SASAMI's third album, 'Blood on the Silver Screen,' marks more than just a shift to pop; it represents the latest stage in her ever-evolving, instinct-driven artistic journey, where she embraces her music's direction without hesitation.
SASAMI doesn't merely change direction; she makes sharp turns. With a background in classical French horn and two rock-oriented albums to her credit, the Northern California-based singer, composer, and producer has incorporated unpredictability into her artistry. On 'Blood on the Silver Screen,' her third studio album, the GRAMMY-nominated musician delivers her most surprising change yet: a pop album. It’s glossy, cinematic, and unapologetically breaks the rules of genre, with no time for your permission as it dives into the second chorus.
In 'Blood on the Silver Screen,' SASAMI offers her audience a diverse mix—dramatic, wild, and slightly unhinged, with SASAMI at the center of every scene. "It's like there's a main character in all the songs, and you're flipping through channels on a hotel TV," she explains to Atwood Magazine, adding, "there's something for everyone."
She is currently touring in support of 'Blood on the Silver Screen,' showcasing what she describes as a genuine pop performance, complete with an upbeat setlist and synchronized lighting. "I thought of this album as a cohesive body of work that I would perform live. In some respects, this represents the peak of the album cycle for me."
What makes 'Blood on the Silver Screen' so captivating isn’t solely its variety—it’s the clear vision that undergirds the genre shifts. SASAMI isn’t striving for uniformity; she’s honing her craft. The end result is a record that plays with contradictions: both precise and loose, polished yet raw, and emotionally direct even when wrapped in cinematic metaphor.
Atwood Magazine spoke with SASAMI about pop as a discipline, letting go of perfectionism, and the experience of ceasing self-editing to just create.
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:: stream/purchase Blood on the Silver Screen here ::
:: connect with SASAMI here ::
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**A CONVERSATION WITH SASAMI**
Atwood Magazine: Congratulations on releasing your new album, 'Blood on the Silver Screen.' How has it been received since its release?
SASAMI: It's been great. It’s a bit surreal—I did a worldwide promotional tour in LA, New York, London, and Tokyo. So, I was around a lot of people right when the album launched, which was really nice.
How would you describe the new album to someone listening for the first time?
SASAMI: I would say it’s as if one main character appears in all the songs while you flip through channels on a hotel TV. It's the same actor, but each time it's a different genre, ensuring there's something for everyone.
How do you feel this album fits into your overall discography alongside your previous releases?
SASAMI: I see myself as a bit selfish as an artist, always following my creative instincts, regardless of how it impacts the music or the listeners. I trust that if I follow my instincts, I’ll create the best work possible. With this album, I'm not claiming to have produced the best pop record ever; I just wanted to create my own version of pop and practice songwriting within that genre. I focus more on my experiences than the final product.
Knowing I would be touring this album for a couple of years, I aimed to create music that would allow for dancing—something I could sing rather than scream. That was the driving force behind making a pop record.
Can you describe your experience creating this album? Did you encounter moments of hesitation regarding its sound?
SASAMI: The process was challenging. Creating art is always difficult, akin to cooking when you’re unsure when a dish is complete. You have to step away and decide the dish is done. I take cooking seriously!
I liken cooking to music in that sense. I remember a quote, possibly from Bob Dylan, suggesting that records are never finished, only abandoned—which captures that feeling well. I immersed myself in pop music while preparing to make this album, avoiding the temptation to learn too much while writing. So, I spent around a year just absorbing and enjoying pop music before I began writing. When it came time to write, I didn’t want to over-edit—I aimed for a free-flowing creative process.
The entire album was written and recorded within a year. I collaborated with Jen Decilveo and Rostam in LA for production, while most of the songwriting happened on an acoustic guitar at home or a cappella in nature, despite the record having an urban feel.
I know you've mentioned this album as your significant pop moment. How has that resonated with your long-time fans? What has the feedback been like regarding this different sound?
SASAMI: It’s amusing because my fans are
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SASAMI's third album, ‘Blood on the Silver Screen’, represents not only a shift towards pop but also a new phase in her constantly evolving, intuition-driven path as an artist who allows her music to lead her wherever it desires.