The 405 are thrilled to premiere the new video 'Catacombs' by Zyna Hel.

Drawing inspiration from the ancient myth of Persephone, who was taken from her mother Demeter and kidnapped by Hades to the Underworld, 'Catacombs' thunders with a production by Benjamin Power (Fuck Buttons, Blanck Mass) as she explores the complexities of mother-daughter relationships. The new video offers a stark juxtaposition with a subtle and hypnotic visual.

Zyna Hel is a promising artist and is expected to release her full-length album early next year. She chatted to Andrew Darley about the things we carry with us from our parents, where she is in her career and clears up where the 'disco witch' label came from.

You've described 'Catacombs' as a song about mother-daughter relationships that references the Greek myth of Persephone. Do you see a need to distance ourselves from our parents in order to become ourselves?

I think there is a necessary distancing. As a woman, my mum says to me how lucky I am. She always says she had to make a choice because she was either going to be a secretary or a cook. She had a lot less in terms of options. There's been such a drastic change with feminism since my mother's time of growing up, and even mine. Women are now able to find themselves, and express themselves, in a way that doesn't automatically relate to gender roles. It's important for kids to distance themselves in order to make up their own minds on the world and who they are and be able to self-create.

In some ways, whether we like it or not, we do become our parents or at least adopt some of their main traits, like the Philip Larkin poem.

I wrote this song without realising what it was about. It was only afterwards that I recognised that it's the aspects we take on from our parents which we can't control. My mother had really bad depression when she was pregnant with me and I've had struggles with depression over the years. I feel that that's what it's about: you inherit the stuff you can't control. You think you might be different but you can see patterns happen in families. Things trickle down.

Relating to the story of Persephone and Demeter, is it sometimes more effective to map your own story with a reference of something bigger than you?

Most of my music doesn't have that. I've always identified with Persephone and it comes up as a theme in my life. I don't think it's important to write in that way, but it can be interesting. I'm really interested in Carl Jung and the collective unconscious. The purpose of mythology and fairy tales is their over-arching themes that will appear in all of our lives in some way. These archetypal stories and characters. They can help connect you to something bigger than yourself.

Why do you think Greek mythology and pop music work so well together? Off the top of my head, I can think of Kylie and Tori Amos who have referenced mythological women in their work.

When you're writing a song, particularly a pop song, you're already working within a framework and structures, as opposed to classical or experimental music which breaks that down. I can only speak as a woman but maybe it's to do with self-discovery through songwriting. You discover things about yourself through the process of creation. Unless you're writing something extremely conceptual, it's very hard to remove yourself from the music.

There's a lot going on in the song, did you want a more subtle visual?

I spoke with my director Daisy Emily Warne, and she had this vision for it that resonated with how I wanted it. Since it's so fast and hits you straight away, I wanted the speed of the video to be slow and hypnotic to be a contrast to the song.

What was it about Benjamin's previous work that you wanted to work with him on this?

We've been friends for a long time. I'm really not a producer and I'd gotten as far as I could with it on my own. We were chatting and I asked him to introduce me to someone else he was working with. He listened to it and wanted to have a go at it. I just sent it to him, which is not like me at all, usually I have mega-control over my songs. He sent it back and he created the perfect environment for it. I think he's brilliant musically.

Do you think much has changed for you since 'Constellation Woman' which came out in 2014?

Yes! (Laughs). I wrote that song and 'Catacombs' four or five years ago. I'm completely different now as an artist. The songs I've written this year alone are a completely different thing. It feels a little bit strange to be releasing something that I've moved beyond, even though I'm so proud and happy it came through me, it feels like it's from the past. Yet, for a lot of people, obviously it's the present because it's their first time hearing my music. My songwriting and sense of self have developed a lot since then.

Are you working on a full-length album then?

I actually have an album ready. I went into the studio late last year with Julian Corrie, who records as Miaoux Miaoux, and he co-produced the record with me. I wrote so much so it's just a matter of picking which ones make it on the album. So it's done! The songs I've written this year are way more straight-forward and I asked my boyfriend if he thought I need to get back a bit. He told me not to because it's still all me. I've just grown and it's a different part of me. People will always misunderstand you anyways.

Do you feel like you have to make a statement of who you are with a debut record?

I think identity is completely fluid. We have this idea that people are a certain way and artists are certain things. Artists are encouraged by several factors to self-identify as a particular entity. People obviously decide who you are as a result of what you make but it's not your role as an artist to control the image people have of you. It's way more important to just keep making work. If I start worrying about that stuff maybe my muse will disappear.

It's interesting because in the press release and reviews, it says you've referred to yourself as a "disco witch" but to my ears it's much more than that.

It's so funny because that whole thing came about when I played a show for a friend and she came up to me and said I looked like a disco witch. I posted it on my personal Facebook page and everybody I know picked up on it and started writing it. I love disco for its radical and inclusive movement about expressing yourself but it's not really what I'm doing. There are traces of it but I consider what I make is disco.

It's scary how a title like can start at the beginning and stays with an artist throughout a career. It's the same as when a new female artist makes a release they're automatically the new "new Kate Bush" or "the new Björk" and so on.

Someone like Laura Marling has had the Joni Mitchell comparison throughout her whole career. I adore Joni Mitchell but she is her own artist. I don't need someone to make a comparison to enjoy their music. The Kate Bush thing has come up for me because of my voice and I sing in a particular way. It's lazy journalism and reflects the fact society wants to put women into boxes. It relates back to the song in a way and the idea of our mothers: what roles did your mother take on and what roles are you going to take on now? Are they going to be same or are you going to do something different?

'Catacombs' single is out now on her label, Occult Babes. For more info check out her official Facebook page.