#lilithmode

[b-sai-des]

An Interview with Lilith (pt1)

Earlier this week I had a really in depth and insightful conversation with a good friend of mine from high school, Lilith Santos (she/they), an experimental hip-hop producer studying music production at Berklee College of Music in Boston. They’ve been doing a lot of really interesting work with their solo albums and collaborations with different artists, and I was really grateful to hear from them about a variety of different topics like their collaborations, their personal journey as an artist, elements of their particular approach to production, and their personal philosophy as an artist and a person. 

We started catching up on what we’ve been up to. Lilith said that they’ve been busy with a lot of classes, but they’re doing some upcoming shows in Boston as well.

I’ve gotten to know Lilith pretty well these last few years, and one of the things I’ve always admired about them is their authenticity and sense of community. In our big and close-knit high school friend group I’ve definitely felt this, and Lilith spoke a lot here about the way that they look at things and how that’s shaped and been shaped by their journey with music. 

I know you've been working with a lot of different artists lately, like Annie Elise, Maz, Ghais Guevara, and asoookha. Is there a particular story when you met one of these artists? What was the start of one of those creative collaborations? 

Oh, for sure. I could give you the answer right now. I could do it for all of them, actually. It's not that deep. If we're thinking chronologically, then the oldest person that I know from these two, it has to be Annie, Annie first. Annie is someone that I met online during the peak of the COVID pandemic and all that whole jazz and stuff. And it was a Discord server that I would regularly flock to because I did moderate in that (laughs) as lame as that sounds. Jokes aside, I am very proud of doing my role in the community for that amount of time. And actually, Annie is the person that convinced me to go to Berkeley to begin with. 

Oh, wow. 

Yeah, she was the person that was actually willing to encourage me to audition, do all the stuff that I had to. But it kind of just started off on like a very mutual basis. Like we had friends of friends, she was at Berklee at the time before she dropped out. And, you know, we would talk a lot, but nothing really would suffice until I really got into Boston.

Now, maybe it was like a couple months before I got to Boston. And keep in mind the mindset that I was, I just had gotten out of like an eight-month relationship and she had just gotten out of like a three-year relationship. I told this story to a lot of people because it's really funny how we ended up coming with this idea [their music project, The Heartmenders] to essentially cope with our loss of partners, but also the gain of our fruits of a new life, essentially. And what happened was I was visiting Boston beforehand, just to kind of check out the school, visit Annie and all that. And I remember the first night that I arrived there, I'm driving over to her place, I'm trying to find parking and I get a text and she's like, “Sorry if I seem upset today. I just got broken up with.”

And I'm like, holy shit, that couldn't have been more insane timing than what happened to me. So, you know, being a friend first, I listened to her. We went out to get pizza,  it was like this whole, it was a really nice night. I look back at that night with such fondness and joy, but in retrospect it really was the start of everything. 

Cause I remember she would text me two months later, on and off talking. This was after I got into Berklee. After she helped me with my audition process, the year prior, she was like, “You know, well, since my ex doesn't have the performance privileges to be with me anymore, do you want to perform with me?” Already getting a gig opportunity before school started was crazy to me, and I'm so fucking grateful for this moment in our friendship. I'm very grateful for her in general. I can tell you that I'm grateful for all these people. When I got that opportunity, it was such an easy thing to say yes to, and I'm so glad I did. 

It was at Bill's bar, for a Breaking Sound showcase. And it seemed like the biggest thing in my life. Now it's like, you know, footnote of the past, but it's like one of the biggest things that happened to me. And in that period of time of moving in, getting settled into school and figuring stuff out before the show, we were like, “Hey, let's just make some music together so I don't have to just perform like all your stuff – no offense, I just want to be able to perform some of my stuff as well.” And she’s like “Yeah, sure!”

I feel like we were super lucky in how we caught lightning in the bottle that day when I was making beats over at her house and we were laying down vocals. She was so easy to work with. She really knew her way around the DAW [digital audio workstation], I was still more or less an amateur. I'm still a student in my craft, I'm still learning how to do all of that stuff, but, you know, seeing her work inspired me to figure out a work process on my own, work harder on my stuff. And we would just end up sending a bunch of shit back and forth to each other from the summer before I moved into Boston. 

I think the important thing was that the relationship, the friendship, was already established. So that made the work 500 times easier. Being able to work with her on that, get like devil's advocate on certain inputs, but also just being able to rock out and like have no stress and making shit with was probably one of the biggest blessings I could ever receive, and it definitely did carry into how I treat a lot of my collaborators and like, you know, how much I want to do, see the chemistry, you know, whatever's up with that.

