The Head of Knights – the beautiful new vocal single from Polish-born, Berlin-based musician, performer, writer and model Vincent Littlehat – is released today via her newly formed label Littlehat Recordings.

A mesmerising slice of thought-provoking, introspective alt-pop and the first in a series of singles to be released over the latter part of this year and early in 2023, The Head of Knights is about a temporary change in perspective; from being an actor in the live events space to becoming a wider narrator of summed up experiences. This new position enables learning from all kinds – positive as well as painful – recognizing that wisdom comes from synthesizing both aspects of reality. 

We sat down with Vincent to discuss musical influences, growing up in Poland, her creative vision for Littlehat Recordings and more.

Hi Vincent and a very warm welcome to We Own The Nite! How are you today?

I’m glad to be interviewed by you and to share my perspectives with your readers. I just landed in Corfu where in an hour I am starting a one-week afk retreat, digital detox. Right now I am very tired and ready to have some peaceful days.

Tell us a little bit about yourself, your Vincent Littlehat artist project and your label Littlehat Recordings.

Vincent Littlehat is my artistic persona. It gives me the possibility of not taking so seriously identification with the given social roles, seeing all of them from a detached perspective – which allows modifying them, in order to make life saner.

I’ve been born into a social constellation which was quite challenging. Since I am aware that I hold some potential to decontextualise and make life experience less alienating or exhausting for myself and other humans who are in a complex situation. In my lyrics I question why do we do what we do and if we really have to act as we’ve been told. Or if there is a way to find, perhaps a slower and more attentive way to be. Ever since I’ve been learning about human mind and reflecting on mine and others psychological constructs I get better at noticing solutions which bring me ease and stability.

I’m glad to point at them and talk about them, being aware that my preferences will not fit all, but maybe inspire others to look for theirs. I believe we can move individually, towards what everyone finds to be good with and productive at so can naturally thrive in their individual culture. Collectively benefit from an acceptance that we are all different and can re-discover that – if given the time and support. These realisations are very simple, so it’s easy to overlook them, I forget about them all the time, old conditioning is very strong. Conquering generations of being programmed by propagandas which are hard-wired within the neurological system and disguised as a personal voice. I sense these coming from religious imprinting to be the most vicious.

My lyrics have often a functional role, they are summaries of my realisations (or of people whom I find inspiring) which I’d like to accompany me and not be forgotten. In my songs there is a wise part linked with the emotional part to awaken the embodied, emotional intelligence.

What’s your creative vision for Littlehat and how would you describe the style of the label’s output?

As an artist, I am interested in growing what is nurturing. I’d like to take time and resources in near future for supporting sustainable solutions for the mundane side of living too. I’d like that the culture I create reflects the down to earth’s priorities, clarity in the mind within and between and a clarity of the water and food we consume. I wouldn’t like to be focusing on a growing following that offers short-term excitement of being applaud or living in a luxury. I am a simple person, with needs that I try to keep to be quite modest. I believe that certain levels of competition is a beneficial stimulation for growth but I see how it can get out of balance and easily become a destructive influence. That’s why I support the idea of decentralization, which is re-narrating digital success from ‘being the best in the world’ – in order to feel fulfilled – to ‘being the best locally’, respecting the successes of the competitors whose well-being I am also depended on while taking turns in being the best. Then we all can take turns in taking rest from the intensity of sustaining and digesting the successes.

I am interested in engaging with things that are more local, even online, so the reference points are not defragmented and multiplied (and their impressions overwhelming). I’m starting now to distribute my work in Web3, connecting directly with collectors and supporters. I’m learning how to exist in this new to me space thanks to Nifty Music Academy in which we are taught how to handle these new markets. We act as a group of creators who support and directly learn from each other.

I would like to dedicate myself to having an honest conversation with my listener. That’s why I find it interesting to distribute my work in web3 and hope that my collectors will directly feedback on how what I share influences them, which will shape the next creation. I’d like that what I repetitively tell myself and others through songs and videos has good substance, not only entertaining or addictive components. Because I am the most engaged listener of myself. I consume my words whenever I practice and perform. I want them to be nutritious, sobering meals for my head. I hope to attract those who’d like to be challenged for the long-term benefit coming from working on self-sabotaging habits and unlocking their emotional side, for clearer communication with oneself and effective communication with others. Starting with an observation of my internal conflict, through lyrical and audio-visual work, I design a journey of my reflections on a universal problem of self-worth and placement in society.

What’s your creative vision for Littlehat and how would you describe the style of the label’s output?

When I start making music I found a spiritual home in my lyrics, in my music, in the landscapes of sounds, in my studio and therefore I had to build a house, a satellite to broadcast my message without distorting waves of interfering sources. I interact in small groups. I develop ideas, collaborate eg. with a photographer, or director, or producer. My work benefits by working in small units. I only want to complete what I have successfully established in the creative process and I enjoy getting to know all sides of this art form in order to reach my listeners directly without many intermediate stations.

You have an amazing new single release ’The Head Of Knights’ coming up at the end of October. What can you tell us about the single?

“The Head of Knights” is about shifting ones’ perspective of an actor, caught up in events, to that of a narrator; perceiving the action from a wider field of view. Thanks to this repositioning, one can collect reacher observational data and overcome the fear of experiencing pain that comes from feeling judged. It changes the relationship with one’s suffering from a sense of apprehension to confidence in overcoming adversity.

Will there be a music video?

Yes, there is a visual interpretation of the lyrics.

(Almost) everything was filmed backward, I always liked to watch videos based on this concept and now it fits well with what I want to say.

The imagery of the music video seeks to inspire viewers to re-contextualize the difficult moments of their life within the larger narrative of their complete lifetime. Temporary circumstances are fleeting and being able to see past their momentary urgency lends perspective to the whole.

Do you get particularly involved in the creative direction when it comes to content creation for the label?

I am involved in every part of the planning, content creation, and execution for the label.

Please can you talk to us about the music scene where you grew up.

I was not very well connected to the music scene in Stettin. Although my favorite musician was born in my hometown, I haven’t had a chance to see her perform there. I had not experienced many live performances apart from some school initiatives. I know there is a lot happening culturally in my city; it just wasn’t my priority to attend these performances while I was growing up. My favorite artists were already deceased or didn’t tour in smaller cities so I received them through my headphones.

When did you fall in love with music? Any early concert-going memories or stories you can share with us?

I have only one memory like this. When I was about six years old, my mom took me to visit a performance by a singer for kids, which made a very strong impression on me. I remember very vividly announcing to my mom that since we have the same first name, I became a singer too one day. My interests were more steered towards circus performances, magic shows, and acrobatics instead of music as a child. I’ve rekindled that interest by studying different books on magic (inspired by some positions as 100 books of Bowie).

Some of these concepts are conveyed in my lyrics.

What else do you have coming up between now and the end of the year? Any more exciting solo projects you can talk to us about?

I have prepared a number of singles which are going to be released every 6 weeks. If everything goes well I’ll have another one going to be released this year, with production from Robert Koch.

Vincent Littlehat – The Head of Knights is out now via Littlehat Recordings