La Fleur reveals musical renaissance with debut album "Väsen" + Exclusive Interview

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Previous support inc. Resident Advisor, Mixmag, DJ Mag, Groove, Trax, Attack, Clash, Tsugi, Boiler Room, Ransom Note, Flaunt, FAZE, BBC Radio 1, 6 Music, SiriusXM, Kiss FM, Pete Tong, Sasha, Kerri Chandler, Axel Boman, Sim0ne, ANNA, The Blessed Madonna, ANNA, Laurent Garnier…

Swedish producer/DJ/artist La Fleur releases her long-awaited debut album Väsen, out now on [PIAS] Électronique.

Praise for previous LP singles inc. Mixmag, DJ Mag, BBC, Noctis, SiriusXM, Kiss FM, Laurent Garnier, ANNA, The Blessed Madonna, Kerri Chandler, Axel Boman, Sim0ne, Eelke Kleijn, Reprezent Radio…

LP Väsen: La Fleur crafts hook-bedecked synth/piano melodies, her own heartfelt vocals and crystal clear multilayered percussion to touch the listener’s emotions. The nine-track LP represents a new body of work following moving back to Sweden and family, and using her Masters in Pharmaceutical Science in the pandemic, working as head of operations for pharmaceutical services at the emergency hospitals in Stockholm.

The five LP singles: “Chian’s” assertive percussion, funky soul-filled vocal and trancey arps; “Slowdive’s” fast beat, synthpop vibes, swoony euphoric synth; “Stay With Me” is entrancingly polyphonic, madly catchy, w. fast breaksy beat, whispery vocal and joyful piano melody; “Plastic Miami” has a romping beat, sparkling piano arps, pizzicato guitar, synth fanfares, a subtle hint of Kraftwerk; “All I Ever Wanted” is poignantly ironic, stealthily catchy, with a deceptively simple melody and sweet vocal. Title track “Väsen” has a staccato, jazzy vibe, with percussive hops and skips around a strong, steady beat, and a spacey distorted synth chord riff. Eminently danceable, signature La Fleur with so much for the mind to follow while the body gets on with moving.

There are three album-exclusive instrumentals, opening cut “Sannanita,” a moodily balanced composition of sustained, slow melodic synth chords and a choppy, deep buzzing synth riff; the upbeat “Your Move” with its hissy hihats and nu-disco feel; and dangerously catchy “Free My Mind,” a jumpfest of fast, clapping, hissing, rattling percussion layers, with a lively reverb synth riff before longer chords bring extra emotional depth.

“I’ve always drawn inspiration not only from music, but from changing elements in my life. It’s only now I feel these tracks are ready for the world to hear.” – La Fleur

La Fleur’s illustrious career includes a decade of her Power Plant label, a Mixmag Breakthrough Artist nod, a Watergate compilation, an Essential Mix, Essential New Tune collab with Sasha “Förbindelse,” and gigs inc. fabric, Creamfields, Awakenings, Watergate Berlin, Printworks London, Sonar festival, Warung Brazil, Amnesia Ibiza…

Tracklist:

Sannanita
Slowdive
Your Move
Plastic Miami
Chian
Free My Mind
Väsen
Stay With Me
All I Ever Wanted

La Fleur Väsen is out now on [PIAS] Électronique. Get it here.

La Fleur is nothing short of a visionary, with her every move an impossibility to ignore.

For this interview with La Fleur, I’m thrilled to explore her recent musical journey and inspirations. When I first discovered her music, I was struck by the way it made me feel—her work flows effortlessly, creating a soundscape I can turn on and get lost in. I’ve been following her journey for a long time, and when she began preparing to release her debut album, Väsen, I reached out, hoping for a chance to sit down with her.

This interview was a true honor for me; it was fun, insightful, and a testament to the incredible talent La Fleur embodies. I hope you enjoy this as much as I did writing it. It’s my pleasure to introduce you to the lovely La Fleur.

