cleo walks through glass makes an elusive kind of damaged electronic pop, one that seems to always be in the process of forming, decomposing, and then reconfiguring itself again. It’s the sound of a young person throwing a bunch of influences against the wall in a persistent attempt to make something that can transcend those inputs. It’s catchy and chaotic and it feels open to the world, open to change. Since the age of 16, the artist has built up a varied, exploratory body of work, and we can't wait to see what comes next. We sent over some questions to the New York-based artist; read the interview and listen to Wilt, the newest cleo walks through glass release, below.

To someone who has never heard cleo walks through glass, how would you describe the project?

It’s kind of a band that’s just me. I work on music every day, just on a laptop and whatever instruments I can find around me, with whoever I’m friends with who wants to work on stuff. And I’ve been doing that for about eight years now, so it’s kind of a catalogue of everything I’ve liked since I was 16. I think that if you think you hear an influence, it’s probably in there. 

It’s really mostly me trying to rip off Broken Social Scene and Salem leaks. 

How did cleo walks through glass start and where is it going?

It started with me making music in my room alone and I think it will continue like that. That’s the core of it. Ideally I’d really like to get a string section involved somehow though. 

Did you participate in any music scenes growing up?

In terms of in person true life scenes I was raised around the old D.C. punk scene but was kinda too proud/angsty to engage with it. I mostly just made music with my friends Diego and Aidan, who have gone on to start sick projects in different directions (bullwinkle and golden guaps). All of us were very online, though. 

I will say I really looked up to some of the D.C. rappers of that era, the scene around Atomos and Mink Lounge. But I didn’t really fully participate in a scene or whatever until I moved to New York after high school.

Is the third volume of the raindrop massacre series the final? Do you see all three releases connected in any way?

Yea it’s def. the final, three is a nice number. raindrop massacre was originally a side project of more ambient shit, and then I decided to make it into a compilation, and then I just started working on this huge mass of sounds and developing them into more completed sounds, just adding drums and getting my friends to sing on them. Basically all those songs were started in the same era, and then I’ve been finishing them over the last two years. But now they’re done. 

What kind of music has been inspiring you lately?

I’ve had two friends on different sides of the country start going to sacred harp meetings, shape note singing. I’ve been listening to a lot of that. I also have a little cousin who’s like eleven who writes musicals. I find that very inspiring. 

What about non-musical things? 

I’ve been walking this basset hound who steps on his own ears lately. 

Could you talk a bit about your live show? Is that an important part of cleo walks through glass?

It really takes a lot out of me, it’s always just been me on stage alone screaming. It’s really intimate and I honestly get very nervous but I do think it’s worth something. I’m very jealous of people in normal bands. Playing with other people is special. I love live instrumentation and I hope to get better at it, bring other people in. But I work hard to have no emotional barriers or whatever on stage and I’m proud of that. 

I’m working on enunciation too. If you’ve seen me before, next time you’ll be able to understand my lyrics. 

You’re in the studio. It’s really late. You can have any snack or beverage delivered to you instantly. What are you picking?

Welsh rarebit and a crawfish boil and four Coors banquets and my grandma’s cheesecake.