EXCLUSIVE INTERVIEW
Raised within the confines of a high-control religious group, Laura’s early life was defined by duality: sermons by day, underground clubs by night. These formative contradictions didn’t break her—they built her. In that friction, she forged a sound that is raw, cinematic, and unflinchingly hers.
More than just an electronic artist, Laura is a self-tau- ght producer, a poet, a researcher, and a storyteller. She is part of a new vanguard of female producers refusing to be tokenized, refusing to be compartmentalized. What happens when someone grows up silenced and finds a microphone? What does it sound like when authorship becomes an act of defiance? Laura answers those questions not with slogans, but with sound.
In this rare and unfiltered conversation, she speaks with urgency and grace about her past, her process, and the refusal to be anyone else’s voice. For anyone who’s ever felt like they didn’t belong—or like their story didn’t matter—Laura’s work is a reminder: the most powerful art often comes from the spaces in between.
The title Between the Worlds suggests both a literal and metaphorical space—between visibility
and
obscurity, tradition and reinvention, past and future. Can you share how this idea reflects your own lived experience and how it guided the emotional architecture of the EP?
“I have always existed in between—between church and club, control and absolute freedom, silence and ecstatic sound. This duality shaped me, molded my sound, and defined my artistic identity. My EP “Between the Worlds” is scheduled for release this summer. It represented the journey of transformation and the spaces I´ve navigated.
Leaving a High-Control Group where I grew up was the first step toward truly living music—a breakthrough that allowed me to create my world. In this world, there are no limitations, no filters, no compromises—just raw, unfiltered expression.
Even my fake ID days, sneaking into underground clubs while still attending church during the day, were a reflection of living in parallel worlds. Back then, techno was raw, unpolished, and unapologetic. It was still for outcasts. You had to defend your choices. That friction defined me.
Between the Worlds is exactly that: neither here nor there, but something entirely new—entirely mine. My roots span continents—Amazonia, England, and Germany. It’s not just an album title; it’s a declaration of self-determined existence. In these in-between spaces, I found my freedom.”
You’ve taken the rare path of full creative autonomy— writing, producing, arranging, and mixing everything yourself. Was this a conscious act of resistance, a necessity, or something else entirely? How has that solitude shaped your relationship with sound and self?
“It was absolute resistance. I didn’t want to just sing—I wanted to build, create, and control. I refused to be just a voice in someone else’s vision. No compromises, no external influences—just me.
My first step into the industry was with the track Gravity, working together with Boris Brejcha. It gave me my first glimpse of the international stage and showed me what was possible. It was my first real experience of what it means to create music on an international level.
I joined a jazz band, experimented with blues, and even played in a punk band for a while in Berlin. Those experiences taught me that music is limitless, but to create my vision, I had to be the one in control. I realized that to express what I wanted truly, I had to learn everything myself.
That’s when I knew—I wanted to be the architect of my sound. No compromises, no external influences—just me.
It also made me realize that I wanted to create my vision - to be the architect of my sound. I didn’t want to be just a part of something.
In an industry where women are often sidelined, I wanted to be more. And most importantly, I wanted to be free. That’s why I do everything myself—from the first spark of an idea to the final mix. It’s not just about control; it’s about purity. My music is unfiltered, raw, and untouchable. In a world that glorifies shortcuts and ghost productions, I chose the long path. It’s more work, but it makes me feel alive.”
Coming from a background where access to the outside world—and especially artistic freedom—was heavily restricted, what did it take for you, emotionally and mentally, to begin making music at all? Do you remember a moment when sound became a form of survival or rebellion?
“My first concert was Crystal Castles in a pub with 30 people. I was 15. The first act I saw live in a club was Johannes Heil. Those moments burned into my memory. Electronic music was my rebellion and the door to another world. The defining moment was The Prodigy. I got the CD secretly from a boy in the religious community—for me, it was pure rebellion.
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