You released “Stay With Me” back in June on [PIAS] Électronique, and it was that song that made me fall in love with your music. Since then, you’ve released some new tracks, which we’ll dive into today. But first, can you share more about “Stay With Me” and what that single means to you?
That is beautiful to hear, thank you. It means a lot to me as “Stay With Me” is me going back to my roots but at the same also feels like the beginning of a new musical era for me. Being fragile, as most human beings are, and very self-aware of my own created art, it’s frightening and terrifying to put yourself out there like that. You feel naked and proud at the same time. I was and still am very happy with that track, and it feels like people generally received it quite well and it’s me singing and inviting people to ‘stay with me’ on this journey.

Can you tell me more about the photo associated with “Stay With Me?” Where did you take that photograph, and what inspired you to choose that green sweater? It looks amazing and really captures the vibe of the single perfectly!
The photo was taken by Olivia Arte, a very talented photographer and visual creator from Stockholm. We wanted to try to capture the essence of my LP Väsen and me in my natural habitat, in some sort of greenery. Olivia suggested Hagaparken as the location for the shoot, one of the biggest parks in Stockholm, where you really can get lost. At one of the stops we made in the park, we climbed down a rickety ladder into some old ruins where a lot of ferns were growing. I started to move and dance around in there, that’s captured in the cover photo for “Stay With Me” as well as the photo for the album cover, where I am dancing in a sea of ferns.

I had the best team with me on the photo shoot for my album and it was the stylist Daniil Kudriavtcev, who sourced the green dress from a student from Beckmans, the college of design in Stockholm. We were lucky with the weather and had the best day during the shoot, wandering around in the park. I even took a swim in the lake in the park and a photo from there ended up being the cover for “All I Ever Wanted,” the last single on my album.

Can you share more about your experience working with [PIAS] Électronique on “Stay With Me?” How did you connect with them, and in what ways did they support you throughout the release process?
I was actually not supposed to release my album through [PIAS] Recordings. I had been very determined to do it independently on my own label Power Plant Records, but having external people believing in your project, giving it the care it deserved to make it special and ultimately creating personal relationships combined with their strong international presence, it just made sense to work with them. They’ve been great in project managing the entire release cycle, offering great advice and decision-making. Ultimately they’re also giving me a sense of calm and ease by not doing all of it myself. It’s been a good exercise in letting go of the decisive torch, although I’ve still maintained full creative control. Two heads are better than one after all.

You’ve released a few singles ahead of your debut album Väsen. Could you walk me through the tracklist and share why you chose those particular singles to release before the full album dropped?
All the singles released are some of my favourites from the album, but these days you have to think wider than just ‘a good track.’ You have to think strategically. What fits playlists well, which track would radio pick up and what track is likely to receive the most DJ promo feedback. It’s actually with all those factors in mind that I’ve picked the specific tracks as singles. The first single was actually a double A-side with the tracks “Chian” and “Slowdive.” “Chian” is a bit on the clubbier trip and “Slowdive” a softer journey. And the single after, which dropped quite a bit later, was “Stay With Me” and in many ways it was received as the first single for many due to the presence of that track. “Plastic Miami” felt like a natural step after, a summer track that got heavily supported and played by fellow colleagues. In September came the last single “All I Ever Wanted” where it was my own vocals and really personal and close to me.

As a Swedish-born artist who then made Berlin your home for a long while, how did living in Berlin influence your music and creative endeavours compared to your time in Sweden? By the way, we absolutely love Berlin! We have dear friends who live there—it’s such a special place.
Berlin has been pivotal for the blossom of my early career within electronic music. I moved there to make time and space for music production, thinking I was only going to stay for a maximum of a year, and it turned out to be almost 14 years… It’s a city that had a big part of shaping me into what I am today as an artist. Moving there in 2007, it was so free and close to music. A lot changed, with the city but also with me, for example becoming a mother, and I started to see Berlin with new eyes. In general, Berlin had a massive influence on my artistic direction but also personal development along the years.

Your transition from pharmacy to music is fascinating. How did your background in pharmaceuticals influence your approach to producing and mixing music, if at all?
I wouldn’t say it influenced me but it gave me the foundation and courage to take a leap of faith and go all in on the music, knowing I had a Masters in Pharmaceutical Science to fall back on if things wouldn’t work out as I wanted them to. I had a good career within the pharmacy company I was working for in Stockholm and I was playing more and more shows and I got to a point where I had to choose. The decision was easy but nonetheless nerve wracking at the time, but I am really happy with how it all turned out!

