“Summer with You” is the type of track that hits on just the right levels in order to ensure it can maintain itself well past the final note. Created by the Brooklyn-based artist Jenna Kyle, it’s has that certain feeling, that certain space where it exists in a fond memory, but could also easily be the moment you’re in right now.

We recently spoke with Kyle about her past work and creative process, including the occasional burst of creativity that strikes at the most unexpected times. Check it, and “Summer with You,” out below.

“It’s the process of emanation, one thing emerging from another.”

Rewinding to the beginning a bit – can you walk us through your influences and what has led you to your particular style and sound?

I grew up listening to Joni Mitchell, Etta James, Michael Jackson, Willie Nelson, Pink Floyd. When I moved to New York I got more into electronic music, rave culture, and branched out to realize that you could fuse any genre – you didn’t really need a particular “sound” – my influences come from everywhere and everyone around me. I’ve also been influenced by Buddhism and writers like Ginsberg.

Was there a certain moment in your appreciation for music and creative life that made you decide to venture into this territory?

I had been writing folk and R&B style vocals over down-tempo electronic beats and deeper bass lines, and when I heard James Blake, and I saw that other people liked his music, I realized that it was possible.

We’re always curious about the creative process an artist may happen upon. You mentioned “Dust” actually woke you up. What was that like, that jarring desire to create in the middle of sleeping? 

That’s right – with my first single “Dust,” I woke up early in the morning with the song running through my head. I had to get up and sing, or in this case mumble, a little voice memo to myself. I do find that if I don’t get the idea down, it is fleeting. It’s not uncommon – when the mind is free it is more creative.

Given a moment like that happened – do you tend to create spontaneously like that, or would you prefer a little more method to it, or do you like to stay flexible?

I create all the time in every different method. I find that regular writing sessions make way for spontaneous flow, and generally sets me up to have my best creative moments. It’s the process of emanation, one thing emerging from another.

When it came to the production of the track, was there something specific you wanted to happen, or was it more organic? What was that process like? 

Wes [Wes James of Le Youth] and I had been wanting to do a song together, so it was a matter of timing and getting in the same room. We wanted to create a minimal summery laid back track – I think that was a product of the Venice Beach environment and a middle ground between our two styles.

“Lovelorn” is evocative – you can almost see the words drip over a grey scene where two lovers are drifting apart. Where/How do you cull moments like this to life in your writing? 

“Lovelorn” started with a sparse tense beat and the word ‘Lovelorn.’ I just explored the feeling of that word, and it led me to a theme codependence. Visually, the word ‘lovelorn’ brought this romantically treacherous beach scene of strewn wreckage and lovers running through the jungle – chasing the highs.

When it comes to how you write and produce, NYC is a well of inspiration, but do you tend to go internal or more outwardly and observational when it comes to your work?

I’d say it’s generally internal – some part of my own story that I’m revisiting, or maybe a conversation will bring up a theme. Musically, there are sounds to sample and use everywhere. Sometimes while I’m on the subway, the music I’m listening to on my headphones will overlap perfectly with something I hear – maybe buskers or a few words, and that might inspire something. Back to emanation.

Your latest track, “Summer with You,” is a bit of a shift – glossier, some more glow to it. There are moments where you could completely rip it open, but you choose subtlety. How do you find the balance to pump the brakes where some producers might be thinking, “Have to find that drop or that right place to take the trajectory to the nth degree”?

I just wanted to create something clean and summery and true to the original idea.

Speaking of production – we haven’t even asked about you as a producer. How did you get into that? Is it intentional and allows you more chance to take risks within your music?

I got into production in order to try to capture my ideas and create a vocabulary around what I hear. I’m self-taught, and I learn a lot from everybody I work with. I love working with talented musicians and artists to create.

You’ve also collaborated with BAILE. How did that partnership get started? Is your approach different when working with others as opposed to when you have full control of a track? 

We met through mutual friends in Brooklyn. He was looking for a new vocalist, so we started working together. My approach changes with everybody I work with, but I generally like to work solo for some parts of the song – get in my own space and bring something personal.

Related to that – I know the city is big, but I also know the music communities can be pretty tight-knit there, so do you have any peers you want to suggest us checking out? How about anyone you might be working with soon or anyone you’re particularly hoping to get on a recording session with? 

Definitely check out BAILE and Le Youth’s newest releases. I’d love to do something with Jimmy and Tom of Bob Moses, and I think stylistically that singing with Nick Murphy would be a blast.

Finally… Anything else planned for 2017? New EP, songs, shows, collaborations, etc.

I’ll be releasing a music video soon, and I have a bunch of new songs and collaborations in the works. I look forward to sharing!