Prepare for a one-of-a-kind journey with Elohim’s latest single, “Didn’t Sign Up For This,” the third release in her current album cycle. This track combines indie elements and UK garage vibes, while featuring the authentic strum of an acoustic guitar. It stands out with a distinctive dark appeal yet fits seamlessly into Elohim’s style.
This single serves as the final preview before Elohim reveals her eagerly awaited album, ‘Power Of Panic,’ set for release on July 12th. The song’s deep bass and haunting melody reflect the emotional ride portrayed in its lyrics which offers a raw glimpse into the highs and lows of life.
Elohim‘s impact reverberates throughout the music world. Her singles this year have earned spots on exclusive Spotify playlists like ‘Bass Arcade’ and ‘New Music Friday Dance.’ Previous tracks, “Can’t Remember Your Name” and “Tiny Human,” have already set the stage, each revealing more story surrounding this musical era she’s in.
Her latest work is gaining traction across various streaming platforms, with support on Spotify’s ‘Women of Electronic,’ Apple Music’s ‘New in Dance,’ and Amazon Music’s ‘Brand New Music,’ among others.
Elohim‘s artistry is celebrated widely, with over 600 million streams across platforms, backed by partnerships with GoDaddy, Splice, and Dolby Atmos. Her mental health advocacy was highlighted in Billboard’s Unmasked series in collaboration with NAMI and Soundmind. Unless you’ve been living under a rock, you’ve crossed paths with her in some way, shape, or form over the years.
On stage, Elohim has killed it at major festivals including Coachella, Ultra Music Festival, and Lollapalooza. Her U.S. tours have featured headlining DJ sets, showcasing her dynamic performance skills.
Collaborations with artists like Marshmello, Big Freedia, and Skrillex highlight showcase just how far she’s come in the industry. Press features in Rolling Stone, Variety, and The New York Times topping of the success she’s brought within her orbit.
Elohim‘s trajectory underscores her substantial influence on music and culture. As both a vocalist and producer, her connection with audiences and her steadfast advocacy for mental health render her a pivotal figure in electronic music.
“Didn’t Sign Up For This” beckons listeners to immerse themselves in the intricate themes that underpin her artistry. Following this, look forward to an exclusive interview where Elohim delves deeper into her journey and the inspirations behind her music down below.
Check out the full interview below!
“Didn’t Sign Up For This” will resonate with many who feel overwhelmed by life. What personal experiences inspired this song? Are there specifics you’re willing to share, or is it more general?
I don’t have enough fingers to type out all of my specific personal experiences! 🙂 I feel overwhelmed by life every day. I am constantly trying to make sense of it, trying to find purpose and meaning, and something to hold on to. By doing that, I end up perpetuating my anxiety, panic, and derealization disorders, and it puts me in a weird whirlwind of confusion and questions.
I really just think I’m a deep feeler and see everything, and it can be very scary and exhausting. I was horrible in school, but I felt things a lot of the book-smart kids couldn’t. It feels like us humans are not equipped to deal with such vast, intense emotions. I have some close friends who are also deep feelers, and it is such a relief to be able to connect.
There is also now a community of listeners who have become dear friends to me, and we talk about this stuff all the time! My biggest help and coping mechanism is writing, so I think that is why I made this song.
Your live performances are known for their energy and emotion. How do you prepare for these shows, and what do you aim to convey to your audience during them?
I prepare by rehearsing, practicing, and tweaking everything until I feel it is just right. Then I do that all over again because it’s infinite and ever-changing! I really think about the listeners, especially the ones I know so well.
I aim to give an experience from start to finish. I want people to feel something, to get their demons out during my emotional purge, to take the audience on a journey. Giving that experience to someone is incredible. It kind of isn’t about me at all; I really just want to give people an amazing moment they can carry with them.
Right before I go onstage, I need to be completely alone and in silence. I get really bad anxiety with the anticipation of performing and sometimes throw up. But once I step foot on stage, I lock in, and it is wonderful.
What has been your favorite song to create on “Power Of Panic,” and why?
I really am such a sucker for interludes. I love just creating them alone on my laptop and making weird noises. They feel like little windows into my brain.
The very last song on the album is called “Earth Angel.” It is an interlude. It is me reading my journal entries and health records from a really hard time I was going through at the end of last year. There was something really special about feeling all of that emotion while speaking those words into the microphone.
How have your collaborations with other artists influenced your music and helped shape the sound of “Power Of Panic”? Did anyone in particular end up teaching great lessons?
This is a really cool question. I would say probably being in the studio with Skrillex and creating “Buckets” was a very influential moment for me. He was a ridiculously, mind-blowingly good producer (of course), but something about my song “Buckets” really activated this other side of me.
It has become the part of my show that’s the emotional purge. And it became my favorite song to ever perform. So naturally, I wanted to make an album that gave me a similar yet elevated feeling of strength and power.
What are your favorite aspects within the creative process behind your upcoming album “Power Of Panic”? For example, how did you approach songwriting and production?
What I loved about this album was that so much of it I wrote alone, either while laying in bed, driving, or sitting at my piano. After I’d written the song, I would go into the studio and sing to either a very minimal piano I put down, or I would just sing to a click track.
I didn’t want any chords I played to influence the production. Normally, I would go in and work on everything all at once. But it was really, really cool to work on writing first and putting down a full vocal first. It was such a fun process.
The vocal really lent itself to changing keys, chopping and screwing, detuning, and trying new sounds and chords I wouldn’t have played while writing. This was my first time making an album in that order. Thank you so much for the questions.
Listen to the track below.
