You released your first EP Warn-U under the name Ayshay in 2011. Since then, you’ve released a number of exciting solo records and collaborations, as well as working on visual arts projects and writing. How would you describe your current practice to someone who might not be familiar with your work?

You recently composed the music for the film La Abuela, which was released in January. What can you tell us about the film, and how did you come to work on it?

The last film you scored was 2019’s Atlantics, which has been described as a ‘ghost love story’. The film uses elements of folk tales and the supernatural to tell a story about inequality, love, power and class. It’s a beautiful and unsettling film and to have you as composer seems a perfect match. How did that collaboration come about?

There’s a spacious, understated quality to the Atlantics score, which is also reflected in your most recent solo album, 2021’s Medieval Femme. Has writing for film affected how you approach your other projects? How is the process of making your own albums different from working on film scores?

As a multi-talented artist you’ve worked in a number of mediums over the years. What is it about making music, and specifically composing for film at the moment, that is so attractive to you?

Your solo records all have a strong conceptual basis. The exploration of Western democracy and police brutality on 2016’s Brute, or the concept of an “imagined China” and Chinese stereotypes on 2014’s Asiatisch, for example. When you’re making music do you set out to explore a specific concept or is it more a process of just creating and gradually developing and uncovering a concept as the work progresses?

Medieval Femme draws on themes of melancholy, longing and solitude. It evokes feelings of a kind of otherworldly place, like being lost in a dream. It feels appropriate that you finished making it during lockdown last year. How did the pandemic affect your practice and the album? Is the idea of place important to your work, both in terms of the place where it is created and the sense of space it creates?

Much of your music could be described on some level as club music. What are your thoughts on club spaces, is the club an important space to you?

You’ve spoken a lot about your relationship with video games, how they were important to you as a child and how they influenced the music you went on to create. Have you ever thought about scoring a video game yourself?

Can you tell us what you’re working on at the moment? Will you continue to make film scores as well as your own solo albums?