Swedish artist Ellen Benediktson returns with WID4L, a five-track EP built around obsession, jealousy, self-deception, and emotional impulses left deliberately unfiltered.
Arriving via Icons Creating Evil Art, the project pushes past Good Girl into sharper indie-pop and electro-pop territory — heavy bass, gritty guitars, bold choruses, and a red-stained visual world that hits physical, not decorative.
At its centre sits Only Lovers, where romantic suffering turns euphoric, addictive, and hard to quit.
In this FM PRO 10Q, Benediktson breaks down instability, visual discomfort, production tension, post-Eurovision identity, and why WID4L had to feel beautiful, volatile, and unapologetic.
I saw a lot of Eurovision artists struggle to keep any kind of momentum, me included. Everything is built around your one song in the competition, which can set artists up to flop afterwards.
Q1.WID4Lleans into emotional impulsivity rather than trying to clean it up. What made you want to build the EP around that unstable space?
I think songwriting is this space where you can admit to the ugly feelings you wouldn’t talk about otherwise and it’s a way to get them off your chest. I’ve always been drawn to art that has some darkness and grit in it, that makes you feel a little unsettled and uncomfortable.
Q2.The project moves through obsession, jealousy, self-deception, and self-awarenessthat still doesnothingto stopthe behaviour.How personal did that emotional cycle feel while writing?
All art is personal. Songwriting is a way to process emotions and also to stretch into emotions you might be a little afraid of. I write about unhealthy impulses so I hopefully don’t act on them and implode my whole life. At least that’s the idea haha
Q3.Red runs through the visual world ofWID4Lin a very physical way. What did that colour allow you to express that the songs alone could not?
I think such a visceral color amplifies what the songs are expressing. It gives the songs the physical urge they are describing.
Q4.Only Loverssits at the centre of the EP and turns destructive love into something almost euphoric. What were you trying to capture about romanticising pain?
Romantic suffering can feel like an addiction, and it’s easy to feel like you need the pain because it can cut so deep and make you feel so much.I think that’s what is confusing: hurting for love is horrible but you still want it. Without it you have nothing, and that feels worse.
Q5.AfterGood Girl, this EP feels sharper, stranger, and more volatile. Did you seeWID4Las a break from that chapter or a more fearless extension of it?
WID4Lfeels like an extension, for sure. I grew bolder, more sure of my expression and it felt like a very natural continuation.
Q6. FM PRO TECH Q:The EP sits between indie-pop and electro-pop, but there is something more unsettled underneath. What production choices helped create that tension without overcrowding the songs?
I always let the melody speak first, and then you build the production around it and I think that helps to create something that supports rather than lays on top. We were trying to keep my signature heavy bass sound and gritty guitars while still pushing the limits and being more playful.
Q7.You have spoken about artists like Lady Gaga, Hayley Williams, and Miley Cyrus as forces of character as much as sound. How did that influence the way you approached this era visually and vocally?
Vocally I’m a sucker for a big chorus and big voices and that’s something I’ve always been inspired by. All three of them have such distinct voices and I’ve always been told I have a strong voice ID. I just always felt connected to them. Lady Gaga especially has created such an amazing universe too. In this EP I wanted to build out my visual world. Be more, not less, and really embrace bold choices.
Q8.After reaching a wide audience through the Swedish Eurovision stage, what did stepping away from that world teach you about creative control and personal identity?
I saw a lot of Eurovision artists struggle to keep any kind of momentum, me included. Everything is built around your one song in the competition, which can set artists up to flop afterwards. What I’ve learned since is the importance of building a personal universe that people want to join. It’s so important to build the consistency of a sound and a look. I think that’s how you find your long term fans.
Q9.The cover art makes the EP’s emotional world feel beautiful, physical, and slightly unsettling. Why was it important for the imagery to carry that discomfort?
The whole EP is about discomfort so I wanted the cover to set the stage. Flaws and weirdness are the best parts of art. It’s what makes us feel something.
Q10. FM PRO TECH Q:How did you shape the sequencing and dynamics ofWID4Lso each track hits differently while still feeling part of the same emotional world?
I think we had a very clear idea of the musical world when making the EP while still allowing a lot of playfulness and experimentation and I think that’s how we kept a red thread without losing each song’s identity.
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