Straddling the worlds of club music and avant-garde fashion, COBRAH is an experimental pop visionary who brings her own shadowy, latex-filled vision to life. The Stockholm-based singer, songwriter, and head of the GAGBALL label has slashed her way to global recognition with stylish, bass-rippling hit anthems - from “GOOD PUSS” to “BRAND NEW BITCH” and “FEMININE ENERGY”- that celebrate her subversive view of sexuality and tongue-in-cheek confidence. After releasing a trio of critically acclaimed EPs that have brought her fantastically brutal performances to venues worldwide (the latest being 2023’s Succubus, which earned a Swedish Grammi) she presents her debut album, Torn.  Written and creative directed entirely by COBRAH herself, Torn matches her most vulnerable songwriting yet with cutting vignettes of provocative grandeur and high-impact production. With its catwalk-ready basslines, clashing electronics, and hushed vocals, Torn is a multidimensional self-portrait that’s at once raw and theatrical. “With Torn, I am way more ‘me’ as a person, the songs pull from my real life. It’s a little bit scary,” COBRAH says. “I love doing characters. I love making things up and being extreme - and I’m still doing that on this album - but I’m also peeling it all off and presenting my real self as a character.”  The album blasts open with COBRAH baring her skin on “Torn,” which showcases the discomfort that comes with emerging into a new, unfamiliar version of yourself. “I leave it all behind me,” she sings, as metallic synths stutter as if they’re flashing strobe lights or the vertebrae of a spine being pulled apart. “I was trying to explore a new sound,” COBRAH says of the track. “It feels like something’s tearing when you want to stick to something that you know you’re so attached to, that feels so ‘you,’ but you also want to develop and move on.”  Hence, Torn sees COBRAH stretching herself vocally, an even sultrier evolution from the sexy sing-speak she showcased on bangers like 2022’s “MAMI”, that goes hand-in-hand with her newfound emotional vulnerability. “I have a melodic language that I haven’t used before until now,” COBRAH says. “Before it was too personal for me to show it, I didn’t feel strong enough.” But with the song “Hush,” she allowed that melodic intuition to guide her while improvising a topline that unearthed a story of teasing and denial. “It’s about meeting someone in the club, that early phase of attraction and you can’t really talk, but it’s all really suggestive,” she explains. “The song has that energy of holding back and giving back-and-forth.”  This interplay between guardedness and opening-up reaches an apex on “Dog,” a song that COBRAH says “breaks the softness” of the other tracks. On one hand it’s signature COBRAH: “it’s a ‘fuck me’ song, there’s no singing, it’s quite rough and graphic,” she says. But when reading deeper past her dominatrix delivery and gothic production, it reveals her admitting something she’s never expressed before on a song: her true desire to settle down with a lover and be with them until the “grave.”  With her exacting sense of curation, COBRAH invited back her trusted collaborators Isac Hördegård and Hannes Roovers, whom she’s been working with since her debut 2019 single “IDFKA”- while also branching out by working with the likes of Illangelo (the Canadian producer best known for his work with the Weeknd), Machinedrum (the longtime California experimentalist), and Tove Burman (who co-wrote Rosalía and Lisa’s hit “New Woman”). For the album cover art, she enlisted Australian dressmaker and prosthetic artist Julian Dimase to create a custom latex piece that symbolizes the project’s transformative nature. “I’ve picked everyone that works on the project with me, all of the music and the visuals,” COBRAH says. “It’s very fun, but also very intentional.”  Fetish has been crucial to COBRAH’s identity since she first slipped on her first latex dress while doing a photoshoot as a music student in Stockholm. “It was this perfect mesh of what I wanted to feel like: this strong and powerful person in charge, but still very feminine and womanly,” she recalls. Around that time, she began performing in sex clubs and writing the first tracks that would appear on her 2019 debut EP Icon: rubbery, intense, sex-positive works that launched her instant breakthrough. COBRAH followed up that success with her 2021 self-titled EP and a handful of smash singles, including 2022’s “Brand New Bitch,” which was used prominently in Yorgos Lanthimos' 2024 film Kinds of Kindness starring Emma Stone. Upon releasing her 2023 Succubus EP, she brought her wicked stagecraft to festivals across the US, Europe, and Australia, including Pitchfork Festival London and Paris, Brooklyn’s Ladyland, and Wildlands Perth. And her musical world has only grown through collaborations with fellow alternative icons Ashnikko, CupcakKe, and LSDXOXO, as well as remixes from techno heavyweights VTSS and MCR-T. The COBRAH universe is only set to expand further through collaborations with Grimes (“We align very well, musically and artistically… She also has a world in her head that she needs to bring out”) and the Brazilian pop icon Pabllo Vittar. She is also rapidly becoming a fashion icon, turning heads at the 2025 Paris Fashion Week shows of cutting-edge designers Matieres Fecales and Dilara Findikoglu. These explorations will all come to a head during her debut at 2026 Coachella festival, which will blur the lines between performance art and pop theatrics.  As COBRAH prepares to bring her gag-worthy live show again to stages across the globe, she’s eager to shed more of her skin with her audience: outsiders who understand what it means feel like a freak and truly own it. “You feel like there’s a connection happening,” COBRAH says. “You see your people, the people you resonate with. Performing on stage, that’s why I do all of this.”