And, you know, Annie and I have been like really close friends since I still keep up with her from time to time on the phone. She's super busy nowadays, but she always makes time to respond and do all this stuff with me, so I find myself grateful.

Annie Elise and Lilith Santos are The Heartmenders.

We're working on a new album right now. We're taking our time with it.

That gets me excited, because the first EP – I was blown away by that.

And that was like, those are really old tracks. Actually, I'll send you the old demos right now, I think it was on a fucking Medium article. I wrote about it in the Medium article. I do talk about the entire story in a lot more depth. I'm really glad I wrote about it. It was a really fun exercise (laughs). Yeah, it was just a fun time. It's really funny looking back at my previous heartbreak, and I don't feel so strongly about it right now. You know, it's just kind of funny knowing a time where like I deadass wrote about it, and it was so cathartic for me for no reason. 

I can give you another collaborator too, which one are you the most interested in? I could do all of them. 

Yeah, whatever you feel most interested in talking about. It sounds like you have a really good repertoire and a good relationships with all these people. It's cool to hear that kind of camaraderie that's there that you have with all the people that you're working with, and it sounds like a really nice community there.

Oh, for sure. For a lot of things, especially in school, the one thing I have to remind myself at the beginning was that I'm here for the school. Obviously, I'm here to make my parents proud. And it was already a crazy journey, becoming a musician, taking it seriously, and then actually going to a school for it. But the more important thing that I'm here for is the community. I mean, I've made some amazing friends. I could like, talk so much about them, you know, just how true to themselves they are, and how much they inspire me to keep working on things and do things a different way or see things a certain way. It's honestly super inspiring. 

One of those people is Maz. Now, Maz is someone I met recently in the whole grand scheme of things. I became very good friends with him like a year ago. He's like one of my closest homies I ever made at the school. And we met off of a beat battle for the Berkeley Hip Hop Club that I was recommended to do when, you know, everyone was still trying to find their friends for college, their roommates, and be like, “oh, like I have this thing in common, too.” I didn't meet him there, but a friend of mine was like, “Yo you should join the beat battle. The guy who runs Berklee Hip Hop right now is judging it, and I think he would be really cool for him to see your work.” I took him up on the offer. He really liked my work! 

And we kind of knew of each other, but it was really when we met in person – a lot of the stuff, especially for all these collaborations, except for one, really blossomed after meeting them in person after they're really getting to know them as a person. I'm a very social person. I try to be at least, and, you know, (laughs) it definitely shows. 

Now, the funny thing is with Soul Snatchers, that whole EP was just tracks made for fun. And we somehow just worked our way into a really nice, concise circle full of ideas and such. it's just really easy to just make something, put down vocals, and then be done with it. The surprising this about this was I exclusively produced it. Another great thing about the collaboration was that I had Maz there helping me with the beat as well. Maz already is like one of the greatest working producers I know at Berklee. Like, he knows how to mix, he knows how to engineer, he knows how to experiment just enough, but also keep it in the realm of like, digestible. You know, for someone like me, that's a bit of a task! So seeing Maz do it and also being a part of his band helps too. It's amazing. And I think the main thing I got from this was that we were just having fun. A lot of the music that we make is never really that deep.

There are certain things in the production that Maz wants to fulfill every time we have a session. And whenever those prerequisites are filled up, I get to do whatever I want. So it's kind of taught me a lot about restraint. He's very set on what to do. He's very clean, thorough, efficient with it. It inspired me for my own production, just kind of honing down my process even more to like almost on a molecular level, especially for just like basic ideas.

It's really nice. I have like a mini Maz in my head sometimes telling me to make split decisions or not, and then just sticking with them until the end of the song. 

It seems like from all your collaborations, you kind of picked up things from them, and you've learned from each of them. I was also wondering, for your most recent album, distant benevolence – I was struck  when you released side B, because I could definitely see how you and asoookha had two distinct styles, but they kind of came together on both side A and side B.

Yeah! Ah, oh, man, ah that collaboration was a lot of fun! So they mentioned this in their YouTube description of the actual tape itself. They literally uploaded it like a day ago. In the comments, he does recall the story of when this first happened. Originally, we were friends of a friend. Shout out to TEYO. If you're reading this, what up? That kid is fucking talented. And amazing.

