Q&A: GRAE on Femme Rage, Vintage Fantasies, and Total Creative Freedom
INTERVIEW
INTERVIEW
☆ BY DANIELLE HOLIAN ☆
Known for her ethereal vocals and emotionally rich soundscapes, GRAE’s latest album, 7 Minutes ‘Til Heaven, marks a bold step into deeper, darker creative territory. It's not just a sonic evolution—it’s a cinematic experience steeped in intimacy, heartbreak, fantasy, and feminine power. From the first note, the album pulls listeners into a dream world where glamor and grit collide, and every track feels like a secret whispered in velvet darkness.
The record emerges as a response to both internal reckoning and external change. Following the 2022 release of Whiplash, GRAE found herself at a crossroads—continue refining what she had already built, or tear it down to rebuild something braver. She chose the latter. What followed was a period of isolation, experimentation, and eventual liberation. The result is a project that transcends the boundaries of genre and expectation, one that centers emotion as both muse and method. 7 Minutes ‘Til Heaven isn’t just a collection of songs—it’s a curated world, meticulously designed and emotionally charged.
Visual inspiration played a vital role in shaping that world. Drawing from 1950s and ’60s cinema, GRAE infused the album with a haunting vintage flair: think Marilyn Monroe in a soft-lit dressing room, the glint of pearls, and the slow unraveling of a poised façade. It’s a carefully orchestrated contradiction—beauty and chaos, surface and depth—that reflects the album’s core themes of transformation, rage, and self-reclamation. The influence of classic Hollywood is more than aesthetic; it’s a metaphor for the masks we wear and the truths we hide beneath them.
Yet, 7 Minutes ‘Til Heaven isn’t entirely of the past. There’s a deliberate contrast between its nostalgic visuals and the modernity of its production. GRAE’s signature dark pop sound now pulses with cinematic synths and experimental edges, blending the tactile warmth of analog with the surreal push of something futuristic. This juxtaposition mirrors her emotional journey—honoring what came before while refusing to be confined by it. Each song is a scene, each lyric a plot twist, and GRAE the ever-evolving protagonist.
What makes this album especially compelling is how personal it feels, even in its most theatrical moments. Through lyrics that echo heartbreak, desire, and resilience, GRAE invites listeners into a space of raw honesty. She’s not just telling her story—she’s building a world where others can find pieces of their own. As she shares in the following interview, every sound, visual, and word was a step toward creative freedom. It’s a project born from risk, reflection, and relentless vision—an ode to the messy, magical process of becoming.
LUNA: 7 Minutes ‘Til Heaven feels like both an emotional release and a cinematic experience. What was the first spark of inspiration that led to this album?
GRAE: After I released Whiplash in 2022, the question became, what’s next? I started working on music that felt like a natural extension of that record, but something didn’t sit right. I found myself pausing mid-process, wondering why I was repeating the same sound. That moment of hesitation turned into reflection, and from there, some hard decisions had to be made. Was I really going to take a risk, shift my sound, and disappear for a while to create something that might take time to figure out? Or would I just keep doing what was safe and familiar? Ultimately, I chose the challenge. I had this deep desire to push myself and make something without boundaries or expectations. The real spark of inspiration came when I let go of certain people, certain pressures, and finally felt free to explore what I wanted to create. I remember having a conversation with my best friend, who’s a pole artist, and thinking, how cool would it be to make a dark pop album dancers could move to? Something cinematic and moody? That seed of an idea was the beginning of 7 Minutes ‘Til Heaven.
LUNA: This album feels like a love letter to transformation. What did writing it teach you about the version of yourself you’re stepping into?
GRAE: It taught me that I’m constantly evolving, and that doesn’t have to be scary. I used to feel nervous about changing my sound or aesthetic, like it might confuse people or push them away. But once I let myself try something different, I realized how freeing it is to stop holding back. This album helped me let go of old expectations, both from others and myself. I’m more confident now, and I trust my gut. I’m not afraid to take risks anymore, even if it means stepping into something unfamiliar.
LUNA: You’ve spoken about tapping into your feminine rage. What does that power look and feel like to you in a creative space?
GRAE: Feminine rage, for me, is about being untamed. No rules, no apologies. It’s sitting in the mess of whatever I’m feeling, whether it’s anger, heartbreak, or desire, and letting it flow through the work without censoring it. I give myself permission to go there, to feel everything fully, and to make art that doesn’t ask for permission.
LUNA: If 7 Minutes ‘Til Heaven were a dream, what would it look like visually—colors, scenes, emotions?
GRAE: Although the music blends 1980s synthwave with more modern and experimental sounds, visually the album lives entirely in a 1950s/60s Old Hollywood fantasy. Soft lighting, satin bed sheets, a quiet dressing room after midnight … glamour laced with grit. Everything looks beautiful on the surface, but there’s a tension underneath, like something’s just a little off. That contrast is part of the dream. And of course, there’d be lots of hot pink everywhere [laughs]..
LUNA: What’s a lyric on the album that still gives you chills when you sing it?
GRAE: There are two songs that make me feel this way. From “Motorcade:” “I should’ve died with you, babe, in that motorcade, wishing I could’ve paid the hitman…” And from “Hollywood:” “Never thought I’d be old, before I got to be young.” Both lines feel haunting to me. They hold so much pain and emotion in just a few words.
LUNA: You’ve always had this gorgeous fusion of vintage energy and modern emotion. What keeps pulling you back to those '80s new wave textures?
