Gretel Hänlyn on Working with Mura Masa, Items She Can’t Live Without on Tour, and Her Debut EP
Never in a million years, did I think a Stranger Things Vecna meme that I made and posted at two in the morning to my personal Instagram account would land me an interview with one of my favorite artists. Nineteen-year-old, Gretel Hänlyn is making waves and selling out her debut shows all over Europe. She recently released her debut EP, Slugeye, which has personally made it onto my all-time favorite body of works list.
The rising artist worked with Mura Masa to produce her newest EP and has been featured on Mura Masa’s single “2gether” which now holds over five million streams on Spotify alone. Gretel has one of the most breath-taking deep voices that I’ve ever heard and is not afraid to use it in her music. She is able to find beauty in the grotesque, weaving equal parts light and dark, dystopia and fantasy into her songwriting.
I had the pleasure of sitting down with her for a forty-five-minute interview to talk all about her newest EP, Slugeye, working with the legendary Mura Masa, and items she can’t live without while on tour.
[UNPUBLISHED:] Your debut EP, Slugeye came out almost two months ago. How does it feel to finally have a body of work out into the world?
[GRETEL HÄNLYN:] It feels great. It’s been such a long time coming as well because I started writing the EP and I was kind of finding my sound along the way during this process of writing. I guess it's only really been a year of writing and finishing that EP. I’ve been through so many different kinds of phases along the way of kind of finding myself, and now that I have it out in the world, it’s almost a little bit anticlimactic, I'll be honest. It makes it quite hard to start writing again because I'm so used to having something that's about to release and then like switching back to writing and starting mode. It's just such a difficult balance, but it is lovely having out in the world and hearing what people have to say about it.
[UNPUBLISHED:] How have your friends and family reacted to the release of your new EP?
[GRETEL HÄNLYN:] It's quite funny because I wasn't that popular at school. I was quite awkward and I didn't know how to kind of hold myself and seeing messages from people at school just like “Hey, how are you doing? Do you want to meet up?” and I’m like “Now you want me? Now you want to be friends with me?” I mean, no, that makes me sound really bitter but they've been so supportive about it and my parents have been so supportive. I think my mom is probably my number one fan and probably a lot of people can say that. I think I think my friends like it. I hope they like it. They seem to like it at the gigs.
[UNPUBLISHED:] Has your perception of the EP changed now that it has been out for two months now?
[GRETEL HÄNLYN:] I guess the second it went out for me, I immediately treated it like in the past so there hasn't really been a change to me. Like there hasn't really been a change in the way that I've viewed the body of work because it was already like a thing. I think with this kind of streaming world, you release the body of work and you know for about a week, people are posting about it and people are excited about it. After that week, people don't talk about it anymore. Loads of people are messaging you talking about EP and how much they like it and you feel like you're on top of the world and stuff and the two-week span passes, and you don't get that attention anymore. It's hard not to kind of take that as a reflection on yourself. I think you learn how to kind of deal with it and how to not get a big head from loads of people messaging you and also not to get really down about the fact that no one's talking about your music anymore.
[UNPUBLISHED:] What was the process of making this EP like?
[GRETEL HÄNLYN:] I was kind of finding the process along the way. This EP has seen so many different types of songwriting methods. I’ll always start with “Connie” because I'm so proud of the fact that it was an improvisation. I was just in the studio with my friend Johnny and we were trying to get like some kind of like vintage-sounding drum loop. We got one that I quite liked and he was just like “Why don't we just press record and see what you can just come up with.” So we did that and he recorded for about two and a half minutes, three minutes. It was just recording me on guitar and singing at the same time in the room and so I improvised the song as it is. Then he went downstairs to make some dinner and I quickly wrote the lyrics. Then once he was back upstairs, we literally just finished and recorded everything within an hour.
Additionally, “Call Me Patience” was also an improvisation. Then “Motorbike” started with the hook - “Hey you’re not being loud enough” and I just knew that I wanted the hook to be shouted with this drum loop. I knew that I wanted the hook to explode into music. I had a guitar hook that I took into the studio with Mura Masa and we kind of wrote that one more collaboratively. It seems like there are a lot of different methods of writing. I think in the future though it's going to be what I'm doing right now which is more writing at home, creating demos on my computer, and then taking them into the studio to produce. That might end up being my preferred method. It feels more authentic.
[UNPUBLISHED:] Do you have any particular places you like to be when you write your music?
[GRETEL HÄNLYN:] No. Right now I’m in my old bedroom at my parents’ house. I do live with my parents but I switched rooms. I think I only write folk songs in this room and in my old bedroom room, I tend to write nostalgic songs. I think it kind of makes sense to have it be in the bedroom I grew up in. In the studio as well because Johnny, with who I did the improv of “Connie” has a studio that I really enjoy writing in. You have this like really nice view of London and it’s really green which is lovely. I think I can pretty much write wherever I am because I’m not married to a space.
[UNPUBLISHED:] You mentioned you had worked with the legendary Mura Masa, What was that like?
[GRETEL HÄNLYN:] The process with Mura Masa was so weird. It’s different every single time and we're still going to be kind of long-term working together. He’s confirmed he’ll executive produce my next EP and then mostly like the debut album as well. He’s different than anyone I’ve ever worked with because he has these ideas that you just don't trust and you're just kind of thinking that it can't be right. But then you just learn to listen to him when he has these types of ideas because he is always right. My song “In The Water” was a song that I'd already written and I brought it into the studio for him to produce with me and he brought out the saxophone sample. I was like “There's no way that you know my music can be good with the fucking saxophone in it,” and he was like “Just hear me out” and he did it. “In The Water” would not be “In The Water” without that distorted saxophone. I think if you're working with Alex (Mura Masa) then you just got to trust in him the same way that he trusts your process. He’s a real artist and he knows his craft. He knows exactly what he’s doing and it’s very impressive.
[UNPUBLISHED:] Do you have a favorite song off of the EP?
[GRETEL HÄNLYN:] I feel like I have probably already indicated that it is “Connie” but it holds a special place in my heart. There are songs on the EP that I like but I don't feel like they necessarily represent me going forward in my music. I think “Connie” really does represent me and I like the fact that I can sing as a character as well. I kind of have different voices that I like to sing in depending on the narrative that I'm singing from. “Connie” is a really creepy song that’s about murdering someone that you’re possibly in love with. Maybe you murdered them or maybe they just died, or maybe they’re not dead at all. Singing in a creepy and different register in my voice really lends itself well.
I really like “Connie” because it feels like there is a real narrative there and I like how my voice backs it up. I like how everything sounds a bit vintage and creepy, it fits together in this one really consistent world. I also love “Motorbike” because I love motorbikes and it’s so fun to perform. Performing that live for the first time was absolutely incredible. It made me realize how important songs like “Motorbike” are for your live performances. Right now, I'm writing a lot of “Motorbike” type songs. Songs that are upbeat and get people moving. They’re kind of punky but still very melodic songs because nothing beats people screaming your lyrics back to you.
[UNPUBLISHED:] The cover art of the EP is beautiful, it reminds me a lot of a painting. What was the inspiration behind it?
[GRETEL HÄNLYN:] At this time I had only written “Slugeye” and “It’s The Future, Baby” and the other song that got cut. “Slugeye” was also another very narrative song that painted this image of this messiness, depressiveness, and honesty. I still wanted there to be something very natural about it. I remember seeing an image it was it was an image of this French woman. She was smoking in her room and she had a mattress on the floor. She was just sitting on the mattress smoking and it was just all this shit around her. I remember thinking how lovely it was and how it was so honest. It’s still so beautiful and it was the kind of thing I wanted to do. I didn't know it was going to be easy artwork at that time so I got the mattress down from my room and took it downstairs. My mom helped me move the sofa out of the way because it was in front of the living room. I created this really messy set that felt kind of like that painting. I got my boyfriend at the time to set up the camera and I got him to take some photos. I just really like kind of what it represents. It's quite forgiving and there's no kind of lie about it. My room always looks exactly like that, very wild and untamed.
