After years of orbiting the edges of genre and identity, rising pop anti-hero Venice Qin has truly landed in her own universe. With the announcement of her debut album, '奔月 MOONLANDING', set for release on September 19th via Sony Music Australia, and the dangerously addictive new single ‘OVERDOSE’, Venice is ready to take listeners on a journey into her beautifully chaotic world. This highly anticipated album promises to be a vibrant tapestry of humour and heartbreak, euphoria and dread, all woven together with club beats and maximalist emotionality.
We were lucky enough to chat with Venice to dive deep into the creative process behind '奔月 MOONLANDING', explore the inspiration behind her captivating new single ‘OVERDOSE’, and discuss the importance of the visual elements that accompany her music. From navigating identity questions as a Chinese-born, NZ-raised outsider to embracing club-kid confidence, Venice shares her unfiltered thoughts on her artistic evolution and what it truly means to touch down somewhere that finally feels like home.
It’s so great to be able to catch up with you again, and you’ve just announced your album 奔月 MOONLANDING is coming out September 19. How are you feeling?
"I’m absolutely BUZZINGGG — part excitement, part sheer terror. I’ve been sitting on these songs for what feels like forever, and the idea that they’re finally about to exist somewhere other than a cursed Dropbox folder is wild. I’m ready. The music’s ready. IT’S LAUNCH TIME."
What’s the journey been like since we last spoke last year, through to now?
"Honestly? Joyful chaos. High-speed, high-stakes, high-key unhinged. We’ve literally zig-zagged across the globe (China, US, Australia, Aotearoa), making music, making visuals, making memories — some more rogue than others — and somehow it all makes sense now. So strange!"
"Whether it was building the sound or the world around it, the process has felt like creative free fall in the best way. We’ve been throwing paint at the walls and trusting our guts. And I’m so thankful to’ve had the freedom and the people around me to explore it all so deeply, then come back with something I am now incredibly proud to release to planet earth."
You’ve also shared your new single ‘OVERDOSE’. Tell us about it.
"‘OVERDOSE’ was written in Melbourne with the incredible Maribelle Añes during one of the most cathartic weeks of my life. I was starting to process some messy relationship patterns — and more importantly, I was finally clocking my own toxic tendencies. Hallelujah!"
"It’s about a few of those 'situationships' I dove into head-first, even though I knew they were going to crash and burn. I love the rush, hate being bored, and sometimes chaos is just… easier. The thing I love most about this song is that I would’ve never written it on my own — it lives in a different pocket of the pop universe — but as soon as Maribelle and I started piecing it together, I was like, oh… this is it. I love being surprised like that. I love being wrong when it leads to something this incredible. I suppose, don’t we all. lol.
You always produce incredible videos and the ‘OVERDOSE’ MV is no exception. Why is the video element so important to you?
"THANK YOU! This one came straight from the wonderfully warped brain of my creative partner/manager, Benn Jae. He once described it as 'a full-throttle visual descent into a beautiful mistake', which honestly also sums up our working relationship. lol."
"We shot it in New York, in a Brooklyn brownstone that absolutely did not appreciate us setting off the fire alarm ten times with smoke machines. But that’s the vibe."
"The video and visual elements are incredibly important to me because every time I release music, I’m bringing people into a world. It’s crucial to me that people not only know what this world sounds like, but also be fully immersed in what this world looks like. Honestly, the more pieces of the world we create, the more solid it feels to me as a piece of art."
"Also, side rant: why are we letting the music video die? It’s such a core part of storytelling, especially in pop. I might actually start a campaign — #BringBackTheVideoStar. Who’s with me?"
What can fans expect from your upcoming album, '奔月 MOONLANDING?' What are the themes, sounds, vibes?
"Without giving it all away (because I love a surprise)… If my last EP, 'ALIEN', was me floating through space not knowing where I belonged, then '奔月 MOONLANDING' is where I touch down. And spoiler: it’s not Earth. It’s somewhere strange and beautiful and completely mine."
"The deep songs cut sharper this time. They took real courage. But the fun tracks? I had an obnoxiously good time making them — there’s so much joy, absurdity, freedom. The whole album is bold, bratty, nostalgic, and chaotic in a way that pop music hasn’t let itself be for a while. It’s vulnerable. It’s playful. It’s me, no filter."
"If 2022 Venice had heard this album, she’d be shocked at some of the risks I took — but also really proud. I pushed past a lot of internal “rules” I’d inherited about what I could say, what I should sound like, what kind of artist I was supposed to be. I wanted to make something that felt uniquely me. To really be seen and heard as a pop artist. That meant digging deep, shaking off shame, and trusting my gut. (Classic Aquarius behaviour.)"
"It wasn’t easy. But I had so much love and support around me while making this, and now I’m just… READY. Ready for the world to hear it. Let’s land this thing."
It's clear that '奔月 MOONLANDING' is more than just an album; it’s a declaration of artistic freedom and a celebration of embracing one's true self, contradictions and all. Venice has crafted a sonic and spiritual wild ride that is deeply authentic, pushing past inherited rules and trusting her gut. Her vulnerability and playfulness shine through, promising an album that is both deeply personal and universally resonant.
With the countdown to September 19th well and truly on, fans can expect an exhilarating journey into the unique and unforgettable world of Venice Qin. For more, stay connect with Venice today on Instagram, Facebook, and X.
