Elle L: “I’ve Always Trusted my Heart and Instincts”

‘You’ came about very organically. Christian was jamming the piano you can hear throughout the track with a simple ‘4 to the floor’ beat underneath, and I started singing the main hook. He liked it, we recorded it as the seed of an idea, and very quickly the entire track came together around that. When it comes to sound, we are more like painters than engineers. We build the track like you would a portrait, stroke by stroke. We never know what will come next, it’s a mix of intuition and experimentation until we get to something that feels right. I guess you could describe the process a bit like abstract expressionism. I never have a concept in mind before I create a top-line. I hear a beat or chord that hits emotionally, and the lyrics and melodies come naturally. Both of us are very existential and fascinated about the cosmos, and philosophy, so we become introspective even when talking about love; it’s not just love, it’s the tapestry of emotions that comes with that notion.

It’s a unique story. Christian and I were originally neighbours living on Redchurch Street in Shoreditch. We bumped into each other on the stairs in Christmas 2019, just before lockdown. It’s a love story from first sight that’s recently become musical. He used to DJ at uni but got a normal job post-uni and I had left my normal job post-uni, where I was working at producing and directing, to pursue music. My first official single ‘Hoping’ was about to come out and then the pandemic hit. The song came out in the middle of the pandemic, and Christian and I were in the early stages of romance. We had this alternate lens to isolation, living above a boarded-up Cecconi’s, we created our world together. Music was a big part of it. We would stay up dancing and listening to music in my living room until 8 am. To have the blessing of time so early into a connection is rare and it has built a deep foundation. I involve him in my process by inviting him to the studio, and playing him all my demos for feedback, I believe in being immersive like that. Every Birthday and Christmas, he will get me recording equipment, and he has been encouraging me to produce more by getting me a home studio set-up. I write all my own music, so it was the next step, but I was scared to take the leap. He gave me faith by learning how to use the equipment he got me himself. His rough ideas were pretty good, and working together was a natural progression. It started to come together a couple of summers ago in Ibiza, we were late-night jamming by Es Vedra, and joked about starting a band one day. We said we would call it ‘Magna’ (“Great” in Latin). Little did we know this would soon become a reality. I realised he had a talent for creating arrangements, a feel and tempo. My talents are more in developing the sketch, and creating the palette of instruments: drums, bass, strings, producing the melodies and writing top lines. It just works. My voice is quite delicate and ethereal but production-wise, a lot of the colour and masculine energy you hear in the track is also me. I still think it’s pretty insane that we can create together, and this dynamic has added a whole dimension of art to our story that we never expected. I can’t explain it more, it just flows and feels very yin/yang.

We were happy, nervous and excited. ‘Sign’ originally existed as a different concept I’d written that was more of a retro-pop ballad so it was again super-organic to create a noir-dance version. In a way it was even more experimental. We took the support as a sign to keep believing, and that’s what we are doing now with ‘You’.

Working with Brent has taught us to have more confidence in ourselves. Our biggest lessons were on the technical side — like how to properly organise and group sound files. We had zero experience in that, so Brent guided us without making us feel too amateur. It was humbling to learn on the go with someone so experienced and having Brent on board was amazing. He helped us make the track sound bigger and his experience and guidance were reassuring. We trusted him. Musically, we have also learnt to believe in ourselves more. Looking back, we realise how subjective everything is, that we don’t need to be apologetic about being new, and can push our vision further. It’s our first real song. This experience has definitely shifted our mindset and will hopefully make us better producers moving forward, and we are grateful to have people like Brent and his ear to support us.

We’re also excited about a couple of remixes we have coming out with Alex Aldi, who has worked with artists like the Goo Goo Dolls and Passion Pit. Our first remix brings a new energy to the track—stripped back, edgy, and dynamic. Alex was fantastic to work with and he helped our confidence by telling us we didn’t sound like new producers at all. That affirmation helped us trust in our love for what we’re doing. Our potential is greater than the fear of getting started, and we’re excited for what’s next.

At the very beginning of my journey, I didn’t want to listen to any modern music. I was worried about being influenced while I was developing my sound. Now my mind has changed and I listen to as much music as possible from all eras and genres. It’s a bit like reading books. I think you can absorb and learn through feeling what others are doing. When it comes to FKA Twigs, I think she’s great. Perhaps it’s because of the emotional, higher register and resonance of our vocals we get parallels. Over time, I’ve become more relaxed with who I am as an artist, having moved past the identity crisis of “Who am I?” I’ve realised that being an artist means constantly evolving, expressing, embracing and changing with the times. However, it’s crucial to commit to yourself so you can keep your sanity and stay true to your artistic journey, which is wavy.

