In this intimate profile, Melanie Martinez opens up about the foundational moment behind “HADES“—the moment she read Octavia Butler’s Parable of the Sower and felt the spark that would fuse sonic invention with a stark visual world. She explains how the album shifted from a future-leaning narrative to a raw reflection of the heavy world we’re already grieving, and how both the music and imagery are designed to illuminate, provoke, and mobilize change.
FEATURE INTERVIEW:
What foundational moment or image sparked the concept of HADES, and how did you translate that into the album’s sonic and visual language?
Reading “Parable of the Sower” by Octavia Butler was my biggest light bulb moment. Music and art can be the most powerful tool for opening our eyes to the state in which we’re living. It can anger us, inspire us, and drive us to make change.
In reading that book I felt awestruck by the fact that she had written it so long before and predicted so much of what is already happening now. I wanted to write a dystopian record at first that would be a future leaning narrative but instead ended up reflecting upon the heavy world we’re already grieving through currently.
In light of UNCANNY VALLEY, how do you navigate the tension between authentic self-expression and the social pressures created by edited, image-driven culture?
I don’t think any of us are immune to the pressures of uncanny perfection, especially since we’re so consumed by this digital age. But I do try to prioritize art in every facet of my expression. It helps me take the focus off things like my appearance or my body when I’m more focused on design, clothing, story, colors, texture, visual art. It helps me sort of vomit how I feel on the inside so I’m not so focused on fitting a stereotypical mold on the outside.
Your music videos are renowned for their narrative depth. How does the visual world of HADES complement or complicate the themes in songs like POSSESSION and DISNEY PRINCESS?
For “HADES” I really wanted my visuals to reflect the times we’re living in as well. I made short form videos because I think it’s a true depiction of where we’re at. The heightened sort of sugary and colorful intense imagery I think is important as contrast to the darker very raw messaging. That contrast between light and dark is a motif that has always been prevalent in my work and I think it’s a part of my purpose in life to work with alchemy in that way.
“POSSESSION” was your first release in three years and amassed huge streams quickly. What did that momentum teach you about presenting new music after a pause?
I’ve never had a fear of disappearing off the face of the earth to regroup and regenerate new ideas. I don’t care about momentum or following trends. I certainly don’t make music to follow some sort of buzz. For me, taking a pause to create and truly live life before releasing new music has always been something I’ve done and will continue to do.
You’ve frequently used satirical and provocative imagery. How do you balance shock value with vulnerability when conveying the album’s critique of society?
I think satire is a great tool for getting across a message without sounding preachy or corny. I don’t intentionally create anything with shock value in mind, it’s just that when you are outspoken and have a level of social commentary in your work it can be polarizing. Being specific about philosophy, messaging, feelings, and ideas in music can be incredibly jarring for people who are used to listening to music to numb their mind, not stimulate it.
I like when my music makes people think; even if they don’t agree with what I’m saying there’s something profound about art being able to create a discussion. Either way it’s a win. If some people feel that I was able to translate a feeling they have but couldn’t articulate until now, then wonderful. If people are angry with what I’ve said because it forces them to look at their whole philosophy on life and entire belief system, that’s fine too. It doesn’t hurt to question things, if anything now they have an opportunity to stand on what they believe and that can feel cathartic too. I don’t need to be liked by everyone and neither does my music.
You’ve worked closely with CJ Baran. How does this collaborations shape your approach to writing and producing, especially for a concept-heavy album like HADES?
Creating with one of your best friends is so incredibly fulfilling. It’s a safe space for us to experiment and learn from one another. I’m able to write in many different ways and processes around CJ because I know there’s no pressure or ego. He gives me the space and time to tune into the ether and discover ideas and melodies that are floating around for us. My writing process is very out of body and intuitive so having a collaborator like CJ who just wants to support the greater vision no matter how ambitious or strange it may seem is so crucial and has allowed me to grow exponentially as a songwriter.
“HADES” draws on Greek myth, yet your lyrics place the underworld in contemporary anxieties. How do you merge ancient myth with current tech-driven concerns (AI, social media) in the album?
Everything is cyclical, themes from the past always peek their head into the future. I really just imagined “HADES” as this evil patriarchal demon seeding its way into every facet of our existence. “HADES” is blood thirsty and has created traps for all of us to fall into his pit of despair. And together, if we can see him for who he is and take off our rose tinted glasses of individualism, maybe we have a chance to burn him to the ground and collectively create a better energy to take his place.
When you’re confronted with chaos or resistance—whether from fans, critics, or the industry—what practices keep you grounded and creatively free during the album cycle?
I try to meditate to stay grounded. Listen to calming music, sit in nature. I’ve got complex trauma from being bullied my whole life and to be in the public eye as an adult where you are actively dealing with being bullied all the time has taught me to move through it with acceptance. I’m learning not to internalize it, and instead to understand that when people go through things like a lack of understanding themselves and who they are as a person they tend to project it outward onto whoever they see is living in their truth and purpose. I’ve always had a strong sense of self and that can be annoying to people who don’t.
Who are SHEROES in life music and love?
Fiona Apple & Bjork always.
You had a few listening/underplay events from London to New York to LA – can we expect more of these and what did you want fans to take away from these intimate sessions?
I’m doing a larger tour in the summer that I’ve been creatively working on for a bit. It’s a really exciting album for me to create around. I love building out immersive worlds when planning tours, and these songs are rich in themes that lend themselves perfectly to a live show. The intimate sessions were made to invite people into the new landscape of the character and world. I was working under the same character for 3 albums so I thought since this is such a new chapter it would be important to bring people into the new album in a personal way.
What lyric from any song on “HADES” hit closest to home?
“And when I take off my mask, I wish someone would see me, sullen, bruised and scorned, a stitched up doll with their heart beating.”
After “HADES”, where do you see your sound evolving next—sonically, thematically, or in terms of multimedia storytelling—and what new risks are you excited to take?
I’d like to dive into filmmaking more and more as I get older. Mixing music with other mediums like stop motion as well. Just directing more projects and building as many worlds as my soul desires. I want to always hone in on my craft and learn more every year.
TEAM CREDITS:
Editor-in-Chief: Prince Chenoa
Feature Editor: Taylor Winter Wilson (@taylorwinter)
Cover Art Design: Carlos Graciano (@sadpapi666)
About The Author: Taylor Winter Wilson
Senior Editor at Galore. Made in Detroit – Living in Atlanta.
