Q&A: Unflirt Redefines Time and Self in Her New EP ‘Fleeting’
INTERVIEW
INTERVIEW
☆ BY SHEVON GREENE ☆
Photo by Claryn Chong
SHAPED BY LATE-NIGHT REFLECTION AND THE BLUR OF PASSING SEASONS—Unflirt’s new EP, Fleeting, out now, captures the ache and acceptance of change perfectly. The London-based artist is peeling back the nostalgia of her earlier work and is now showcasing longing for presence and honesty.
Written over two years between London, LA and Brazil, Unflirt (Christine Senorin) embraces growth in both her sound and self throughout the making and final product of this project. The EP takes listeners on a journey through moments of self-doubt and serenity, following her evolving relationship with time, love, and artistic identity. With soft guitars and bossa nova-inspired textures, the new sound resembles gentle forward motion.
At its core, Fleeting is about learning to let go and to honor every moment without clinging to what’s already passed. We sat down with Senorin to talk about finding beauty in change, writing from presence, and the making of Fleeting. Keep reading for more.
Photo by Claryn Chong
LUNA: You describe Fleeting as exploring the shifting perception of time. What made you choose that word as the title and what does it mean to you now?
UNFLIRT: For me, Fleeting means accepting that time is always changing and moving; trying to stop resisting it and changing the relationship I have with the past, future and present. I was in a long-distance relationship for two years, going back and forth, and during that time I was experiencing such intense emotions and circumstances. I realized I needed to let go of that nostalgic way of writing—so full of yearning. It’s nice to indulge those feelings sometimes, but as I’ve matured, it wasn’t helping me grow or deal with things better.
Writing this EP helped me be more present, accept change, and move on from patterns of thinking that weren’t serving me anymore, even though that’s still something I find really hard.
LUNA: That’s really cool, and it’s so awesome that you were able to translate such a specific theme from your life into music for others to enjoy and relate to. For your single “Cut My Hair,” you directly address imposter syndrome. How did writing that song feel when you were living in that doubt versus now, after releasing it?
UNFLIRT: I remember writing that song at like 5 a.m. I couldn’t sleep and had fallen into a deep YouTube rabbit hole of Elliott Smith performing live. I felt so low, so I picked up my guitar and wrote that song. It was the first time I’d written about something like that. To be here now, releasing that song and seeing so many people relate to it, is so rewarding. When I wrote it, I never thought I’d even be able to release music. It’s a full-circle moment. It also ties back to Fleeting; realizing that those emotions are fleeting too.
LUNA: Definitely. It’s really cool to hear about that journey, how you’ve come full circle now that the music is out. The phrase “feeling hopeless in your pursuit of something you want so badly” is so real. What keeps you going in those moments of hopelessness?
UNFLIRT: I’m still learning what helps, but writing is the biggest one. It sounds cliché, but putting everything down, whether in a song or in a journal, helps me see what’s going on in my head. Once I can see it on paper, I can rationalize it better and make sense of it. Also, time helps. A day can change everything. You can look back at something you wrote and think, “Whoa, I was really in my head,” but it’s already passed. Getting it out of my brain and into the world helps me move through it.
LUNA: That’s such a great way to look at it, turning those feelings into something tangible and then being able to reflect on it later. While your earlier songs carried a lot of nostalgia, this new chapter focuses on moving forward. How did that change your songwriting lens or emotional urgency, if at all?
UNFLIRT: I’m much more present in my lyrics now. I note down details from the moment I’m in—things happening around me that I want to remember—and use my songs to immortalize those moments instead of talking about how I’ll miss them. When I listen back, I’m transported to where I was, which helps me process nostalgia in a new way. It’s improved my writing, made me more introspective, and helped me focus on what’s actually happening rather than just longing for the past. Fleeting feels like a big step in my growth, personally and musically.
LUNA: That’s awesome. You’ve clearly found a theme that’s personal but still universal. The notion of “some things will never change” kind of implies both resignation and acceptance. In your life or career, what do you feel is unchanging in a good way, and what do you feel needs to shift or has shifted?
