DeVita has always been fated for music, she even says it herself. “It was very natural for me, almost like fate,” she tells Bandwagon.
So, when the Korean-American singer signed with AOMG—which she shares is the most memorable moment of her career so far—it was as if it was the final piece to a puzzle that’s been a work in progress.
DeVita grew up in a musical family, where lullabies were nightly rituals and instruments were scattered all through the house.
Growing up, the singer found her way through on her own, discovering albums like Blur’s Parklife and Gorillaz’s Demon Days, which changed her life. When asked about her favourite artists, she shares, “Damon Albarn is my musical hero, his music sounds so effortlessly good and that’s what I strive for. During my teenage years, I really got into Kanye West and Frank Ocean as well—their music had a great impact on me.”
Taking inspiration from an array of artists and genres, DeVita has never found a sound that quite fits her. And, she doesn't intend to. Never wanting to restrict herself or her artistry, the ‘1974 Live’ hitmaker prefers to go with the tides when it comes to her musical identity.
“Honestly, I’m still trying to figure it out. I’ll let you know when I know for sure, but for now, I’m just as lost as you are,” she says on her persona as DeVita.
“I wouldn’t describe [my music] as well, I don’t like putting my music in a box. Some people might call me an R&B artist, but I wouldn’t. You’ll know what I mean in the coming years,” she adds.
Like most aspiring artists, DeVita started her musical journey online, uploading her original tracks to SoundCloud. Eventually, the right track found the right people and cascaded into the fruitful career she has today, as an artist under one of Korea’s most notable labels with a collection of globally acclaimed songs.
“I did everything in my way, and I wouldn’t change anything about it. My advice [to myself] would be, ‘don’t second guess and never doubt yourself because you’re on the right path’,” she says, looking at how far she's gotten.
While DeVita has lived an eventful and undeniably interesting life of her own, she has an affinity for bringing in the lives of others into her music.
From an Argentinian former first lady and activist Evita Perón to regular ol’ American families, the singer-songwriter has a way of translating their stories into regal melodies that feel intimate and tangible.
DeVita—who even takes a part of her stage from Perón—has been doing this since the start of her musical journey but her love for interpolating people’s lives in her songs fully takes form in her newly released sophomore EP, American Gothic.
Taking life after the '90s romance classic American Beauty, the record centres around perspective, where each track can be viewed through the eyes of any character from the Sam Mendes-directed title.
You see nuances of the film in every aspect of the entirely conceptual EP. From the not-so-subtle call out to the movie’s Buddy Kane and album artwork to the deeply embedded storylines into each song, American Gothic plays on the movie’s themes of love, growth and redemption interpreted into daily life.
“I wanted to paint a picture that is a tragedy seen in closeup and a comedy in longshot,” says DeVita.
The EP spans seven tracks including a collaboration with Jay Park titled ‘Cheese In The Trap’ and her lead single ‘Bonnie & Clyde’, the latter of which comes as the singer’s favourite song off the record.
“I still can’t believe I wrote ‘Bonnie & Clyde’. It’s a beautiful piece. When my team TE RIM and Oov showed me what they did with the track, I was like ‘Yes, this is it!’. As a songwriter, I feel quite proud,” says DeVita.
Serving as the follow-up to her well-received debut EP CRÉME, American Gothic is a reflection of what she has lined up for the future and the artist she’s slated to become. Elegant, expressive, and ever-evolving, DeVita
“My goal is to have my name written in history books. To be so influential that you can’t talk about a century without mentioning me.”
Listen to DeVita's American Gothic here.
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