In a world where the lines between club, theatre, gallery, and fantasy blur, I’MMORTAL stands not just at the intersection—but floats defiantly above it in six-inch silver Pleasers and wings made of basslines.

The New York-born, London-based polymath just dropped a jaw-locking new music video for the biskuwi Melodic Techno remix of her track “KILLED U IN A DREAM”—and it’s not just a visualizer, it’s a full-body possession. The track, originally a dark pop anthem dripping in venom and velvet, gets spun into a dizzying, spine-tingling Melodic Techno storm, thanks to the Swedish producer biskuwi, whose name is already echoing through dancefloors from Berlin to Beatport’s Top 10.

Together, the pair conjure something spellbinding. The remix throbs with unrelenting intent—Adriatique-level atmosphere, Camelphat clarity, ARTBAT-style ascent—while I’MMORTAL takes center stage in what she calls a “burlesque-inspired butterfly” transformation.

Welcome to Madame Blue’s Universe

Visually, the video is pure I’MMORTAL—unapologetically theatrical, strangely mythic, and obsessively composed. She appears locked in an ornate cage, adorned in electric blue and shimmering chrome, dancing with hypnotic control until the scene literally bursts open. Cue Madame Blue, her newest persona, a surreal hybrid of cabaret goddess and alien dream logic. One moment she’s pixelated by glitch edits and pulses of light, the next she’s commanding the frame in full bloom—a rebirth staged in four minutes and four-on-the-floor.

“This visualizer is a dance performance video that represents my artistic metamorphosis,” she told us. “Madame Blue is a burlesque-inspired butterfly who emerged out of a cage and grew her wings through the power of dance… she represents my rediscovery for my love of performance.”

What could’ve been just another club clip instead feels like a performance art piece transmitted through a synthwave seance, with echoes of Leigh Bowery, Arca, and FKA Twigs in the mix. The video isn’t just costume and choreography—it’s concept, clarity, and conviction.

A Composer in a Techno Shell

Born in California and classically trained as a violinist, I’MMORTAL is more than a visual provocateur. She’s a trained composer, a producer, a director, and a woman of audio-visual synesthesia—meaning she doesn’t just see sound, she builds it into whole atmospheres. Her early theatrical roots and love for synthetic soundscapes give her music a kind of coded elegance, a blueprint for emotional chaos beneath the surface of beat drops and glitter.

Since her debut “Versace Spaceship” in 2023, I’MMORTAL has released six singles and collected over 250,000 Spotify streams, with praise from DJ Mag Spain, CLASH, Wonderland, KALTBLUT, EARMILK, and METAL Magazine. She’s no stranger to the spotlight, but there’s a new electricity in this latest release—more controlled, more kinetic, and somehow even more unhinged.

The Remix Reinvention

biskuwi, the Stockholm-based remix wizard, is no slouch either. With cosigns from Solomun, Richie Hawtin, and Yotto, and gigs at some of Europe’s most iconic venues (Södra Teatern, Sonnemond Sterne, Harry Klein), her take on “KILLED U IN A DREAM” is lush with intention. Where the original leaned into shadowy pop noir, her version stretches out across midnight horizons—deep, pulsing, cinematic.

Fans of moody techno will recognize the pacing: slow-burn tension that never lets go, basslines that simmer then rupture, and drums that feel like they’re ticking toward something apocalyptic. This isn’t background music—it’s an invitation to get completely lost.

With Madame Blue now in flight, it’s clear I’MMORTAL isn’t just evolving—she’s building an empire of personas, soundscapes, and speculative futures. What’s next? Probably a hologram opera staged in a warehouse rave inside a virtual forest. Or something even stranger.

Either way, we’ll be watching.

Let’s start with Madame Blue. She’s burlesque, she’s butterfly, she’s breaking out of cages. Was she hiding in you all along—or did the music unlock her?

Oh yes, she was definitely brewing in me all along. I love insects and what they symbolize in terms of metamorphosis. I’ve also been slowly dabbling in burlesque, cabaret, and dancing recently.  I’ve been taking little workshops here and there, and it’s really been unlocking the inner theater kid in me. What really solidified the persona was going to raves in Amsterdam last year during ADE. It kind of clicked that she’s this rave GoGo burlesque persona. The name Madame Blue actually came to me on the way home from a rave one night when I passed a jewelry store literally named Madame Blue. It was such a memorable little moment.  

The remix by biskuwi turns your dark-pop track into a trance-state techno spiral. What’s it like hearing your own emotional narrative through someone else’s hands—and synths?

It’s such a pleasant experience! I never imagined the track could be spun in this direction, but somehow it works so well. I love that it’s so dancey, but still feels haunting. She killed it! 

The video is packed with glitchy edits, silver Pleasers, and surreal transformation. Did you choreograph the entire metamorphosis? Or did it evolve organically on set—like a fever dream that filmed itself?

My floor work teacher Stefanie Ensink choreographed the video! She’s super talented in many genres of dance, and she also choreographed the GoGo dancing in the end of the video. We definitely had a set vision, and even had a choreography deck before shooting. I wanted it to go from floor work to the more hypnotic multiple arms effect to the GoGo dancing to mimic a caterpillar transforming into a butterfly. 

