Vetor Interviews: Blue Ringed Baby

From classical guitar and piano to electronic production, the work of Blue Ringed Baby moves between ambient, breakbeat, jungle and experimentation. Emerging in 2023, the project brings together a series of tensions: the digital and the physical, speed and stillness, and identity in its constantly shifting forms of expression.

With Born Online (2024), the first mixtape under the project, these ideas take shape through a reflection on growing up in a world shaped by screens, hyperconnectivity and the fragility of digital spaces. A year later, Forever Chemicals (2025), created in collaboration with Kamī, expanded this exploration into a more intimate and emotionally charged space, finding music as a way to process the overstimulation of contemporary life. The project now continues to evolve through a deluxe edition, new interpretations and live performances.

Alongside Blue Ringed Baby, production work with artists from the UK scene has opened up another space for collaboration, while the upcoming alias Yeik marks a new direction in sound and visual language. We spoke about the beginnings of the project, the relationship between digital life and identity, the role of collaboration and community, the worlds behind Born Online and Forever Chemicals, and the new directions taking shape across the work. Interview by Matheus Lima

Photography by Alma Cañamero

Vetor Magazine: Hey! I’m so happy to finally prepare for this interview. We’ve been talking about this for so long! Before talking about Blue Ringed Baby and the worlds you create through the project, I would like to start with you. When did music first become something you wanted to actively create?

Blue Ringed Baby: Me too! It’s been around a year before we’ve finally been able to chat :) on this i’ve been creating since forever, i jumped from classical guitar and piano into electronic music and recently back round to more physical instrumentation with forever chemicals but i think deciding to name tracks and concepts appeared around 4 years ago with my first ambient project ‘not ur bride’ then the year after that ‘blue ringed baby’ came about in 2023.

VM: Did you have a clear idea of what you wanted the project to be, or did it develop organically through making music?

Blue Ringed Baby: I’ve always loved music that contrasts against itself, as often that contrast helps me to feel the outer edges of a track. This is where the name stems from, the blue rings feeling poisonous backed against the silliness of baby. There’s also a few other artist aliases that use baby, it’s funny it just crops up for people in that way.

VM: When you think about what it means to be born into a digital world, how do you feel about it? What do you see as the possibilities that this world has given us, and what do you think we may have lost or compromised in exchange? Do you feel optimistic about the world we are creating through technology, pessimistic about it, or do you see it as something more complicated than either of those things?

Blue Ringed Baby: I feel lucky/cursed at the same time, it feels like the fragility of society is a lot more noticeable when put through a digital lens. The main downside is a lot of digital spaces can become more aesthetic based and that can sometimes feel transient but overall I love the online world. I used to feel hopeful but it’s more complicated now with late stage capitalism infiltrating most of our online spaces with pseudo-marketing and A.I. slop. In terms of what we lost, I am sometimes sad that we traded irl for the sterile safety of the feed & there’s a lot of friction from the physical world we lost in doing so, events perhaps aren’t afforded the roughness they once were, as well as the boredom that only really comes where you’re completely unreachable. In exchange for infinite connection, we surrendered our right to disappear, I guess. 

I also love the errors that come from technology, these are often my fave, the final track on born online ‘music to dissociate too’ has this static disconnecting final outro to the mixtape, i guess i love the potential for mistakes and hardware errors from technology, that ability to make technology feel human is a fun sweet spot, shoutout nina jirachi & mila culpa both so good at this.

VM: Following Born Online, you released Forever Chemicals in 2025, your debut collaborative album with Kamī. The album seems to move through a very different but connected emotional space. It feels both expansive and intimate, while also carrying this idea of trying to find space to breathe within an increasingly overstimulated world. How did the world of Forever Chemicals begin? Was there a particular feeling, idea or relationship that brought the project together?

Blue Ringed Baby: I think the track ‘salt eyes’ for me is the base for forever chemicals, it’s the first track we wrote and kamī’s lyrics are built around overstimulation physically and emotionally. Our relationship with the speed of London's music circuit led us to making something slower and more emotionally charged. We were both two artists into breaks but with ambient side projects so it felt quite natural that those two worlds would merge at some point.