Your career has been marked by performances at iconic events like Sonar, Cercle, Boiler Room and Fabric. How have these experiences shaped your approach to blending house and techno, and how do you maintain your unique sound while adapting to such diverse stages?
When I started playing music, I promised myself to stay true to play the music I love. I think blending house and techno, has always been my signature and why I have been placed across many different line-up billings with multiple artists within different electronic genres. Every venue and every crowd is different, and one important role of a DJ is to read the dance floor. I wouldn’t necessarily say that these specific events and experiences have shaped the way I play my DJ sets, but they’ve been important milestones for me and events that also shaped my career and increased demand.

Your music has garnered praise from legends like Kerri Chandler, Sasha, and Pete Tong. How does their recognition influence your creative process, and what does it mean to you to be acknowledged by such influential figures in the industry?
It means the world. They are people I admire and adore for their musical legacy so to be getting their recognition for my music and get the chance to work with them has been a dream come true, and invigorated a sense of belonging within the scene. I never created my music specifically for the chance of being recognized by these titans, but the fact they supported me anyway just strengthened the impact on my creative process and confidence as an artist.

Your EPs like Nightflow and Arms Around have been remixed by legends such as Kenny Larkin and Carl Craig. What was it like to see your work reinterpreted by these Detroit icons, and how did it influence your own creative journey?
I’ll take these remixes and personal bonds with me to the grave. I’m so proud of these remixes and connections I established with those two iconic people. At the time, it was also such a massive stamp of approval for myself to the industry and outside world interested in electronic music. I was not messing about, but actually trying to make significant moves my own way. I bump myself on the shoulder for that and am forever thankful for the artists believing and supporting me on my way.

“Förbindelse,” your collaboration with Sasha, garnered significant attention, including being named an Essential New Tune on BBC Radio 1. Could you share insights into the creative journey you both embarked on for this track? What was your reaction to achieving such a prestigious recognition?
Working with such a legend that Sasha is and being awarded Essential New Tune by Pete Tong. Imagine me flying on a pink cloud. We wanted to do something together and during the process we both quickly discovered that we had a similar vision of where we wanted to take this collaboration musically. However it took more than two years of us sending some stuff back and forth until I one day sent Sasha the draft of “Förbindlese” and he quickly came back with a new updated version and from there we very quickly finished the track . Förbindelse means connection in Swedish.

With such a heavy touring schedule that includes iconic events like Junction 2 Festival, Tomorrowland and Oasis Music Festival how do you maintain your energy and creativity while on the road? Also, how does performing live influence your work in the studio?
The actual travel part of touring can be quite energy draining, but I will also get energy from the shows I’m playing. Every crowd is different and every crowd has their own energy and reaction patterns to certain sounds/tracks. I always try to take all that energy and inspiration into my next creative sessions and processes.

I’m a huge fan of the Balance Selections Podcast and just found out you were featured on episode 033! I listen to the podcast religiously and can’t wait to reach episode 303, but your set is next on my list. Could you share more about that experience—how the set came together and what kind of feedback you’ve received since then?
I always put in a lot of thought and love in mixes. This one I did ahead of my Australia tour where I played Piknic Électronik Melbourne. Since then I’ve got asked to do many more mixes and also toured Australia again so I think I did something right.

When crafting your album Väsen, how did you decide on the sequence of the nine tracks? Did you have a clear vision for the track order before you began releasing singles, or did it evolve during the production process? Also, what led you to settle on nine tracks for the album? Was there something about that number that felt right for this project?
The selection of the tracks for the album, the sequence and order of the album tracks was actually hard work and I spent hours navigating the various emotions, textures and sonics across all of the tracks. The order actually changed multiple times during the process, but one day in the studio when I was mixing the tracks it all made sense. The story I wanted to tell on Väsen was told with these 9 tracks, no less, no more.

