Samara Cyn

And it kind of felt like I was starting to get into the pit where I was kind of not having as much fun.

It was almost too serious, the things that I was doing.

So I think with this project, it was a challenge and a practice for myself to allow, give myself the permission to be free.

The go analog aspect is not even necessarily in like the physical sense, more so like go back to the first invention before you polished it and filtered it and, you know, like rehearse the thing over and over and over again.

Let's go back to the first invention, the first feeling of the thing.

And if it's not all of these things that you think it has to be, the lyrical aspect, you know what I mean?

Like let it be what it is in this moment and like lean into that instead of judging it the whole way through.

And so that's where I was.

I think with Detour, I didn't want to put a concept on it.

I didn't want to put restrictions on it.

And with Free, the song itself, the practice for that was just to like get loud and like try to not be so in my head and in my body about it.

Because when you're in the studio and you're recording, there's a bunch of people in the studio.

It feels like a performance as well, you know?

So it's like, let me jump around the room and scream and shout and like,

in somebody's house, you know, which yelling indoors is crazy.

But it's just like, let me try to get in my body and be able to do it in front of other people, even if they're people that I'm comfortable with.

Like, let me try to do it with an audience even still.

And so that's where Free came from.

This one was tough because I was making music without anything that I had to say at the time.

It felt like that.