Cillë Unveils New 4-Track EP ", but you can call me silly!"

Danish-born and New York-based artist Cillë has a knack for combining wit, candor, and bold Pop-Rock energy. Since her 2022 breakout single “Mom, Am I From Outer Space?” she’s explored feelings of alienation and belonging with a mix of humor and honesty. Her debut EP, ", but you can call me silly!", expands on those ideas, presenting four tracks that balance self-awareness with unapologetic fun. The title itself plays on her name — “Cillë” is a common Danish nickname for Cecilie — with a tongue-in-cheek umlaut added as a nod to her heavy metal influences. It’s an opening gesture that says much about her style: playful presentation with substance behind it.

The project comes to life thanks to a collaborative team. Produced by Benjamin Hull, with vocals tracked and engineered by Kelsey Warren of Blak Emoji and mastered by Joseph Freeman, the record has a bright, full-bodied sound. Synth riffs sparkle, guitars roar, and drums drive each song forward, while Cillë’s striking vocals command attention throughout. The arrangements are expansive yet uncluttered, giving the music a polished sheen without sanding away its grit.

Themes of otherness, empowerment, and self-acceptance thread through the release. Songs like, “Neon Trooper”, and, “Champagne Punk”, lean into eccentricity, celebrating the oddities that make someone stand out. Instead of smoothing those differences, Cillë embraces them, creating music that invites listeners to do the same. It’s a form of what she calls “odd ball-empowerment,” and it forms the emotional backbone of the EP.

Dream imagery also plays a role, as it has in her earlier work. On “All the Haters Are Dead,” she envisions a deserted, post-apocalyptic landscape, where being alone brings both freedom and sorrow. The dual emotions at play — relief on one hand, isolation on the other — highlight her ability to capture complexity without overloading the song with weight. “Reckless Hearts” explores love and its inherent fragility. With lines like, “the higher we fly, the harder we fall,” the song reflects on intimacy through the lens of past heartbreak. Instead of despair, though, there’s a tone of acceptance, acknowledging that risk is part of connection. This lyrical frankness is typical of the EP: Cillë pairs bold, catchy production with words that reveal vulnerability.

Across the four songs, the EP maintains momentum while shifting moods. Some moments glitter with pure pop-rock adrenaline; others lean into introspection. The sequencing ensures variety without sacrificing coherence, and the sound consistently feels like a vivid soundtrack to navigating life’s chaos. Cillë has described the collection as her “fun songs for the end of the world,” and that description fits — it’s music that manages to be both escapist and grounded.

What elevates the project is Cillë’s willingness to embrace contradiction. She’s openly questioned whether this set of songs might feel too light for the times, yet recognized that overthinking was stifling her creativity. By letting go of the pressure to appear serious, she’s delivered a record that feels honest. Some listeners may take the songs at face value as playful, while others will find the deeper threads running through them. Either reaction is valid — and both speak to the EP’s layered design.

Ultimately, "but you can call me silly!", is a confident introduction from an artist unafraid to blend humor, heart, and sonic punch. It’s a compact release, but one that showcases range: from post-apocalyptic musings to love’s hard truths, from playful synth flourishes to roaring guitar lines. More importantly, it establishes Cillë as a songwriter who can make music that entertains while reflecting genuine emotional stakes. If this debut is any indication, she’s poised to keep surprising listeners — and to prove that “silly” can also mean smart, sharp, and full of life.