hurst photography Johan Scarsbrick Swedish composer Adele Marcia Kosman unveils a world of emotion on her debut album, “VOLVM 2. pieces.” Through dissected voice, pump organ performances, and algorithmic synthesis, Kosman explores the delicate dance of pleasure, disruption, and persistence in time. Drawing from diverse experiences, her music offers a brief yet immersive journey into a realm of emotional depth and subtle revelation. Your album, VOLVM 2. pieces, features a blend of intimate, raw emotions and digitally manipulated sounds. Can you share personal experiences from your life, such as those in “Closer to Trust,” inspire these elements in your music? It is truly challenging to derive the origin of an idea or inspiration. I highly rely on intuition when composing and the many different musical circumstances and periods of my life effortlessly resurface when needed and when relevant, and I remain ignorant to whythis relevance occurs. With that said, the tools I use certainly dictate the music to a large degree. The pump organ landed in my possession by chance and has influenced the album deeply. The summer of 2021 we built a studio in my family’s summer house and I was on the lookout for a small piano. Suddenly this cute organ pops up in the Facebook-page of the village. Its sensitive fluctuations in dynamics and the rhythmic aspect of the pumping has allowed me to find new sounds and expressions in my vocal performance and I believe this also heightened the raw sensation of the album immensely. The digital processing, as an aesthetic, ie. Beyond mixing and effects,comes from an urge to dissect sounds – hoping to find hidden treasures.“if it were for me you’d piece me up” is a good example of this tendency and also shows how the tools at hand shapes the end result. I also love clicks and pops! With your background as a back-end developer and experiences in major-label-signed electronic pop, how have these diverse influences shaped your creative process, particularly in crafting the unique sound found in VOLVM 2. pieces? I would first of all like to say that the major-label electronic pop allowed me to become a musician. Before For BDK was signed I had no faith in pursuing a musical career. A naivety in me was born in thatsigning moment and it has since served me well. The naive dream of stardom and fame gives me so much energy and will. A side note is that studies in composition allowed me to do computer development. It’s all intertwined, like it should. Moreover, I had a wish to mix and merge the different sonic tendencies Ihave. The sparse and live-recorded on one hand, the heavily processed on the other, and perhaps a few instances in between. Perhaps this is something significant to the record. My intention with this has something to do with sincerity. These are the most beautiful tracks I have made in the past few years and they belong together.I won’t keep anything from you! I promise! Your music explores recurring themes and leitmotifs. Do any of these draw directly from personal experiences, and how do they contribute to the overall narrative of VOLVM 2. pieces? As many, I find it easier to compose when starting off with a little seed of sound. So, you borrow excerpts from previous works. Sometimes the resemblance of its origin is lost along the way, and other times the resemblance works to tie a story (album) together. Apart from this, ever so often you write something which has a huge potential, and I’m sure to make use of this. Lyrically the album is strictly personal. All texts are from diary notes. Many of these diary entries were written in the aftermath of separation. In the ebb and flow of grief, emergence of new dreams and wishes, reconciliation and all the things. The dualistic nature of your vocals from intimate to abstract suggests a personal touch. How do your own emotions and experiences influence the way you choose to sing, especially in songs like “Always” and “If ItWere For Me You’d Piece Me Up”? The dualistic nature of the album has a somewhat practical origin. How Lust and practicality impact decisions, particularly when years of movements of lust are accounted for.“if it were for me you’d piece me up” I wrote during my studies in composition. I wished to deepen my artistic practice beyond the voice.At the same time – the voice is my main instrument. I used recordings from earlier live concerts of mine and put my voice to good use, with new tools.Graduating The Royal College of Music I was again longing for the fragility and corporal aspects of vocal performance. Not unrelated to my degree project where I dwelled into the topic of liveness and how this can (should) be incorporated in a concert of electronic nature. In your role as a stylist and model, how does your identity in these fields intersect with or influence your musical identity? Are there moments where your work in one realm directly informs the other? Today, I am a composer and artist. The time I spend with shape and form,clothes and expression, is to aid a musical expression. Music is the beginning and end! photography Johan Scarsbrick Reflecting on your electroacoustic academic endeavors, can you share a specific concept or discovery that significantly impacted your artistic perspective and found its way into your music? We have already mentioned “if it were for me you’d piece me up” a few times and I find it necessary to do so again. This piece is the oldest track of the album and at the time of birth it evoked a new musical era.I set off to expand on the use of voice and to generally explore new techniques of processing recorded sounds. My exploration led me to databending and glitch. Damaging the source code of an audio file is one way to perform data bending, it is a tedious process but it brought about the most interesting and surprising variations to the motif of the piece.

