Music
Taylor Felt isn’t a scientist, but she still has a formula.
While making her upcoming EP, ELECTRABLOOM, the singer-songwriter and her collaborators developed a four-element test to determine whether a song truly sounded like Taylor Felt. If a track didn’t contain at least three of the four elements — sugar, leather, wood and concrete — it didn’t make the cut.
“The sugar was definitely my voice,” Felt says. “We were like, ‘The sugar’s great, but we don’t want too much sugar.’” Leather represents “crunchy” textures like electric guitar and synths, while wood refers to organic instruments like acoustic guitar and strings. Concrete, meanwhile, serves as the song’s foundation, with bass or piano making up what Felt calls the “skeleton.”
The system ultimately helped shape the final tracklist for ELECTRABLOOM, due out on July 9.
Felt already had the title of the EP solidified before she started writing it, she says.
“Duality is such a big key in my life, and that’s why it’s called ELECTRABLOOM. The project is the two polarizing identities,” she says.
Felt adds that society tries to place women in a box by forcing them into a single framework. This project is Felt pushing against that limiting belief.
“You can be screaming and also really soft and gentle at the same time, and that’s powerful,” she says.
To build a world around that concept, Felt was inspired by the high energy of New York Fashion Week. Felt recalls attending Kim Shui’s Fall/Winter 2025 show and recording its “glitch-core, hyper-pop” music: “I want to make music that people could strut to.”
Felt says that moving your body is the best way to heal, but she left room on the tracklist for a more somber song: “THE KNIGHT IN DYING ARMOR.”
“Sometimes when you wear so much armor, you’re thinking you’re protecting yourself from people, but it’s actually slowly killing you because you’re not allowing yourself to open up and have that human interaction,” she says.
The song carries a “similar haunting energy” to the music of Imogen Heap, who Felt calls an inspiration and “the vocal layering god.”
Altogether, the seven-song tracklist mirrors the energy of Felt’s 2024 EP, Dead Flowers.
This time around, the only flowers Felt is watering are her own.
“Through this process, I was really learning to love myself and love all parts of myself,” she says. “I’m pouring into myself and accepting the duality of who I am and not judging it or holding any guilt through it.”
Felt visually represents this change through chrome elements, which she calls “chrome botanicals.”
“I’ve blossomed now, and I’ve cased myself in chrome and it’s unwavering,” she says. “I know who I am now. No one can shatter it.”
Still, Felt knows that everyone will interpret her art differently — and she wants them to.
“Whatever way you receive my art is perfect for you, and I don’t want to tell you how to interpret it. You have your own individual experience, and that’s what’s beautiful about it,” Felt says.
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