Photography by Alma Cañamero VM: How do you see this next chapter of Forever Chemicals? Does the deluxe edition feel like a continuation of the original album, or does it represent a new stage in the life of the project?

Blue Ringed Baby: It feels like me and kamī are trying to bridge the gap between our DJ sets which spin a lot of jungle and our production work with this deluxe, it’s really a new life for the project for me as it helps to reframe a lot of the tracks for the dancefloor in a way that expands a lot of the tracks, that being said there’s also a few slower additions as well. All my favourite deluxe albums look to expand the venn diagram of genres the original work pulls from and help listeners engage with some of the more fringe of those such as ambient and experimental club. 

For me music has the ability to constantly evolve, even after it’s been released and decided on as a final version and I love club edits for this reason. I often work just in audio rather than midi, as I find repurposing it easier this way. A lot of big pop music now is constantly referencing historic tropes and melodies that are in the collective subconscious and I think allowing yourself the grace to do this with your own music is super important. Kelela does this so well with each album dropping alongside a beautiful set of reinterpretations that let her vocals enter club spaces and spaces they otherwise wouldn’t from the original singles. When re-imagining tracks love that idea of re-imagining what space they are going to inhabit and let that play into the reinterpretation as well.

VM: Alongside your own work as Blue Ringed Baby, you've also worked as a producer with different artists in the UK scene. How does working on someone else's music change the way you approach production? What do you look for when you first start working with an artist and how do you balance bringing your own ideas while preserving the identity of the artist you're working with?

Blue Ringed Baby: You might think you know the palette an artist is pulling from visually but sonically you can never understand until you really work together, it feels like working on someone else's art is a strong exercise in restraint sometimes to navigate their sonic world and try find the centre of it and work out how you can pull them out of that without pushing too hard it all gets lost. I have a new studio now so I'm always open to new artists but generally they’ll like my productions already and then try to see where the crossover could fit. Our worlds need to collide somewhere sonically otherwise there’s no trust and I think that’s what holds together the projects that really allow the preservation of one artistic identity with another.

Photography by Alma Cañamero VM: You also have several new projects and releases coming up, including two new EPs, as well as the launch of your own studio and alias yeik. What are you most excited about exploring in this next phase of your work, and how do these upcoming projects relate to the direction you feel yourself moving in creatively?

Blue Ringed Baby: 'blue ringed baby' in its current visual form felt like it’s reached its peak for me. I'm wanting to move away from cool-toned washed out visuals and sounds with all the edges softened and make some stronger decisions sonically + visually with the new alias ‘yeik’. As much as I enjoy downtempo breaks & guitars, I need something clean that cuts through you know, a lot of what i listen to now is sparse and making strong decisions on what remains in the production & what doesn’t and that’s I think what i’m really excited to try and hold true in this next series of releases. Blue ringed baby is going to keep going alongside it but move more into my club / DJ side of my artistic output which I'm excited about.

VM: Looking back at everything you have created so far, what do you feel you are still trying to understand through music?

Blue Ringed Baby: It’s such a good question, i think there’s two routes the first being the understanding of the role music has in a general catharsis of the state of the world, when fascism reigns people reach for drugs & abstract / intense and ironic sounds to make sense of an increasingly harsh world, the second being gender & identity, and how you can use music to examine how burning down old versions of the self can help you grow lighter and remain authentic to yourself.

Photography by Alma Cañamero VM: And looking forward, what kind of world, community or creative space do you hope to help create through the music you make and the projects you are building?

Blue Ringed Baby: I have always loved how music and physical space interact, I think semi-non-public spaces whether they’re online or irl are the most important to me at the moment, servers on discord, party whatsapp group chats, mailing lists for chess clubs etc. but anything that has a (small & free) gate that needs to be opened to enter, sadly with the rise of bots everywhere and homogenised taste making due to virality, the need for an active participant with a password on the door is increasingly important. I’m not really sure that answered the question lmao but something tangible and real is the most important I think is what I’m trying to say.