Interview with Kerstin Ljungström text Emelie Bodén photography Sandra Myhrbergfashion Emelie Bodén jacket Ahlvar Galleryshirt Avenytrousers Our Legacyrings Efva Attling & Annika Gustavssonbracelet & necklaces Efva Attllingwatch Seiko   For nearly a decade, Kerstin Ljungström has dedicated herself to working as a producer, live musician, songwriter, and studio technician for some of our brightest stars. Finally, on October 13th, her debut album takes its place in the British pop landscape. It’s a tumult of everyday melancholy, a nod to the music that has carried her through it all – with Kerstin’s velvety vocals, uncensored stories, vibrant productions, and rarely witnessed musicality serving as the overarching theme. What inspired you to pursue a career in music?From the first moment I started singing and playing the guitar, it felt like I’d found “my thing.” Nothing else made me more excited or drew me in the way music did. It’s never really been a choice for me to pursue music; it’s just been this kind of force that drew me to where I am today. Might sound a bit cheesy, but that’s how I feel about it. Can you tell us about your musical journey and how you got started in the industry?My mother taught me how to play the guitar when I was around 11 years old. After that, I started a band with my friends back in Bollnäs, and we had lots of gigs. I was 16 years old when I moved to London and studied at a music school called Rytmus, then another music school up north in Sweden. After that, I had an internship at a studio where a lot of established producers worked. I worked there for a few years and then signed my first publishing deal. How would you describe your musical style or genre?I’d say it’s pop, but with lots of different influences. I grew up listening to everything from jazz to Daft Punk, and in my early 20s, I worked a lot as a DJ, so I’ve always consumed a lot of different genres. When I produce my own stuff, I try to bring everything I love into the mix. Are there any specific themes or messages you aim to convey through your music?I try to write very personally and want the songs to be as honest as they can be. But one thing that’s always been very important to me is to write openly about being queer and always use “she” instead of “you.” Kind of want to write songs that I wish I could have listened to when I was younger. What’s your dream collaboration with another artist, dead or alive?I’d love to work with Sam Smith or Troye Sivan; I think they’re both such amazing artists. But for my own stuff, I’d say Jonathan Johansson because I think he is one of the best lyricists we have in Sweden. jacket Ahlvar Galleryshirt Avenyrings Efva Attling & Annika Gustavssonbracelet & necklaces Efva Attllingwatch Seiko What advice do you have for aspiring musicians trying to break into the industry?Don’t rush it! Music is so much about just finding that thing that is yours. And don’t care about what other people think or do! ‘ How do you handle criticism or negative feedback, and how has it influenced your work?I’m human, so, of course, I get affected, but I try to always remind myself that it’s just a matter of personal taste. The only thing I can do is keep doing what I like and love. shirt Avenyjeans Our legacyshoes Converserings,bracelets & necklaces Efva Attling shirt Avenytrousers Adnym Ateliershoes Converserings & bracelet Efva Attling jacket Ahlvar Galleryshirt Avenytrousers Our Legacyrings & bracelet & necklaces Efva Attling shirt Avenyjeans Our legacyshoes Converserings, bracelets & necklaces EfvaAttling shirt Arkettrousers Hopeshoes Dr. Martensrings Efva Attling photography Sandra Myhrbergfashion Emelie Bodénhair & makeup Filippa Finnphotography assistant Rebecka Barlachgeneral assistant Vanessa Eriksson Tonel

Exploring Boundaries: An Interview with Nao Mali about his Multifaceted Artistry text Frank-Adam Hagman Nao Mali, originally from Wisconsin and raised in northern Sweden, effortlessly combines smooth R&B vocals with dynamic rap, crafting a unique pop sound. With impeccable style and a talent for imaginative songwriting, their artistic fusion mirrors a profound passion for both music and fashion. Beyond their musical accomplishments, Nao Mali is a highly sought-after stylist, making their mark in global fashion campaigns. Notably, they featured prominently on H&M’s Times Square Billboard, showcasing their influence and presence in the fashion and beauty world. In their latest single “FAG” Nao Mali boldly merges heavy metal guitars with a pulsating club beat, delivering explicit verses that challenge conservative detractors. The reappropriated chorus transforms a homophobic slur into an unexpected anthem: “I’m a fag / That’s a fact / I walk fast / Never look back.” This daring composition showcases Nao Mali’s fearless creativity. ”FAG” marks the start of Nao’s collaboration with creative director Martin Falck for the upcoming album, SCANDAL. The track also showcases Vixen, the shred queen and lead guitarist for Halsey and Rina Sawayama. This summer, Nao Mali captivated audiences on Sweden’s grandest stages during Daniela Rathana’s “School of Rathana” tour. Adding to their success, Nao delivered unforgettable solo performances to sold-out crowds at Stockholm Pride and the main stage of Copenhagen Pride.  You went under different names earlier in your career, what about Nao Mali stuck?I decided on Nao Mali because it felt neutral and fresh to me. I needed a name that was fluid and gave me the opportunity to be whatever really. I played around with the letters in my last name Malinao, and that’s how came up with the name Nao Mali. How has fashion influenced your music?I have the most fun being an artist when I get to create looks for photoshoots and performances. So fashion is absolutely a big driving force for me making my music. You’ve been on tour with Daniela Rathana this summer, what was the best part of that experience?This was the first tour I’ve ever been on, so it was scary as shit not gonna lie. But of course, I couldn’t say no to singing backup for (with no exaggeration) the best singer and performer we have in Sweden. Getting to know Daniela, her band members, and the team has been so much fun. This has for sure been a life-changing summer for me. But the best part of this experience is obviously seeing Daniela excelling on stage, front row deluxe, hitting every note effortlessly.   