GRAE: With this album, especially on songs like “Dark Energy” and “Scarlet,” I leaned deeper into the dark synth pop sound. It’s still rooted in that ’80s inspo, but it feels heavier and more cinematic than anything I’ve done before. I think what keeps pulling me back to the ’80s is just how good it feels. There’s this deep sense of nostalgia it brings out in me that I fully lean into. I’m such a nostalgic person, even though I wasn’t born or even alive during that era, so I’m not totally sure what I’m nostalgic for. But ’80s music has always just made me feel that way.
LUNA: There’s a theatrical, almost surreal quality to parts of the album. Were you inspired by any visual artists, films, or directors during the process?
GRAE: During the making of the album, I got really into old 1950s and ‘60s films. I was watching a lot of Marilyn Monroe—”Some Like It Hot,” “The Seven Year Itch,” “Gentlemen Prefer Blondes.” Around the same time, I kept coming back to “The Great Gatsby,” which has always been one of my favorite books and films. That mix of beauty on the outside and chaos underneath really mirrored what I was writing about, and helped shape the dreamy, slightly surreal world of the album.
LUNA: The interludes with Apollonia add so much dimension. What was your vision for those moments, and how did her voice shape the album’s narrative?
GRAE: The interludes with Apollonia were meant to build the world of the album out even more. Her voice added this strong female presence that really tied all the themes and emotions together. Instead of pulling the listener out of the story, she pulled them deeper into it. Those moments helped everything feel more connected. They gave the album extra depth and a stronger sense of emotional continuity.
LUNA: How do you stay grounded as an artist while constantly evolving and experimenting with your sound?
GRAE: I remind myself that evolving and experimenting doesn’t mean I’m being disloyal to my roots. Growth is part of the process, and staying grounded just means staying honest. It’s about knowing why I create and trusting that my foundation is still there, even as things shift. It’s not always easy. Allowing yourself to evolve can be terrifying. But for me, it’s necessary because I’ve always internally struggled with the thought of staying the same forever. But I’ve realized I don’t have to, and that’s such a freeing realization because it opens so many doors for what I could do, genre-wise and beyond, in my career.
LUNA: Your voice often feels like another instrument—soft, fierce, intimate. Do you approach your vocal performance like a character, or is it pure emotion in the moment?
GRAE: It’s mostly pure emotion in the moment. Especially with this project, I really let the songs guide me and become whatever they wanted to be. Some called for softness, others needed more edge or attitude. I didn’t overthink it. I just followed the feeling.
LUNA: What does freedom look like for you as an artist right now—and how is that reflected in this album?
GRAE: For me, artistic freedom means not holding back. It’s about creating without asking for permission, not chasing what’s trendy, and not shrinking myself to fit into someone else’s idea of what’s marketable. This album came from walking away from a place where I felt creatively stuck. It’s the first time me, and me only, called the shots, and I believe you can hear that freedom in every track. You feel it especially in songs like “Wet Dream” and “God in a Woman.” I walked into those sessions with zero limitations and just let the songs do their thing. They ended up being some of the wildest, most experimental tracks on the record. Honestly, I think I even caught the producers off guard with how far I wanted to take it. I kept saying, "Push it further. Make it crazier." That was the space and energy I was wanting to be in, so I created that environment and got some pretty cool art out of it.
LUNA: You wrote from both personal and outside perspectives on this project. Was it healing to step into different stories, or did it come with unexpected emotions?
GRAE: It definitely came with unexpected emotions, especially with a song like “Motorcade.” I wrote it from the perspective of Jackie Kennedy after the JFK assassination, and it really took a toll on me. I was doing so much reading, trying to get into her head, and ended up falling down a huge rabbit hole of that time in history. I felt her pain so deeply, it was hard to shake. Writing from outside perspectives can be healing, but it also opens you up to carrying emotions that aren’t entirely yours, and that can be heavy. With “Motorcade,” it felt like I was channeling something much bigger than myself. But at the same time, I could also relate to it on a personal level. That pure, aching heartbreak Jackie felt after losing a loved one is universal.
LUNA: What’s one moment during the making of this album—big or small—that you’ll always carry with you?
GRAE: It’s hard to pick just one, so if it’s okay, I’ll share two. One would be all the time I spent with my creative director, Piper, in coffee shops or at each other’s places, dreaming about what we could do with this album creatively and aesthetically. Those late nights, mood boards, and deep conversations were filled with excitement, endless ideas, and inspiration. I’ll cherish those moments forever. The other was when Apollonia sent over her vocals for “American Dream,” and I heard them for the first time. It was so surreal hearing someone I’ve admired for so long speak something I wrote. It honestly tripped me out a bit. That moment made everything feel real. It was like the album finally clicked into place, and I suddenly knew what it had the potential to become.
LUNA: How do you hope 7 Minutes ‘Til Heaven makes people feel when they hear it in their own quiet spaces?
GRAE: I hope it makes people feel seen. Whether they’re dancing, crying, fantasizing, or healing, I want this album to meet them exactly where they are and remind them they’re not alone. I always say I hope my music can be like a friend. Something they can lean on, something that understands them, and something that makes whatever they're feeling a little less heavy.
LUNA: The Luna Collective is all about creativity, connection, and youth culture. What’s something you’d want young creatives—especially women or gender-diverse artists—to take away from your journey?
GRAE: I’d want them to know that their voice is enough, just as it is. You don’t have to shrink yourself or wait to be chosen. Create boldly, take up space, and allow yourself to evolve. It can be so easy to try and become what others want you to be, but don’t let people push you around or make you question your worth. Trust your own artistry. I’ve had some wild experiences where I had to walk away from situations, even when it was hard, simply because I trusted myself more than the people around me and what was being said. The industry will try to mold you, but the most powerful thing you can do is trust your taste, your gut, and your instincts. Stay true to your vision, and surround yourself with people who genuinely believe in you and support your journey. That kind of authenticity is your greatest strength.
