Her soundscapes transcend genre classification and instead takes deep roots in intimate, lo-fi production perfect for autumnal folk days. Tracks such as 'Sunshine' and 'Drying Out' ring reminiscent of artists such as Adrienne Lenker, Broadcast ('Tears In The Typing Pool') and Julia Jacklin.
With the release of her three track EP ('Light It Can Blind You') on the horizon (25th October), we sat down for a chat with Loucks to discuss musical direction, influences and her bold decision to unveil two big releases in one year.
Hey Mia! Can you introduce yourself to our readers?
Hi! I'm Mia Loucks, an artist and songwriter based in Los Angeles. I’ve been creating music since I was a kid and a lot of my work comes from a very introspective place. I tend to write about my own life experiences—things like relationships, health challenges, and grief. Musically, I’ve always had a DIY approach. I started out recording on my iPhone, and even now, all of my songs are self-recorded and produced at home. I’m drawn to a more lo-fi, intimate production style, where the imperfections in the music become part of its emotional core. I love artists who combine raw, unfiltered emotion with experimental sound, and I think a lot about how to balance delicacy and intensity in my music. I play guitar, piano, and sing, but also enjoy playing around with different instruments to bring new textures to my songs.
What artists should readers listen to get to know you better?
Mirah, early Liz Phair, The Microphones, Kim Deal, Vashti Bunyan, Beach Boys—Smiley Smile, maybe some Daniel Johnston.
Talk to us about your ‘Light It Can Blind You’ EP.
I wrote these songs during a tough summer where I was dealing with some physical health challenges and grappling with a lot of existential questions. The title track, 'Light it Can Blind You', is about the tension I sometimes feel between control and surrender. I was thinking a lot about how fleeting happiness can be, and how the fear of losing it can make us—or me—hesitant to fully embrace it. 'Alive' and 'Ricochet' explore similar themes but in different ways—resilience and self-reflection in the face of life’s unpredictability. 'Ricochet' is more of a cynical, social critique. I was thinking about things like performative self-sacrifice, the growing wealth gap, my disillusionment with Los Angeles, and the struggle to find faith. The song’s chorus reflects about bringing a child into a world I don’t fully trust.
How does this differ from your previous releases?
All of my other releases were recorded on an iPhone, and these songs I recorded on my computer with a proper mic. This is probably the biggest difference from past releases. I was listening on repeat to John Roseboro’s album 'Johnny' this year. He uses a lot of horns in an alternative, bossa nova-ish style. It inspired me to play around with different instruments than I’ve used before like trombones and trumpets.
Are there any tracks that didn’t make the cut?
Always! There are a few tracks that didn’t make it, but I think that’s part of the process. There was one song in particular that I was always planning to include in this release, but ultimately, the song just doesn’t fit the overall tone or narrative of the project.
Are you planning on releasing any of these as part of future projects?
It’s possible, but I don’t have any specific plans for them right now. You never know, though! Sometimes songs I put aside can surprise me later.
You note your influences as Elliot Smith, Leonard Cohen, and PJ Harvey, how do you incorporate their sounds into your own?
I know Elliot Smith layered multiple vocal tracks in a lot of his recordings. I love that sound and incorporate it into a lot of my songs. His delicate, whispery delivery is also something I think has influenced my music. Leonard Cohen’s lyrics are so poetic—I think this has influenced how I think about song writing—his word choices and ability to tell a story through his music is something I deeply admire. PJ Harvey is such an innovative, fearless artist and while our music sounds different, her willingness to experiment has definitely encouraged me to push my own boundaries.
You haven’t long since released ‘Sisko Sisko Demos’ – what led to the decision of two big releases in one year?
The way people consume music is shifting a lot with the use of streaming platforms. These days, it feels more common to release singles and smaller projects consistently, rather than releasing albums less frequently. I wanted to try something new with my release strategy this year and see how it connects with listeners. I also like the idea of smaller releases because there’s less pressure—it feels more freeing, like I can experiment more and take creative risks without being so focused on tying everything together the way I like to do with an album. It’s a way to keep evolving and sharing what I’m working on, even if it’s just a snapshot of where I am at the moment.
What does the rest of 2024 hold for Mia Loucks?
I’m in the fourth year of my PhD program, focusing on health science and molecular epidemiology, so I’m working on finalizing some studies and getting my dissertation proposal underway. Musically, I’m always writing and recording, so there might be another release on the horizon, but it’s too early to say for sure. Either way, I’m excited to see what the rest of the year holds!
How would you sum up your sound in three words?
Delicate, dreamy, meditation.
Lana Williams
Image: 'Light It Can Blind You' Official EP Cover
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