knit World of Kismetshirt Stylist’s Ownshirt around waist HOPEjeans & shoes EYTYSnecklace Acne Studiosearrings Arto You have earlier said that music for you is like a playground where you can create new worlds and discover new parts of yourself. What has Nao Mali taught you personally?That it’s okay not knowing fully who you are yet! Allow yourself to try different things out until something feels right. Favorite song lyric of yours?“I’m f*cking freaky funky, gender f*cking I create my own niche” from my song Pretty / Ugly has been the lyric that’s been stuck in my head since I wrote it, and has helped me to accept and embrace my weirdness. How do you feel the Internet has impacted the music business?I think it’s a bittersweet situation, especially TikTok blowing up. I believe it’s a blessing for many new artists to get discovered and all. But my passion is to create music and art, not to make TikTok videos. What advice do you have for young queer people starting to realize their creative potential?My advice would be to allow yourself to get inspired by other creatives without getting jealous or comparing yourself to them. What’s the best piece of advice you’ve been given?Trust the process. Cheesy question but I must ask – What is your dream collaboration?Robyn for sure! jacket Deadwoodtop EYTYSskirt Rave Reviewstockings Falkeshoes Acne Studiosjewelry Artofaux fur piece Tim Maksimovic top & jeans Stockholm Surfboard Clubjewelry Artotop two Anna Lastro knit World of Kismetshirt Stylist’s ownshirt around waist HOPEjeans & shoes EYTYSnecklace Acne Studiosearrings Arto   wings & belt Stylist’s Owntrousers World of Kismetstockings Wolfordshoes Acne Studiosjewelry Arto jacket, necklace & charms on bag Stylist’s Owntop Stockholm Surfboard Clubskirt World of Kismetstockings Swedish Stockingsshoes EYTYSsunglasses Acne Studiosbag Little Liffnergloves Handsome Stockholmrings Artoown photography Sandra Myhrbergfashion Amy Tamakeup Alicia Hursthair Isabell Larssonnails Paloma Gonzalezassistant Filippa Finnpost production Rebecka Barlach

“Pop’s next It-girl” UPSAHL x Odalisque text Josie McNeill According to Taylor Upsahl, better known as her pop star persona UPSAHL, she never really made the decision to start making music–it was always a part of who she was.“I started doing music before I really could remember honestly,” UPSAHL said. “ As soon as I had a personality, the biggest part of my identity was music.”UPSAHL said she grew up in a music environment, with her dad playing in punk bands and having a house full of guitars, a piano, and a drum set. She was then classically trained in music at a performing arts high school starting at age 10.At night after classes, UPSAHL said she played at “little shitty clubs” and started putting out albums. But it wasn’t until she moved to Los Angeles after high school that she began to pursue music full time.Now, after releasing the fourth installment of THE PHX TAPES project on Oct. 20 and embarking on a tour with Melanie Martinez, Upsahl released SNOWGLOBE, a new holiday mixtape on Nov. 10. Odalisque sat down with UPSAHL to discuss her upcoming projects, tours, and how she became the pop artist that she is. Did you mostly listen to punk rock music growing up? Or did you mainly have other influences? Definitely a little bit of everything. I mean, I listened to a lot of punk bands that people probably never heard of just because of my dad and the bands that his friends were in when I was a kid. So I listen to a lot of that, then a lot of Queens of the Stone Age, a lot of Weezer that was a really big influence for me and a lot of No Doubt. Gwen Stefani was my idol. I just wanted to be Gwen Stefani growing up. I thought she was so badass. I listened to some OutKast. I feel like I just kind of listened to a mixture of a lot of things. But what my parents had playing around the house was a lot of punk music and a lot of classical. The only thing I didn’t grow up listening to was country and pop music weirdly enough. I didn’t really get into pop music until I moved to LA and started writing pop music, which is crazy. Why did you choose to go into pop music?I think it happened by accident. When I started writing songs, I was just like in my room playing guitar, and so naturally, the music sort of went in a singer-songwriter direction production wise. It wasn’t until I moved to LA and started working with other producers that I realized there’s a world of different sounds at my disposal. It doesn’t have to be just a live instrument, we can program drums or use a synth or whatever. So that opened my eyes to the endless world of production and getting to work with producers. And then also just pop songwriters made me fall in love with the art of making pop music. I think I fell into it sort of naturally just by working with other people. How did you come up with the concept to do a series of little mixtapes?I knew I wanted to call it THE PHX TAPES at the top of the year. Because I was just having so much fun in the studio making music, I made this goal for myself going into sessions in January that I wasn’t really going to worry about genre at all. I was just gonna have so much fun in the studio, and if I wanted to make a really alt rock song one day and then a house record the next, I just like gave myself the freedom to do that. It just started to remind me of how I felt when I was making music as a kid back in Phoenix when I had like no idea