Saisha Hayes Investigates Intimacy in The Digital Age on Hypnotic Sophomore Album ‘Prozac’s Posterchild’

Last month, London-based Indo-British artist Saisha Hayes dropped her 11-track second album Prozac’s Posterchild. In this interview with Rolling Stone India, Hayes takes us deep into the album and how it came about, as well as what she’s got in store for the future.  

When did Prozac’s Posterchild begin to take shape? 

The concept of the album actually came about four years ago. The album came together this summer while I was in Nepal. Looking out at the mountains from my apartment in Sanepa, I started finishing all these songs I had been sitting on for years, as I felt that there was enough distance between me and the events and feelings I had gone through to put them to music. It was like I had the space I needed to process and put them into my art. I think this distance is what enabled me to be so vulnerable in my songwriting.  

What can you tell us about the songs on the album? 

This is an album that is wholly social commentary. It mainly investigates intimacy in the digital age. Prozac’s Posterchild explores nuanced takes on all aspects of intimacy, from romantic partners to family to even one’s self. Since I’m a member of Gen Z, I was really interested in exploring how the Internet changes our relationships with people and ourselves. This album touches upon a wide array of subject matters, from dating [‘Cold Sheets’ and ‘Boy from the Internet’] to grief (‘Nani’) to mental health (‘Pressure’ and ‘Life Advice) to how social media enables individuals to construct their identity (‘Digital Girl’).  

This album is also interweaved with voice notes from my friends and has monologues where I break the fourth wall. I wanted the album to sound and feel like one was floating around in my consciousness. I tried to establish this sonically by having music that sounds spacey – sad synths and swirling guitars accompanied with harmonies in reverb, pulsating drums of the membrane. [The album has] lots of crescendos that build up tension and then climaxes.  

Prozac’s Posterchild was conceived when I was going through a really difficult time in my life, and I’m just so grateful that I kept going. I hope this album helps people feel less alone. In an age where our highlights are constantly showcased, I thought it was crucial to create something that was layered and explored every emotion – including negative ones. I have found that in the larger society, art is the only platform that accepts sadness, anger and difficult emotions.  

What was the recording and production process like? 

I recorded and produced everything in my home studio. I would listen to the songs on my iPhone as I roamed the bustling streets of Kathmandu, and would bring a notebook with me to my favorite coffee shop, Java, and just scrawl lyrics over my notebook and record voice notes if I had an idea for a melody. Then I would go home and work on those ideas. Since a lot of these songs are from a couple years ago, I would look at archival footage on my mom’s hard drive so that I could get back into that headspace and finish this album.  

What’s next for you? 

I performed my first ever gig at Basecamp in Sanepa, a diplomatic and expatriate residential area in Kathmandu. Basecamp is kind of seen as this happening place, so the fact that I got to play there for my first time was quite special.  

Stream ‘Prozac’s Posterchild’ on Spotify below: