When it was first released 15 years ago, Nocturnes arrived at a dicey moment for Uh Huh Her’s Camila Grey and Leisha Hailey. Dropped by its label and without a manager, the Los Angeles-based indie electro-pop duo was navigating a deepening creative partnership offset by an increasingly complicated personal relationship. Out of options, Grey and Hailey turned to their fans for support, funding the LP through auctions, memorabilia sales and other early forms of crowdsourcing.
Now, the album is getting a refresher through Kill Rock Stars as Nocturnes: Redux—in a form closer to what Grammy-winning producer Tchad Blake (Arctic Monkeys, Elvis Costello, Fiona Apple) initially envisioned. Simply put, Blake’s original mixes were longer, rougher and more immediate. The reissue also features two previously unreleased tracks: the pandemic-era “Shook” and a leisurely paced reinterpretation of Sonic Youth’s “Kool Thing.”
Working on the Nocturnes: Redux project has rekindled the easy creative chemistry between Grey and Hailey. Could it lead to a new Uh Huh Her album? MAGNET’s Hobart Rowland reached out to Grey to find out.
You chose Tchad Blake’s earliest Nocturnes mixes for the reissue because they captured everything before all the second-guessing. What surprised you when you heard them again?
It reminded us how we should always trust the instincts of such an impeccable producer/mixer without being so revisionist. It’s the same energy when you write a really great song in one fell swoop. It’s the art of not being judgmental and channeling pure creativity. We think that’s what he did in those first mixes.
What’s changed in your relationship that has made making music together feel different this time around?
I wouldn’t say it’s easier; it’s just different. We certainly feel that our connection has gone through many iterations. But when it comes to making music together, it just clicks. We’ve really enjoyed this time around, being able to create with no pressure and just focus on the music and what new energy we want to bring to the table. We have an incredible label behind us that gives us all the freedom in the world to imagine and be ourselves. Time has given us a great perspective, as well.
When Nocturnes first came out, it’s release was funded through direct support. How did that experience reshape the relationship between Uh Huh Her and its audience?
We’ve never seen fans as just listeners. They’ve been true collaborators in keeping our projects alive. Their support made it feel less transactional and more like a real community. We feel lucky to have that.
What does it feel like to hear newer bands cite you as an inspiration, and are there current artists you’ve connected with?
It’s certainly a very flattering and humbling thing. It makes us feel so grateful. When we started, we were just following our instincts—and if a new generation feels permission to experiment or be themselves because of that, that’s incredibly meaningful. We’re really into Ecca Vandal, MUNA, Chappell Roan, Lower Dens, Chromatics, Lily Kershaw, Audrey McGraw and countless other powerful female voices coming to the table. It’s an exciting time for music because anything goes, really.
Nocturnes originally arrived during a period of complete independence for the band. Looking back, what does the album represent now that you couldn’t fully appreciate back then?
Revisiting Nocturnes, we realized how forward-leaning it was. The new songs sit right next to those earlier tracks, and it still feels of a piece, which tells us we were building something durable from the start.That perspective frees us up for what’s next project—trusting our instincts without chasing trends. Seeing fans embrace the new material has been so energizing. It’s giving us momentum to write more and follow that spark.