what the fuck I was doing, and pulling up to the studio and just seeing what would happen. That’s how I felt–it was sort of this naiveness, so it kind of made sense to call the project THE PHX TAPES. It’s sort of an ode to all the influences that I grew up on and that creative and childish sort of freedom that I was feeling. Can you talk a little bit about the sound and concepts behind your songs “NO HANDS” and “SLAYYYYY” that are being released on the fourth installment of the mixtapes?Each volume is meant to feel very different. And even like the side A versus the side B for each volume are meant to feel worlds apart. “NO HANDS” is side A. It’s very dark and dancey, which I feel like regardless of where I go with my music, I always go back to the old, dark, dancey records. That’s what “NO HANDS” sounds like. It’s very chaotic and aggressive. And then “SLAYYYYY” which is side B in volume four, is completely different. It was just me having fun. I wrote the song as a joke in the studio and honestly never thought I was going to put it out because it was like that much of a joke. And then I just kept coming back to listen to it. I was like wait, this is actually like a really fun song. So that one’s the more “I don’t give a fuck,” very freeing song. I’m really excited for both of these because I feel like lyrically as well, “NO HANDS” is very much about creating chaos and wanting to break out of whatever is like holding you down and “SLAYYYYY” is the result of that chaos, which is just like fucking insane and very unhinged. I feel like that’s becoming a more common thing for artists to do now, releasing a song they originally wrote as a joke. For real, I feel like when you write a song as a joke, and then put it out, at least for me, listening to

Unveiling ‘Zig’: inside Poppy’s journey towards herself text Natalia Muntean Poppy, also known as Moriah Rose Pereira, has navigated a career as fascinating and unexpected as the enigmatic content she creates. From launching her YouTube channel in the mid-’10s, to her eccentric debut album ‘Poppy. Computer,’ reflecting her peculiar robot-voiced videos, to the more musically compelling ‘Am I A Girl?’ featuring collaborations with industry luminaries like Grimes and Diplo, her evolution has been a kaleidoscope of innovation. Now, with her fifth studio album ‘Zig,’ released on October 27th, the 28-year-old artist continues her zigzag trajectory. The album, while representing the duality of her spirit, also reveals a more liberated and outspoken Poppy.We sat down for a conversation during which the LA-based artist shared insights into her formative years in Nashville, the evolving musical influences stemming from her family background, and the pivotal moments that shaped her trajectory in the music industry. Who is Poppy?Singer, songwriter, artist, multi media creator. You grew up in Nashville, surrounded by music, with your father as a drummer in a punk band. How did your family’s musical background influence your journey into the music industry?I recall that it was nice to have music around in the house, but my memory is a bit spotty. Their interests didn’t directly influence mine; I was on my own path to discovery. It was convenient to have a recording studio in the house, but I was too young to use it much when I lived with them. I have vague memories of recording as a baby. However, it wasn’t until I started my own journey when I was 15 and moved out that I could truly come into my own, I feel. And then how when did you realise that music was what you wanted to do? Because I know you started with a YouTube channel.I was always into music, but there was a period when videos took precedence or had more prominence than the music. I remained a recording artist during that time. However, things became more real for me when I moved to Los Angeles. Can you walk us through your creative process when writing a song? Do you have a specific approach or routine, and where do you draw inspiration for your lyrics and melodies? It depends on the day, and it depends on the task at hand. A lot of it is in experimenting, I think you find the most unexpected and interesting things when you’re not trying for them sometimes. So I think it’s the artist’s responsibility to always evolve and pose a question to the world. But for me, I keep journals, and  try to read and watch as many films as I can, and find things that pique my interest and lean into that. But as far as the process itself, I try to keep people around me. Collaborative partners that are friends first, but also trustworthy individuals and people that push me to be better every day on a personal level, but also a creative level. When you have a strong connection with such people, as I do with those I work with, it encourages greater honesty in your art. So you always work on songs together? Even when you’re drafting lyrics? Or do they come in at different stages?Yes, they come in at a bit of a later stage, the skeleton of the idea usually will start for me, if it’s a riff, or if it’s a lyrical bid, or concept, or something that I just want to explore. And I have gotten better over the years at articulating to them and to people that are better at instruments than I am exactly what I’m looking for. And sometimes you go down a path, that’s not necessarily the right one, but you have to go down it in order to know it’s like, with anything, when you’re trying things out. Sometimes you have to be more in the centre of the storm to know if it’s for you or not. Yes, for sure. You mentioned that films and books inspire you: what were the latest ones that left a mark on you?I watched a film last night that was pretty perverse, controversial, and edgy. It was called “Angst” from 1983, based on a true story, so it was very impactful. I also recently watched another film called “Sick of Myself,” which I enjoyed a lot. That was great. But one of my all-time