Exclusive Interview With Samyula
1. "Transcendent" is the next single off your forthcoming album "Ethereal". What was the conceptual or emotional impetus behind this song?
"Transcendent" is a piano composition that explores the transformative power of music and its ability to elevate the spirit. When composing it, I was inspired by the idea of transcending the ordinary and reaching a higher state of consciousness, blending ethereal harmonies with moments of intense, soaring intensity. The piece captures the journey of transcending doubts, fears, and the weight of the past, elevating into a space of serenity and light.
2. "Ethereal" is defined as an inward journey—a study of the self. How did you go about translating such a process of self-reflection into music?
2. "Ethereal" is defined as an inward journey—a study of the self. How did you go about translating such a process of self-reflection into music?
One example is Duality, which emerged from a moment of inner conflict. The piece plays with contrast—light and dark, tension and release—through shifting harmonies and opposing motifs. It became a way of acknowledging that we often hold contradictory emotions at once. My goal wasn’t to explain the self, but to evoke it—to allow listeners to sense something familiar within themselves through the music.
This piece is particularly special since there is a version with a cello within the album where the cello introduces a second voice—a counterpart to the piano. It feels like an internal dialogue: one voice questioning, the other responding; one grounded, the other searching. The cello’s warmth and expressiveness add depth to the emotional landscape, giving shape to vulnerability, connection, and inner complexity. That interplay between the two instruments captures the essence of the album: not a monologue, but a layered conversation with the self.
3. You have the rare distinction of being both a composer and a neuroscientist. How does your scientific background affect your creative process in composition?
4. Your music draws upon classical training, minimalist, and modern influences. How do you reconcile those worlds in your music, particularly on this album?
There are so many incredibly talented composers whose voices need more attention. Composers like Caroline Shaw, Ólafur Arnalds (though not a woman, he collaborates with many talented female composers), and Sarah Kirkland Snider have incredible, transformative work, yet many other women are still struggling to get their music heard in a wider context.
I’d love to see more spaces where emerging women composers can be heard and celebrated, and where their work is seen as equally vital to the genre.
8. Having garnered more than six million streams and increasing global recognition, how has your evolution from your debut "Daylight" to "Ethereal" influenced the person you are today?
The journey from Daylight to Ethereal has been a profound evolution, not just musically, but personally. When I released Daylight, I was still discovering my voice, experimenting with sound and form. Over time, as I began to refine my craft and understand my inner world more deeply, I noticed my music evolving into something more introspective and nuanced. Ethereal is a reflection of that shift—less about external expression and more about exploring my inner landscape.
The recognition and streams have been humbling, but they also push me to continue growing. With each new piece, I’ve become more confident in trusting my instincts and emotions, allowing the music to guide me rather than trying to fit into expectations. It's been a journey of embracing vulnerability, both as an artist and as a person. I’ve learned that the more authentic I am in my work, the more deeply it resonates with others.
3. You have the rare distinction of being both a composer and a neuroscientist. How does your scientific background affect your creative process in composition?
As a neuroscientist, I’ve studied how the brain processes stress and creativity—particularly how the serotonergic system influences our mood and how stress impairs the functioning of the prefrontal cortex. When we’re overwhelmed, we lose access to key cognitive functions like attention, learning, and emotional regulation. The amygdala becomes overactive, keeping us in a constant state of alert that blocks creativity and self-expression. Understanding this on a biological level made me even more aware of how essential it is to create mental space—moments of stillness that allow us to reconnect with ourselves.
That’s exactly what I try to offer through my music.
With my music, especially on Ethereal, I wanted to create an environment that calms that stress and fosters a deeper connection with the self. I believe that we all have creative potential—it’s not reserved for a few. But in order for that potential to emerge, we need to feel safe, grounded, and present. Music can open that space. It can become a refuge from daily pressures and an invitation to explore and develop the talent that each of us carries inside.
4. Your music draws upon classical training, minimalist, and modern influences. How do you reconcile those worlds in your music, particularly on this album?
