In an alt-pop landscape often driven by gloss and spectacle, Ariyel stands out by leaning into vulnerability, atmospheric textures, and raw emotional resonance. Their latest single, “Sister Sister,” is a haunting yet tender exploration of complex relationships, carried by a lush blend of ambient soundscapes and melodic clarity. Across this conversation, we dig into the emotional weight behind the music, the collaborative process with producer august mez, and what it means to stay committed to art even when the world feels indifferent. This is an artist who doesn’t just write songs—they craft emotional experiences. And in doing so, they’re quietly carving out a space that’s deeply human, achingly honest, and beautifully their own.
Your music blends ambient textures with alt-pop melodies. How do you approach balancing these elements in your songwriting?
The stripped version of the song so far has always come first for me, so guitar and an alt pop melody on its own, lyrically focused. It just needs something spacey to scratch the itch for me. The producer who worked on most of this album, august mez, really engineered all of the amazing weird and fun ambient bits- he is an ambient wizard. In the time period when all of this was being produced I wanted more reverb and more grunge and more spacey vibes because I thought it supported the lyric in the best way. I still think it does.
What role does vulnerability play in your music, and how do you protect yourself while being so open?
I actually don’t know, I promptly threw up 30 minutes after this song released. I think I am practicing radical vulnerability in a way I never have and seeing where it gets me. I either censor it, or I don’t release it, and I strongly considered both of those often. Option 3 is let the world have your art in the most vulnerable state- and be stronger because of it (I think and hope, we will get there when we get there.)
Are there any artists or albums that you felt particularly connected to while creating “sister sister”?
When I wrote it, I was very into the entire Pink Moon album by Nick Drake. Also Saw You In a Dream – Japanese house, Rubberneckers – Christian Lee Hudson… I mention Paper Aeroplane inspiring the mellotron usage- but that one has been in my bloodstream for a while.
The relationship between the two women in the song is portrayed with empathy rather than animosity. Was this a conscious choice to challenge common narratives?
Yes! I think it is interesting to get the whole spectrum of emotions on a topic and when I started having strong empathetic thoughts I was like ooh! This needs to be a song and should be talked about all the time. Feels universal. If you need another hit of that you should watch Legally Blonde. I made an edit to that movie.
Can you share any particular memories or moments that shaped the lyrics or mood of the song?
Yes! I did literally have a dream about an other woman figure reaching for my hand, hence the lyric in the chorus. That one was sort of the driving force to get a song out about this topic at all – I had that image in my head that needed to be put into some kind of art to appreciate how strongly it made me feel and release that energy. I also have memories of being at my parents house for Christmas and listening to the first time August put drums on the second verse- that was a stellar memory and changed the course of the song for sure.
What challenges have you faced as an independent artist in the alt-pop scene?
The biggest one is to keep going and believing when no one is seeing the art and sometimes, some things suck. In LA couple times I paid more for parking than I was paid to play a show. There’s nothing about the alt-pop scene in particular, indie music just feels really oversaturated right now and keeping on and making music for the joy of it has kept me going. I like the art I am making and if I am just making it for me that is okay too. That’s a hard place to get to though. 16 year old me would be devastated that I am not Taylor Swift, but she doesn’t know everything.
How do you balance the emotional heaviness of your themes with creating music that’s still sonically beautiful and engaging?
I think the emotional heaviness is what makes my music what it is! I try to tap into emotions that feel universal and human, and sometimes that stuff is heavy. I think starting in the heaviness, creating a melody to bring it into a different place, and creating play out of those things is how I find joy. I also think it’s way too much of a bummer to write a song that is completely heavy all the way through. Maybe the only thing I add is a metaphor, but even with just that, I can bring myself out of the gloom to appreciate fanciful words that describe something in a new way.
What does collaboration mean to you, and how do you choose the artists you work with?
A couple people, august mez and Joshua Evan Lee, I have just known and worked with for a while now- something clicks when we work together. They get what I am going for and can add something interesting and exciting that I would never think of that transforms the music. My brain doesn’t work the same as theirs, and collaboration makes these songs the best they can be with new life. I can only come up with so much alone. The other artists I have worked with on this album are people I have always thought it would be fun to collaborate with, people who I have watched do amazing work and people who are fun to be around. It’s maybe as simple as, if I think you’re cool and you do art, maybe we should try this out.
If you could give one piece of advice to emerging artists dealing with trauma or mental health struggles, what would it be?
Don’t give up! And if you do, give up for only a little bit. And if you give up for a long time, it is never too late to come back. I quit this project probably 5 times. Sometimes it’s more important to take care of yourself, and rest. My life does not look the way it wanted it to. I’m still able to make things I am so proud of. They are better because I can go slow. I am just happy I am able to keep believing in them. Sometimes, in the trenches of mental health struggles, that is hard.
What’s next for you after this single—any upcoming projects or directions you’re excited about?
Yes! This single is part of a concept album I have been working on since 2021. She’s pretty much done and I am aiming for one more single (with such an exciting music video with an Oregon filmmaker) and release for the whole album in the fall. I’ve also been working with an amazing artist, Rachel Alexandria, on merch ideas and that has been so new and exciting. It feels like a lot of planted seeds are coming to fruition around now, so I’m very excited!
