Sitting in a dimly lit studio in Vancouver, the air thick with the hum of vintage hardware, you realize Shannon Hemmett is not just making music. She is building a fortress. Holding the heavy, translucent purple vinyl of her debut album, *Ultraviolet*, there is a physical weight to the ambition here. It is a record that feels like it was pulled from a neon-drenched dreamscape where synths pulse like ultraviolet rays and the city never sleeps.
Hemmett emerges as LEATHERS, a project that finally feels ready to electrify a pop landscape that has grown far too beige. Set to drop on Aug. 16, 2024, the album is a sonic journey through the liminal spaces of modern existence. It is where fantasy and reality blur in a haze of glossy beats and nocturnal atmospheres. Hemmett is a multifaceted artist with deep roots in graphic design and photography, and she has crafted more than just a collection of songs. She has built an entire aesthetic universe.
"It's been a long time coming, and we're so excited to finally have it out in the real world," Hemmett says, her voice steady but brimming with the kind of anticipation that comes from years of quiet labour. "Ultraviolet explores all kinds of contrasts: light and dark, fantasy and reality, feminine and masculine, creation and destruction. I hope people will put it on and listen to it from start to finish; we carefully considered the track order so it flows like the soundtrack to a film."
This cinematic approach to album composition is not just a stylistic choice. It is a demand for the listener's attention in an era of three-second scrolls. The flow is deliberate. But the industry often rewards the "single" over the "story," making Hemmett’s insistence on a cohesive narrative feel like a quiet act of rebellion. It reflects her holistic vision for LEATHERS, where every element—from the frequency of the snare to the grain on the cover art—contributes to an immersive experience.
The title *Ultraviolet* acts as a perfect encapsulation of the project's essence. It is a colour you cannot see but one that can burn you. Hemmett explains, "I felt it suited the nocturnal, glowing-in-the-dark atmosphere of the album."
This choice does more than just evoke a sonic palette. It hints at the hidden energies that permeate her work. Like the ultraviolet spectrum itself, her music reveals layers of meaning and emotion that might remain invisible to the casual observer. It is a record for the late-night drive, the kind where the streetlights become long streaks of white noise.
The road to this release has been a slow burn. The project’s roots trace back to the *Reckless* EP, a release that caught the ears of the darkwave underground and industry insiders alike. But *Ultraviolet* is a different beast entirely. Reflecting on the progression, Hemmett says, "The songs on Ultraviolet were written over a period of five years, sometimes more. I feel the vocals and the lyrical content evolved the most, showing more command and confidence. We've experimented with elements of darkwave, dream pop, shoegaze, and synth-pop, and we'll continue to explore those textures on upcoming material."
That five-year window is visible in the songwriting. There is a maturity here that avoids the typical traps of the genre. Many synth-pop acts lean too heavily on 1980s nostalgia, but Hemmett uses those textures as a foundation rather than a costume. She is blending genres with an artistic fearlessness that suggests she is more interested in the future than the past.
The creation of the record was a process of attrition. It was about what to leave out as much as what to put in. Hemmett is candid about the struggle to find the finish line. "I recently revisited some of the early demos, and it's wild to hear how far the songs come from the idea stages to completion. The foundation is always there, but then you have to sculpt and carve away at the details until it's done. There are so many decisions to make when writing songs that it's difficult to know when a song is actually finished. You just have to trust your gut and listen for what the song wants to be."
And sometimes, what the song wants to be is a product of sheer panic. The latest single, "Divine," is a prime example of how the pressure-cooker environment of a studio can actually spark something brilliant. It was the final piece of the puzzle, nearly left on the cutting room floor.
It's been a long time coming, and we're so excited to finally have it out in the real world. Ultraviolet explores all kinds of contrasts: light and dark, fantasy and reality, feminine and masculine, creation and destruction. I hope people will put it on and listen to it from start to finish; we carefully considered the track order so it flows like the soundtrack to a film.
Hemmett recounts the story: "Divine was the final single we completed for the album. We had the demo in progress for a few years, but it didn't have any lyrics or vocal melodies up until the very last moment. We were under some pressure to complete the song to meet the deadline for the album. Sometimes pressure is the ultimate inspiration!"
That pressure gave "Divine" a certain edge, a nervous energy that balances the more polished moments on the record. It proves that even in a meticulously planned project like LEATHERS, there is room for the chaotic.
But let’s be clear: LEATHERS is a DIY operation at its core. Hemmett is not just the face of the project; she is the engine room. She handles the logistics that would usually require a team of 10. She elaborates, "I've taken on lots of skills required to support the project, which means being my own in-house photographer, video director, social media and content creator, as well as handling any admin tasks like tour management and visa applications."
