By: Staff
Ævina’s artistry is a bridge between the earthly and the extraterrestrial, delivering a unique blend of sound and storytelling. Rebirthing her 2021 single, “Daily Dose of Danger,” in video form, and introducing The Ukulelian, a ukulele-playing alien exploring Earth’s culture and forming a human persona. The track’s haunting tones, minimalist arrangements, and harmonies, supported by collaborator Ari Inez, create an intimate soundscape that balances eerie beauty with raw vulnerability.
The Ukulelian persona, born in an arachnid egg within the song’s surreal video, embodies Ævina’s resistance to perfectionism and elitism in music. Championing the ukulele for its accessibility and emotional depth, she turns its imperfections into a virtue. Ævina’s background in choir, band, and theater laid the groundwork for her deeply poetic songwriting, which explores themes of gratitude, social connection, and self-discovery.
Collaborating with producer Michael Rachlin, she brings her vision to life with authenticity and imagination. Ævina’s work is a testament to the beauty of imperfection, inviting listeners into a world where vulnerability and creativity shine.
Don’t miss out on Ævina’s latest release. Stream, share, and add "Daily Dose of Danger" to your playlist now on all major platforms!
We also had the chance to catch up with Ævina for an exclusive interview in "The Cage" Music Blog and we were excited to share it with you.
Here’s how it went:
Begin Interview
Hello Ævina, we’re thrilled to have you for this interview! We’ve had a blast diving into your music and exploring your work, and now we’re even more excited to learn more about you, both as an artist, and as a person.
Your music video is an absolute cinematic experience, it's captivating, richly produced, and immerses viewers as if they were in a theater. How did the vision for this video evolve, and what emotions or messages do you hope audiences take away from it?
“Evolve” is an accurate word to describe the process! This video went through several iterations before landing where it is now. I initially conceptualized it as stop motion animation (a la Isabell Peppard) and did my darndest to manifest someone with those particular skills (for example, by contacting Isabell Peppard) but alas. As that initial vision struggled to materialize, I remembered I have a friend who does animation on a corporate level. She was looking to expand her portfolio, so we struck a deal. She started with some digital 3D renderings inspired by Louise Bourgeois’s spider sculpture and she pitched me on a video emulating the True Detective opening credits. We shot some green screen footage, as well as some on location. However, it was at this point that the direction took a turn. When I first conceptualized the video as animated, I did not imagine my face would be in it. Now that we had these disparate elements coming together that included my face, I realized I wanted to take the opportunity to tie everything together by introducing the musician persona I’ve been cooking up: The Ukulelian.
When we first see the Ukulelian, she is in the midst of a game of dress up. Trapped in an interstellar containment facility, she has spent much of her time consuming sporadic Earth TV programming (exemplified by the archival footage interspersed throughout the video) and mimicking it. The video is non-linear, as we later see her “birth,” emerging from an otherworldly egg, and discovering her powers of shape-shifting; specifically as it pertains to her hair / antenna, which ultimately morphs into a sort of crown. She plays, and finds herself approximating & amalgamating the stimuli she has consumed. Her final form looks human; like the fae, she has honed the art of Glamour ✨ and as she walks away from her spider spaceship through an open field with a mischievous smile on her face, we’re left to wonder: which is the real costume? And what is this creature here to do as she presses up against that 4th, 5th, and / or 6th wall?
While this is the narrative I hold about the video, I left it purposefully cryptic because I was interested to hear the different ways people would interpret this product of coincidence and circumstance. I consider the video to be far from perfect, which makes it perfect in the sense in that it exemplifies the brand I am building (a message of encouragement & hope for my fellow Ukulelians): imperfection is a virtue insofar as it is a means to further inspire & spark creative connection. Make your imperfect art, and share it anyway. The imperfections are what make it perfect. This is the mindset 💫 of Ukulelia
What inspired you to create "The Ukulelian," and how did you develop the concept of an alien persona exploring Earth’s culture?