I see those influences not as separate worlds but as different languages that can coexist. My classical training gives me a foundation in structure, nuance, and emotional depth. Minimalism, on the other hand, has taught me the power of space, repetition, and subtle transformation. And contemporary or modern elements—like sound design, extended techniques, or unexpected harmonies—offer me new ways to explore tension and texture.
On Ethereal, I tried to let each piece breathe—like No One Knows Me explores the quiet desire to stay unseen—the kind of emotional distance that comes from shyness or the fear of being truly known. I wrote it as a fragile waltz, with a gentle, swaying rhythm that feels both intimate and elusive, or in Orbit, where a simple motif evolves meditatively, built around a quiet, cyclical structure that reflects inner stillness. It's less about reconciling styles and more about allowing them to serve the feeling I want to express.
On Ethereal, I tried to let each piece breathe—like No One Knows Me explores the quiet desire to stay unseen—the kind of emotional distance that comes from shyness or the fear of being truly known. I wrote it as a fragile waltz, with a gentle, swaying rhythm that feels both intimate and elusive, or in Orbit, where a simple motif evolves meditatively, built around a quiet, cyclical structure that reflects inner stillness. It's less about reconciling styles and more about allowing them to serve the feeling I want to express.
5. You've collaborated with producer Kjell Sonksen and had your tracks remixed by Joan Arnau Pàmies. What was it like having other people involved with you in this very personal project?
Collaborating with others on such a personal project was surprisingly natural. With Kjell Sonksen, the process was very intuitive—he created space for the music to unfold without imposing anything, just enhancing its atmosphere subtly. Joan Arnau Pàmies approached the remixes with deep sensitivity; he deconstructed the pieces without losing their emotional core. Hearing someone reinterpret something so personal was strange at first, but also beautiful—it reminded me that once a piece is released, it no longer belongs only to me.
6. As a woman producer and composer—a field dominated by men—what are some of the obstacles you have faced if any, and what would you like to see improve in the industry?
6. As a woman producer and composer—a field dominated by men—what are some of the obstacles you have faced if any, and what would you like to see improve in the industry?
As a woman in a field traditionally dominated by men, I’ve faced moments where my voice wasn’t immediately recognized. There’s often an unconscious bias, whether it’s in studio settings or when it comes to being taken seriously as a composer. But I also see this as an opportunity to challenge those perceptions, to prove that creativity and technical skill are not gendered. I would love to see more women in leadership roles—whether it’s as producers, engineers, or composers. There’s an incredible wealth of talent and perspective that often goes unheard. Encouraging young women to explore all facets of music production and providing them with the tools and support to succeed is key to shifting the landscape.
7. Do you think women composers receive sufficient exposure in the neoclassical or contemporary classical universe today? Who are some that you think need more attention?
7. Do you think women composers receive sufficient exposure in the neoclassical or contemporary classical universe today? Who are some that you think need more attention?
Unfortunately, I don’t think women composers receive the same level of exposure in the neoclassical or contemporary classical world as their male counterparts. While things are slowly changing, there’s still a significant gap in terms of programming, recognition, and opportunities. Many women’s works, especially in genres like neoclassical, are often overlooked or relegated to the margins.
There are so many incredibly talented composers whose voices need more attention. Composers like Caroline Shaw, Ólafur Arnalds (though not a woman, he collaborates with many talented female composers), and Sarah Kirkland Snider have incredible, transformative work, yet many other women are still struggling to get their music heard in a wider context.
I’d love to see more spaces where emerging women composers can be heard and celebrated, and where their work is seen as equally vital to the genre.
8. Having garnered more than six million streams and increasing global recognition, how has your evolution from your debut "Daylight" to "Ethereal" influenced the person you are today?
The recognition and streams have been humbling, but they also push me to continue growing. With each new piece, I’ve become more confident in trusting my instincts and emotions, allowing the music to guide me rather than trying to fit into expectations. It's been a journey of embracing vulnerability, both as an artist and as a person. I’ve learned that the more authentic I am in my work, the more deeply it resonates with others.
Listen to the gems of Women in Pop #curatedbypowhersound
Comments
Post a Comment