For a long time, I wanted to dedicate myself completely to the environment. I was in an eco-anxiety-fuelled state of mind, where nothing else mattered than ‘saving the world’. My eyes were open and I couldn’t turn a blind eye, so I worked for free with conservation organisations when I first started to pursue music. While I was part of projects that raised over £1.5m for grassroots organisations, I found it really challenging as I wasn’t sustaining myself or my soul purpose and it delayed me getting my music out. It’s so important in this life to sustain yourself and then give what you can. That’s what I have learnt and that is what I do now. I hope one day to have more of a platform to support change-makers.

The experience of advocating directly for the environment has led to my work with the United Nations on multiple projects and writing for publications like EcoAge, which I am truly grateful for, as they are amazing change-making platforms. I realise more than ever that art can be a powerful communicator. I try to align with NGOs that inspire me on impactful creative projects, and on a smaller scale make differences like only working with sustainable brands and keeping my photoshoots minimal when creating anything visual. I wear a lot of vintage clothes. In the shoot for ‘You’ I am wearing the most wonderful vintage Chanel boots that Christian’s Mum handed down to me and the photographer’s oversized vintage leather jacket and gloves. I think we can be creative in our thinking about styling and fashion by having a less is more attitude and avoiding too much new, especially when it comes to synthetics. As they say, the most sustainable wardrobe is re-styling what you already have. Fashion is a feeling.

I am very inspired by nature, so I use a lot of natural metaphors in my lyrics. The artwork for ‘You’ infuses the theme of interconnection: human, nature and digital through the striking ‘flower lips’ telling the story of ‘You’. The message I always want to communicate is one of interconnection. We all play a part in a higher eco-system. I always want to explore and express that because it’s easy to get disconnected from that and be in your head too much sometimes, but we need to come together to make change.

I studied film at university, and went on to direct commercials and work for CNN. Maybe my film background makes me more visual when I create. I am grateful as a new artist to have secured syncs early on, including a campaign for Lacoste. Even while I was at CNN, my executive producer and editors were incredibly supportive of my passion for music, so I was producing music on the side for my shows there. Sync is also one of the only ways to monetise music at the beginning. Streaming alone is quite challenging until you hit big numbers, so I am looking forward to developing more on the visual side of sound. It’s amazing to be a part of bringing a scene, or a commercial to life through music.

I’ve always trusted my heart and instincts. I’m grateful that Christian and I share the same passion and a similar taste for music—without that, the harmony of working together wouldn’t be possible. It’s high risk, high reward when you’re creating with someone you love but so far, it’s been a dream. Of course, there are challenging moments too. Love and art are mirrors, and the creative process is incredibly honest.

When we worked on ‘Sign’, it was like a honeymoon stage for us musically—we were so excited and open. This time around, there were more opinions to navigate, and we had to be careful not to let disagreements spiral into ego or madness. We’re learning to pause if tensions rise, trusting that our connection and the music come first. Humour is our secret weapon — we do impressions of each other, which usually ends in laughter and happy tears.

We’re focusing on enjoying the magic. Christian is my biggest champion. I think that’s partly why he has learnt to produce with me. I’m also working on my solo projects too. It gives perspective and adds a healthy balance to what we’re creating together. Magna LV is the perfect addition to what I’m doing as Elle L.

Music, fashion and activism are interlaced. Looking back at our history through eras, so much of what defines us is the fashion and music of the decade. They work together so well. Just think of John Lennon’s military jacket. Art is also a powerful communicator for change. Beyond art, I believe all of us can do so much by realising our own power, and making even small changes in the world around us and trying where possible without being too judgy.

My debut single, ‘Hoping’, was synched to a biodynamic drinks company, and through the project, we raised £15k for grassroots conservation, supporting Hoja Nueva, a non-profit in the Peruvian Amazon. As an emerging artist, I am committed to investing directly in conservation projects. Nothing is too small. I believe that artists and brands can make a real impact by dedicating even a small percentage of profits to environmental causes or raising awareness by putting the spotlight on great brands and people making a difference. While offsetting has its place, direct investment in conservation goes further in protecting our planet.

I’m also passionate about aligning with vintage or sustainable brands and clean beauty products. As my profile grows, I hope to amplify the message that it’s possible to create beautiful things that don’t cost the earth. Supporting a better future is not just a benefit for us, but for the generations to come that will feel the consequences of our decisions.

Magna LV is working on an EP so you can expect a single from us before the end of the year. I also have two solo songs coming out in Q4, one is inspired by mycelium, and the roots of creation.

I’m also collaborating on a series of tracks for next year with an incredible writer/ producer Paul Statham, who co-wrote and produced Dido’s ‘Here With Me’. I’m excited to finish these songs. Our connection is a story in itself, as we met through a new neighbour Rob Dickins, former Chairman of Warner UK, who has become my friend and mentor. But that’s a story for another time!