Alien imagery has been present in my life since childhood - my mother, Marla, had a visual artistic practice of depicting alien-like beings & humanoids. She signed these pieces “Marz”, a persona she invented in her youth and then put on hold once I was born. Her husband was an illegal alien when they met (he’s since been naturalized). However, it was primarily the metaphor for social anxiety that sealed the deal for me, as well as my degree in Sociology, which taught me to treat the familiar as “other” and vice versa. One of the main mental foes I have faced in this life is feeling alienated, like I’m too weird for this world & I maybe belong somewhere else far away. I use music to battle these sorts of inner demons. Artists with similar mental foes as me make me feel less alone 🤷🏻♀️ and the ukulele speaks to me in particular because I see myself in her: tiny, misunderstood, maybe a little off-key, but always full of soul.
As the Ukulelian, I intend to emulate artists who inspire me, hopefully helping others feel less alone with my art as I transmute my pain and comment on Earth culture from an alien perspective, trying on different skins as a matter of course and shedding them just as easily as my character does throughout this debut video.
How does "The Ukulelian" persona allow you to challenge the norms of the music industry, especially in relation to perfectionism and elitism?
I think the name The Ukulelian pretty clearly conveys that I don’t take myself super seriously. But as you might’ve picked up on from my responses prior to this, I do take my art somewhat seriously, and I believe these two things can be true at once. I want to fight perfectionism and elitism because I struggle with them personally, and I use my art to soothe some of those symptoms.
I created The Ukulelian persona to challenge those norms for myself by embracing imperfection as a central theme. The ukulele itself is often seen as a simple, unpretentious instrument—far from the polished, virtuosic ideals that can dominate the music industry. By adopting it as part of my identity, I’m intentionally choosing playfulness over pretension, and, as a matter of introduction, I often find myself proselytizing on her behalf. I firmly believe almost anyone can pick the ukulele up and find a way to access the same kind of healing I have.
It’s become my mission to form a colony on Earth, leading by example, and encouraging others to create their own imperfect art, even if they feel it doesn’t come naturally. I believe creativity can be taught, and that it is the singular force that will save the world if given the chance. Down with gatekeeping! Long live Ukulelia! 🪐
The ukulele is often viewed as a simple instrument, yet you describe it as a "philosophical and spiritual" ally. Could you elaborate on your connection to it?
She’s a free spirit! She’s adorable! She’s portable! (All adjectives that have been ascribed to me 😏 coincidentally) (the portable piece being particularly important for travel, my first love).
While I do still write on the guitar & piano as any given song might demand, I chose to incorporate the ukulele in my persona because I feel she embodies my personality & this simple truth: that the best self to be is yourself. Even if that self is imperfect, or changes day to day 👽💩🦾🧝🏻♀️
In "Daily Dose of Danger," you balance the ukulele’s sound with an “unsettling esoteric drone.” How did you approach crafting this unique and ethereal sound and what sensations does it invoke in you when you absorb them?
That is entirely the work of Mike Rachlin! Honestly, it strikes me as ironic that I’m kicking off this career talking so much about imperfection when I truly do find his production to be spot on, perfect, pulled out of my brain and spookified x1000. I could not have asked for a better first experience with a producer, collaborator, friend in the biz. He’s the best, truly.
As for what sensations it invokes - gratitude (obviously), but also that sultry spooky factor that 😈 is hard to pin down or over-rate. The drones make me feel like I’m about to be abducted, or about to do some abducting 🛸 It’s perfectly mysterious and sexy and hypnotic. I’m obsessed with how he brought my lyrics & simple 3 chord progression to life.
The music video portrays your transformation from an arachnidian egg to "The Ukulelian." Can you describe the symbolism behind this metamorphosis?
