Talulah, a recent History graduate from Newnham, is a multi-faceted sound artist whose creative work encompasses DJing, sound design, and singing. As a DJ, Talulah is known for their effortless blends, describing their sound as “genre-blending,” mixing songs from across the globe and various genres to create eclectic yet unified experiences at student events like ArcSoc, as well as at Greenman Festival this past summer. They have also worked extensively as a sound designer, including for Cambridge theatre productions such as the critically acclaimed 52 Monologues for Young Transsexuals, which had a successful run at Soho Theatre. When asked which of their artistic practices resonated most with them, they explained that music-making is “closest to [their] heart” because it allows them to bring their “own vision” to life. Last month, they released their long-awaited debut EP, Solas, a body of work that brings together their diverse artistic interests, encapsulating the unique nuances of their sound.

“Their sound art feels like the ocean on a warm day, deeply experimental yet grounded in a social and communal context”

Talulah’s journey with singing began in traditional Welsh choirs, meaning their relationship with singing started in a culturally collaborative community setting. They continue to emphasise the importance of collaboration across their artistic pursuits. Their debut as a solo artist came with the Welsh-language song Byth yn Blino, a stunning track featuring enchanting orchestral sounds adorned with divine vocal runs; it feels like melting into a meadow. Later in the year, they released Slofi, a bilingual track that blends electric and acoustic guitar elements to create captivating dream pop. The single cover features a person underwater, visually reflecting the angelic melodies that ripple like water throughout the track.

Solas, or “solace” in English, is a five-track EP created across various cities and landscapes, tracing Talulah’s “experiences of and meditations on power, place, language, and identity”. To them, “the key part of music-making is actually just listening to existing music — sampling everything until you find the ultimate recipe you want to experiment with,” and they began all their studio sessions by listening to music they enjoyed with their collaborators.

The EP begins with the track Suo, a natural soundscape that dissolves into lush guitar arpeggios and dreamy, layered vocals resonating with reverb—a gentle crescendo leading into the following tracks. Ending with the sound of downpouring rain, Suo blends seamlessly into the crashing waves that introduce Galaru. The way the tracks flow into one another is reminiscent of Talulah’s DJ mixes — a sonic journey where elements merge and transform. The EP’s single, Galaru, comes next. Its title translates to “mourning” and features “mantra-esque” statements asserting “that someone was out there mourning my love, presence, and care,” Talulah explains. Within its vulnerable lyrics lies a “confident persona” created to reclaim some of the power that was previously held by someone else. The recurring electric guitar motif throughout the track is absolutely gorgeous, moving like accompanying ocean waves; it feels driven and powerful. Combined with head-bopping percussion paired with smooth vocals, the track reaches a euphoric dynamic climax, followed by background chatter in Catalan.

“Music is a universal language, always in movement”

Gad i mi grio is the song that was most significant and personal to Talulah during the making of this body of work. They wrote it alone at the piano, as the words began “flooding out of [their] subconscious.” Translated as ‘let me cry’, the song depicts a relationship marked by “cycles of one-sided support.” It portrays someone who “doesn’t want to give up on someone else, even though it doesn’t feel good or healthy,” asking for “one night to cry before they get up the next morning and do it all again.”

One of my personal favourites, Keep it Movin’, feels so soulful: from Talulah’s introductory hums to the majestic strings and saxophone, to the stunning echoes that reverberate throughout the track (special mention to the engineer). The final track, tungz, incorporates interwoven speech in different languages that ultimately melt into the EP’s most energetic piece. Talulah is passionate about showcasing minoritised languages, which they do on their Noods radio show Untame Your Tongue, where they also spotlight sounds rooted in resistance movements. Talulah wants it to be a means for listeners to “train their ears to new languages,” and they have consistently positioned themselves as a pioneer in queer Welsh music, representing the sound and lyrics they always felt were missing in the scene, amplifying marginalised experiences within a minoritised language.

What does Talulah envision for the future of music? “Music being seen as a universal language” and the art form always being “in movement.” Alongside increased visibility for minorities in the industry, they hope to see more vibrant music scenes in smaller places. And in their own artistic journey? They aim to “keep making music, meeting new people, and collaborating.” Their sound art feels like the ocean on a warm day, remaining deeply experimental while grounding itself in an underlying social and communal context. Their work merges influences that I can only describe as hues of blue sunshine. Talulah is truly an exciting voice in contemporary UK music, and I can’t wait to see what the future holds for them.