This hands-on approach is exhausting. It is the modern reality for the independent artist, where the "art" is only 20% of the job. But it ensures that every aspect of LEATHERS aligns with her vision. There is no middleman to dilute the message. It creates a brand identity that feels authentic because it is literally her life’s work.
In the studio, the balance between the synthetic and the organic is a constant tug-of-war. Hemmett treats the space like a playground, ignoring the "rules" of electronic production. "We love experimenting with different sounds and instruments all the time," she explains. "We always try to serve the song; if that means playing an original Juno-60 or recording a bunch of cutlery crashing on the floor, we'll do that."
Using a Juno-60 gives the album a warm, unstable heart. But adding the sound of crashing cutlery? That is the kind of technical quirk that adds grit to the gloss. It grounds the music in a physical reality, preventing it from becoming too ethereal or detached.
Visually, LEATHERS inhabits a world where disparate influences coalesce into a striking aesthetic. It is high-fashion meets the gutter. Hemmett describes it as "The photography of Helmut Newton meets the films of David Lynch meets the design aesthetic of 4AD records."
This fusion of high-fashion sensuality and surrealist mystery creates a visual language that perfectly complements the atmospheric depth of the tracks. It is a nod to the era when record covers were as important as the music inside. Hemmett’s background in graphic arts is the secret weapon here.
She reflects, "As a music fan, I think it's super cool when a band's visual aesthetic pairs well with their sound. Some of my favorite examples of this crossover include Joy Division/New Order and Peter Saville, Depeche Mode and Anton Corbijn, and Duran Duran and Patrick Nagel. By engaging all the senses, you can create a more immersive experience for the listener, and I definitely wanted to have that element in my own music projects."
Photography is not just a hobby for her; it is the lens through which she views her entire career. "I went to school for photography, and it's been such a helpful skill to have as a musician," she says. "I shoot nearly all the visual material for LEATHERS myself. I really enjoy self-portraiture as an art form; I feel it allows me to express myself in an authentic way."
This integration of visual and musical arts culminates in a LEATHERS Lyrics and Photobook. It is a physical artifact in a digital age. Hemmett describes the project as "really special, containing 50+ pages of original photos and design created by me. I can't wait to share it with the fans."
The influence of David Lynch is perhaps the most obvious thread in the LEATHERS aesthetic. There is a sense of "the secret" behind every curtain. Hemmett elaborates, "I love Lynch's cinematic vocabulary: the atmospheres, the jewel-toned colors, his repetition of meaningful symbols. There are secrets in his films, and I like that he doesn't give everything away to the viewer. I'm definitely inspired by that."
This appreciation for mystery is a valid artistic critique of the current pop climate, where everything is explained and over-shared. Hemmett leaves gaps for the listener to fill. It makes the music feel lived-in.
Literary influences also weigh heavy, particularly the dystopian visions of J.G. Ballard. Hemmett is interested in the darker side of our digital connectivity. She explains, "Ballard had a futuristic vision about the ways that technology would affect our daily lives. He predicted that we would eventually use technology to be seen as successful and thriving by our peers but actually be deeply miserable and morally bankrupt beneath our public-facing personas. This identity crisis and the attention economy are something I find interesting to explore in my art and music."
These themes of technological alienation resonate throughout *Ultraviolet*. It is an album about the masks we wear. Even the name of the project itself is a metaphor for protection. "To me, the name LEATHERS stands for a type of armor, something you can wear for protection," she reveals. "It's a fortress for self-expression."
Hemmett’s time as the keyboardist for the Vancouver post-punk heavyweights ACTORS has clearly sharpened her instincts. Touring the world with a band that thrives on precision has given her a perspective most solo artists lack. "With ACTORS, we tour a lot, and it's been amazing to be able to perform for audiences all over the world," she reflects. "That experience on stage has been invaluable and helped me develop a strong on-stage persona when performing with LEATHERS."
That persona is what will sell *Ultraviolet* in a live setting. It is one thing to make a beautiful record in a basement; it is another to command a stage in London or Berlin. Hemmett has the pedigree to do both.
As *Ultraviolet* prepares to make its mark, Hemmett stands at the forefront of a new wave of artists who refuse to be categorized. Her multidisciplinary approach and obsessive attention to detail promise an album that is a total sensory experience. With its blend of ethereal synths, pulsing beats and haunting vocals, the record is poised to carve out a unique space. It is a bold, dark and beautiful debut. And it was worth the wait.
