Petals In Sound, the moniker of Liverpool-based artist Louise Baldwin, has developed a signature blend of hazy deep house, atmospheric textures, and subtle nods to disco, acid, and even shoegaze. After earning early support from outlets like NTS Radio and Sloth Boogie, and releasing on respected labels such as Dirt Crew, Closer To Truth, and Boyanza Records, she now arrives on Fortunea Records with her first-ever vinyl release.

Her new EP, ‘Days,’ showcases four original tracks that push and pull at the fabric of deep house with hypnotic rhythms, intricate production detail, and a remix from Vienna-based producer Dzc. Limited to only 200 vinyl copies with no repress, ‘Days’ marks an exciting moment in her artistic progression.

She stops by for a closer look at the inspiration behind the EP, the vinyl milestone, 2026 aspirations, and more! 

WWD: Congrats on the new EP! What was the inspiration or initial spark that set ‘Days’ in motion?

Thanks for having me! Inspiration wise, I’d started fleshing out the track ‘All Night’ at the end of last year.. The vocal sample includes the lyric ‘all night long’, so I decided to build on the concept of day/ night as a theme for an EP. It was really fitting to my life at that point (and still is to a degree) as I’d not long since had my second baby. The early days of parenting and the insane lack of sleep really messes with your body clock, and you really don’t have a clue as to what time it is or even what day it is. It’s a bit like recovering from a massive weekend out but it goes on for ages, haha. Building on that a little more, the idea that parenting gives you a kind of purpose and perspective you didn’t know existed – and the strive for balancing all the stuff you did before in cohesion with looking after a family. It’s tough, but being able to channel those feelings through being creative helps loads.

WWD: The record feels hypnotic and deeply textured. Was there a certain mood or story you wanted the four tracks to convey?

I love adding texture to sounds. And it feels counter intuitive in a way, as a lot of the deep house records I like to listen to are quite sparse and minimal. I just love adding lots of pads to create a deep and atmospheric feel- it feels more like it’s taking you on a journey I think. I definitely get lost in the sound a bit when I’m making this kind of music, and I suppose I’m hoping the listener does too. As for a story- it’s definitely there on this record. I think ‘Purpose’ as the opener sets the tone of the EP off nicely; the purpose you feel as a mother, but to some degree losing your sense of self in the process. Then  leading into ‘All Night’ brings in the  brutal intensity of having no sleep when you need it most. ‘Days’ is the thing you live out juggling a million and one things whilst trying to keep your head, and ‘Most Things’ is the reminder that none of the other stuff feels as big as it used to. Like, not sweating the small stuff as much anymore if that makes sense. 

WWD: You’ve said you like to “push and pull” at the deep house framework. Where do you feel you pushed the furthest on this EP?

Like a lot of producers, I think you get into making music cause you want to try and create the sort of music that you like to listen to. But even with the biggest will in the world to try and make something that sounds like those you admire, you’re always gonna end up creating something that’s uniquely ‘you’. ‘Days’ feels like the closest I’ve got yet to really defining what my sound is.

I think your influences and life experiences are ultimately gonna shine through somewhere. I’ve always loved electronic music, since my teens, but if I’m honest a lot of my youth was spent listening to post hardcore, shoegaze and indie music. And with shoegaze it’s all about a wall of sound, big driving guitar pedals and atmosphere. So I think that’s what I mean about pushing and pulling house music in a new territory- it’s still got that 4/4 house beat and groove, and major 7th chords, but with loads of big textures and emotion.

WWD: How did the remix from Dzc come about, and what did you think when you first heard their take on your track?

I reached out to Fortunea with some demos on the basis that I’d really enjoyed a lot of their releases, and in particular  Dzc’s ‘Conversations with Birds’ record. Fortunea suggested the idea of getting Ivana (Dzc) to do a remix of one of the tracks and I was made up! I was even happier once I’d heard the finished remix. I even said to Ivana that I genuinely preferred the remix of ‘Days’ (title track) to the original! It’s super powerful and brings a whole new feel to the track. I’d love for us to work together on something else at some point.

WWD: This is your first vinyl release. What does that milestone mean to you?

It’s a pretty special one to be honest. I’ve been waiting for this moment to come since my first EP ‘Palace’ came out in 2020. To have something tangible/ physical in a digital world feels really special. Digital releases can feel fleeting, but holding your own music on a physical record—something with weight, artwork, grooves—is a whole different experience. It makes the project feel permanent, like it exists in the world beyond a screen. Not only that, it feels more like a community connection, to those that value and appreciate physical media, and it somehow makes it feel more personal and meaningful. There’s also a sense of pride, like “I actually did this.” And for me it’s fuelling the drive to make more.

WWD: You’ve cited artists like Daniel Avery, Space Ghost, and Retromigration as inspo. What elements of their music resonate most with you?