TEYO! on Spotify

He was the one that brought asoookha and I together. I remember hearing off of one of his tracks. I think it was "the lights dim as I live." It's a good song. The production on that was like, absolutely stellar. And like hearing that come from an 18 year old, right? Fucking wild! Like I was making stuff at like 18, but I don't think I ever sounded like that good. So I was like, okay, I had to see what was up with this guy. 

I get invited to the discord server and I immediately make friends with this dude. Asoookha is awesome. We have a lot of the same interests. We're both into the same, like DJ and HoloLive, VTuber shit. It's a, it's a really funny thing to bond over. But at the same time, like our shared love for these like weird ass interests, like anime and like VTubing and like just weird fucking unplayable video games, it really brought us closer.

Youtube upload of Distant Benevolence Side B by asoookha.

And this guy's in Australia. Now keep in mind, this is not my first rodeo with a long distance friendship– I have this friend named Allanah, crazy voice actor, who I met a couple years ago over the internet and across the sea. So awesome. Like just such an awesome individual– Asoookha lives all the way in Australia, so I know how this shit works already. I know what kind of times to be up at. I know when to hit them up, when to not hit them up type of deal. And it was just really easy for us to get along. 

And one day, I think it was like maybe a couple of months ago, they were like, yo Lilith, do you want to just like make a collab album? That would be really funny. And I was like, as funny as that does sound, I think it would sound pretty good. So I went along with it. And I think for the entire time, asoookha was just not expecting for this to work out. Like, it was just going to be like another, like, “Oh, like, you know, we'll say we'll do it, but we're never actually going to do”, but we, we kind of came in and swept! It was such a crazy display of a two way street I've ever seen, especially from Boston all the way to Australia. We were really on top of our shit.

And that's what was like, so surprising about it. And, you know, our styles are super different. I'm very – I don't think my stuff should be perfect at all. I don't want it to be perfect. That's against my whole being as a producer, my style. Just having the weird dichotomy of like, super clean, nostalgic beats from asoookha and like this dirty but like raw and emotional stuff coming from me, it was like magical to me, hearing everything front to back. We thought about the track order and stuff together. And we just realized like, it would sound good if we just went from one emotion to the other, just like quite literally had two sides of the tape dedicated to each of us. It was kind of easy from then on.

I'm very thankful to call myself his friend. He's probably one of the craziest, talented producers out there in terms of sampling and finding stuff and getting really deep, like deep into that pocket.

I was surprised to hear “X-Wing” being sampled in one of the asoookha tracks on side B.

“video games SUCK?” 

Yeah! The way he utilized Denzel Curry's vocals from X-Wing and kind of just completely flipped it.

The band [CENSORED (sorry, no sample snitching)], I think it’s a flip of them, if I recall correctly. But like, no, they're just, asoookha’s kind of crazy with it. Like they, like a lot of people just kind of slap on rap acapellas onto beats, and they’re the only couple of people that I know that can do that super well. But it surprised me to hear asoookha just threw their thing on that. Like, I mean, I don't do that a lot anymore as much as I used to, but I've been thinking about it more and more now. It's just kind of inspiring. A lot of the people I'm very grateful to. I'm so fucking grateful to be in this position that I'm in. They just kind of proved me wrong in a lot of ways. That's really all I can ask for from people! Like just prove me wrong! Show me I can do something a different way. That's really it.

I could definitely see both of your styles, there's such a beautiful synthesis on the final product. So yeah, I definitely, I definitely see the fruits of that labor.

For sure. Oh man, I'm gonna have this new whole list of shout outs right now. Shout out to Eli. Shout out to VVN. Shout out to Kyle, my boy Kyle. Shout out to Maz. Shout out to fucking Nate, man. Shout out to Quinn. Shout like, I got so many people to shout out. I don't even know if I can fit this shit in. I got so many people to thank for like, in terms of music stuff. Cause you know, it's just you know, this industry is already hard as is, as an artist being solo. Having a community just to kind of back you up and uplift you when you need it, but also being able to give that energy back and uplift that back to them: that is like one of the things I live for. Friends and family are awesome.

As for your upcoming shows, where are you going to be playing at? 

I'm doing something for the Women Producers Showcase at The Loft at Berklee. It's going to be a nice little show, not too much. Then I got like a little thing going on at Bencils Live. It should be on the 18th, if I recall correctly. it's going to be like a whole 30-minute set party kind of vibes. But I'm just going to be doing my thing. I don't know. It's just going to be a bit hectic in terms of preparation. I just go by feeling to be honest (laughs).

One of the things that's clear with Lilith is the sense of gratitude she has for the people she works with and have friendships with and the opportunities she's had. Lilith really values the nature of collaboration, and they've learned from each of their projects with different artists and friends.

