Anjimile - Water, bodies and eroticism

Two weeks before the release of his new album, "You're Free To Go", I virtually meet Anjimile for a wide-ranging conversation about his songwriting. We talked about feelings and thoughts embodied in the flesh, about his connection to water as an element, and about how these aspects manifest in his new collection, which explores their constant process of becoming and changing. And while the autobiographical thread is still present in his songs, it's now illuminated by a new eroticism, liberating because it's accompanied by self-acceptance and acceptance of his own body, reinvigorated by a new romantic relationship. As our conversation unwinds, informally too, between one joke and another, we discover we both love a fairly recent album, "PAINLESS" by Nilüfer Yanya, which I actually reviewed for these very pages. Anjimile would happily collaborate with the British artist, as well as with Janelle Monáe, because, he tells me, "while we're at it, might as well dream big." Well, for whatever my word is worth here, I really hope this dream comes true, because the music that would come out of it would be truly, truly cool!

Bodies, identities and feelings in constant flux are at the heart of "You're Free To Go". What was the most important inspiration (artistic or otherwise) that pushed you to return to these themes and approach them from a new perspective?

I think meeting my partner two years ago played an important role. Many of the songs are closely tied to this relationship, which sparked a new sense of gender euphoria in me and allowed me to feel more embodied. That's why, I think, body language is so present throughout these new songs.

Many of the songs are indeed love songs. I found it interesting how the feelings you talk about are clearly described as deeply rooted in your body.

Yes, that's true. Also, this relationship has helped me heal a lot of internalized homophobia and transphobia, simply through the act of being in love.

The process of becoming yourself and finding your own personal identity is always in a kind of tension with other people's expectations – those of family, friends and society at large. At the same time, sonically, this record is very peaceful, gentle and warm.

The tension between my identity and how I'm perceived by other people is an issue that constantly comes up not only in my music, but also in my life. Besides my new relationship, many of the songs are intertwined with my relationship – or rather, the lack of a relationship – with my mother, who is transphobic.

I noticed that water and imagery tied to it recur often on the record, both in relation to erotic love and to bodies and blood. Why is water so central to these new songs?

Good question... In terms of eroticism, it's probably connected to my relationship: our first date was along a river. I can't swim and I've always been afraid of water, but she's practically a sea creature, and she's helped me feel more at ease with the vastness of water. In terms of embodiment, obviously our bodies are made up largely of water and various fluids, from blood to bile: if you think about it, it's disgusting and beautiful at the same time.

And do you connect this element to concepts like fluidity and change?

Yes, definitely. Bodies of water, even the ocean, and the human body are always changing, growing, or at least have the potential to do so. I want to be like that, like water.

Water is often associated with healing processes too: do you think of your music as a healing tool for listeners?

I hope it is, for anyone who listens to my music! I think my voice has a naturally calming or soothing quality.

Yes, and combined with the warm sound of this record it really works well. Speaking of the sound, Brad Cook produced the album. What was it like working with him?

It was a dream, and not just because he lives near me. He showed me places to eat well and some beautiful candles [laughs]. Everything at his house and in his studio is perfectly curated, especially the space, the lighting.

Brad Cook has produced some of my favorite albums of recent years, especially those by Waxahatchee. You can really hear that same 'space' surrounding you while listening, both in his work and on your latest record.

You know, it's a bit ironic that his studio isn't actually particularly spacious — it's relatively small, in fact. But his knowledge of how an instrument can sound in a room, and then in your headphones, is incredible, and he's able to achieve that full, natural sound.

Why did you decide to return to this more classically folk-rock sound after the sonic experiments on 'The King'?

When I work with someone producing my album, I like to leave room for their creative instincts. So the sonic choices on 'You're Free To Go' are closely tied to the collaboration with Brad, who emphasized this warm energy that was already present in the songs, whereas for 'The King' we pursued a completely different approach. Actually, I feel like 'The King' was a bit colder, in a wonderfully spooky way, though. Plus, I like doing things that are always different from my previous project: I get bored easily!

While preparing for this conversation I came across an old interview of yours, from around the time of your debut album, where you talked about your love for the music of Iron & Wine. Now, a few years later, Sam Beam sings on some of your songs…

I know, it's crazy! I moved to North Carolina from Boston in 2021 and met Brad shortly after. Everyone kind of knows everyone here, and he and Sam are friends. Towards the end of the recording sessions I mentioned to Brad that I love Iron & Wine's music, and he immediately called him to see if he was available to come record some vocal parts. I still can't believe it, it was super cool! He's mega chill, and you have to picture him still looking exactly like he does on the cover of 'Our Endless Numbered Days', even though that record came out a lifetime ago. Truly crazy!

So the next step is a whole album with him?

Oh, man, that would be too much! [laughs]. It's a bit like reading an essay you wrote out loud in front of the seminar professor… I wouldn't be able to do it!

Do you have a dream collaboration for the near future, though?

I'm a huge fan of Nilüfer Yanya: her album 'PAINLESS' is phenomenal. Who else? Maybe I should dream big, right? Moses Sumney, Helado Negro… Janelle Monáe, call me if you want to collaborate!

“Waits For Me” is my favorite song on the record. It has a simple pop song structure, but it works beautifully and it's really moving. If you feel comfortable, and if it's not too personal, could you tell me how this song came about?

The writing was influenced by the song “Buffalo” by Hurray For The Riff Raff, which Brad had worked on. It's really an excellent song, with lyrics that are immediate yet moving, and a vibe that's very warm; it's propulsive, one of those songs so beautiful that on one hand it makes you say “it's time to retire”, but on the other it pushes you to keep writing better songs. I don't decide the content of a song in advance; the lyrics come from the feelings that arise out of the chords and melodies. This song was liberating, it got me out of a kind of writer's block and pushed me to write more. It's about my childhood, about freedom and self-acceptance, about love and openness toward what's around you and toward change: it feels like I wrote it for the child I once was, and it did me good.

Together with the following song, “Like You Really Mean It”, it seems to me to make up something like the pop core of the record. Why did you place them one after the other?

Sequencing the tracklist took us a lot of time: it's a process that can drive you crazy. It seemed to me that the energy and tempo of the two songs allowed them to sit naturally next to each other, and that way we could work an energizing sort of dynamic into the start of the record.

What quality does a song need to have to be a great closing song, in your view?

On my records, I like the closing song to convey some sense of conclusion, which doesn't necessarily mean an emotional resolution. In a way, the closing song has to state the thesis of the work. The first song has to say something, the middle of the record emphasizes that statement, and the last one provides the context for the whole collection. Since on “You're Free To Go” there are songs that deal with my relationship with my mother, self-acceptance, love and pain, “Enough”, with its more stripped-back arrangement and its focus on lyrics and melody, felt like the best song to close the album with.

Well, water and blood also recur at the start of “Enough”… And what you said is interesting, because it really seems to me that, although it's a great closing song, it doesn't bring with it a real conclusion, and the tension we talked about earlier doesn't disappear at all.

Yes, that's true. Since my work reflects my emotional and personal growth, and since that growth has no end, I want the same to happen in my records, meaning there isn't really a true ending. There's no happy ending, but there's no bleak conclusion either: the story isn't over yet.

Life keeps changing…

Exactly, maybe only for my very last record, before I die, will I come up with a real ending.

A bit like David Bowie.

Exactly!

(March 15, 2026)

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