Q&A: Bellzzz Unveils Hauntingly Beautiful Debut EP “Dear Elizabeth”
INTERVIEW
INTERVIEW
☆ BY KIMBERLY KAPELA ☆
Photography Credit: Ashley Rommelrath
STEP QUIETLY AND LISTEN CLOSELY—Bellzzz is calling you into her universe. With the release of her debut EP Dear Elizabeth, the singer, songwriter, and world-builder peels back the veil between reality and imagination, blurring the two until you no longer know where one ends and the other begins. It’s part fairytale, part fever dream.
At the heart of it all is Elizabeth, Bellzzz’s lifelong invention. A shadowy muse, a character who first appeared in her imagination as a child and now exists as the emotional thread tying the EP together. Dear Elizabeth is both a letter and a map—leading listeners through the contours of Bellzzz’s inner world, where identity, loneliness, and the urge to escape run wild beneath moonlight and moss.
The storytelling is the EP’s beating heart. Walking the contrasting line between tender and unsettling, Bellzzz creates soundscapes that shimmer with a dreamy eeriness: swirling samples, dissonant guitars, and moments of industrial grit underscore her soft, sometimes trembling voice. There’s tension and release, fantasy and fear—all delivered with a cinematic instinct that’s as visual as it is sonic.
“There’s always been this sort of conspiracy theory in my head about [Elizabeth]—like, is she me? Am I her? Where did she even come from? I’ve written this massive journey for her—she’s gone through all these physical experiences, and I realize now that every physical thing she goes through mirrors something I go through mentally. It’s all metaphorical. Elizabeth helps me find the words I can’t always say about myself,” Bellzzz says.
The story unfolds in mysterious, nonlinear pieces. Elizabeth runs away—but from what? And to where? What creatures or people does she meet on the way? Each listen reveals something new: another thread to pull, another reflection of Bellzzz herself hidden within Elizabeth’s curious eyes. It’s a mythos built on paradox, a dream logic where escape means returning to something forgotten.
With Dear Elizabeth, Bellzzz proves herself a master of emotional world-building. This is no passive listening experience—it’s an invitation. The question is: will you follow?
LUNA: Thank you for talking to Luna. Our readers would love to get to know you and your music more. For any readers who aren’t familiar with you yet, what inspires your artistic style and sound?
BELLZZZ: There's an artist called Hobo Johnson and I've been obsessed with him since I was 14, and I take inspiration from how his songs make me feel. I want to give people the same emotional reaction to how he gives me that reaction. I really love storytelling in different ways and the weird soundscapes make me really excited and inspired. When I write my poetry and hear it through the lens of a song, it flows naturally and just sort of happens.
LUNA: What is the ideal environment to experience your music? Is there a particular setting, mood, or time of day that enhances the listening experience?
BELLZZZ: Physically, anywhere. Mentally, I think it's so important to be open to listening to new music and being open minded to hearing different artists, songs, sounds, vocals, and production. But physically, anywhere.
LUNA: You just released your debut EP Dear Elizabeth and a huge congratulations is in order! Now that Dear Elizabeth is out in the world, how does it feel to finally let others into this intricate and personal universe you've built?
BELLZZZ: It’s a feeling I didn’t expect to have. When I was writing these songs—some of them dating back to when I was 14—I didn’t realize just how vulnerable I’d felt once I shared them. Now that the music is out there, I feel so open. It’s a great feeling, honestly, but there’s also this raw vulnerability in having sung about such personal things. Still, beyond that, there’s something amazing about being able to say, “Yeah, I make music—you can actually look me up now.” I didn’t think I’d feel this exposed, but I do.
LUNA: What is the inspiration behind Dear Elizabeth and who is Elizabeth? What compelled you to explore the themes and emotions throughout this project?
BELLZZZ: When I first started writing—mostly poems, before I even began singing—I kept writing about this girl named Elizabeth. At the time, I didn’t realize I was writing about her. It wasn’t until a couple years later that I started painting and drawing images of her, and that’s when it all started to click. The more I wrote, the more I realized, okay, this is who I’ve been writing about all along.
Growing up, I often felt left out without really understanding why. I wore a mask just to fit in, only to later be diagnosed with ADHD. That diagnosis made so much sense—and I started to see that, in a way, I had been processing my struggles through Elizabeth. She became this sort of vessel for everything I couldn’t say directly.