I wish I could put it in a more cryptic or elusive way but, sincerely, this is just me coming out of my 🥚 shell. For a long time I thought if I sat in an abandoned practice room playing music, one day, someone would stumble in and sweep me off my feet. “The world needs your talent!” they’d say, and force me into the spotlight. The reality is, that rarely happens. And when it does, it’s not always for the right reasons. I’m the one who decides whether the world needs to hear my music or not. And faced with my mortality, I decided, yeah. Yeah, I kinda do want to share. I’ve been told the spotlight does not shine super comfortably, and that tracks with what I’ve observed, but I sincerely believe it is my duty to at least try, on behalf of the Ukulelians still trapped on that satellite bunker, waiting to be heard 🌚
Your work is infused with archival footage and experimental sounds. How do you decide which elements to use to create this eerie, otherworldly atmosphere?
I knew at once that I’d want to incorporate Nosferatu, grandfather of vampires and pointy eared creatures everywhere. I also knew I needed a femme fatale to balance him out on the spectrum of Monstrous to Majestic. When I saw Lauren Bacall throw her cigarette at the camera in a “femme fatale” compilation on YouTube, I simply 😍 fell in love. She is the burn that becomes infected. The 70s nature footage came last because I believe in the rule of 3s, and also because I wanted something to round out that initial spectrum into more of a blob of potential programming my character might have consumed. Aliens don’t necessarily discern between cephalopods and homosapiens when referring to earthlings. I am constantly inspired by nature, plants and animals alike, and I wanted to underscore their oneness in my mind. I firmly believe animals are people too.
As the Ukulelian continues to rifle through Earth’s proverbial closet for more costumes to put on, I figured it was only fitting to foreshadow that some of those upcoming costumes may not be exclusively terrestrial 👁️🗨️ 🦑 in nature 🪼 🌱
Working with your "Satellite Sister," Ari Inez, on vocal harmonies adds a complex layer to the track. How does this collaboration shape the final feel of the song?
I feel incredibly blessed to have been gifted a little sister by my parents, who strategically birthed us 7 years apart so that we’d have a fighting chance at becoming friends, once the debris of adolescence had settled. As children, Ari had no choice but to participate in my productions because, well, that’s what we were doing when I babysat. As a result, she developed a sort of telepathy for my harmonic preferences and, as of today, has composed some of the most beautiful harmonies known to man (history will stand to prove this point). The final feel of the song is heavily influenced by her contributions, and I am abundantly aware of how much I owe her for that. I am so lucky to be able to call her my main collaborator, only sister, and true friend.
The themes in your video, like alien versus human and observer versus observed, suggest an exploration of identity. How do these ideas resonate with your own creative journey?
I say this without a hint of irony: I find it very difficult to stop thinking about myself. Like many in the alt-Z genre, I explore identity quite a bit—particularly my perception of being perceived and how that has impacted my sense of self on multiple (one might say meta) levels. Is this good? Is this bad? Is this relatable? I don’t know. But it resonates 🤪 that’s for sure.
That being said, music is only one of many coping mechanisms I’ve developed to 🥊 assist me in this battle. Another great coping mechanism I proselytize on behalf of is the game of DRESS UP 👗— fashion being another facet of identity that I think can be therapeutic for more people to tap into & explore with play. I’ve never stopped playing dress up, ever since I was a child. It’s incredible how much you can shape-shift your inner world by donning the costume of another on the outside.
Ultimately, I think my creative journey is about finding connection—between facets of myself, my audience, my past, and my future. I’ve adopted and discarded many labels throughout my life, and I expect that will continue. But through all the transformations, the act of creating remains my way of grounding myself. With this new identity, I want to invite others to embrace their own multiplicities and share them, so we can build bridges where there may currently be scorch marks. Identity isn’t static, and neither is art. But we’re all on a cosmic stage 🌌 and it’s about time we remembered: we’re here 🗝️ 💿 🎞️ to play.
After rediscovering your own songs and realizing the importance of sharing them, how has this changed your outlook on mortality and creativity?
I think we were put on this earth to create and to be inspired by the creations of others. Pre-Covid, I was definitely more inside my metaphorical egg, content to consume creation almost exclusively, dedicating very little time to my own creative output and prioritizing feeling “cool” among my metropolitan social circles over sharing my art with even my closest friends. Faced with my own mortality, I realized how much of myself I had been hiding for fear of judgment. While I still struggle with being perceived, I know it is the only thing I have left to do on this Earth before passing – to be able to say I lived a full life with no regrets.
