About Marlon Funaki:
Marlon Funaki is a 23-year-old solo artist from Highland, California. Known for his genre-blending sound, Marlon combines alternative rock with psychedelic tones and jazz-influenced guitar, creating songs that feel both expansive and deeply personal. His Japanese and Mexican American heritage gives him a unique perspective and plays a meaningful role in inspiring his music. Entirely self-produced, he writes, records, and mixes his music on his own—bringing a raw and soulful edge to everything he puts out. When performing live backed by his band, Marlon’s shows have an uncanny ability to connect—pulling people in with an electric calm and leaving rooms buzzing with energy. He’s shared the stage with artists ranging from indie standouts Palace to country heavyweight Billy Currington, proving his ability to transcend genre and setting. In 2025, Marlon was named Luck Reunion’s “Artist on the Rise” winner, solidifying his reputation as a compelling young voice in independent music today.
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
SASAMI:
Two Sasami’s exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. “This album is all about learning and respecting the craft of pop songwriting, about relenting to illogical passion, obsession, and guiltless pleasure,” Sasami says. “It’s about leaning into the chaos of romance and sweeping devotion—romanticism to the point of self-destruction.”
After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze, but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”
She came to that fact while training to tour Squeeze—shows that required her to run around with her Mockingbird guitar, mosh, leap off amps—at the gym. Sasami found herself fascinated by the high-octane music that sustains physical activity. “The gym became this place where I would exercise and be studying the music,” Sasami says. Eschewing today’s pop zeitgeist, Sasami gravitated towards late aughts and 2010s pop a la Britney Spears’ Femme Fatale and Lady Gaga’s Born This Way, plus Kelly Clarkson, Katy Perry, and Sia. She was influenced by modern country storytelling, mixing vulnerability with humor, and the mood board also included Prince, Japanese city pop, and the stadium-sized, denim-clad iconography of Bruce Springsteen.
“I wanted to go all out with this album,” Sasami sats. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”