After this point, our interview turned more towards Lilith's personal journey and their specific style. Lilith explains the significance of their artist name and their journey of coming out as nonbinary along and their personal philosophy which carries over into their personal style. Go to part two.

[good-fwiend-in-wome]

Ur pfp is so cool do u have more stuff of that character?

i only have one (1) piece of my sona besides the picrew and it's this one

i got it as a gift after i met a cool person playing titanfall 2. i believe their current twitter is @lilithmode

[bossbutch]

bedsores [tetris-likes, recently: SOTN]

bungolin [happy belated!]

Channel47tv [reviews/overviews, regularly: warframe, satisfactory, WoH]

daring_fgc [fighting games, recently: Monster Rancher challenge runs]

deergirI [team shooters]

exclamatia [fighting games, recently: sega bass fishing]

HoliHowls [exclusively art]

Jasmine_Steel [voice acting, recently: Great Ace Attorney]

lilithmode [tumblr user, playing every PS1 game]

MogsK [underground indies]

necromancelena [tumblr user anarcho-skamunist, recently: A Bug's Life]

RachelRetro [exclusively retro]

SveriSageAdvice [voice acting, recently: SMT]

TheGravityQueen [backlog, recently: Hitman World]

Tripodial [co-op]

videochess [retro/mods]

weedbunt [celeste speedrunner, music]

YuriHeart [misc, regularly: potionomics]

there should be more transfemme streamers and letsplayers. I've sat through so many years of cis men doing the worst female voices possible when playing these games, and then I watch one trans streamer and she's nailing both the male and female voices.

either more trans women need to play games or these cis men need to STEP UP THEIR GAME

[b-sai-des]

An Interview with Lilith (pt2)

Another thing I was curious to hear you speak on was your development of your artist name and the personal significance that's had for you and your music. 

Oh man. Oh man. Okay. That's a really good question. Yeah, let's talk about that. So obviously I go by Lilith now, but if you know me from a previous time, or if I give you permission to, I used to have a name and it was Nicho. Nicho derived from Nicholas from my parents, which I'm very grateful for. It was a good name, nothing against them. I love them for that. But– so I know for a fact though that when I entered college, I was in a really weird and ever-changing mindset. Cause I know I was just experimenting with identity. I was a he/they for like a damn good while actually now that I think about it, I never really took the plunge until college came around. It was a lot of change.

Granted it came with its emotional bouts. It came with, you know, just figuring shit out as a person. I mean, you know you're supposed to make mistakes in this time. And, you know, I'm grateful that I made those mistakes. I'm grateful that I'm able to grow as a person from there. But I remember at one point, and I think it was like the apex of the spring semester, where I just really didn't feel like myself, like the name didn't make sense. I didn't really see myself as a guy. I didn’t really…I mean I could definitely fit in. I can work my way around people. I mean, I have like my friend group in high school, you know, with you in it, obviously, I can pencil my way through like a bunch of hurdles. But the thing was, like, I never really associated myself as, I guess, "one of the guys." I mean, I was a part of the guys, but I wasn't really, I didn't really feel like one. I felt more like just me rather than like, "oh, I'm a boy, I have to do this one thing, another thing" that catered to whatever gender I had to be.

So at one point, my name just kind of died out to me, and I didn't feel like myself, really. And a lot of the music around that time – I don't think I even released music around that time. Because it just wasn't me. Like, it didn't feel honest to me. I only like to put out music if I know that it's very honest to me and what I want out of myself. If it's something forced, then like, why? You know, it's not, it's not me. It's just some sort of extension that I tried to put on, but it's not really me. So I think, over the summer, I did a lot of thinking in terms of identity and stuff. Granted, it was hard, like, you know, I still haven't like, fully come out to everybody yet about it, I mean, it's like a whole thing. 

But one of the big things was just giving myself that choice. A lot of it was just like, remembering, you know, I can't control everything. But I can control the things that I have. I can't control the things that I can’t. If that name just didn't feel right to me, I think I just gotta choose a new name. And you can already see where this is going. I changed it. I wanted to be called Lilith for, like, a while. I told some people, they were so on board with it. I thank, again, I thank my Berklee friends so much, you know who you are. Thank you for just being so understanding, and being able to support me through such a crazy transition in my life, because, granted, let's say if I did this in high school, I feel like I wouldn't have gotten as much support. 