favourite movies is “Amelie” or “Leon: The Professional.” I see a lot of myself in these characters. Can you expand a bit on that?In “Leon: The Professional,” I love Natalie Portman. I believe she’s one of the greatest actresses ever. I really admire the independence she portrays as a young girl, something I identify with. She seems more self-assured than I was at her age. I appreciate her independence, curiosity, and her connection to her plant. She seems very empowered, which is wonderful. Then there’s “Amelie”; I think it’s the tone, the soundtrack, and how things unfold unexpectedly. The beautiful colour palettes and the film’s elegance really stand out. top & skirt Stellaxingyi, gloves Kristina K, belt Zana Bayne, boots Stylist’s Own   I agree. And then when you were working on were there any specific movies, albums books that you drew inspiration from or that you listen to maybe, or rewatched. I would like to understand what your universe was like…It’s been a while since I made it, so it’s hard to remember everything I was into at that time. But I’ve mentioned in a few interviews that I’m a big fan of Marianne Faithfull, not just as an actress but also for her musical project, especially the film “Girl on a Motorcycle” also known as “Naked under Leather”. I’m a really big fan of that film. I find it interesting that it’s sometimes categorised as soft porn, but I personally think it’s a very romantic film. She’s strong, empowered, and inspiring. The song “Motorbike,” which I’d describe as the most vibrant song on the entire record,

An Interview with Hanna Ardéhn text Josie McNeill photography Sanna Lindbergfashion Jahwanna Berglund jacket Almost Naked It seems to be trendy for performers in one field of the arts to cross over into another. Harry Styles recently attempted to jump from music to movies with his films ‘Don’t Worry Darling’ and ‘My Policeman.’ Likewise, influencer Addison Rae added music to her repertoire that previously consisted of TikTok dances.But what about the arts crossing over into the medical field? That’s a little more rare.But Hanna Ardehn, actress and licensed and practicing psychologist, does just that. Arden grew up in Sweden and has been in the acting business since she was a child, mostly acting in TV series. She recently starred in the series as Maja in the Netflix series Quicksand and has a role in an upcoming comedy series.Read more about Ardehn’s life as an actress and psychologist in her interview with Odalisque. When did you first start acting? I think I first started in a theater group for children when I was around six years old. And then I did my first TV role when I was around nine or ten, but it was just a small part in a kids program. And then what was it like getting your first movie role?I think it was just super exciting because I love doing [acting]. I remember the first big role that I got was for a TV show called ‘30 degrees in February’ where we were shooting in Thailand for six months. So I was super excited to do that. Both getting to live abroad, but also getting to work with a lot of really amazing Swedish actors that are super famous in Sweden. It was a huge privilege just to be able to act alongside them. It was also a really good script. We had a few different directors too. It’s not super common in Sweden to have directors doing single episodes, but I know that in bigger American productions that might be more common. In Sweden, that’s not really the way we do it. But in this series, we had lots of different directors during different parts of the series, so I was really fortunate to be able to work with so many high profile directors. Was there anything you learned from that role that you applied to your roles later on?I think I learned a lot just watching the other actors using their body when they acted. I think I was like 15 when I did that role, so it was really interesting for me to see how the biggest actors did that. And also just to get used to being on a big set of cameras and crews. That was something that I took with me to the next production. And did you want to talk about your role in this series QuickSand?So the series is about a young woman who falls in love with a boy. They are both upper class kids growing up in really wealthy neighborhoods. jacket Almost Nakeddress Ahlvar Gallerybustier Rodebjerearrings worn as “nipple” piercings Maanestenbracelet Ole Lynggaard The parents are not really present, and they are just happy that she’s dating the [son of the] richest man in Sweden. So they’re just like, go away, do your thing. And then things start escalating because her boyfriend gets addicted to drugs and starts drinking, doing more heavy drugs and all that. They go to these huge parties, and she feels kind of stuck with him. She can’t really break out. And what the whole show is about is a school shooting. That doesn’t really happen in Sweden, but the author of the book shows that, if it were to happen, how would it happen? The whole question of the series is whether my character, Maja, is involved in the school shooting, or was she unaware of what her boyfriend would do? Was there something extra, like training or anything, that you had to do to prepare for that role, especially because you said it’s not as common a topic in Sweden?We got to practice gun safety. I also obviously read the book, and I talked a lot to the author. We were talking a lot to the director about who are the most common people who carry out school shootings in the world, and that’s usually always young boys who are alone and have some mental health issues. We were just trying to be super respectful about the subject because it is something that, even though it hasn’t really happened in Sweden, and we don’t really have a history of it here, it’s still something that’s very sensitive since it’s about children. Children are the victims of school shootings. You just got your psychology degree