Describing the intense and cerebral Emily Wells’ creative method for her latest set is best done in her own words: “The process of making Promise this internal conversation, which I tried to extend through books and a chronic watching of [German dancer and choreographer] Pina Bausch films. The often repetitive, agonistic, and emotional nature of her work felt akin to my own practice as performer and as producer, building on layers of repetition, disrupting, then building again.”

What multi-instrumentalist, producer and songwriter Wells has created, in truth, is a sexy soul record, wrapped in layers of strings and electronic loops, her voice floating over the whole thing like ribbons of feeling. Evoking thoughts on friendship, climate change, love, desire and risk on the 11-song LP where Wells plays violin, viola, drums, synth, guitar and bass (and guests play vibraphones and French horns) is an experience to remember. Wells talks to Myspace about growing up in music, her love of hip-hop and what kind of fandom touches her most as an artist.

Hometown: Born in Amarillo, Texas, I could only fully shake my Texas pride during the W. Bush era, but I still claim it in certain moods. I might say, Indianapolis, cause I went to high school there, but none of my family is there anymore so that feels wrong, (for many reasons). I might say Los Angeles because I had my second and third adolescence there (as an adult).

Homebase: Brooklyn

As an artist, you’ve been a critic’s darling since your debut. The New Yorker, for example, lauds your "moving voice and boundless imagination." From what kind of musical background did you come from?

My dad was a music minister and a french horn player so discovery was inexorable…

So do you remember your eureka moment when you realized you wanted to play music for life?

When I was a tiny kid I was up late watching Johnny Carson. This 14-year-old girl, Midori, was playing a Vivaldi Concerto and I was like, “THAT! That is what I want to do.”

As a multi-instrumentalist, what is your favorite instrument?

The violin. It’s my second language and first instrument. Most recent [instrument I’ve learned] is the drums. I’m not the best drummer but they’re so fun to play.

You’ve spoken before about how you wrote Promise. But what's your actual songwriting process like?

This can not be answered simply, perhaps it cannot be answered by me. It varies. It feels like having a fever (when it’s right). Sometimes it is over in a few hours, sometimes a few days. Then there is the production of the song, how it will be recorded … and finally how it will be played live. A song is a living thing, performance is the clothes it wears. I love rearranging my songs for stage.

You blew up on the Internet because of your Juicy cover -- or at least that's how many people first heard of you. Do you pay homage to hip-hop in your more recent work too?

Not as bluntly as Juicy. I’m influenced less and less directly by hip-hop, though it is still present in many of my production ideas, especially when it comes to my live thing.

Why is your latest set called Promise? What themes in your life inspired it?

The name is derived from the 1998 installation “Promesa” by Cabello/Carceller, a photo of which is also the album’s cover. I was drawn to the installation immediately. They created it after a trip to late 1990s San Francisco, in search of its legendary queer world, but were disappointed by the hues. They took photographs of architect Julia Morgan’s pools to depict “abandoned sites of pleasure.” (I’m really dreadfully simplifying the work here.)

I conflated this idea of abandoned sites of pleasure and what it is to make an album, to make work in general, as you must eventually walk away from the thing that kept you enraptured, breathing, company. I was thinking a lot about friendship when making this record, the finiteness of time, risk, the planet falling apart. These things are all in there... yeah, full of cheery little numbers.

How would you say you've grown from one album to the next? How is this album different in inspiration and content, from, say, your debut Mama?

I think I’ve turned my gaze outward a bit more, and opened myself to more influences in literature and fine art. I’ve also asked myself to be graceful with myself as my own listener and trust my audience to do the same. Less rules.

Who are your musical heroes?

Nina Simone: her voice, her virtuosity, the way she took over a song and made it her own. PJ Harvey, the epitome of a badass. Terry Riley, a pioneer.

You've worked with Dan the Automator and Clint Mansell. Who else is in your dream collaborator list?

Drake

What's the craziest thing a fan has ever done for you?

Travel from Greece to NYC to see a show. That’s probably the longest distance, but people have come from far flung places for shows. Nothing really touches me more.

Describe your music to people who haven't heard it before.

I hate having to. If I’m tired I make something up. If not I usually just say, oh, I play the violin, and sing, and play drums, and write songs… or, I’m a producer.

Do you have any goals for 2016?

More gratitude, more knowledge ... and to be present with those I love.