Mieu
Otherworldly and cinematic, Mieu’s new EP Love So Grand feels like a headrush through a late night in the city—blending R&B, Japanese city pop, jazz, and synth-pop into a soundscape all their own.
Now streaming on all platforms, Love So Grand is lush, genre-bending, and emotionally charged. Across the EP, songwriter Shelley Zhao and producer Chris Nocturnes move in perfect sync, effortlessly weaving through the darker edges of pop on tracks like “Butterfly 67,” and embracing bright ‘80s synth energy on “Get Closer.”
Pulsating with energy from start to finish, Mieu’s individuality is woven through every track. Whether it’s Zhao’s soft, breathy vocal style or Nocturnes’ jazz-inspired flourishes, their chemistry feels both deliberate and spontaneous—as if we’re hearing a creative conversation unfold in real time.
Love So Grand is out now—scroll down for our full interview with Mieu!
GRRRL Music: Your sound is described as quiet storm, a genre known for its subtle, sensual, and deeply atmospheric qualities. What is it about this mood-driven style of music that resonates with you both?
Shelley: We’ve always made sensual and atmospheric music. For a long time we made underground doom music in New York, and when we moved to Los Angeles it felt like time to explore new waves.
Chris: For me, it’s the hypnotic groove and the natural ease of the genre that feels fresh.
GM: Let’s start with your upcoming EP, Love So Grand. It feels like a soundtrack for those late-night, cinematic moments in life. What was the vision behind this project, and how did it evolve into its final form?
Shelley: We wanted to write songs that would could be played in intimate moments, like a late night walk alone in the city.
Chris: Or the soundtrack for an arts district dinner party.
GM: With so much music today leaning into maximalism and loud production, Love So Grand thrives in its restraint. Do you see this as a kind of quiet rebellion against the over-saturation of sound?
Chris: Softness can be a form of rebellion too. It opens the possibility of finding someone who shares your view of the world.
GM: Shelley, your breathy, delicate vocal delivery has this effortless coolness, almost reminiscent of Sade. How do you approach using your voice as an instrument in these lush, minimal soundscapes?
Shelley: My favorite singers (Sade, Hope Sandoval, Kazu Makino, etc.) have really stylish voices that are uniquely casual and timeless. And I’m a Cancer, so I want to bring out a similar type of delicate intensity to my vocals.
GM: Chris, as the producer, you blend jazz samples, UK electronic rhythms, and city pop influences so seamlessly. What drew you to this particular mix of sounds, and how do you go about layering these elements together?
Chris: In a sense, making a song is like watching a scene unfold in a movie. A scene has some sort of dream logic that lets the different ideas fit together. There’s no set roadmap for what works. It just has to feel right. Most of the layering was to make space for Shelley’s voice. I used Fabfilter Pro-Q a lot for that.
GM: Your influences span R&B, 80s synthwave, Japanese city pop, and jazz. If you could each pick one album that perfectly embodies the spirit of Love So Grand, what would it be and why?
Shelley: Sade’s ‘Stronger Than Pride’ — it’s my favorite album of hers and ‘Paradise’ is such a classic.
Chris: ‘Melting Moment’ by POiSON GiRL FRiEND — for its enigmatic sound.