at school. Does your background in psych impact how you approach your roles at all?Having read psychology, you gain a lot when you prepare for just getting to know this person. Why are they acting the way they are? What’s their character arc? The behaviors that they are exhibiting, what do they come from? So it’s kind of like, I look at my characters like my patients, and I just see why they do what they do and see patterns that are repeating themselves. sports bra Bread & Boxerknitted shirt COSwhite shirt Gant Is it hard to balance your acting career while trying to get a degree in college?No, it’s been fine actually, since the movie roles, like when you go shooting, it’s just a short period of time. So I managed to combine studying and acting as well. It hasn’t been too much of a problem for me. Just as long as it’s not, you know, I’m gone for six months, and I have to do studying as well. Then it would be harder. I would probably have to take a break. But if it’s just shorter periods of time, that’s fine. Where do you see your acting career going in the future? Do you have any dream roles?I just love Tilda Swinton and Francis McDormand. I’m driven towards what they’re doing

Nicole Sabouné on Music, Liberation and Kismet text Natalia Muntean photography Sandra Myhrbergfashion Rebecca Cohen / xo.studiodress Prada How does music and neuroscience coexist within the same person? “The passion to do both things comes from the same drive and the same kind of place,” says Nicole Sabouné, one of the most interesting voices on the Swedish music scene, adding that she will probably live for the rest of her life balancing these two paths. After having recently graduated with a master’s degree in neuroscience, the 32-year-old artist released her fourth album titled Kismet at the beginning of October.“I always get into this fragile state, when opening up and releasing new music, of course. But it is also a relief, because it’s not mine anymore. And that is liberating,“ she tells me days ahead of the release. Kismet has been in the works for more than a year and a half, working in the lab during the day and spending her evenings in the studio. “I had a couple of hours every evening to get things done. So it’s been both good and bad. I think you get very effective and you don’t go back and forth a hundred times until you don’t know what’s good anymore,” she continues. Influenced by artists such as PJ Harvey, Air or Joy Division, Sabouné dug into herself and her own experiences for Kismet, a record that explores love, fate, liberation and acceptance. “Music has always been my output, especially when I feel something strongly and cannot express it in a good way.” Natalia Muntean: I can imagine you get very surprised reactions from people when you tell them about your two career choices, but when did you know you wanted to become an artist? Or would you define yourself as an artist?Nicole Sabouné: Yes, I would define myself as an artist. And it has been there since I was a kid. I don’t remember not thinking that I would like to pursue some kind of career in music. From the start, it was only about getting some kind of output because I was quiet. So I found music to be it for me, which was really important. I think that has been there with me as a tool to be a part of something bigger. NM: When you were little do you remember listening to music and singing? Or were you writing? Were you composing?NS: I did everything. And my interest or passion comes from what happened to me when I listened to music when I was a kid. And I still have that – there’s nothing that I can compare with that feeling of really listening to music that you enjoy, and that you feel, “Oh, this is my space”. And then I have been singing since I was… well, always.  NM: Do you have any memory of a song? Like maybe, your first ever memory of a song that you were listening to? body and corsett Julia Weström NS: Oh, I think there was a mix between like Spice Girls, Radiohead and Nirvana.  NM: A pretty wide range for a five year old!NS: I think it’s my brother’s fault, to be honest (laughs). And then I went into Swedish punk, so I just came in contact with the punk scene. And then I started to move over to everything that came from the UK. And then it was just like spinning. I went into post punk and I’ve been there since. NM: You explored different genres…NS: I think I did. But I always kept in the darker space. When it comes to music, it has to have some kind of melancholic vibe in it for me to be interested. Otherwise, it passes through me. With some kind of music, I can tell that it might be good, but something has to happen; it has to grab something in me, and I think it’s the dark vibes that work for me. NM: I wanted to touch upon this, actually, because I saw your music being described as “between darkness and romance”. And I’m just curious, how do you resonate with this, you know, description, and why do you think it encapsulates the essence of your music?NS: Of course it has something to do with references, the music world I come from, and what I like. Producing my own music is about wanting songs to evoke that specific feeling. With my voice as the main instrument, I always start by considering how I want to sing the song, how it suits my voice, and how I want it to appear. But it’s a nice description, though, to be romantic and dark. NM: Why did you name the album Kismet and how was the process of working on it?NS: So kismet comes from the word fate or destiny, it has an Arabic origin and I’m half Lebanese, so I wanted a word that felt substantial, almost like a movie title because the album was inspired by Sofia Coppola. And then I saw this interview with Michael Stipe from REM, and he mentioned it was kismet that all of them in the band met. I had heard it before as qisma from Arabic, but didn’t realise you can say kismet in English. And then, when I started writing the songs, I felt like it suited really well into the concept of what I wanted to write about. Working with two of my best friends, Billy Cervin and Jon Bordon, with Billy and I co-writing a  couple of songs and all three of us producing the album, has been the main experience of creating this album. It was a close collaboration, a dream team, everyone open-minded with good taste in music. We built this universe together, referencing songs I had in mind. I wrote some songs myself, picked up others from the past that I co-wrote with a friend and finished them, and the producing part of the album has been the most important, to be honest. Having the word kismet to be the title for this experience felt right. NM: Like

