Karin Park launches her own evolution with EP 'EVO'

Have you ever read about someone, and thought how similar they sound to yourself, your many deep-rooted ambitions and frustrating contradictions? That’s what electronic-cum-indie singer-songwriter Karin Park has discovered with 20th-century Swedish artist Hilma af Klint. The tension between strength and vulnerability found in af Klint bleeds into the theme of her just-released EP, ‘EVO,’ in which the coexistence of both is intimately dissected, explored, and channelled. The project marks the first chapter of a larger project titled ‘EVO-LUT-ION(EN)’ — fittingly inspired by Madam af Klint’s piece ‘Evolutionen.’

Having been in the music industry for over two decades, and being one-half of noise-rock band Årabrot with her husband, Park’s has gone through its own evolutions. Now in ‘EVO,’ synth-heavy, modulated sonics carry themes ranging from self-destruction to devotion, protection, and strength. Explodera is the only Swedish language song of the project, in which her breathless chorus channels frustration, as her voice battles to push toward freedom — all under a fast-paced rhythmic drum pattern. Then, there is space for the emotional core with Sing Your Sorrow, written for Park’s daughter, in which she pleads to carry someone else’s pain in order to alleviate their suffering.

We caught up with Park to dig into her newfound lightbulb moment of songwriting in Swedish and how songs choose which language they’ll be in (not the other way around), her strong take on the music industry, and her ultimate cure to creative blocks.

Hey Karin! Where do these questions find you?
These questions find me in my old church where I live in the Swedish countryside, and also have my studio. 

Congrats on the release of EVO! Can you let us in on the Hilma af Klint inspiration for the EP?
Af Klint has been a big inspiration both in my work and as a person. She had a similar personality — at least from what I’ve read, strong and independent on the outside, fragile and insecure on the inside. Most of the time certain about her mission in life. Very spiritual. Still always doubting of course. I love her work and her series of paintings Evolutionen became the frame for my own trilogy, and especially one of the paintings that I found in her collected works. 

EVO marks the first instalment of your larger trilogy project, ‘Evolution(en).’ What has it taught you that lays the base for the remaining two?
Great question. It’s taught me that I’m not really in touch with my feelings that much, and that writing music is my best way to make contact. Usually, my back and neck just get really stiff and my husband has to tell me there is something wrong. I don’t understand the feelings until they’re already out in the open — sometimes years later. It’s best when it comes out in a song rather than in front of people, unfiltered.

Which track was your favourite to work on, and why?
Explodera, no doubt. It’s in Swedish. I have only written two songs in Swedish, and it’s so easy. New sides of singing came out of me that I’ve never heard, and the songwriting felt so magical. So I was like, ‘Why do I write in English? Swedish is so much easier.’ But it was just that song. The next one was impossible to write in Swedish. The songs themselves seem to decide what language they want to be in, and so far it’s English mostly.  

You’ve also mentioned the seamless process with collaborator Anthony Belguise. What does a typical workday at the studio look like for you?
I’m usually at home in my own studio writing and producing the songs to the point where I’m like, ‘I don’t know where to go with this song anymore.’ And then I meet up with Anthony with some songs, hoping they’ll inspire him. Because if they don’t, well he can’t do anything. He works with a completely open heart, and can’t fake it. But he really loves most of the stuff I show him, and then he gets super inspired and goes about it like a mad man. Sometimes we also write from scratch too. We’re good at different things, but we like the same stuff so it’s easy with Anthony. For example, attention to detail is something we share. When everyone else has given up, we plough on. 

In terms of production and songwriting, did you bring anything new to your process — a surprising sound, a new technique?
I’ve actually brought mostly new things to this process. New sounds, new ways of writing and yeah — Swedish language. I buy new machines for inspiration, but on this I’ve used a lot of my voice. I was inspired by Rosalía to do that more, who uses her voice in a really rhythmical way, so I’ve incorporated some of that. I used to be more melodic, now I’ve become more rhythmical. But I always start with a beat because it’s what gets me going with the bass. 

You’ve been making music for over two decades. If you could pass on one thing the music industry has taught you, what would it be?
Well, I have two major disadvantages: I can’t be told what to do, and I can’t hide my feelings. I’m like a child. I used to hate this about myself. I can’t play games. But now I’ve learned that you can’t really be anyone else other than yourself if you are in it for the long game. Or then you get worn out. It’s important to find time in between the bullshit to listen to your own voice and find your own light, because no one knows where to find it except you. And you’ll get there in your own time. 

The music industry is full of people who think they know where you should be, and it has no morals, no ethics, no good values, no spirit or soul. So you have to navigate in a jungle of absolute filth. When I started there was no end to what people wanted me to be and the ideas people had about what I should do. I got lost. But now after two decades I’ve found myself. If you keep looking you’ll find yourself — for some it may take longer than others.

You also have your noise-rock duo Årabrot with your husband, keeping you constantly in creative mode. Do you have any rituals for pushing through a creative block?
Taking a nap really does wonders. Creative blocks are usually there because I’m exhausted and have too much on my plate. My husband has never had a creative block though. He writes music like a crazy person — one song a day. I’m not kidding. I can’t keep up. I’ve never written a song for Årabrot because before I’ve begun working on an idea, he already has a whole album written. So maybe you should ask him how to never get a creative block.

We definitely need his secret. And what about your all-time favourite place in the world?
I spent the best part of my childhood in Japan, and have a constant longing back there. My family speaks Japanese, and we eat a lot of Japanese food too. I dream of taking my own kids there too when they’re old enough to take it all in. 

What can we look forward to from you?
You can look forward to a badass force in electronic music, one that runs her own studio, writes her music, produces her songs, sings and performs live like her life depends on it. Because it does. I feel really good about what is happening right now, and I’d like to blow people’s minds and contribute to their lives through my music and my being, straight from my heart and soul. That’s it.