There’s so much more fun to be had, more play to be accomplished! I’ve lived, laughed, and loved already. Everything from here is cherries 🍒 travel & sharing my creations with new friends until I quite literally die. That’s the plan.
You collaborated with producer Michael Rachlin, whose background includes working with major artists. How did his experience and insights help bring "The Ukulelian" to life?
He brought the drone!! And he gave me confidence that my sound was something worth investing in. He’s such a discerning, creatively gifted human being. It was incredibly encouraging to hear how my persona and sound fit within the spectrum of acts he’s worked with and the different stages of careers he’s witnessed take flight. He saw something in me that made me start to really believe in myself. The magic of our meeting at Sound on Sound Studios felt like that moment I had been waiting for in the proverbially abandoned practice room. He didn’t scream, “The world needs your talent!” but he might as well have, given how our collaboration made me feel.
He’s also a singer-songwriter in his own right and I’m beyond excited for his unreleased catalog to start making its way into the world. Only one of his personal projects is currently streaming on Spotify, but I cannot recommend it enough. It’s called Head South, an indie rock project influenced by the music coming out of the Pacific Northwest in the mid-90s to early 2000s. It incorporates grungy guitars, loud roomy drums, and vocals that range from soft doubles to belligerent yelling. Themes include DUIs, substance abuse and dependence, coming to terms with aging, and doing laundry.
If you like Modest Mouse, Brand New, Pinback, or Elliott Smith, definitely give Head South a stream. All songs are written, sung, mixed, and mastered by Mike Rachlin himself — a testament to his incredible versatility. Oh - and he also played guitar on it! Talent coming out of his very pores, I swear to god.
Do you ever perform covers of other artists' music? If so, how do you approach transforming those songs to capture the unique, captivating sound and energy that defines your original work?
I have not done this as much as I’m told I should. I really want to do a series in the near future of Bo Burnham covers since I find him to be at a similar stylistic juncture as myself: silly on the surface with occasionally serious underpinnings, constantly vacillating between the two.
If I were to approach covering his songs—or any artist’s work—I’d like to focus on finding ways to amplify the emotional nuances I resonate most with, and finding ways to connect them to my own style. For example, I’d experiment with stripping down certain songs to just ukulele and voice, or layering in unexpected drones, synths and harmonies to bring a more haunting, otherworldly energy to them. My goal would be to give due respect to the original version while offering listeners a new perspective that feels distinctly 'Ukulelian.'
Do you feel that you've found a settled direction with your music, or do you envision further transformations and evolutions in your style and persona in the future?
I definitely see more evolutions in my future. Part of why I love my Ukulelian lore is that it gives me license to explore a multitude of human mediums and aesthetics. She’s trying out genres like trying on clothes, baby! I’ve begun to experiment with creating EDM and ambient music in Logic, and I’m excited to see how my style evolves as I continue exploring the endless possibilities of production and collaboration (including with AI).
That being said, I’m acutely aware that the Ukulelian is my freshman project, and I have every right to embark on a sophomore or secondary persona 🤷🏻♀️at a moment’s notice. Perhaps, like Ziggy Stardust, I’ll become the victim of my own hubris, succumbing to perfectionism and elitism in a horrible twist of poetic irony.
Until then, I’ll continue the good fight—on behalf of Ukulelians everywhere, past & future 🤗
Ævina, thank you so much! We appreciate you taking the time to talk to us.
Thank you for the thought-provoking questions! It was enriching to put into words what I’ve been conceptualizing for so long 👽 Here’s hoping it inspires some fellow Ukulelians to create their own imperfect art ✨ and share it with me! Tag @aevina.ukulelian on Instagram - I love 📲 👀 to engage there
End Interview
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We’re happy to have shared Ævina’s exciting journey with you and uncovered such inspiring insights about their creative process.
Now, click the links below to experience their incredible work firsthand!
Check out this latest release and listen to more of Ævina on Spotify & YouTube.
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