Swiss-Nepalese producer, vocalist, and Danse Noire label owner, Aïsha Devi, is back, and they’re bringing new album Death Is Home with them, out today. This album marks a significant progression in Devi’s career, as their first full-length release since 2018, as well as their most personal and enlightening work to date.
This record is a testament to Devi’s bold vision, dissolving boundaries and polarities, reframing death not as an ending but as a powerful, transformative force. Drawing on a rich tapestry of influences, including shamanism, physics, the practice of monks, Vedic scriptures and ancestral wisdom. Devi has crafted a manifesto that urges us to reconnect with our sense of eternity in a world dominated by hyper-materialism. Devi transports us beyond the confines of three-dimensional reality, inviting us to participate in a musical experience and receive their signals.
Before her first full scale live presentation of the album at Barcelona’s Mira festival, we talked with Aïsha Devi, delving into the profound themes that underpin Death Is Home. Join us as we explore the intersections of art, spirituality, and philosophy, and embark on a captivating exploration of music’s power to transcend boundaries in the modern world.
We last had a conversation with you back in 2019. Can you tell us where you find yourself today compared to four years ago?
My music practice in general is an initiatic journey, a journey that is granting me access to a wealth of knowledge that I reinsert into my music. I now produce music with a very clear conscious sense of healing. I am now working through a syncretic prism, layering my proto-religious knowledge together – like Shamanism and alchemy. Music and frequencies are the primordial essence that orders the tangible and the intangible, the matter and the energy. My specific practice of music feels like an infinite initiation to the invisible and an ongoing experimentation of human spleen healing.
Your new album is described as a manifesto, which makes sense with all of this knowledge that you have connected, and this is also your most revealing work to date. Could you share more about the personal evolution and ongoing quest that led to the creation of Death Is Home?
This album is a conjunction between my personal and spiritual realization and a more metaphysical point of view on society that all come together. A point where my own genesis, including childhood traumas, identity quests, personal and philosophical questions come together in one vision. Death Is Home is not a death cult, obviously, but a personal reconnection with my dead father. A way to extend my fantasized relationship with my unknown father. Even dead, he became a central force in my life, a kind of eternal idol.
It’s also my own take on Socrates’ concept of uncertainty, a metaphysical empowerment manifesto that counteracts this anthropophagic society, a society that both promotes death and the fear of death. This process really inscribed itself through my own genesis. I never really talked much about my life in my songs, my vocals were never so lyrical, but now I am opening up a little bit more about my journey, why I’m here, and what has defined me. I think that’s the most important thing on the album: the conjunction of a personal quest and a universal spiritual answer.
I think this personal aspect definitely coincides with you coming leaps and bounds from your previous album, in which you talk about connecting to an infinite and this immortality through music, which connects back to what you’ve said about music as this primordial force. Is Death Is Home the natural progression of this thought?
Music has always been a tool of expression, of belonging, but I also realized that it’s actually the essential force that modulates matter and non-matter. Modern physics acknowledges 11 dimensions, and we perceive life in just 3D. To heal this civilization, I think we will have to be much more aware of our existence outside of this corporeal reality and in a higher dimensional plane. I really think that hyper-materialism is annihilating our sense of immortality, and that’s why the intangibility of music is so present in our life. Music is one of the tools that can help us initiate this consciousness and open the portals. I want to bring back the essential ritualistic aspect in contemporary music.
Can you talk us through the importance of the club and electronic music scene for this metaphysical purpose?
I’m interested in electronic music as the last form of modern ceremonial gathering and communion. When you go to a club, you look up and think, these lights remind you of something; the spotlights, the colors, the fog. I think that clubs are an emulation of the cosmos. The lightning system of a club is a simulation of the universe. That’s why we’ve been gathering and raving in nature for so long. We’ve been bringing speakers out in the woods and just dancing until dawn – that’s what clubs are for, for gathering and sharing a collective altered state of consciousness. Club culture is really important, freedom and transcendence for all, something that the Western world is totally afraid of. I want to heal spleens in clubs.
You discuss space a lot, not only in the physical cosmos but in terms of matter and spatial-temporality as well. How do you find yourself exploring space and spatial limits in your art?
We say time is money, that motto reveals time in a very materialistic and physical angle. For me, space is the new time and the new money. Spacetime is limiting us in understanding our own eternity. When you exit the traditional pop format of a 3 minute track and go to an ambient or metal show for instance, your comprehension of time will be altered. Ritualistic music and specific genres can remodulate and modify our perception of time. I call my music Aetherave, a rave that generates spacetime’s dissolution.
