WØLFFE is in her honeymoon season. The British singer, songwriter and producer has recently released her new singles, the introspective Honeymoon Season and the epic, adrenaline-fuelled DADDY, as part of a new era, reigniting her dark, dreamlike world. With her clever songwriting, catchy hooks and star-powered vocals, WØLFFE is one to watch. We spoke to WØLFFE about the upcoming EP and what's been inspiring her:

We love your recent single DADDY. Tell us about this new era of WØLFFE and what inspired DADDY?

Thank you! It's definitely a new era of WØLFFE and Daddy is part of my debut Honeymoon Season EP which I don't think I've actually announced yet, so here it is! Daddy is a complex song and I don't usually love breaking down tunes because I think people take what they want from music but it's essentially about trying to get approval from dominant male figures in the past. Throw in some manifestation in there and that's pretty much it!

Which artists inspire you?

I'm drawn to obscurity and darkness - musical artists who create rich, visual, obscure landscapes such as Bjork, Fontaines DC, Nicolas Jaar, Aphex Twin, Squid, Two Shell, Katie Jane Garside, Cocteau Twins, Joe. I listen to a pretty wide variety of music - Radio 6 in the morning, a pirate station in the day, Classic FM before bed, alt-electronic music if I'm going out. I've written this new dawn of music to the bass guitar, not the piano which is usually my go-to, and so music with a feisty bass line and wide soundscapes and a poetic, vivid story get me.

Where else do you take inspiration from? Books, films etc?

I'm a heavy reader and while I love surrealist literature as well as film and poetry, I almost equally love understanding the artist's creative process. I consume things like letters written by the artist and documentaries, as much as I do their work. I've just finished reading Miranda July's All Fours. It's fucking mad and beautiful and gut-wrenching. So is her short story collection - No One Belongs Here More Than You. Very surreal but human. I carry a book of poems in my bag which I read while on the tube (and have completed the Evening Standard Crossword) or waiting for life. Lyrically, I'm inspired mainly by conversation and people - I'm always writing down weird isms that people have said in passing. A friend had a great line the other day, he said he was playing "footsie with depression". That kind of thing goes straight into the iPhone notes or my notebook, then later into a song. I'm rewatching Twin Peaks at the moment too - great for the mind.

Who do you work with on your music? How do they shape your sound?

The creative process goes a bit like this for me: I am a sponge, an observer, and pick up on everything people say. Whether it be a throwaway line my housemates have said in the kitchen at breakfast or something that comes to me at midnight when I'm about to fall asleep (which happens a lot and is quite annoying because I have to get out of bed to switch on my lights to write it down. Sometimes I write them down on my notepad in the dark but they're never legible in the morning). Then I take these lines to my day job and hash them out at my desk for hours into a poem. I can't start fleshing out melodies without knowing that the story is vivid and clear. Once the lyrics are pretty much there, I come home to my bedroom, pick up a bass guitar (which I'm pretty shit at) and start working out a good part at my laptop. This can take a while, or if I'm not having any luck on the bass, I'll start programming synth melodies to work to. We have a recording studio in the basement of the house I live in so if I need real piano parts, I'll record them there. Then I flesh out the production as much as I can. I've taught myself how to produce and my way of working is a bit "the less you know, the better" which I'm leaning into. It's a fairly introspective and isolated process. Then I call up my pal Dan McDougall (my co-writer and co-producer) and go into his studio where I eat sweets and he waves his magic wand and makes everything sound a million times better and adds a lot more production and writing. Then I sit with the new tracks and play them about 4 million times. If I have any more notes, we go back into the studio to tweak them, if we're happy - we're good to go!

You’re London-based. How does life in London influence your work?

London keeps my mind quiet because it's a hectic city and life is fast-paced. I get a lot done here. I grew up in Scotland and go home a lot to decompress but I can't work like I can there. I love people watching in London, the jazz bar you find on a wet Tuesday night, the tube, my local charity shops, reading my horoscope in the Metro every morning, the rain, even the foxes (not when they're procreating at 3am). I love when you see someone dressed ridiculously well on the tube and then spend 2 days trying to track down their outfit on eBay. I don't love the price of a glass of white wine in the pub and how it costs you £20 to sneeze in London but otherwise life is pretty magic.

Tell us about your visual identity? How has that evolved?

I was having a drink with a friend last summer and she was telling me about Henri George Clouzot's surrealist masterpiece of a film L'Enfer. I went home and watched it that night (it's an incomplete film but you can find it on YouTube). This lucid, vivid, surrealist world seemed to perfectly capture everything I was feeling and writing about at the time - this was during the birth of Honeymoon Season. I think that was a really pivotal moment. Throw in Lynch, Kurt Vonnegut and Sharon Olds - anyone who takes me to a completely different world whether that be through art or music or film is what tends to mould my visual concept. I've written quite a bit of music for thriller Hollywood films - Terminal (Margot Robbie) and Escape Plan 3 (Syvelster Stallone) which I really love, so noir drama, I guess, is inherently woven into my own soundscape.

We're so excited for your upcoming EP. What have you learnt about yourself though the process of making these songs?

It's been pretty wild. I locked myself in my bedroom and the studio and didn't see anyone for about 18 months while I taught myself to produce and create the bones of this EP, and beyond. I have my debut record pretty much finished, writing-wise, too which is cool. For a long time I was working with producers, as a song-writer only, and really relied heavily on other people to bring my sound to life. Now I know how to do that myself, it means that I'm much more in control - I think a lot of confidence comes from that. Dan gave me the confidence to bring my productions into the studio with him too. Now I know what I want and how to do it , it's cut the process down quite considerably for me. I think what I've really learnt, bottom line, is that you can literally do anything you put your mind to.

What are you passionate about, aside from music?

I'm quite obsessed with psychology and the way our minds work, I'm spiritual and have a Jungian therapist who I love and who teaches me a lot. To have someone to help unravel not only my own goings on, but also the way we are in general, during this isolated period has been instrumental to this EP and beyond. I love cooking, swimming in the sea, hanging out with my friends, doing 5235 laps around Battersea Park, the Evening Standard crossword, writing on a train, charity shopping, talking, art, making clothes. I used to really love smoking but I've had to give that up.

What’s next?

Well now we've announced that this body of work is an EP - my debut Honeymoon Season will be out in November 2024 via CUB Records/AWAL! Following that...well, a lot more music. I've got some radio sessions coming up, I'm writing some music for some TV stuff and otherwise trying not to get fired from my day-job. Life's good! Oh and my next show is at Notting Hill Arts Club on 3rd October, if the flights aren't too expensive, you should come!

Listen to DADDY here.

@wolffemusic