Get To Know: Beverly Hell

On ‘Drug Opera’, Beverly Hell doesn’t just explore love, she dissects it. The first taste of her upcoming EP Alice In Underland, the single unfolds in two distinct halves, moving from soft, almost dreamlike devotion into something far more volatile and unhinged. It’s a sonic and emotional pivot that captures the intoxicating, and often destructive, nature of romantic fantasy. Known for her trippy, sombre electronic sound, Hell continues to push her artistry into darker, more complex territory. We spoke with her about duality, disillusionment, and turning emotional chaos into music.

Welcome to Curious For Music! Can you tell us about the inspiration behind your latest release?

Thanks so much for having me! Drug Opera was written partially in the midst of fear that someone I cared about was going to leave me, and partially after I turned out to be right. I think you really hear that in the way the music switches up between the first and second half. It's easy to enshrine someone when you're hoping so badly they'll stay, and bedevil them once they don't act the way you want them to, but the song is really about how it's kind of dehumanizing to view someone in either of those ways.

What was the creative process like for this project?

I was actually in Brussels staying next to the Drug Opera when I started composing the second half of the song, and I thought it was such a compelling title. I had gotten blind drunk the night before, I felt awful, and I realized a lot of the time love is like that too, where you're riding the high but not so grounded in reality. There's always a pendulum swing that throws you back down to earth harder than you'd like.

How does this new release differ from your previous work?

The key difference between this track and everything I've put out so far is that this is the first song I've released that is entirely self-produced. I think it took me about 6 or 7 singles before I learned to trust my own taste and ability, and to stop inviting other people to change my production. I was insecure as a new artist and thought that virtually anyone else would make it better than I could. I've stopped doing that with this song and my upcoming project, and it all actually sounds like me and lives in the same world, which I think is most important whether or not anyone thinks it's good.

Were there any particular challenges you faced while making this music?

The biggest challenge during the making of Drug Opera was more so what I was going through mentally and emotionally. The song came easy because it was my therapy and my outlet, but I was otherwise essentially non-functional at the time. I have bipolar type 2 and those depressive episodes can be really dangerous. After I wrote this, I got back on mood stabilizers, and thank god I did because now I'm really happy to be able to share my music and go through this process with as much diligence and excellence as I can bring.

Did you collaborate with any other artists or producers on this project?

This track is pretty much entirely self-made, but I do have to shout out my mixing and mastering engineer, Ed Denholm. He's been a godsend with timeliness and adds so much clarity and movement to what's already there instead of changing anything. He was the first engineer to tell me not to change my production at all. And of course, in turn, I have to shout out my distribution at APOLLO for putting me in touch with Ed.

What message or emotion do you hope listeners take away from this release?

I hope that Drug Opera helps people feel less alone when they're feeling unhinged, but also checks them a bit on how they treat others, even when they think it's out of love. It's not right to treat people the way we treat substances.

Is there a story or concept that ties the songs together?

Drug Opera is actually the first single from my upcoming debut EP, Alice In Underland, so everything on the EP is loosely based on Alice's story. This one is the Mad Tea Party.

How has your sound or style evolved on this release compared to your earlier work?

Compared to my earlier work, this project marks the beginning of feeling like, oh, this is the sound, this is the style and message and world of Beverly Hell. I had to do some exploring to find it.

Is there a track in your music discography that feels especially meaningful to you? What makes it stand out?

My favorite song I've ever made is probably the most avant-garde, it's an emo-pop-electronic-trip-hop cinematic journey called Guinevere. It's so experimental it's a little challenging for some listeners, but I still worry constantly that it's the best thing I'll ever do.

How do you plan to share this release with your audience? Are there any upcoming performances, videos, or special projects in the works?

The music video for Drug Opera comes out March 27. My background is in film, so I put together the team and co-produced the whole thing, and I cannot wait to share. It's visually inspired by Eyes Wide Shut, Daisies, and of course Alice In Wonderland, and I'm so proud of everyone that helped me put it together.

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PR: Decent Music PR