One of my favorite things about featuring artists on this site is the ability to find the story in someone’s journey. 

Typically, I go in with a set of questions that work as a basic outline to guide the conversation, but I like to let the subject control the narrative. One of my most basic questions to get the ball rolling is, “Could you give me a little bit of background on your journey as an artist thus far?” 

Standard, and maybe basic, but often times, I have nothing to go off of beyond a sampling of music to understand where someone has been, and what they’ve encountered that led us to now be chatting about the work they’re putting out. 

And, in interviewing Elke, in coincidence of her newly released album, Divine Urge, I’m met with a response to this question that takes me by surprise: 

“When I was a kid, I learned Lisa Loeb’s ‘Stay (I Missed You)’ on guitar because I found a version of The Rocket Summer playing it. I recorded me [sic] performing the song for my best friend, and told him I wrote it. I eventually told him I didn’t write it, and he laughed at me, and it became our song.

When I was a teenager, I used to sing with an accent because I really loved Regina Spektor. I was probably wearing clothes from Wet Seal.

When I was 23, I started writing songs for myself. I’d sit at the park on 1st and 1st in Manhattan and would experience the necessity of writing lyrics as a form of healing. 

When I was 24, I connected the dots that I am a very masculine person who sings like a man.

When I was 26, I heard my first ever released song get played on the radio. 

I toured with my band when I was 28. We all formed what will be lifelong friendships between us all.

When I was 29, I played in front of 19,000 people opening for Paramore, and confirmed the second I walked on to the stage that I was born to do that. 

27-30 was the duration of making Divine Urge and it helped defined me as a person. 

I’m me now, and all of those other times. I miss everything and want more all the time.” 

Not a very standard response, and certainly far from basic (which is also how I would describe Elke’s musical styling). Instead of giving me a neatly packaged answer of bullet points off her resume, I’m given what feels more like a poem of reflections on one’s life than a response to an interview question. And yet, in reading it, I feel like I instantly understand who Elke is, and I know that she has a story to tell. Though I could have gathered the latter from listening to Divine Urge. 

Hailing from Nashville, Elke, the stage moniker she uses in lieu of her given name, Kayla Graninger, has returned to the spotlight after three years, following the 2021 release of her debut album, No Pain For Us Here. 

Divine Urge is a sucker punch of an album, serving vivacious alternative-pop-rock, that feel reminiscent of some of her influences, that she cites as artists like Kate Bush, Andre 3000, Britney Spears, and “doo wop” and “dad rock” genres. An eclectic mix, but from the go of the first song (the album’s titular track), one can instantly understand how they all fit together. 

“It started with some songs that I had written on the piano years prior,” she says of her songwriting process for the album. “Some of those piano songs ended up just going on an EP, My ‘Human Experience,’ when I had originally intended them to be a part of what would become Divine Urge. I recorded them all on Logic, and it gave me a gateway into my intuition that I hadn’t explored with before. I hadn’t trusted myself or abilities to build a song on a program but I somehow left the trust door open and walked through it.” 

Divine Urge also gave way for the ability for Elke to collaborate with an impressive crew of artists. Fellow Nashville-based artist, Jake McMullen, serves as co-producer. 

“Jake McMullen (co-producer) helped me build additional songs to complete the entire world that I had been attempting to envision. He was super encouraging, and willing to go on every journey with me no matter how silly, or how serious, or how confusing it might have felt. Looking at all the songs together now, they all encapsulate all of these different layers that I have been wanting to communicate for a long time, this was achieved sonically and emotionally through lyrics, etc. I identified who I am in this process as well. I’ve always confused myself with all of my different desires and issues, but this connected all of the pieces to make a whole definition of me, Kayla and Elke.” 

Though, McMullen is not the only collaborator on the album. Paramore drummer Zac Farro lends his talents to the album, with Paramore’s front woman, Hayley Williams providing featured vocals on “Standard Information,” one of the standout tracks of the album. 

“I love this question because it reminds me of how much of a legacy they are,” she says, when asked what it was like getting to collaborate with Farro and Williams.

“They are family, and never act like the status of their success. But to get into detail – I have asked Zac to play a style of drumming he’s never done before, and he sits behind the kit puzzled and about to play, then he makes his first attempt and it’s mind blowing. He’s able to adapt and still add his own style. As for Hayley, she has infinity amount of voices to her. She will be like, ‘I have Pilates soon, but have the perfect amount of time to get this take down.’ I gave her the reference of Pink Floyd’s ‘Great Gig in the Sky.’ She did it in one take, plus a backup for good measure. And I know it’s her voice when I hear it, but it’s so fresh. Her voice to me is what every indie kid thinks of MK Gee’s guitar playing. Why didn’t anyone else think to do it like that? Cause no one else could.” 

“Standard Information” certainly makes its mark as a standout track, with its hypnotic, almost industrial sound, that feels like a welding of Pink Floyd’s Dark Side of the Moon with a touch of Radiohead’s OK Computer. Other stand out tracks include “Enchanté” (the album’s single), “You Can’t Come with Me,” and “Butterfly Escort.” 

While the album feels cohesive, it also is not afraid to take twists and turns. In keeping the overall dreamy vibe, the album experiments with stylistic choices that feel unexpected. “Divine Urge,” the opening track, is a loose canon of an opener, with a more traditionally alt-rock feel to it. Yet, songs like “Wild Lucy” open with a more classical tone, showcasing an excellent use of a wind section. 

However, the entire album works as a cohesive mix of originality, exploration, and musical mastery. It feels somehow reminiscent of musical greats that precede it, while still feeling fresh and original.

Though, if it feels that way, it’s likely because it was intentionally made so. 

“I just want people to take away that I’m odd and thriving. I’ve noticed people judging artists as if their performance reflects their mental state, rather than their expert exploration of humanity and capability,” she says of what she hopes listeners take away from the album. 

“I want the part of being an artist that is always slightly being on the edge of losing your mind to stay sacred. All of my favorite artists help me experience life deeper because of this, and I’m so grateful. I want everyone else to thrive in who they are as well when hearing this record.” 

It’s near impossible to quite describe this album. Any attempt to do so feels like not enough. I think the best way to do so would be to simply encourage you to take the journey with Elke, and maybe allow yourself to thrive in who you are as you do, as she certainly makes the case for it with Divine Urge. 

You can stream Divine Urge below.