The recent EP Crescent by Martha Theuma, released by her under the moniker Das Birthday Girl, is an ethereal set of alternative music tracks that link directly to the artist’s lived experiences. Lara Zammit speaks with the singer about her music.

Crescent is an even-keeled collection of downtempo and synth enveloped in reserved melody. How would you describe the EP’s sonic qualities across its three tracks (and in Selene particularly)?

It’s really important that my songs sound delicate but full. I like interlacing different melodies together and adding a lot of voices to make it sound more like a choir, giving it a gothic and eerie feeling.

I also like to have a solid bass line in order to tie the song together and give it a solid backbone, while also trying to give the song just enough space.

I like to think of my songs as little spirits and I like that you picked out Selene because that is one of the songs I really enjoyed writing and which I feel really envelopes the themes I’ve been writing about up till now. 

Can you speak about your journey into music? What about it do you find most compelling?

Music has always been my favourite artistic medium. I find the creative process very fascinating, I love the idea of having an idea in your head for a lyric or a chorus and slowly making it come to life. I’ve delved into several different artistic platforms however nothing makes me feel the way music does.

I love getting lost writing music

Ever since I was young, I was always drawn to music and playing different instruments, and to put it simply, music has really helped me through a lot.

I like the idea of using music to describe the ineffable and the mysterious, having an almost mystical quality. Music and mysticism go hand in hand for me.

What musical (or non-musical) influences do you draw inspiration from and perhaps surreptitiously inhabit your music?

Musically, my biggest influences are perhaps post-punk bands such as The Birthday Party, Bauhaus, Swans, and artists such as John Maus and Molly Nillson. I am interested in both that which is raw and gritty and that which is polished. I am very inspired by people’s stories, and one of the things I love writing the most about is myths.

Selene, the second song in the EP, is about the goddess of the moon and an experience I felt one time when I was on the beach by myself under the full moon. I write songs about anything that strikes me, be it a painting, an idea, a person, or a feeling.

I like seeing my music as a portal for someone to get lost in, allowing them to experience the way I see the world.

The EP is bolstered by lyrics which assimilate its tone and texture seamlessly. Can you speak more about the songwriting aspect involved in its production?

The themes of the songs all revolve around different transcendental experiences I experienced in my early 20s. When I get an idea to write a song it usually comes almost fully formed in my head – I can usually hear exactly how I want it to be and this is why, for this EP, I wanted to work mostly by myself when it comes to production.

I love getting lost writing music and when I start working on the song usually I try to have the basis of it finished by the end of my writing session. Although I love writing lyrics, they are always the hardest part of the process for me. It takes me a long time to find the words to explain what I am trying to say, especially since what I talk about is difficult to explain using language.

These songs were written in the space of two months, however, it took me a long time to get around to recording them in a decent way.

Thanks to JOON and Hearts Beating in Time, who mixed and mastered my songs, they were able to elevate my songs from home recordings to sounding somewhat more professional.