UNFLIRT: I was actually thinking about how things always change. Seasons pass, time moves on; it’s constant. When I was in Brazil, I kept going through that cycle of, “Okay, this is almost over,” and then realizing that endings always lead to something new. I’m the kind of person who gets “holiday blues” about everything. But I’m learning that endings just make space for beginnings. I shouldn’t fear change; it’s inevitable.
Photo by Claryn Chong
LUNA: I love that perspective. I know you spent time in Brazil writing this EP and drew from artists like Gal Costa and Astrud Gilberto. How did the location and musical history of Brazil shape the sound and spirit of Fleeting?
UNFLIRT: Being there was incredible, just to be in the same places the music I love came from. I was surrounded by the language and learning it at the time, and Portuguese is such a poetic language. Hearing my favorite songs live, in local bars instead of just on Spotify, was so special. It all seeped into the music. I used softer sounds, acoustic guitar, and gentle percussion inspired by bossa nova. It’s the first time I’ve written songs that sound quieter and more intimate, but still strong.
LUNA: That’s amazing; what an experience. You also mentioned taking a songwriting course with Adrianne Lenker. How did that shape your writing on this EP?
UNFLIRT: Honestly, that course changed my life. Adrianne is such a mystical person; it was incredible hearing her talk about her process. She taught me how to bridge my internal world with the physical world around me. One exercise was to write a song about what you see outside your window. It sounds simple, but it was transformative. I started blending the mundane with emotion—writing about what’s around me and how it connects to how I feel. That balance of the emotional and the physical really shaped this EP.
LUNA: That’s such a valuable lesson, finding beauty in the ordinary and turning it into poetry. You worked on this project for two years. What changes happened in you as an artist during that time? Were there songs that felt different between the start and end of the process?
UNFLIRT: Definitely. It’s been two years since my last project, so I’ve grown a lot. There were moments when I thought the project was done, but six months later I’d have three new songs. Then I went back to Brazil, worked with amazing artists, and realized it still wasn’t finished. I’m so glad it took the time it did. The songs I wrote later, especially when I came back to London, came from new experiences and challenges like self-doubt and jealousy. It all happened for a reason. The project shaped itself over time, and I grew alongside it.
Photo by Claryn Chong
LUNA: It sounds like such an emotional process, but I’m sure it feels incredible to finally put it out after all that work. On the sonic side, you’ve mentioned influences from Radiohead, Elliott Smith, and Smashing Pumpkins. How did you balance those bigger guitar sounds with your lo-fi, bedroom-pop roots?
UNFLIRT: Each song had its own world. Some needed to stay minimal and soft, while others called for that big, expansive guitar energy. I wanted variety—different textures and moods—but still a sense of continuity. It was about trusting what each song needed while keeping the whole project balanced.
LUNA: That balance really shows. Across the tracklist, which song ended up surprising you the most from concept to finished version?
UNFLIRT: “Cut My Hair,” for sure. I wrote it in a really low place; it was such an emo voice note. But when I brought it to my friend Josh to produce, it turned into this upbeat little bop you can dance to. That contrast surprised me in the best way. It’s still a sad song, but you can move to it, and I love that duality. That contrast is what makes music beautiful.
LUNA: I totally agree. Those are the best songs, the ones that make you dance and cry at the same time. Was there a specific moment you felt compelled to turn into a lyric or song on the EP?
UNFLIRT: Most of the songs just came in the moment. The lyrics flow out of me without much planning. But when I was in Brazil, there were so many moments where I’d think, “Okay, the second I get home, I need to write about this.” That’s how “Sea Song” came about. I knew before I even started that it would be called that; I came back from the beach and wrote it immediately.
LUNA: I love that you knew exactly what it was going to be called. That’s so real, though; some songs just arrive like that. My last question: with the EP out now and a UK and Europe tour to follow, what are you most looking forward to about sharing this project live?
UNFLIRT: I’m so excited to play the new songs live. After listening to them in my headphones for so long, it’s going to be amazing to hear them in a room with people and feel that energy. Playing live makes me fall in love with the songs all over again. Seeing people’s reactions is the best part. It’s my first headline tour, so I’m just beyond excited.
LUNA: That’s amazing. I’m so excited for you, and I can’t wait for everyone to experience Fleeting live.
