I am great, I really looking forward to performing in Madrid.

Before I get on stage I like having a moment of peace. I do a vocal warm up and I put on my costume made of shepherd’s bells. Once the costume is on, then it’s show time.

The poetics and psychedelia of Mediterranean, Middle Eastern, and Balkan folklore are a part of me. My manners and spirit have been formed in these regions and cultures. When I was growing up in Cyprus, half the time I was partying in Boyzoukia, where you would listen to super loud traditional Greek and Middle Eastern music; the rest of the time I was in beach parties listening to Balkan and Euro-trash EDM, but I was actually making punk music at home. I now live in Berlin and all these elements are spitting through my sound.
My latest album, Fucklore, was an experiment; It was an attempt to create my own version of my culture’s folklore in an LP. Traditionally, folkloristic projects have aimed to portray a romanticised, homogenous nationalism that I enjoy dismantling, queering and re-inventing in my work. But it’s interesting what you are saying about one sound responding to the other, I play with this technique in the production, it creates a melodic dialogue.

The content of my work, also coming from a tiny place like Cyprus, an island marked by colonialism and ethnopolitical division, even if my work is circulating globally, I would be surprised if it ever falls into this cultural imperialism category.

I have only imagined the resignification of folklore and EDM.

I write about things that concern me, the content is political; sometimes it’s about my emotional landscape, curiosities and personal relationships. I make music that turns me on, the music is a collage, a kaleidoscopic experience of different sounds, narratives and psychedelics. The connection between all these elements develops in the production of the track, the video, the performance, the experience of it, the aftermath of it.

Yes, I checked her out, I am looking forward to her set :)

My process involves subverting, queering, and twisting my culture’s poetics and narratives through sampling Dabke, Greek, and Balkan melodies. Through queering and re-inventing rituals, this allows me to channel a sense of hedonism fused with revulsion and chaos, resulting in a brand new orientation, in perspective, in narrative, and in the work. Collaging these elements with my punk-infused computerised production is what went down with my last album Fucklore. I think the idea of anarchy and queer phenomenology resonates strongly when you’re a queer woman with a Cypriot background.

I find all elements of the artwork exciting and important, usually they all converge in one.

I have an on-going process, I never really stop producing music, collecting ideas, or making work. I just have days where I absorb more than produce, or days where I am more animalistic than creative.