The solo project of Milwaukee-raised musician Kirstin Edwards has existed in many forms since its inception, each one building toward the version we hear today. After years of cultivating her craft in Berlin, Edwards finds herself not torn between her home and her hometown, but rather serving as a musical link that connects two otherwise unrelated parts of the world.

On Sept. 26, Queen Quail made an official debut with the release of her first single, “Last Night,” which was an early preface to the “Narcissus” EP, due out Nov. 18. But before all that, Edwards was kind enough to answer some questions about the project.

YY: “Last Night” is your first official release, but it’s not exactly your entry into the world of music. What do you think sets this new music apart from what you’ve done previously, and how do you view this transition or milestone in your career as an artist?

QQ: When I first started making music, it was a really isolated process, just me alone in my bedroom. Now, I feel more plugged into the music community in Berlin. You can also actually hear my voice. I’m not hiding behind a bunch of reverb. I think this is a milestone for me because, in general, I feel like I am bringing a greater sense of presence and intention to my life and career as an artist.

As a musician from Milwaukee based in Berlin, do you feel any disconnect from your early inspiration, or do you find that the separation lends itself to your creative process in a way?

The distance from Milwaukee definitely lends itself to the creative process. I appreciate the music I grew up on and my hometown more and more the longer I am away. When I first moved to Berlin, I was so focused on immersing myself in the newness of my environment, listening to a lot of electronic music, but I’ve started to circle back to and really appreciate early inspiration, especially guitar music.

Similarly, what differences stand out to you between being a musician in the American Midwest versus in Berlin? How do you connect these different worlds in your mind?

In Berlin there’s a bit more formality, and maybe stronger infrastructure to support artists. My experiences in the Midwest were more DIY and community-driven. The indie scene here isn’t huge like in New York or LA, so there’s a similar sense of appreciation for shows and supporting other artists that reminds me a lot of Milwaukee.

Your debut single, "Last Night," is described as gentle and light yet deals with difficult themes, like identity and loss. How do you think you reconcile this contrast in your music, and can listeners expect more of the same on the forthcoming EP?

I think the softness and gentleness in my songs is a really safe medium to engage with these heavy thematics. The rest of the EP definitely dives into some pretty heavy stuff, but I think I tread carefully, so hopefully anyone listening feels held while listening.

For a time, you were very intentional about trying to write a song every time you sat down to play guitar. In what ways do you think this practice helped you, and how might it have held you back?

I learned this from my bandmates from a group I was in briefly in 2021. I tend to think of writing as an automatic process, where the less thinking you do, the better. But sometimes a little more active thought can bring an interesting chord change or perspective. There’s no right or wrong. But what feels most natural for me is turning off the brain and trying to let the unconscious say what it needs to, and in the last few months, I’ve turned back to this approach.

What emotions are you feeling at this stage in the release process, and what are your hopes for how this single and EP might be received?

I’m excited and relieved. It's taken some time to get to a point where I am ready to release my music. I’m so glad the time is finally here. I hope people feel held while listening and find what they need out of the tunes. Maybe they even want to sing along.