It's often we hear about artists described as having cosmopolitan or multifarious influences, but rarely is such description as accurate as with Bedouine. Born in Aleppo, Syria, to American parents before moving to Saudi Arabia and latterly the US (including Boston, Houston, and LA), Azniv Korkejian's debut album is threaded with lush, timeless southern country and dense mid-western Americana, interwoven with thoughtful callbacks to her Middle-Eastern heritage; both musically and structurally.

Until her breakthrough, Korkejian worked in music design professionally, in dialogue and music editing, without ever expressly yearning to be a singer; yet since she recorded a demo of 'Solitary Daughter' with producer Gus Seyffert almost by chance, her fanbase continues to multiply. Here's my conversation with her.

Congrats on the release of your debut album; getting the dry question out the way early, how was the recording process? Having Spacebomb and Matthew E. White help in the production must have been pretty cool.

Thank you! It's kind of unbelievable. I started writing this record without really knowing it was going to become that. In the middle of a writing streak, I decided to start compartmentalising so things wouldn't slip through the cracks. I consulted Gus Seyffert about getting a portable reel to reel recorder to do it on my own. After we chatted at his studio for a while he had me do a few takes then and there. We kept the first take and continued to work together, aimlessly starting some 30 or so songs. It wasn't until I shared the songs with Matthew that we had to whittle them down. Because we didn't have a deadline, the songs were not all finished. It ended up working in everybody's favour because they had enough space for Spacebomb to sprinkle their magic dust on it. It was a pleasure working with Matthew and Trey, they made me feel right at home.

Folk music historically has such a familiarity with place, land and setting; yet 'Bedouine' as both your moniker and summary of your past is deeply suggestive of continuous wandering. How much do these folk and country traditions, thematically, inform what you write and sing about?

My music is not necessarily motivated by a setting, though it can be descriptive. The classic country form has certainly played as a template at times and the casual conviction of country and folk music has been inspiring. Otherwise, I'm not totally sure. Sometimes I'll hear a technique and it'll find its way into my singing or writing style or it'll pose a little writing challenge to kick start a song.

Also, though the name Bedouine makes sense in relation to a nomadic lifestyle, it's not entirely why I chose it. It also has to do with Bedouins living outside of a consumerist society. Not to mention, phonetically, I've always thought it was beautiful.

To that extent, you've been exposed to such a panorama of different cultures and musical landscapes, is there any you particularly identify with or is it all rather accumulative in shaping Bedouine as a record?

My music is definitely shaped by my travels but not really one specific place as much as diluting attachment to one specific place.

I loved everything I heard growing up, Arabic, Armenian, Greek music but I'm not sure it found its way into my style. Travelling allowed for more opportunities to meet people that influence or inspire or even just introduce you to music and art. So in that sense, I was given the chance to react to good art and good people.

'Summer Cold' ends with you emulating the sounds of your grandmother's street in Aleppo, and it flows so elegantly from the light country aesthetic which precedes it. From Syria to Texas, is there some degree of shared language in music or sound between us all? It's a thoughtful moment of serenity on the album.

Thank you. Absolutely, you don't have to know where it's set to feel a connection to it. It doesn't need to be translated. Some feelings are ineffable yet we all share the ability to access them.

The album is elegiac and nostalgic, really nailing the fluidity - and perhaps illusion - of home as an ideal. You articulate quite beautifully the crutch of displacement, but do you think there's palpable hope in there as well; if not of finding home in the physical sense, then in the metaphysical sense, of finding contentment and peace?

Sure, that's where the feeling of home lives anyhow, the metaphysical space, isn't it? The outside circumstances make a difference but even in the most comfortable and stable situation, it's still a feeling. It's been challenging to know how or where to touch base with my past but I can't complain. It's a feeling I figure out as I go. I don't think I have a preference as to how it's valued. It's an individual expression. Everyone might have a different experience and I would think they're all valid.

Bedouine is out now via Spacebomb and is available on most streaming services. She plays The Islington on October 9th.