[UNPUBLISHED:] What is the inspiration behind your stage name?
[GRETEL HÄNLYN:] I knew my name, Maddie, just wasn't going to be the one for me. I knew I wanted a separate name and my great-great-aunt was named Gretel. There is a photo of her quite young and it looks exactly like a photo of me when I was young. It was kind of a doppelgänger thing so I knew I had to do it. I just really like the way that it kind of conjures up a fairy tale. It makes you think of kind of a gothic fairy tale. The kind of fairy tale where there might not be a happy ending, but it's beautiful and gothic at the same time. It taps into the German heritage quite well, I just thought that's it, that's going to be the name. Hänlyn is my real surname but spelled a little bit differently so that people can actually spell it because there's no way anyone can be able to spell it the real way.
[UNPUBLISHED:] Do you have any musical influences people that you look up to?
[GRETEL HÄNLYN:] I got a lot of musical influences. I listened to everything, like if it's good then I'll probably listen to it. I guess I started writing when I was listening to Tim Buckley and my first ever proper song started from a kind of Tim Buckley song that I didn't realize I was playing incorrectly. The song is “Chase the Blues Away” by Tim Buckley. I was playing it incorrectly and then ended up going like “Actually, this is sick.” I started writing when listening to kind of folk influences like him, Nick Drake, and Nico. When I was writing the EP, I started listening to a lot more rock influences and some hip hop. People like Nirvana, and Mount Kimbie, also just listening to other deep voice Germanic artists like Nico and Sibylle Baier. They really paved the way for low feminine voices like mine and made me feel like I did not need to cover it up. They influenced me quite a lot and allowed me to have the voice that I think I am meant to have.
[UNPUBLISHED:] Where do you find inspiration for your music?
[GRETEL HÄNLYN:] It’s weird, I don't like watch a film and feel inspired. I think you just feel like you want to write music and become a guitar, or whatever your process is. If I'm alone, it will be getting Logic up and starting a beat or a guitar and then you kind of start humming melodies. Wherever that inspiration comes from, you just get a feeling. For me, I just get a feeling that I want to write. Lyrically, I don't even realize but they are inspired by things that are happening in my life, and whatever the most significant emotion I'm feeling. Either that or a narrative. If I’m feeling creepy and gothic, I'll write some kind of story in the song which was “Connie” and “Slugeye” but yeah, with my first song, the inspiration was my breakup. I wanted it to be humorous and light-hearted, just breaking up with him and just going “Fuck off.” I don't think I pick inspiration from little things, I think I just feel it, and when I feel it, something good will happen.
[UNPUBLISHED:] Who are you currently listening to?
[GRETEL HÄNLYN:] There’s this mate. She’s only got one song out and she’s an amazing artist from New Dehli. I’ve been trying to put everyone on her, her name is Sijya and she’s just so good. She has this song called “Have to Make My Bed” and it’s so weird, wonky, and dreamy. It just feels like that moment where you’re about to fall asleep and things are not quite right. The feeling where you’re kind of sad, but you’re not sad, but you’re a bit angry but you’re not.
[UNPUBLISHED:] If you could collaborate on a song with any artist, dead or alive, who would it be and why?
[GRETEL HÄNLYN:] You know what, I just know that I'm gonna think of the perfect answer when I'm lying in bed tonight. I’m going to say for now that it would be Mount Kimbie. I think I would also love to collaborate with Mark Kennedy or Damon Albarn.
[UNPUBLISHED:] I know you've been touring a bit. What are you most excited about when it comes to touring and do you have any pre-show rituals?
