In their latest musical endeavour, artist Georgi Kay delves into the shadows with their captivating new single, “Chloe.” This unique blend of dark EDM and ambient pop transports listeners to a “cinematic portal,” exploring the darker side of fame and fandom. The song’s contrasting elements, from haunting bass lines to pop-infused melodies, create a captivating soundscape that invites introspection.
We had the opportunity to chat with Georgi about the inspiration behind “Chloe,” the upcoming album “Into Oblivion,” and their artistic journey, promising a thrilling new chapter.
Georgi sheds light on the creative process behind “Chloe,” revealing how an initial love letter to a celebrity morphed into a commentary on the often-toxic world of celebrity culture. We discussed the influence of sci-fi and horror films on the track’s atmosphere, highlighting specific sonic elements that evoke a sense of unease and intrigue, and much more. Stay tuned as we delve into the mind of this genre-bending artist.
Your new single ‘Chloe’ is a fascinating blend of dark EDM and ambient pop. Can you walk us through the creative process behind it and how you used these contrasting genres to craft the song’s unique atmosphere?
I’ve always been drawn to darker art. Whether that be in the form of music, films, video games, books, artwork…you name it. I think it’s beautiful. It feels more authentic, more real, and ultimately more honest. Darkness doesn’t have to be scary, nor does it have to be perceived negatively. As cheesy as it sounds, light can’t shine without darkness, and so to me, it feels like art created within a darker realm is one of the most brave and profound forms of expression one can make. It’s incredibly transportive.
And so for ‘Chloe’, I wanted to create a song that felt like a cinematic portal. One that leads the listener down this dark and twisted corridor that explores the very real and very insidious underbelly of Hollywood, the entertainment industry, and celebrity culture. You have pop elements in the vocal melodies, pace, and synth hooks, blended with dark dystopian-esque bass lines and atmospheric pads – it’s designed to hook you in like pop songs do, but it also encourages you to pay attention to the lyrics and immerse yourself in the overall tone of the song. Sit in it and let it sink in.
We heard ‘Chloe’ started as a love letter to a celeb crush. That’s relatable! But then it morphed into this commentary on celebrity culture. What made you take that turn?
I remember finishing the first demo and listening to it on repeat in the car on a night drive. There was a point where I felt this shift within myself, like something of an epiphany or kind of awakening (?) It’s difficult to explain, but let’s just say it was a “moment”. I remember thinking how odd it was that I was exalting a complete stranger and that I felt comfortable enough to write an entire song about them, in honour, awe, and admiration of them, and perhaps in the hopes that they would respond. How strange it was and completely fabricated, to project a fantasy of mine onto someone I’d been in the same room as multiple times, and yet never actually met. And that got me thinking about how so many of us do that with other people, especially within celebrity culture.
The whole culture itself encourages fans to become die-hard fanatics and followers of these people, it feeds on the combative discourse it creates and it very much is fueled by stalker-like behaviour, only to turn around and call that “love”. So that’s when I started to listen to ‘Chloe’ in a different light, and from a different standpoint. It was a very surreal and cool moment.
You’ve mentioned drawing inspiration from sci-fi horror films for ‘Chloe.’ How do those dark vibes translate into the music itself? Are there any specific movies that fired you up?
I absolutely love sci-fi, horror, and dystopian films. They fascinate me because the future fascinates me, and so does the feeling of being close to fear whilst still being in control, still being safe. I think those elements reveal themselves in the composition and use of the sonic elements I chose for ‘Chloe’.
From the deep warbling and slightly sinister bass lines that remind me of the xenomorph in Alien, to the higher synth horn notes reminiscent of Blade Runner. I even chose to start the song with an old film projector sample, to pay homage to the wonderful and transportive world of cinema.
Even the lyrics are an ode to film and TV:
“I praise your cinema,
Your face on the TV,
It’s strange, what you do to me,
Over and over again,
Your love is a theatre,
Displayed on a silver screen,
It plays for you and me,
Over and over again.”