I love Daniel Avery’s sound so much. It’s got so much atmosphere and raw emotion and energy. I loved his first record and I’ve loved everything he’s done since. I know he likes a lot of guitar based music too and that really comes across in his choice of synths and pads. It’s just beautiful music. Space Ghost has a really nostalgic sound to his music, very relaxing and dreamlike. ‘Private Paradise’ is my fave- love all the sounds and textures and the almost improv/ jam feel his music has.

As for Retromigration.., he’s just incredible at what he does isn’t he? It’s a blend of classic and modern house with the jazzy grooves, soulful chords and intricate rhythms that just tick the box for me. I love how he pulls in multiple genres simultaneously yet the sound always remains truly his own. I love everything he puts out – but his debut album  ‘Straight Foxin’ on Wolf Music has been a big influence for me. 

WWD: How has relocating from South East London to Crosby affected your creative output or listening habits?

Definitely has. When I lived in South East London, I had infinite amounts of time to just make music, practicing DJing, whatever really. But having kids changes every aspect of your life- in the best way possible, but yeah, time for yourself isn’t as easy to come by. My kids definitely play a big part in my creative output though- they’re an influence on what I write about, and my eldest’s vocal is even on one of the tracks! But yeah, moving from the city to the coast has given me a wealth of inspiration of stuff to write about but the output has to be less at this point in my life cause I just can’t do both at 100% all the time. I don’t think my listening habits have changed too much- I listen to just as much music as I’ve always done. We have NTS on the kitchen pretty much all the time and my kids will pull a record off the shelf which we’ll listen to whilst playing. It’s bloody lovely to be fair. 

WWD: Your catalogue spans labels like Dirt Crew, Closer to Truth, Quantize, and more. What do you look for when choosing where to release your music?

I’ve learnt so much over the past 5 or so years about working with labels. Honestly, some experiences have been amazing, and others just disappointing! I think as a producer starting out though you have to start somewhere, and the lessons you learn provide you with the tools and knowledge to know what to look for/ what to avoid. I know now that I want to work with labels that really value their artists and are a little community in their own right. The labels that stand out to me have got a certain sound, aesthetic (artwork/ logo etc) and are already releasing artists I admire. My plan for 2026 is to carve out a more regular release strategy and pick up on tools I’ve learnt in recent times to get more music finished quickly, not just from a production / technical perspective but from a mindset that recognises when a track is done.

WWD: Your music has been championed by NTS, Rinse FM and Deeper Shades of House. Has that kind of support influenced how you approach new projects?

A little bit. It’s validation isn’t?! Knowing that these well revered platforms are supporting you goes a long way. I’ve had a few plays from all of those outlets, but not necessarily everything I put out will get that kind of support, so it’s motivation for the next release, and the one after that etc. The feedback on the ‘Days’ EP has been so good, and I’m hoping that support carries the weight for more people to hear my stuff. 

WWD: How does DJing inform your productions? Are you thinking about the dance floor when you write, or does the club come second to the creative process?

It never used to inform my productions at all, if I’m honest. That’s changing though and I’m definitely thinking about the dance floor and groove now more than ever. I love DJing – it’s such a nice thing to do to sit alongside the actual creating and I do get alot of ideas born off the back of the transitions of one track ending, another one coming in. I had a great experience playing Renate (Berlin) with Dirt Crew back in April and the love and energy in the room was just so addictive. I’m trying to capture that energy in the studio when I’m making stuff… cause the music we make might be good but if they aren’t connecting on the dance floor then something’s missing. Carlo (Aterral) gave me some really good advice on some demos I sent over a while back about pace and dancefloor connections and it changed the way I approached music making. A while ago I was making music that was starting to sound a bit predictable, so I did something to try and shift that. 

I also worked with Tom Mangan (Tee Mango) recently to get into a better mindset of thinking about the space I’m writing for before even opening my laptop. I think getting feedback from your peers is so important- You’ll hear things you don’t want to/ don’t agree with possibly, but it’s necessary to keep moving and developing your sound. 

WWD: With ‘Days’ landing on Fortunea Records, what’s next for Petals In Sound in 2026? Any collaborations or new directions on the horizon?

I’m going to be featured on a very special V/A early next year with Aterral, which I’m very excited about. I’m also chatting with a few labels I’ve worked with in the past about doing something so we’ll see what happens. I’d also love to have a go at self releasing at some point soon. I work in music publishing as my day job and I work with lots of labels so I feel that I know a bit more about the process than I would have done otherwise. I’ve got a fairly big bucket list of labels I’d like to do stuff with though so would like to see how those conversations go. I’d also love to go on a few more DJ adventures next year! 

WWD: Busy year ahead! Thanks for the chat 🙂

The ‘Days’ EP is available here