All my videos feel like a fever dream that films itself. I’ve been learning that I can have a vision for the video, but it always evolves into something slowly on it’s own. I also love collaborating and leaving room for makeup artists, the cinematographer, and the set designer to put their fingerprints on the project. I love working with different directors who can filter and shape my vision into a digestible piece of visual art. It’s important for me to give them space to shape the vision as well. There are also these wonderful moments on the day of the shoot where we capture something unexpectedly, and just keep rolling. Even in post-production, editing style, VFX, and color grading can evolve the video to a whole new level. It’s like pulling threads until we land somewhere spectacular. 

From Versace Spaceship to Killed U in a Dream, your visuals are mythic and cinematic. What’s your process for building these worlds? Mood boards and symbolism? Or pure chaos and instinct?

I usually have a single big idea for the set design and overall mood of the video (human plant garden, giant bird cage etc) that then gets expanded into a bigger idea. I have endless mood boards, decks, and Pinterest boards for all aspects. It’s best for me to be clear about conveying the idea to collaborators, and creating moldboards and planning in pre production is super important to me. The improvisation and chaos usually happens on the day of the shoot. Detailed and thorough pre production leads to beautiful improvisation and good chaos that eventually leads to a better video! 

There’s a running tension in your work between nature and the synthetic, life and afterlife. What does “rebirth” mean to you right now—in music, in identity, in art?

Something I’ve been learning to accept is the fact that my projects take ages to create. I can take anywhere from a few months to years to finish a track. Videos can also take months to finish for me. My close friends have seen me have little meltdowns over not being able to pump out videos and songs fast enough. However, I’m realizing that this is just my pace and my style as an artist. I like to experiment with new sounds and new ways to layer vocals. I like to build new worlds, and find new collaborators to work with on the visuals. Every song and video feels like a mini rebirth into a new audio-visual experience. I don’t have a set genre, but maybe my projects are just meant to keep evolving like a snake constantly slithering out of it’s own skin.

You grew up on orchestras and EDM—two worlds that don’t usually hold hands. How does that musical duality play out in your production choices? Where does Bach meet bass?

I love to process orchestral sounds to sound really synthetic. I love the stretching and smearing audio effects. You may not be able to tell right away, but a lot of my songs have cellos, brass, and violins that have been stretched and smeared.

Your sound is deeply theatrical—like each track could be an act in an electronic opera. Has your theater background changed how you approach the stage… or even the dance floor?

In true I’MMORTAL fashion, I have been trying to figure out for the past year how to approach live performances. I’m definitely finding my style, and hope to play some shows soon. I’m not a DJ, but I’m not really an acoustic singer. I’ve been learning to use the Ableton push, and it’s really great for electronic live performance. I can break down my own songs, and even process my vocals live. I also want to add a theatrical touch to my performances. I love burlesque so much, and I absolutely love fan dancing. Combining the two elements is a great start of my live shows:)

You’ve said you experience audio-visual synesthesia. Can you describe what “Killed U in a Dream” looked like to you before it became a video? Was it always blue?

The Biskuwi remix is has definitely always been blue and yellow. It’s like blue paintbrush streaks with golden yellow orbs of light floating over the streaks when the arp comes in. Feels like a light show.

Your work plays with femininity in a way that’s commanding, surreal, and often tongue-in-cheek. What does femininity mean to Madame Blue—and to you?

Femininity to me is an expression of pure creativity, fluidity, and transformation. It’s deep and dark, but also light and airy. 

Madame Blue represents how femininity can be unlocked through dance and Burlesque. She’s a Diva that is not afraid to take up space with her femininity, but also holds space for others to unlock their femininity. Recently, I’ve been having many conversations with other Asian women about how we don’t have enough Divas in our community. Many of us who are raised in traditional Asian households are taught to be modest and to shy away from the spotlight. For the most part, it’s not in our culture to grow into unapologetic Divas. A lot of us are also raised to be self-conscious of our bodies, and feel pressure to conform to impossible beauty standards. This leads to being disconnected with our own bodies. I’m saying this because this has 100% been my own experience. I was definitely not raised to embody a Diva persona. I’ve only grown into this newfound confidence a couple months ago when I started floor work dancing, pole dancing, and doing Burlesque. Dance and Burlesque has really allowed me to get back in touch with my own body. Madame Blue represents this powerful rebirth, and I hope she inspires others to undergo the same transformation:) 

If the cage is cracked open now and Madame Blue has taken center stage—what comes next in the I’MMORTAL universe? Is she staying a while, or is another persona already waiting in the wings?

She’s definitely staying for a while. I’d love to embody Madame Blue for my live performances, and for my burlesque fan acts. She is definitely making an appearance in my upcoming videos. I love when artists have different personas (Nicki Minaj with Roman and Beyonce with Sasha Fierce). There’s no one else for now, but the wings are always big enough for a new persona to emerge. They would just need to represent something very important to me:)