And the second verse explores all the film genres that this celebrity has acted in:
“Baby, what you watching lately,
Sci-fi thriller crazy,
Always on my mind,
Maybe, I’m just stuck in daydream,
Psycho horror fantasy,
You’re one of a kind.”
It’s a complete overkill and on the nose, and I love that.
‘Chloe’ seems to explore the dark side of being a fan. Why do you think that’s a conversation worth having these days?
I mean, just look at how many times celebrities have had beef with each other, cheated on each other, or broken up and then gone on to date another celebrity not long after. The amount of hateful comments made by die-hard fans is wild. From death threats to other people to sharing their personal opinions on business that has nothing to do with them, to even showing up at celebrities’ houses unannounced and expecting some kind of special treatment, as if they believe they are friends with these people.
I think the straw that broke the camel’s back was seeing footage of how fans behaved at live shows post-COVID. From chucking objects at performers in the hopes they’d get acknowledged and have their 5 seconds of internet fame, to flat out yelling throughout people’s performances. The fact that live show crowds are now just a sea of phone screens is really sad. Show etiquette has gone out the window, and the downside of social media is that anyone can follow and message anyone, no matter who they are or what their intentions may be.
It’s like a horror movie in and of itself. And I fear that there is little to no desire to regulate it, let alone stop it. It’s become larger than life.
Okay, picture this: someone hits play on ‘Chloe’ for the first time. What kind of emotions do you want them to experience?
I’d love to be a fly on the wall for that. It’s always so fascinating to hear what other people think and feel about art. It’s so subjective, and I love the discussions that come out of people’s different perspectives and experiences with the same art piece.
That being said, if I could have any control over what people felt during their first listen, I would hope they would feel a real sense of transportation. That they would feel immersed in the music and the words, and that some cinematic visuals would cross their mind throughout.
‘Chloe’ is just the first single of a new chapter for you. How does this track set the tone for the rest of the album, ‘Into Oblivion’?
‘Chloe’ feels like a big step up from my last record, ‘Where I Go To Disappear’, both in my songwriting capabilities and in the evolution and added depth that my sound has attained.
Expect more darkly immersive soundscapes, faster-paced tracks, and more deeply profound meanings and themes behind each song. I took more creative risks with ‘Into Oblivion’. I wrote it with no fear and no expectation for approval.
How does ‘Chloe’ represent your growth as an artist since your debut work?
Talking about risks, I think it’s a body of work that shows how much I have evolved as both an artist and a person. The desire to follow through with bold and perhaps less popular ideas, and to go against the grain of what is expected and what is considered palatable by the masses. To trust my instincts and make music that I love to make, brings me genuine joy. That’s how I started my music career, and that’s what I feel I’ve finally returned to. A real sense of knowing and peace. A full circle moment.
What are you most hyped about with the release of this single and the upcoming album?
I always feel a sense of loss when I release music. Not because I don’t want others to hear it, but more so because I spent so much time working on this thing from the ground up, start to finish, just me, myself, and I. Something that was just for me, not for anyone else.
In a world where people are always sharing everything they do on social media, and the expectation of artists to share their work and everything behind the scenes, it feels like there is little left to claim as one’s own. There is little privacy, and that is something I crave.
However, reminding oneself that you had your time with this thing, and now you must let others have their time with it, is always important. If we don’t let go of things, we can’t ever move on. So I hope that whoever listens to ‘Chloe’ and to the full record later in the year finds comfort in it, and feels like it is always a safe place they can return to.
Beyond ‘Into Oblivion,’ where do you see your sound evolving next? Are there any new themes you’re itching to explore?
Yes. There are a few different projects I’m keen to explore. I’ve always wanted to make an album that you can listen to while you’re gaming. So, a lot of ambient and deep synth instrumentals. I also want to release an acoustic record, a covers album, and a third album to follow ‘Into Oblivion’. I already have the album name and track list done, I dreamt it in a dream and wrote it down the moment I woke up. I’m very excited for that one.
