Juno Rylee Schultz” … you can put bangers on there and still say something.”
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Words, research, and edits: Juno Rylee Schultz (she/her)
Research and edits: Kylie Tuinier (she/her)
Edits: Bex Stump (she/her) and Nathan Miller (he/him)
Elijah Myles just released his latest album, The Catharsis, and made some time to talk with me about the creation process behind the project, as well as what he’s doing next.
In our follow-up conversation we talked about the tone of the album, his next two projects he’s currently working on, and how people should leave artists like André 3000 alone to experiment and live once they’ve given the people some hits.
I asked him to talk to me about the themes and messaging on The Catharsis, including where his mind was; he said he’s been looking out the window, at the world, at all the metaphorical fires spreading everywhere from hatred.
“I was trying to balance personal, political, and family on The Catharsis. So like ‘When Doves Cry’ was for family; ‘Huey P.’ obviously political; and then ‘Flock Cameras’ is everything.
‘The Catharsis’ was about being introspective, with this being the catharsis, it was mostly about venting. Feeling angst, even from a religious perspective. The world’s on fire type shit.
It was important to me, opening the album with suicidal ideation. I wanted to announce that I’m here to talk, like J. Cole and Biggie setting the tone for the project. It was all about catharsis and venting.
‘Therapy’ was important to frame as a therapy session. I nearly cried writing that song. I got my home girl to play the therapist, she really tied the concept together.”
Elijah said the messaging and the art are both equally important, but that music videos and good music are what leave an impression, and ultimately a lasting legacy.
He said that Michael Jackson’s Thriller influenced the pacing and length.
“My last project was like 22 songs, and it felt important to be brief this time. Plus, like Bruno Mars said: “If I don’t get you in 8 tracks, I’m not gonna get you in 28.”
“This album was about venting. The next two will be love songs, and then just bangers.”
Elijah believes “the beauty of art is you create and people gravitate toward it if they like it.”
He says “there is no good art or bad part. There’s just art.”
“I feel like, you know, Kendrick Lamar, being one of my biggest inspirations, you can put bangers on there and still say something.”
“It has to be authentic. It has to be from your world and perspective instead of being just another clone imitating everything. There’s less respect in just trying to say you can be just like somebody else.
Creating a visual identity with the last few projects was really important to me. I’ve really been trying to up my music videos. There is nothing more iconic than a great music video.
Like, I grew up watching 106 and Park. That was why I first wanted to be a rapper. I HAVE to have good music videos.”
I tell Elijah that I wish more people saw rap as art, instead of something lesser in their minds.
He talked to me about how proud he is to be a rapper, and how he believes it’s not given enough credit for how lyrically deep the music is.
“I love to attribute lived experience with being a rapper. The modern rapper has to represent so much more in life to still be considered beneath the average pop singer.
“Rappers have to say more. We have more space to fill. (sings the beginning of “I Will Always Love You” by Dolly Parton) (laughs) You know? There’d have to be a lot more words with those notes if it was rap.”
“I take pride in being a rapper, an emcee, it’s cool if people think it’s cute to call me an artist, but I’m a rapper, and I’ll carry the torch just like the n*ggas before me.
In 2026, rappers are getting pulitzers for this shit. There’s nothing anyone could say to make me feel shame for being a rapper.”