Laufey is a third-generation musician. To carry out runs in her bloodline. Her Chinese language mom is violinist; her grandfather carried that mantle earlier than her, and her grandmother is a pianist. Music was not enforced, however one thing she gravitated towards naturally. “My mother taught me to at all times lead with ardour,” she explains. “She is my largest cheerleader and at all times informed me that I used to be so fortunate to have one thing I used to be so enthusiastic about. I had many conversations along with her the place I used to be like, ‘I’ll simply go and examine one thing extra regular, change into a lawyer, or one thing’ and they might flip into half-screaming matches the place my mom was like, ‘There’s no manner! That’s not you. You’ll be depressing!’ It’s precisely the other of what one would assume.” Within the refrain of her monitor “From The Begin”, a friends-to-lovers daydream embroidered with bossa nova, she threaded a string part within the pentatonic scale which follows the Chinese language custom – a delicate homage to a musical and religious affect that’s ever-present in her work.
By music, she was willingly consumed. She likens her devotion to the cello rising as much as the calls for of being a baby athlete. “It consumes you, it actually does,” she displays. “It takes up your complete life – and I’m very grateful for it.” At fifteen, she carried out with the Iceland Symphony Orchestra as a cello soloist, later happening to graduate from the covetable musical school of Berklee. “I’m nonetheless working off the approach that I labored on as a child,” she says, “and it helped me in so some ways. However I positively had much less of a social life than different children.”
Whereas being distracted by a love affair of her personal, her introduction to courting was saved for the flip of her twenties. She might need been an acolyte of the previous masters Ella Fitzgerald, Chet Baker and Billie Vacation, however in relation to Laufey’s lyrics, she writes in a distinctly Swiftian spirit. “I prefer to say that my albums are like my journals,” she says. “My first album [Everything I Know About Love] was lighter, funnier. I used to be a hopeless romantic, and in truth, I knew little or no. It was very a lot asking questions into the abyss. The final music was actually referred to as ‘Questions For The Universe’, and the final line was ‘Will I ever fall in love, or will I at all times search?’” Torn from these first rising pains, she has healed with hardened knowledge. “For my second album, I dove deeper into the feelings of affection. It’s much less questions, and extra statements,” she shares.