[GRETEL HÄNLYN:] I have a couple of pre-show rituals. There is one but we never actually end up doing it like we probably did it for the first two shows but my band and I will take a bite of dark chocolate before we go on stage. I have another thing, it’s not a pre-show ritual but something during the show. I always have a little doll named Small John and he sits on my amp. He has a tiny deck chair as well. He’s a little doll from the 1920s or 1930s. He just sits on it during the whole set. I think he always gives us good energy and good vibes. We love Small John. Excitement-wise, I'm always excited for a show where I know people are going to actually know my music. I've only done the one headline but it was so amazing having people sing my music back. When you’re headlining versus opening and you know they're there to see you it's just such a different thing. It's so much better and there's so much more giving and such a high that you can really get into it. I’m most excited for shows where I know that the people are there to see you.
[UNPUBLISHED:] Do you have any favorite items that make you feel at home when you're away from home?
[GRETEL HÄNLYN:] There are certain things that I never take out of my bag even though they provide nothing for me. Sometimes if a friend gives me like a small little present, for example, in my bag right now I've got those little see-through rectangle glass cubes that have like bugs inside of them. My friend, Blue gave me one of those for my birthday, and I haven't taken it. It's in its packaging, but I leave it in my handbag at all times. I take it on tour with me always. I've got a little tiny blue teddy bear that I take to have me all the time. I always bring Small John and dark chocolate with me. It kind of reminds me of home and reminds me of my personality and what makes me, me. When you're away from home for that amount of time, in a place where you have never been and you don't really know anyone. Having little things that remind you of home and your friends kind of grounds you. It reminds you that you don’t need to act like anyone else. I also think because I'm quite young and it's easy to pretend to be someone else when you feel you're not fitting in. Having those things around with you, grounds you and reminds you that you're fine as you are and that you are your own individual.
[UNPUBLISHED:] Speaking of home, how do you think growing up in London has influenced your music?
[GRETEL HÄNLYN:] I think because there are so many people as you know, everyone just wants to be different. That kind of has influenced me because I'm trying to kind of do something a bit different all the time, something that maybe people haven't heard before. I think that's something that London has definitely done to my music, but also just being surrounded by music and different types of people all the time. I think it's definitely made me more open-minded as well.
[UNPUBLISHED:] When you're not making music, what do you like to do?
[GRETEL HÄNLYN:] My past last month has been so insanely busy that I haven't been able to find time to do my side job. I may not end up going back, I might just end up signing a publishing deal and not needing to work on site. Fingers crossed but when I'm not doing music, I’m cleaning windows and mirrors or cleaning up an old construction site. That's what I did a couple of months ago and that was my side job. I draw and I read. I'm trying to get back into reading. I’m also really big into fashion which I'm always embarrassed to say because it feels it feels like “Oh I’m so into it” But I really am. I'm super into it, and not even fashion, I think it's more style. It's not about what's current, it’s about just finding ways to help people express themselves or even just the way that you wear something that maybe isn't meant to be worn like that, you know? I'm super into all of that. I’m always trying to find new stuff off of eBay.
[UNPUBLISHED:] Can you take me on a typical day in your life?
[GRETEL HÄNLYN:] There is no typical day in my life for me. Sometimes I’ll wake up at 7:30. I’ll spend the day writing in the studio, come back home at like 11:30 at night and grab a Tesco meal on the way home. Sometimes my manager will tell me there's an opening for a show in Paris and that they want me to do it tomorrow. My manager is like “Are you down to do it? The band is free.” and I'll be like “Fuck yeah” and then the next day I'm going to Paris, doing a show, and coming back the same day. It is literally different every single day and today has been the first day where I've just been at home all day. I haven't left the house mainly because I'm just sick as hell right now.
[UNPUBLISHED:] Do you have anything in the works or any future projects you're excited about?
[GRETEL HÄNLYN:] I’ve got shows in Europe coming up but unfortunately, none in America yet. I’m just continuing to write my next EP which hopefully I’ll have a release date for that soon.
