I wanted to have a project name that didn’t indicate femininity or masculinity or an individual or a group. It gave me more freedom to embody the music rather than an individual. The name is a wordplay on my middle name, ‘Øland’.

I grew up with classical music. My mom was an opera singer, and my dad was an organist in the church. So, very early on, I knew the difference between Bach and Beethoven. Music was also something that was performed live in my home and not something we simply “put on.” Therefore, I was always singing in harmonies and grew up with music being a natural part of storytelling and social interactions.

I started dancing ballet because I didn’t want to become a musician like my parents. The ballet school was located at the opera where my mom worked, so it was convenient for me to be in the same building. However, as I grew older, I became more interested in electronic and pop music. Nevertheless, I still have that fairytale feeling from the stage as a deep part of my aesthetics.

It’s pure necessity. I write the songs as a form of meditation on a problem and by the end of writing them, I’m closer to understanding my own emotions on the subject.

I’m triggered by my own role in society, how I interact with other people, and what is expected of me ‘as a human.’ On this album, I try to see things from above, like “What would this look like if I were an alien coming to Earth?”

For me, it’s very important not to create overly rigid categories. I’ve never really concerned myself with genres. Of course, there are some formats I can work within; for example, when writing for a ballet, I know it has to be a certain length, etc. However, I don’t limit my ideas for instrumentation just because it’s for a ballet. I always prioritize the story, and that determines the rest.

It is always very exciting when inviting other singers on board. I knew I wanted female features, and I wanted that additional texture and perspective that a voice can provide. I’m a huge fan of both artists, and with Ximena, I wanted her to write a verse in Spanish. With Georgia from Broods, I wanted her to create those beautiful harmonies that she is known for. I was thrilled when I received the files. Collaborations are a test of trust. I trust them with freedom, and they trust that I will use it well.

I spend most of my time oscillating between memories, dreams for the future, and actually being present in my everyday life. I tend to get lost in my thoughts easily, so my songs naturally become a blend of all these elements. That’s why it’s a ‘loop soup’.

A stranger passing by on a bike said, ‘Smile – why so sad?’ And that provoked me. I wasn’t sad; I was just feeling normal, and perhaps a bit focused. It gave me the idea for the song ‘Pretty Is Dead,’ which is about the expectations to always wear a smile and look pretty.

It means that I don’t have to wait. I can do things when I want to, and the turnaround from writing a song to releasing it can really be done in 24 hours. That’s very exciting, but it’s also expensive and a pain in the ass to self-release. However, the artistic freedom is worth it.

I hope that people will connect with the lyrics and see themselves reflected. I also hope it will prompt some reflection on various subjects, such as the expected efficiency of our society and, in general, how one chooses to live their life. On a musical level, I hope it will feel like a warm blanket to wrap around oneself.

I’m incredibly impatient. It’s my greatest gift and my biggest downfall. I desire so much that sometimes I end up achieving nothing because the sheer volume of things becomes overwhelming. To list a few concrete desires: I want to visit Japan. And i want to live in closer connection with nature. I’m not sure how yet, whether it’s through farming, working with animals, or residing in a remote place. I just know that I have a deeper calling for nature that I haven’t fully explored.