There’s always been this sort of conspiracy theory in my head about her—like, is she me? Am I her? Where did she even come from? I’ve written this massive journey for her—she’s gone through all these physical experiences, and I realize now that every physical thing she goes through mirrors something I go through mentally. It’s all metaphorical. Elizabeth helps me find the words I can’t always say about myself. So, even though I’m not writing about me directly, I still kind of am.
LUNA: What did the creative process behind Dear Elizabeth look like? How did these songs evolve from their initial ideas into the final versions we hear now?
BELLZZZ: “Plastic Unicorns” is the first song. I actually started writing it before I got my ADHD diagnosis. That’s why there's this joking tone in the lyrics, referencing people who’d say things like, “Just go for a walk,” or “You’ll be fine, just get over it.” At the time, I didn’t fully understand what I was going through. But listening back to it after my diagnosis was a really surreal experience. I realized the song needed more—more sound, more depth, more realness.
By the end of the track, there’s this lyric: “Deep down, I know that I don’t belong here.” It’s such a raw, honest thing to say—it had to feel real, because the emotion behind it is real. That’s what drove me to shape the final version of “Plastic Unicorns” the way I did.
As for “Far Away,” I wrote the chorus with my uncle when I was 14. He was on guitar, I was playing the box drum, and we were just messing around in the garden with his laptop. I came up with the chorus that day, but then we kind of left it alone until we started working together more seriously. About four years later, we finished it. Now, looking at the final song, it’s honestly amazing. I can hear everything I went through in it—and everything I overcame. I didn’t just watch the song grow; I watched myself grow through that song.
LUNA: Is there a particular song on the EP that you hold closest—one that feels like your personal favorite, or perhaps the one you needed to write the most?
BELLZZZ: That’s a tough one, because honestly, I’d say all of them—but I know that’s the obvious answer. If I had to choose, I’d say “It Was Nice While It Lasted.” I feel like I haven’t talked about that song enough. It came from such a strange, vivid dream where I gave birth to a baby boy, and then in the dream, I raised him over five years. When I woke up, I was left with this weird, heavy sense of grief that stayed with me the whole day.
The song was written right after I woke up from that dream—it came directly from that emotional space. I think that’s why I’m so attached to it. The other songs on the EP are rooted in very real, lived experiences—feelings of loneliness, confusion, not belonging. While those are deeply personal and universal, “It Was Nice While It Lasted” came from something so surreal, and yet it affected me just as deeply. That experience reminded me that even the feelings that seem small or irrational are still valid. The emotions we attach to them are real. Honestly, the production on that track still blows my mind. It will always be my favorite song—it just holds something different for me.
LUNA: There’s a dreamlike atmosphere in your sound. What kind of emotional space or sonic world did you hope to create for your listeners when they press play?
BELLZZZ: Definitely that “it's okay” voice. Everyone can feel imposter syndrome and they can feel like their feelings are just completely taken over you. I want to be that little voice to say “it's okay and you’re so valid.” I don't want people to think that I've just written this for neurodivergent people. It's for people who genuinely feel like they're out of place. I want Elizabeth's story and my story and everyone else's story to be known about. I think it's a beautiful, beautiful thing that I've created. I finished the songs when I was 19, and I'm 20 now, and it's crazy to finally have it out and I want that appreciation because I appreciate people, and everyone is just so beautiful. I want to share my creation with people.
LUNA: What do you hope listeners feel or understand about you—and about themselves—after hearing Dear Elizabeth from beginning to end?
BELLZZZ: Songs like “Plastic Unicorns,” have quite a lo-fi vibe. “Far Away” is quite big and dramatic. Some of the songs are very cinematic. This is like my introduction to the world. I've written these songs because these songs are very Bellzzz, like production-wise and my vocals and how sometimes the songs get a little bit weird and wonky. I want people to know that this is an introduction and it's the first of Elizabeth and the first of me, and I'm really excited for others to listen in.
LUNA: How are you feeling in this current era of your career and what does the rest of the year look like that you would like to share with Luna?
BELLZZZ: I've got a few confirmed gigs coming up and playing at The Great Escape in Brighton. I'm already thinking about releasing more songs, without a doubt, and I can't wait to meet other musicians. I enjoy it so much. I enjoy writing music so much that I want it to become my life, and like different gigs, finding new ways to create sounds and going through more experiences for me to write new music as well. This year, hopefully I'm gonna get so creative with music videos and yeah, all good things, all good things.
Photography Credit: Ashley Rommelrath