High Life: An Interview with Kimchii text Natalia Muntean photography and art direction Adam Kaiserfashion Paloma Gonzalez Axeheimshirt and trousers Levi’sshoes Eytysnecklace All Bluesbracelet and ring KSV Jewellery “Music heals. I hope mine does too,” says Kimchii, the part that brings more clarity to Kim Söderlund, a Stockholm-based artist. Kimchii is “an outlet for everything Kim can’t express” and, as the artist puts it, they make “a good team.” Kimchii released his debut single When You Feel The Time Is Right in 2020, on the legendary French record label Kitsuné Music. Since then, he has been refining his skills as a producer and songwriter. Embracing collaboration and exploring new genres has expanded his creative spectrum in all directions, and challenged what good music means to him. But believing in his ability to make a living out of his art made “the biggest difference” in how his music has evolved. In early 2023, Kimchii released Energetic Fields, an intriguing blend of organic instruments, electronic accents and feelings galore. The song was followed by Own the Night, a collaboration with Marseille-based artist Anoraak. Despite never meeting or speaking, their musical styles share a common language, reinforced by their passion for disco and electro-pop music. The two artists brought the idea of “owning the night” to life, and the single put Kimchii on BE Records’ radar.  NM: What inspired the single’s sound?Kimchii: When writing my songs, I often get a clear vision that plays out in my head and translates into lyrics and melody. With Own The Night, I wanted to capture the feeling of standing at the edge of the world in the night, dancing with strangers, being confident and in control NM: What story is Energetic Fields telling?Kimchii: Energetic Fields was inspired bynightlife, having too much of a good time, and how easy it is to lose yourself in it. The video embodies the dark side of partying, three creatures dancing their way deeper into the night. I won’t say more. You’ll have to see it for yourself! NM: How has working with BE Records been?Kimchii: Bon Entendeur is an amazing band from France, and I’ve loved their music for a while. They heard Own the Night and wanted to feature it on their new compilation. It’s easier working with labels run by musicians, as there’s a deeper understanding of how things work, and it’s an honour to release music on their label. NM: Who is on your collaboration wishlist?Kimchii: I’m very inspired by the Australian band Pnau by the craft of their productions, and I am confident we would create something magical together. Another Australian band I admire is Confidence Man. Amtrac is a producer I’d love to collaborate with. shirt Rue De Tokyoblazer and trousers Levi’sshoes Dr Martensjewelry KSV Jewellery NM: Do personal experiences play a significant role in your music?Kimchii: We all have different parts of ourselves – I get inspired by these and try to exaggerate them conceptually. We’ve all stayed out too long, not wanting the party to end, like in Energetic Fields. And as in Own the Night, we have all felt insecure on the dance floor. NM: Can you give us a sneak peek of your upcoming projects for 2023?Kimchii: I have some singles and collaborations coming up, including with two artists I love: Tensnake and Satin Jackets. I’m also performing live at the Porsche SCOPES festival in Stockholm, at the end of May. And there’s more to come! NM: How do you hope to develop your sound in the future?Kimchii: You can expect more alternative dance-driven & up-tempo sounds, while keeping a dream-like texture, influenced by 70s disco and 80s post-disco music. I don’t like to restrain myself. The sky’s the limit! shirt Levi’strousers Samsøe Samsøesunglasses Dolce & Gabbana photography and art direction Adam Kaisertext Natalia Munteanfashion Paloma Gonzalez Axeheimgrooming Alicia Hurst suit Rue De Tokyoshirt Samsøe Samsøeshoes Eytyssunglasses Dolce & Gabbanajewellery KSV Jewellery

An Interview with Nils Albin text Fashion Tales photography Sandra Myhrberg total look Polo Ralph Laurensunglasses Retrosuperfuture X Brikoshoes Veja Musician Nils Albin has certainly come along way since rapping with his friends in Västerås. The rapper-turned-indie/rock artist released his first solo album Pluto on June 2. The album is full of a mix of ballads, acoustic indie/rock tracks. and songs that are seemingly inspired by his earlier hip-hop days.  While Albin’s music style is everychanging, so is his fashion. Odalisque sat down with Albin, along with Caliroots, to discuss the musician’s evolving style, inspiration, and finding his own niche in the music world.   