Emma writes music under the alias äsc3ea and creates visuals, combining such media as generative art, AI, design, video, and photography.
She creates works reflecting on such topics as: mental health, cognitive dissonance, and sleeping disorders.
I caught up with Emma to talk about her first musical experiences, how she started writing music and the making of her new record “Acute: Anxiety Diaries”.
CMM-What was the first music that really made an impact on you as a kid and what artist or band did you enjoy the most?
Emma-When I was five, there was one track that would randomly get broadcast on TV again and again at night — Starsailor – Four to the Floor (Thin White Duke mix). I was a night owl, so I loved staying up and watching TV, and that track really stuck with me. It sounded so unusual. I also used to listen to the radio a lot — it felt like my escape route to another world. I remember trying to figure out one song I liked, and it turned out to be Depeche Mode – Enjoy the Silence. 😀 And another one was Oomph! – Augen Auf, especially the video.
CMM-When did you start playing music and writing songs?
Emma-I started in 2019, when the pandemic began. I realized I had to at least try, because I’d been into music my whole life — but I always thought it was something you needed a specific talent or formal education for. Or you need to be cool to do that. Stupid. I felt like it was a privilege I didn’t have, so I didn’t allow myself to start until then.
CMM-You recently released an amazing album called “Acute : Anxiety Diaries”. What was the writing and recording process like? What gear and instruments did you use during the sessions?
Emma-I usually work in Ableton, gathering everything there. If I need a specific sound, I might add live instruments. My writing and recording process is almost always the same: I first create a performance set built around a theme I’m working with. Then I perform it — and from that, I get tracks that are almost ready. If I’m happy with the result, I can finish mixing and mastering pretty quickly on my own. If not, I might wait for ages, trying to find the “right” sound — and eventually realize that the original version was perfect for me, and I don’t really want to change much after all.
I do everything myself, so I get to decide each step. I also make the covers and spend time choosing the right names.It takes time, because for me, everything needs to come together as one complete story — but I really love that part of the process.
I created samples from recordings I captured in Baku and Kyiv. Each piece feels like a small emotional snapshot for me, capturing fleeting thoughts and fragile moments just as they are. It’s my type of “anxiety diary” — or “night pages” — using music to hold and observe rather than to fix. Instead of trying to silence anxious feelings, this work accepts them as part of life. It’s a quiet reminder that small steps forward matter — and that even in uncertain times, there’s still room to create something whole.
CMM-If you could do a score for any film director, who would it be and what would the film be about?
Emma-To be honest, I don’t really have a favorite film director — I’m more into series and long-form storytelling. I love binge-watching and collecting all the music scores afterward. I really enjoy collecting soundtracks.
If I were to score something, it would definitely be something dark — a psychological thriller, a post-apocalyptic story (though lately it feels like I could just write a score for real life), or a sci-fi film.
CMM-Anything coming up? New recordings or live shows?
Emma-Definitely yes. I’ve been holding onto a lot of material, and now I’m working on mixing, mastering, and preparing all the covers and texts. Since I do everything myself, it takes time — but it’s in progress!
