DOWN THE RABBIT HOLE WITH TORA LUNA

On new single ‘Venus, Temptress’, the genre-fluid collective descend into love’s surreal underworld — a dreamy, glockenspiel-laced spiral that starts in a dimly lit lounge and ends somewhere between obsession and fantasy. Featuring a spellbinding guest vocal from Franco-Malaysian artist ANELIE, the track blurs the line between reality and inner monologue. We caught up with Tora Luna to talk twisted fairytales, recording with matchboxes, and why heartbreak makes such good reverb.

1. “fooo00oool” feels like both a sonic evolution and a personal revelation — what made now the right moment to bring your queerness into your music?

It wasn’t an active choice. It’s always been a part of my music, since I am the sonic creator. If I was more opportunistic, maybe I’d use more pronouns, to give being queer a marketing edge. But I really was just thinking about desire as a whole

2. You’ve said the track is about finding someone “on your frequency.” How much of this song is rooted in personal experience, and how does that intimacy shape your production choices?

It is of my personal experience, yes. Sometimes you meet someone who knows exactly what to do, which in turn makes you know exactly what to do, and it’s just the right amount of push, pull, all of it. There’s this concept in psychology, research that has shown that Relatability + Ego-Dystonic Traits = Magnetic Tension. Ego dystonic traits are traits you yourself don’t possess, stuff you don’t relate to. Mixed with the right amount of similarities…the dynamic is unmatched. Relatability fuels connection, and ego-dystonic traits create tension, danger, and allure. I really wanted this feeling to come through in the production, with the pulsating, low chord progression and hyper-present vocal mix

3. You’re one of the rare female producers in alt-R&B with full creative control. How has that autonomy empowered you creatively — and have there been challenges in maintaining it?

It’s great and I love it. I get to stretch out my potential, try weird stuff, all on my own terms. Making projects like EP’s or albums can be kind of challenging though; the isolation drives you mad. But it’s still worth the freedom. I have to invite people back into the process sooner or later for the sake of my sanity. Full creative control will always be in my hands, though :)

4. The sound design on “fooo00oool” is wild — warped synths, early-Timbaland drums, emotional 808s. What was your reference point sonically, and how did the track come together?

The most intricate thing was the synth progression, each note is a chopped and reversed sample. I wanted the drums to feel RnB with a grunge mix. I’ve been listening a lot to Daedalus instrumental album Invention. It’s really crazy, so many textures, layers, a jazz-electronica-sample mad man. And Ethel Cain stuff. There’s a reference to one of her lyrics in the song actually. Guess what! 

5. You’ve played massive festivals and earned critical praise back home — now you’re relocating to London. What can we expect from the singles to come?

I’m continuing the vulnerable streak I developed during Catharsis, my last project, and the playfulness of fooo00oool. I get more confident as a producer every release as well. You’ll just have to wait and see.