Evelynka: „“Pure Gold“ was inspired by those moments that we have – in life, in love, in art“


This week Evelynka releases her next EP titled „Pure Gold“ on Wildfang Music. You can get the collection with Releases by Jean Vayat and Philip Chedid on Beatport. We talked with Los Angeles based producer about the release.

trndmsk: How long did it take you to produce the tracks?

Evelynka: I tend to produce a few versions of each track – so from the point of conception to reaching the finish line, it can take a few weeks to a few months. It’s difficult to pinpoint the exact amount of time it takes to finish one track because I tend to bounce around multiple projects at one time, but I would say with these particular tracks, it took about four to five months to finalize.

How did you choose the title of the EP? Is there a special meaning behind it?

“Pure Gold” is an ode to self.

I’m two-four carats,
Can’t you see the light?
Two-four carats,
Don’t you know that I’m gold. Pure gold.

I’m two-four carats,
Can’t you see the light?
Two-four carats,
Baby I’m gold, pure gold. Pure gold.

„Pure Gold“ was inspired by those moments that we have—in life, in love, in art—where doubt and insecurity creep up and we question our value. Sometimes it’s because others don’t see the value in us; sometimes it’s because we don’t see the value in ourselves. The idea behind „Pure Gold“ is that we all have something unique and special to contribute. Sometimes we need to remind others. Sometimes we need to remind ourselves.

What inspired you to produce the tracks?

I produced these tracks while living in San Francisco. I had just moved there after having spent a year in Guadalajara, Mexico and was feeling particularly connected to my new surroundings. California has arguably some of the most beautiful nature in the world and the humbling effect that it tends to have on individuals seems to bleed out into its culture. I found the people in San Francisco to be incredibly warm, open-minded and spiritual. Sonically, I wanted to express a reconnection with the earth, with tribalism, and so I gravitated towards more traditional instruments and organic sounds. Both tracks are sitting in a bed of forest recordings and have minimal processing across the board so that the elements have a raw, dusty feel to them. I work alone and often at night, so melancholy tends to be a common theme in my music, especially in my vocals.

Where and how did you produce the tracks?

I produced these tracks at my home studio in San Francisco using Logic Pro X. I’ve since then upgraded my microphone and soundcard, but for these tracks, I recorded my vocals with the Sterling Audio ST55 condenser microphone into the Komplete Audio 6. I own a Prophet-6 module, which is a go-to for all of my tracks, as well as a Roland Juno-Gi, which I tend to reach for when adding certain string elements. In addition to external hardware, I’ll also use VSTs, some of my favorites being Omnisphere, U-He Diva, U-He Repro-5, and synths from the Arturia V Collection. As far as processing goes, I work solely in the box. My most used plug-ins tend to come from Waves, D16 Group, Soundtoys and MeldaProduction.

How did the collaborations for remixes come about?

I knew both Jean Vayat and Philip Chedid prior—Jean from working together on a few projects, and Phil from playing out in LA. I really love both of their sounds and felt like they would be a great fit for the EP. They are both incredible artists and I’m grateful to have them be a part of this project.

How and why did you choose the record label?

Wildfang Music has a great sound and I felt like it would be a perfect place for these tracks to call home.


How did you survive the corona pandemic so far?

I started the first half of the pandemic in LA, California, and then moved to San Juan, Puerto Rico in September. Restrictions in both places have been quite strict, so the ability to do much of anything, including play out, has been impossible. At the beginning of the pandemic, I spent a lot of time in the studio. I tried to look at it as a moment to be creative without the usual distractions. Of course there were new distractions, but pouring the stress that I was feeling into my music was incredibly cathartic. I worked on a lot of personal projects, but also did a lot of collaborative work. In July, I started the process of moving to Puerto Rico, and so writing music took a bit of a hiatus. It took about five months for my things to arrive from LA due to the pandemic slowing down shipments, but I’ve just recently been able to get my studio set up and am excited to get back to creating. I’m not sure what the future holds, but I’m trying to spin this moment where life feels like it’s been put on hold as an opportunity to create. At the end of the day, I am very fortunate that neither I nor my loved ones had any serious health issues during the pandemic. For that, I am incredibly thankful.


What’s up next after the release? Any plans and projects?

I have a few more projects that are scheduled to come out later this year and as always, am working on what comes next, which is a mixture of personal projects and collaborations. As far as performing goes, I’ve started adding live elements to my DJ sets, specifically vocals, and am excited to share that when the world opens back up.