Since her debut in 2012, Australian producer PARIS has amassed critical acclaim and international fanfare thanks to her cutting-edge approach to electronic music. Infact, she has been dubbed as one of the country’s flagship electronic acts, and her eclectic catalogue certainly backs up this sentiement. Her music has garnered millions of streams, led to multiple tours internationally, and releases with iconic labels such as Stil Vor Talent and This Never Happened.
For much of her career, PARIS was known for a sound rooted in darker, underground shades of electronic music. More recently, however, she has embraced a shift toward a richer, melodic style, marking a clear evolution in her artistry. This has become fully fleshed in her emotive new album Labryth - a body of work that showcases the different sides of PARIS and acquaints listeners with the breadth of her artistry, from introspective soundscapes to powerful, driving rhythms. In this interview, PARIS opens up about her sonic evolution, the process of creating Labryth, and much more.
In what ways did growing up in a small town shape your creativity, and when did you realize it was time to move to a bigger city?
Growing up in small country towns probably pushed me to lean on my imagination to stay entertained. I’m not entirely sure, but I think those years strengthened the creative side of my brain. What I do know is that I’ve always loved finding new ways to be inventive. As I grew older my family and I started moving to bigger cities - collectively I think we were seeking more excitement and opportunity. But once I knew music was what I wanted to pursue, I knew making the move to Sydney where the nightlife was buzzing at the time made complete sense.
Australia’s electronic underground seems to be having quite a moment right now, with many acts doing big things internationally and quickly gaining recognition. What do you think has contributed to this rise?
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It may be due to the UK house and garage sounds having a moment right now. AUS has always had a scene for those kinds of genres and we have some very talented artists in that realm of sound.
Your earlier work carried a strong experimental edge, often with darker tones. After the lockdown, though, your sound noticeably shifted. What sparked that change in direction?
With my earlier work, I was still laying the foundations of my sound and skill set. Back then I was more drawn to the darker side of electronic music, but as time went on and especially once lockdown set in, I felt the pull to explore different sub-genres for inspiration. That period gaveme the space to refine my production, push for more complexity, and develop a love for delicate, lush textures within electronic music. I feel my sound will keep evolving as I continue to be influenced by what excites me and by my own drive to grow as an artist.
I'm sure this is the question on the mind of many of your fans, but how come you waited to release your debut album, and what made now the perfect time?
It wasn’t intentional to wait, it just needed to feel right.. and it wasn’t until I had this particular tracklist that it felt complete and ready.
In what ways does the title Labyrinth capture the themes and ideas you’re exploring in this project?
A labyrinth is an ancient spiritual tool designed to foster contemplation and spiritual transformation. This album is a deep dive into my world, built upon a colourful and complex sonic landscape that mirrors the many facets of my soul. "Labyrinth" is my personal sonic journey inwards, a reflection of all the intricate layers that make me, me.
With the first half of the album created in Sydney and the second in Byron Bay, how did moving from a city to a more natural environment shape the flow and track listing of the record?
I hate when my life feels stagnant, so in a way, moving house and into a completely new area while writing the album gave it fresh energy. It kept things exciting and gave me experiences to draw inspiration from. Exploring in any context is key to keeping me inspired.
Which song on Labyrinth was the most emotionally challenging to create, and in what ways did creating it help you process those feelings?
There were a couple, but the first one that comes to mind is “Sea Storm.” I originally wrote it asa vocal track, leaving space for a singer, yet every vocalist who tried just couldn’t make it work.The track felt doomed until one day I realised it simply wasn’t meant to have vocals—I’d beenforcing it into something it wasn’t. That realisation was a life lesson in itself. I went back to theproject, gave it the production attention it deserved, and finally ended up with a track I felt proudof, one that had found its own identity.
In what ways has performing the tracks from Labyrinth differed from the way you’d normally prepare and play your set?
I intentionally made extended versions for each track to allow me to play them in a DJ set. Some aren’t always the right fit for each set so it comes back to reading the crowd and environment I'm playing in and selecting wisely.
What's an area in your craft where you're feeling unsure about and really looking to improve on currently?
I would love to improve on mixing and arranging vocals. It can be quite complex to get right with the layering, panning and eqing. I’ve learnt some great skills but I still have a lot to learn.
Okay so, 1) an artist/band you’d love to have a D.M.C (deep meaningful conversation) with 2) An artist you think would be rad to party with 3) An artist you would love to be your mentor. You’re welcome to select from artists who are dead/retired.
1 - Billie Eilish & Finneas or Jon Hopkins
2 - Little Simz
3 - Maceo Plex
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