Today we premiere a music video by the emerging experimental sonic force that is Mind Mirage, a creation of solo musician and producer Ana Cuevas. “Snuffed Gaslight” is a visual representation supporting Mind Mirage’s forthcoming debut album, Chaos Carousel, releasing March 1, 2024 on Psychic Eye Records.  In the video, Mind Mirage seems to navigate the interface between the ominous and sinister outer world that can be found in the most toxic of relationships, and its counterbalance in the potential calmness of the inner world that is driven by one’s true nature and nature itself. Directed by Ricky Marler (known for their mind-bending Bedroom Witch videos, amongst countless other projects), “Snuffed Gaslight” has Mind Mirage spinning amongst the shadows of tall redwood trees and yet grounded upon the earth.  A masked Mind Mirage repeatedly flickers in and out of frame, as if suggesting that the authentic self is a powerful glitch resisting entrapment within a projected system. Like the video for “Snuffed Gaslight,” Chaos Carousel seems to sonically ebb and flow fluidly through many emotions, throughout the album and within each individual song. Here, we talk with Mind Mirage about both the video and her forthcoming LP. 

What was your inspiration for the “Snuffed Gaslight” video, and how was it similar or different from the inspiration of the song itself? 

I was very drawn to show this Ohlone Land’s enchantment through the rejuvenating energy of the redwoods, and I feel that the transformative theme of the song is reflected in this video’s translation.

How did it feel to move the “Snuffed Gaslight” concept from the sonic to the visual stage, and did working with it in a new medium change your perception of the song?

It was really exciting and inspirational, especially as my first music video ever. The process was like breathing new life into the song. I realized how much subtle but intentional contrast was woven into the song, which left me feeling even more triumphant about its lyrical resolve.

Regarding Chaos as this album, it seems like part of my music path was to pour my all into the Muse before the gateways of inner transcendence and external movement were opened to me.

Musically, Chaos Carousel takes us from tense reflectiveness to anger and confusion to tranquility and hope, starting with the first track, Mutt Alchemy. What went into the arrangement of these songs?

At its core this work was made out of the necessity to extract an immense amount of trauma that had become pretty debilitating. My personal growth through ancestral divination and plant medicine the past few years kept leading me back to music being not only my main form of expression, but also vital to recovering from much psyche damage, so I followed that inner-song.

The title Chaos Carousel implies a fearful and fast-moving atmosphere of confusion, but the album offers many instances of solace and a meditative energy.  How does meditation and slow movement fit into the theme of chaos?

It’s very affirming to be told that the album’s vibe offers solace; I’ve had a bit of people tell me Mind Mirage is sonically quite meditative, which I find interesting because when writing Chaos Carousel I’d only meditated a few times in my life — Serendipitously, just a few days after I finished mixing Chaos Carousel, my reiki guide at the time suggested I start daily zen meditation to begin repairing my neurotransmitters from CPTSD – I’d tried several therapists and lots of psychiatric medications prior, but zen meditation’s focus on just the breath was the wellness tool that catalyzed my nervous system’s long journey back to homeostasis. After nearly a year of regular zen meditation, last Spring I transitioned into daily Transcendental Meditation (TM), which alleviated a bulk of chronic stress as well as ignited a well of inner visions. Ten months into my TM practice, I segued into my new hypnosis interest thanks to the webinars of Dan Barrett, a fantastic songwriter and compelling performer. Before integrating those mind practices, I’d already embraced the catharsis that can come with dancing slowly, first to others’ music, and eventually embedding instinctive slow movements into my performances. With the theme of chaos itself, I think that learning to live slower and also finding what puts you in a flow-state, even if not making art or doing traditional meditation, will help you emotionally survive and maybe even thrive in this reality where chaos is innate. Regarding Chaos as this album, it seems like part of my music path was to pour my all into the Muse before the gateways of inner transcendence and external movement were opened to me.

You’ve written music under many monikers, settling in the last few years with Mind Mirage and this work.  What led you in this direction musically?

Though I’ve had a rock band before and still listen to a bit of rock, I’ve also adored a good bit of dark moody electronic music since my late teens, thus I’m committed to honoring where I’m at when the songstress touch passes through. I still write on guitar, and not to give too much away – future Mind Mirage will stoke that fire.

If there was anything you’d hope listeners would take away from Chaos Carousel, what would it be?

To accept that shadows, literally and metaphorically, are a part of us – to learn to play with them.