Nils. Albin. MC Hans – “kärt barn har många namn” as we say in Sweden (direct translation – a dear child has many names). Tell us more!When I started rapping, we would perform in Västerås, and they needed a name for the poster. So, I chose MC Hans because I thought it sounded funny, and the thought was to change it after the show. But then, I started liking it more and more, so it stuck. When it was time for me to go solo, I thought it was suuuuuuper hard to come up with a new name. At first I was considering calling it ”likblek” because it sounded cool and punky, haha. But after a while, I decided to go with Nils Albin, my real name, because the music was closer to me than anything I’d done before, basically. You’ve started doing music with friends in the Swedish rapgroup Fridlyst at a young age. Take us through the journey!I met Phil and Shanti through mutual friends when I started high school. I had secretly started writing rap lyrics and wanted to make music but didn’t have a context, and I was a bit too afraid to start for real. But when I met them, they immensely helped and encouraged me. Their friends were also involved in many creative things, like one who made films and directed our music videos, painted and designed our album covers, and then a bunch of skateboarders. So, we were like a big gang in Västerås, just hanging out and thinking we were the coolest in the world. After high school, we all moved together to Malmö. Time spent in Västerås and Malmö is a time I hold very close to my heart. How would you describe your music today? You started with rap and are leaning more towards indie now. total look Carhartt Wipshoes Timberlandsunglasses Retrosuperfuture As indie rock/pop. The lyrics are very personal and the songs were created after a breakup from a long-term relationship. So, it reflects a time post-breakup, when I was going out clubbing a lot and just living it up. I felt very sad but at the same time free. From Västerås, to Malmö and then Stockholm – do you have a favorite city?I would say that I have beautiful memories of all the cities. Childhood in Västerås was nice and good, where I met my first real friends, you know. Malmö was nice too because that’s where I felt that I developed as a person and a musician. But I would probably say that Stockholm is my favorite city so far! I think a lot of it has to do with it being the latest. But I think my personality fits Stockholm the best; I’m a big city cat, haha.  What is the go-to outfit for a gig?I love to throw non a tracksuit and some cool sunglasses. I want to feel like a rock star from Manchester in the ’90s. But I’m not afraid to wear a shirt and tie either. But usually, my go-to is a tracksuit for sure. Do you think your clothing style in any way reflects on your music?Yes! My music is a bit mixed with soft ballads and then some indie rock jams. So, as I mentioned before, I usually alternate between tracksuits and dressing up with a shirt and tie. So, it’s a mix up just as my music. Favorite brands?Adidas, Stuzzi, and like Umbro. Preferably vintage for all of them. Also, I think CHPO makes really nice sunglasses! jacket Kenzoshirt Markettrousers Carhartt Wipshoes Clarks Originalhat Sci-Fi Fantasysunglasses Retrosuperfuture X Marini   shirt and shorts Polo Ralph Laurensunglasses Retrosuperfuture X Briko shirt Timberlandtrousers Carhartt

An Interview with CK text Oskar Borin CK is a Swedish rapper and entrepreneur. Emerging from the Swedish hip hop scene in 2020, CK has been generating buzz through his numerous projects including “From the Mud”, “Growth”, and “Spittalicious”. His latest release “Omerta Over Clout” features seven beautifully produced tracks with CK spitting his truths and perspective on life. Outside of music, CK created Roll The Dice (RTD) Clothing with his childhood friend Viktor Steenson in 2021. He is often spotted with friends and fans at various events and parties across Stockholm, loudly and proudly sporting RTD clothing with their larger-than-life personas and prolific attitudes. Follow CK on his journey @ckthespitta on all socials.  CK. How did you coin the name?CK are my actual initials. It’s my first and last name. All the homies been calling me CK since way back so it was an easy choice  Who are your favorite producers to work with?Boi Yanel without a doubt, we push each other all the time and I can really say that he’s made me a better artist.  Omerta Over Clout. Explain the album title. All the clout chasing is getting out of hand in my opinion, they rather chase clout than money nowadays. I feel like it’s going to be our downfall. I rather stay quiet (omerta), focus on my art, and chase the money, that’s how I’m feeling.  What was different about doing your album after doing a number of mixtapes?This project is a level up compared to my previous tapes. I’m addicted to getting better at everything I do, and you can hear it on this project. How do you pick the beats on your projects and what is the creative process behind writing your lyrics?9 times out of 10 we be in the studio listening to beats made by the producer and i just choose the ones that really connect with me. I can be a pain in the ass sometimes because I’m picky and I know exactly what I like.When it comes to lyrics, I need to hear the beat before I write so I can get that feeling of what the song is going to be about.  How do you balance competition and creativity in music?Honestly, I don’t care about competition, I’m only competing with myself and that’s that. Comparison will drive you crazy, I just focus on being a better artist than I was yesterday.My creativity comes from everything I’ve been through. I paint the picture of past experiences.  How much does spirituality influence your music? I am in tune with myself which helps me be more honest in my music. I used to be hardheaded, and I hated sensitivity and all that. I was taught that showing weakness is a bad thing but I grew out of that as I got older. Top 5 rappers dead or alive?Kendrick, Nas, Andre 3000, Biggie, and Jay-Z. Who are your influences outside of rap and how have they shaped you as a person?I look up to people that are willing to go the extra mile for their dreams. It’s not just one particular person, I got lots of people who influence me. The people I study inspire me to always stay out of my comfort zone and go harder.  16 bars for the youth?I urge y’all to listen to all the bars from “Omertà Over Clout” before I give you something new.