Can you explain how death is home for you? What does home correspond to in this sense of the in-between sphere?
I never felt belonging to this world, to its system nor its categorization and I think this is why I always felt home in a queer environment . There’s a track in my new album calledThe Infinite Chemistry of the Betwixt which has these lyrics:

This reality is maintaining me below
Below myself, below the multiple states of existence, underneath infinity
I found my way to antigravity and I exist in between archetypes
I am not one or zero, I am a transcendental number, I am everything within
I am never-ending and immortal, my chemistry is beyond duality
I am not dead or alive but in the trance of the between

I think binary is obsolete, binary is the codex for the 3D. But as people who never found themselves belonging to a certain archetype, that’s what we feel. The idea I want to communicate is that we are multiple. I had another track that said, “If you name me, you negate me.” I want to be omniform and one definition is limiting.
Can you tell us about any specific experiences or encounters that have profoundly influenced your music and artistic direction, because you’ve explored such a wide range of information and knowledge from very broad histories and cultures? Is there a common link you identified to connect all these different types of knowledge?
I’ve realized one of the most important common concepts throughout our whole civilization around the world is transcendence and the essential role of music to access transcendence. The idea of transcendence emerged very recently in physics theory and science is still extra discreet about it, but I'm pretty sure science will prove Shamans right. We live in a society that promotes both death and the fear of death. There are so many cultures where it’s a celebration, a passage. Our society has made it taboo and sterile, the end.  It’s a way to maximise capitalism – it’s really damaging. 'Death is Home' is also a reappropriation of our own resonance with death and a way to disintegrate fear via trance states.
I think this healing aspect is very interesting though, especially discussing your frequency development. Can you explain more about this music as a healing process of catharsis?
Go watch a Slikback DJ set, it’s a ritual and a complete purge. The spectrum of frequencies he’s using, the way he organises the narrative, he is building a dramaturgy to elevate the crowd. In these intense dance floor experiences your whole body is reordered on an energetic and atomic level. I like the idea of musicians being superconductors. My grandfather was a superconductivity theoretician. Searching for the ultimate matter with zero electrical resistance is so beautiful. As an artist, if you can resonate without resistance, a quasi dissipated ego, you are a perfect vector, you let the frequencies act and the music heal.
That’s really fascinating, you create this almost scientific version of the old poetic technique of invoking the muse in becoming this super-conductor for frequency. Especially, going back to even The Odyssey, poets asked for this divine inspiration from the Muse for their work, whereas you tune into the universe.
I like that terminology. I also think that in literature and art in general, the archetypes of the blind and the madman are very important. I think I’m a bit of a madman, the one who will put the light on the intangible. But the madman is a renegade, I'm a club kid and an outcast.
One of the tracks on this album features Kenyan producer Slikback in one track, I understand you have a great respect for them. How was this experience?
My label collective Danse Noire has been organizing parties in Berlin and when he played for one of our nights, it was exhilarating. This is what I'm searching for, an experience where you forget about your visible manifestation but concentrate on the energetic and chemical factor. Chemically Slikback is one of the best. The collaboration for the track Dimensional Spleen unfolded with total fluidity, a natural unspoken comprehension of the chemical potion we wanted to create.
Are there any ways that your audience can best prepare themselves to experience the most from your art, to help transcend?
I’m sending specific signals via my music, a cypher that people respond to when they oscillate in my cosmos or when they come to see me play. I think my audience knows stuff too and we connect. They know that they come as they are, multiple and limitless. It is a kind of invisible constant resonance. I don’t like the idea of the artist being on a pedestal, just bearing their art for people to watch. My show is consciously active and animated by the people present, and it’s a resonating experience for everyone in the room. It’s an ongoing experience – I will continue to have relationships with people, like mycelium we extend our world, building a community together. I continue to resonate with what we shared.
What can we expect next from you?
I’ll be touring extensively next year for the 'Death is Home' live experience and I'm currently working on the visuals and scenography for the new show. Aethernal Score, the piece which I composed for the BBC Concert Orchestra will also be released in its orchestral live version next year. I think I will bounce between the stage and the studio, as I already want to produce new music, and I'm thinking about collaborations.
How do you feel about collaborations moving forward?
After Covid, I’ve seen people becoming wilder and more confident about generating their own world, that’s what interests me: a singular personal microcosmos. I can’t wait to blend my and other artist’s parallel universes to create new sensations and new fantasies.