Having the support just gave me the confidence to just do what I want more. I stopped thinking too much about “what could,” “what ifs,” “what do they think." And I just started really making shit that I wanted. I wanted my music to sound dirty. I wanted my music to sound imperfect, but like, raw. And that's exactly what I tried aiming for. I wanted to make dance-y music. I made a dance album. And just kind of having that freedom, not just in my name, but also identity and music choice is just such a nice thing to have.

And, you know, nicho santos is dead was like this whole arc. Like, I released a whole album because it was like, probably one of the last times I would ever make music in that echelon, but now I could experiment more upon it.

It was kind of like the closing chapter of a book, if I had to describe that. And that, the whole name change for like, maybe a couple months. As of November 7th, 2023, you know, I changed my username. I'm dressing the way that I want. I'm doing the things that I want. I'm not stressing about relationships too much. I just want to make the music that I want to make and make some good ass friends, have some fruitful relationships, be a good person. That's really it now. 

And like, to think it was so simple now, but last year, it was not like that at all. My music definitely reflected that too (laughs). It was just a bunch of fucking confusion and chaos. And now that there's just like this level of clarity. It's just easier to make stuff now. I could just make whatever I want, and granted, you know, improve upon it, continue to practice. But yeah.

That's pretty profound. I think that's just a beautiful way to look at things, and something where you're being honest to yourself. It's like you said about being in control of the things that you can be in control of, and, you know, that's, I don't know that that's something that I think we can all aspire to. Because I think a lot of people, I mean, even myself, I feel like sometimes we don't really like, we kind of take that for granted. 

Oh, for sure. I mean, like, control is such an interesting thing, like ego, all that. So I have like, so many fucking conversations about this with Eli. It's really nice, because I get to really reflect and say it out loud to a person, and they tell me what they think. And I'm like, “Damn, that's real!” 

But even I'm still learning, you know. As people we never learn something and stop there. We're always learning. That's the most important part you have to remember. The goalpost will always move with you. But you will always surpass the ghost of wherever the goalpost once was, type of deal, you know? Every time you improve something, the goalpost moves further, but you know, you move forward as well. 

Yeah, yeah. I really appreciate you talking about this and being so open about it. It’s something that's obviously very personal, but also something that I think is really important to hear.

Identity is just such an important thing, sense of self. A lot of this music industry, from what I've seen of the music industry – I haven't really dove into it as much as I think I have, what, I’m maybe 10 feet deep into the ocean out of like the hundreds of feet, maybe thousands – but there's a lot of people out there, it's very easy to get lost. It's very important to have a good group of people, but also yourself, you can rely on yourself the most. And being honest with yourself will just make that job easier. 

Because if you're, if you're playing yourself up to be like something that you aren’t, and then you need to fall on that, that shit's gonna fall flat. You need to be honest with yourself 100% of the time, and I'm telling you, the music will show. The music will show that you're being honest with yourself.

There's like, I could probably bring up two albums off of my bandcamp where I could really talk about that. It was power creep: the outtakes. That album was probably– I love that album, but that was…honestly not me. I wasn't who I wanted to be. 

I made Letters soon after and it was like a whole like ambient album and that was like one of the best projects I made in my opinion. No one got it, but I was happy. And honestly? That's really all I can ask for myself. I really make my music for me. But if you fuck with it, if you vibe with it, that's awesome too. If you don't, that's awesome. I'm just a choice, I'm french fries at the whole buffet. You don't gotta get me, you know. If you don't like me, it's fine you know, my music's gonna be here. Not going anywhere.

Lilith has an experience that is really important to hear, and I was extremely grateful that they shared that here, especially considering how personal it is. They also bring a really insightful perspective that rings true in general. It seems to be at the crux of their strive for authenticity on both the personal and artistic level. Lilith goes further into detail with how they stay personal and authentic in their production work.

I guess the other thing I was kind of wondering is when you when you're making an album, or rather when you're like making a song and you use samples, do you start with the sample and then build off of it or is it something where you have an idea and then the sample comes next?

Hmm, that's a good question. Producing is a very emotional thing for me. It can vary every time someone asks me about my process. It does vary from time to time because usually I build off of an emotion. I just kind of walk in, I let myself become a vessel to whatever is around me, and whatever I start with, I start with. If it's drums I start with drums. If I start with a sample I start with a sample. But my emotions do play a lot into the types of samples that I choose. I don't know how much you can hear it in the new album, but like I chose a lot more, I guess…comforting? I wanna say comforting, but let’s say it's just super energetic, makes you want to move a little bit. I was looking for stuff that had that energy to me, and If I could find it and harness it then I would put it in the track. Make it. Do what I had to do. 