Your ability to seamlessly blend different genres with lyrics and vocals that perfectly match the sound is incredible. What is your creative process like? Do you find yourself sitting down and working until something clicks, or do ideas sometimes come to you in your sleep? I’m always fascinated by what goes on inside the minds of creatives like yourself.
It really depends most of the time. Could be quick snapshots of moments in the wild, in nature, being with family, traveling, playing DJ shows and personal life + work. I’m not one of those people that would hum a bassline melody based on an instant idea that I might have gotten from a train ride. It’s more of a general body feeling when I’m inspired that I then try to bring into the studio and go with the organic flow.

I’ve always been curious about the gear DJs use—what headphones do you have around your neck right now? Do you stick with the same pair for both studio work and live sets, or do you prefer different ones depending on the environment?
I’ve always been using the standard DJ headphone from Sennheiser – the HD 25. They just provide me with the best balance, comfort and flexibility. I have different ones, more studio-oriented headphones for studio sessions.

With so many ventures in motion—DJing, producing, running a label, your pharmaceutical career, how do you manage to balance these diverse passions while maintaining a high level of success in each?
It’s obviously not easy, and most of the time I’m running everything at the same time with all of it being active. I do have moments of feeling overwhelmed and behind deadlines. With most creative decisions ultimately being on my table, it’s always up to me to bring the final say and sometimes I’d just wish someone else could take the decision for me, but that wouldn’t work at all. I need to be part of the creative element, that’s also where I get my energy. It’s a razor-sharp balance maintaining success within all of my active projects, but I wouldn’t want it any other way – even though I go to sleep after midnight way too often due to admin work when I should be sleeping at 10PM. That’s how it is. Nature helps. My daughter and family too. And last but definitely not least, my amazing team including manager, booking agent and label manager.

What inspired you to create Power Plant Records, and how has owning your own label influenced your creative process and artistic freedom?
I wanted to have creative freedom when it came to both musical and visual aspects and so Power Plant was started. Power Plant has been my breeding ground for all sorts of creative projects, from gallery art shows, a fashion collection and last but not least a home for some of my most special releases.

You’ve been a key figure in the dance music scene for nearly a decade. Looking back, what has been the most challenging aspect of your career, and how did you overcome it?
Being in an industry that never really benefited women when I started out. Having to do double the work to get seen, supported and noticed. It’s much better these days, thankfully, but even though I’ve made myself a pretty good career, it can sometimes be a struggle and hassle to break my way through the noise and barriers. That makes me even more proud of what I’ve achieved. Consistency, hard work and not giving up is key. It’s a cliché, but the words are true.

For those interested in staying informed, how can they sign up for your newsletter? How frequently do you send updates, and what types of content can subscribers expect?
You can sign up via my website or via link in bio on my Instagram. I send out when I have something I want to share with you and for you to be part of.

Sustainability is becoming an important topic in the music industry. How do you approach this in your work, whether through Power Plant Records or your other creative endeavours?
It’s hard not to answer this question without making it seem like I’m glorifying myself, but nonetheless I’m trying to take the train as much as possible to gigs where possible. Living in Sweden has obviously made that harder, but when I lived in Berlin it was easy to take trains to other European countries for shows. I am also active in other different ways to do my part. For example I regularly plant trees via organisations to stop deforestation to help solve climate change. I’m definitely not perfect when it comes to this, but I’m trying wherever I can.

As an artist who has achieved success in a relatively short time, what advice would you give to emerging producers and DJs who are trying to make a name for themselves in today’s competitive music industry?
I wouldn’t say short time as I’ve been closer to two decades in the scene and my career has really been stepping stone to stepping stone. However, without sounding like a giant cliché, to have success in the competitive industry that electronic music is, you’ll have to maintain a balance of being true to your craft and keeping your integrity but also adapting to whatever change the scene puts in front of you to stay relevant. Be kind, grounded and respectful – basic human skills and manners can take you a long way.

We’ve covered a lot today, but is there anything we haven’t touched on? Is there something you’d like to share about La Fleur, your singles, or your upcoming debut album Väsen?
Just listen to it, and it will tell you the rest!

Thanks for doing this. That was fun! In all of the interviews I do, I always give the artist the last word. Go.
Music in the soul can be heard by the universe.