TSHA
That outward gaze becomes a marker of its position in time, ra- ther than a stylistic choice.
Sad Girl folds inward by compari- son, though it never disconnects from the physicality of the dan- cefloor. The emotional register deepens, and the music carries a more direct sense of presence.
“By the time I made Sad Girl, I wanted to make it a lot more personal, so the music naturally became more introspective and vulnerable. I wasn’t trying to contrast it with the first record, it just ended up that way because I was in a completely different headspace. I was also DJing a lot more, playing in clubs every week, so that pulled me further into a more club focused, electronic direction without me really for- cing it.” The two records begin to read as parallel states rather than
separate identities,
connected by timing as much as intention.
FROM ISOLATION TO IMPACT
That evolution extends into the mechanics of production, whe- re scale gives way to precision without losing emotional depth. Earlier work was shaped in iso- lation, built patiently through la- yers and textures that emphasi- sed atmosphere over immediacy.
“With Capricorn Sun, I was really leaning into that more orches- tral, expansive world because I was producing a lot in isolation. I had the time and space to build things out, layer textures, and create something that felt quite cinematic. It was very much about atmosphere and emotion, and almost escaping into the music rather than thinking about how it would function anywhere else.” There is a sense of distance in that approach, a deliberate removal from the physical context of performance.
As touring intensified, that distance narrowed, replaced by a more immediate understanding of how music behaves in a room.
“As time went on, I was DJing a lot more, playing in clubs every week, and that inevitably started to shape how I approached production.
With Sad Girl, I
wanted things to feel more im- mediate, more physical, some- thing that connected instantly on a dancefloor, so the production became more direct and more focused on that energy.” The introduction of her own voice sharpened that shift further, bringing a different kind of ex- posure into the process. “Bringing my own vocals into it was a big part of that as well.
It made
everything feel a lot more per- sonal, and it forced a level of honesty because I couldn’t really hide behind anything anymore. Before, I was telling stories in a more abstract way, but using my own voice made it much more direct.” What changes is not the intent, but the level of proximity.
That same balance between intention and instinct continues to shape her own productions, where emotional depth and dancefloor functionality remain in constant dialogue. The process has become more attuned to movement, but it resists collap- sing into a single approach.
“My process has definitely beco- me more dance floor driven over time, just from being in clubs so much and understanding what actually works in a set. I’m thin- king more about how a track lands, how it moves people, the energy, the pacing, the drums, all of that in a much more intentio- nal way.” At the same time, there is space for divergence.
“Sometimes I want to make so- mething that’s purely for
the
dance floor, and other times it’s more introspective and personal. I actually like keeping those two sides separate most of the time, and then when they come toge- ther naturally, that’s usually when something really interesting ha- ppens.”
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