Yeah, that's really interesting. I can see how it all kind of goes back to that feeling of authenticity and what's true to what you're trying to do. One thing I have been meaning to ask is about the way that you use percussion; oftentimes when you have the percussion it kind of syncs with other sounds that are sucking in and out – ducking out. It's just always a really interesting effect,  and also something that I can't really think of being utilized in the way that you have with your music. There are times where it feels like it kind of contributes to the rhythm of the track, I don't know the technical terms of it. I think it's one of the things about your style that’s just really fascinating.

Oh yeah, yeah, side chain compression man. I’m not going to get into the nitty gritty but side compression is when you take two sources of audio– compression essentially equalizes everything so it makes the quiet parts louder and the louder parts quieter– if you have a sound that completely overbears the quieter signal it’s going to duck out, and to compensate, the smaller signal will get louder after the hit, so it creates this ducking effect that…this is all very technical stuff, I go to a music school, I’m embarrassed. Honestly, it gets the job done. 

It's interesting though, because I was thinking with sidechain compression…my teacher Daedelus, I'm so thankful for Daedelus, shoutout to them, if you don’t know who Daedelus is I’m very sad. I’m joking, of course. No they're just super important to like music as a whole, and I'm very grateful to call them my teacher and a peer.

The big thing about it was, they had this album called What Wands Won’t Break, and it toyed with this idea of loudness, and how far you can push something to get different qualities out of it, and how much it can evoke this raw feeling of like primal essence, if I had to describe it. They completely went out into the outskirts of dance music and turned the volume all the way up and harnessed this energy to bring out these crazy different parts of the track you never thought would have been able to exist if they hadn't played with loudness. 

What sidechain compression is for me is kind of like that, because now I play with the idea of loudness, but being able to suck away from that with something that's just as loud. It’s kind of like…it moves me a little bit, especially with the more emotional samples? I don’t know, just like the absence of that kind of emotional cord, and that can maybe tug at your heartstrings a bit. But then having it come back after it being taken away from you, and then having it taken away…it's like this crazy push and pull and like, you know, my roommate Trey – I love my roommate Trey – he hates sidechain compression. It's not for everybody. Yeah, he's like “Why are those beats so quiet? I want to hear the beat?” I fucking love that shit! I do not care about what he says, I love that– I will defend it until I die. But I totally get what he's coming from too!

But like, you know, like it's an interesting way to get, like, value, it…I'm speaking so much on it but at the end of the day It's just: cool drum, makes the sample duck under volume, and it comes back out, and it makes my neurons active. It's really just as simple as that, but emotionally it can do some stuff! Like I'm not gonna try to come off as some sort of like pretentious, “well, you see the sidechain compression akshully provokes something with it–” well, it does, yeah, but it's not that deep. Sometimes it just sounds cool!

You know, I've learned a lot, especially through music, and being in the industry, gifts will just come and either you just accept them or reject them. You can't just dive into it like well, “Why did I get this? Why?” Just like dude, it's there! You don't have to look too deep into it. It just is, whether you like it or not. You can accept that shit or reject it. But either way, it's still gonna be there. 

Yeah, that was great, to hear your explanation and thoughts on that. I find it's really fascinating the way that you kind of talk about that emotional component with how it affects the rest of the song. Yeah, that's crazy! 

Yeah, I mean like it’s simple. Dynamics, volume plays such a big role in music, you know. Simple silence, sometimes having something be quiet or maybe have something just be loud all of a sudden. But I can just evoke something whether you like it or not. A reaction and emotion maybe It's just more or less like finding a way to trigger that emotion and then doing that consistently while also like finding new ways to express that. 

Cuz you know, I can do the same tricks for a while, but I'm experimenting now. I'm back in like my, “Okay, I gotta figure this shit out. Okay. What do I gotta do for this? Okay, what can I do differently?” You know, small things, you keep working on it. You essentially theseus-ship your way into a completely different sound. It just takes time and it just means consistency, and I’m very thankful for my work ethic because I don't think I'd be able to do it if I was any lazier than I am right now. 

There's a whole lot of really really interesting and insightful stuff that you're telling, I really appreciate you taking the time and letting me interview you!

Yeah, of course! And like I'm honestly super grateful. Like I'm very honored that you thought of me to ask me for an interview.

Lilith's approach to music production is always from a place of having an authentic sound and working outside convention to, as they correctly describe, evoke something raw. It's also always from a place of true passion for the craft and for their friendships.