"Liquid Cool. She's a night jewel and I'm no fool," an obscure record from '80s pop artist Nimbus Obi shimmers. The throwback lyrics has stood as the longstanding inspiration for Los Angeles-native Ramona Gonzalez's artistic alias Nite Jewel and the new-found reference behind the title of her much-anticipated new independent album Liquid Cool; a full-circle statement of creative identity.

Nite Jewel fans have been waiting four years for this. Now that Liquid Cool is done and here, what was the energy like leading up to the release?

After an artist is dormant for like four years, and you start amping up release a new record and you're receiving a positive response, it's pretty much the definition of positive energy, I would say. Also, because I was releasing my last record with a label, where there's a lot of opaqueness regarding what's happening before a release, this time, I'm doing it on my own. I've done that in the past but I'm doing it again now and there's so much more clarity in regards to what's happening and the responses. I can really see with my own eyes how much people are digging the tracks and digging the idea of me doing it myself. It's giving me the best possible vibes ever.

What was that process like of refinement after figuring out what was next for you following your last project and getting there?

I wrote about three albums before I wrote this one I'm calling Liquid Cool. So from 2012 to 2015, I wrote three records and I haven't necessarily scrapped them but they just didn’t feel right exactly and so that process of refinement was basically just writing music. Also, I basically listened to my own catalog quite a bit when I was finishing this fourth record of the ones I was writing during this dormancy. I was listening to my own catalog and trying to figure out what dimensional sound is. I had never done that before, because sometimes looking at your own work is a little bit scary. But I was up to the challenge and I think that's what made Liquid Cool so good is that I really got into my own head as an artist.

What is defining about this record specifically as opposed to those other three that speaks to who Nite Jewel is and who you want her to be?

I recorded those other records with other people, in some cases. Like, my husband Cole producing or in some cases, other artists playing or other collaborators and getting inspiration from other instrumentalists. And so, in that sense, it's a little bit more expansive with all the emotions and psychology that are in a record, because you have these different people and they add their psychology. With Liquid Cool, what I needed to do was just make completely my own thing and get back to the original way I record which is just completely in a solitary state. And just have my psychology pretty much be the only thing present in order to better communicate the message.

Is there a chance that we’ll be hearing the other stuff eventually?

Yeah, actually. I was thinking that maybe next year to do a collection of other songs but I want to re-produce them a little bit to make them a little bit more contemporary to what I'm interested in, production-wise. I plan to do something with them, for sure. Maybe an EP or something like that.

You were just speaking about your process of doing everything yourself with this project, what does creative control look, sound and feel like to you?

I'm a pretty bright gal and I have a lot of creative intent but I also have a lot of boss bitch qualities. It really looks like for me, to have control of everything. I don't even mean just the music, I mean everything in my life, whether the styling or the look of the record, the photos, the way it's rolled out, the message. As far as recording, what that looks like, physically and tangibly, it was moving all of my instruments into a large walk-in closet in my house and closing the door, putting some posters on the wall and just getting down to business for about six months.

What is the definition of Liquid Cool and how does one go about achieving this?

It's funny. My band name is drawn from a record from the '80s from this band called Nimbus Obi. It's a really obscure record. It almost reminds me of synth-prog. It's this one song called 'Night Jewel' the chorus goes, "Liquid Cool, she's a night jewel and I'm no fool." I'm pretty sure what the song is about is this girl whose mysterious and you can't catch her and she’s a woman of the night. One person recently, a friend of mine, seems to think that Liquid Cool has something to do with being intoxicated. I'm not sure if that's true but I definitely think that there's a blurriness to that title that I like. Something undefined. A little bit melancholy and fuzzy about it. Which is what I like to think of my music as being.

You can really hear that musically. What sonic space were you concerned with filling musically right now with this project?

I don't really consider myself as being a purist as far as analog recording goes. I'm not Tame Impala or something. But I definitely have found myself with all my recordings, in some part of the process, using analog methods while recording to tape. I think for me, there's something about electronic music that needs to be warmed up, especially if you're using software and especially if you're using electronic drum samples. To me, there's a crispness to the edges of samples that I hear in modern music that's really cold. I had to use analog tape methods in the production process in order to warm up that sound.

What I'm obsessed with when it comes to the record is it has that nostalgic sound to it while tackling modern themes while using futuristic visuals so why was that important to blend past, present and future?

To most people that know me, I'm kind of a record nerd. So, I have a lot of interest in records that were made in the early '80s to mid '80s and I just love a lot of the compositions that were made through experimentation and the blending of pop. Sonically, I'm into that. I love synthesizers and the basslines but it's not like I was born in the early '80s and I don't feel purist about being retro. I live now. I listen to hip-hop and I hear people talking. I see people online and what they're dealing with and what the world is like now. Just because I like the production methods from the '80s doesn't mean I want to live there. I want to live now. It's important for me to communicate my ideas about what young people and people like myself are going through on a daily basis.

'Kiss The Screen' specifically is about the human connection in the age of smartphones. What is your worst secret habits when it comes to technology and your phone?

I have always been averse to technology, ever since I was a kid, because my mom is a technophobe. I didn't even start using the internet until I was like 17. But the funny thing about technophobes is I find that those are the people that eventually become the most obsessed with technology. I find myself constantly in this battle between wanting to critique technology and being completely dependent on it and really liking it. And having a band, you're constantly wanting to connect with your fans. So I'm on my phone every morning. I pick it up to see who's writing to me, who's talking about the videos, who's talking about the singles and who's responding to what. It's impossible not to be totally seduced by the ability to connect to people that love your music. I'm guilty of loving to connect to people via apps.

Now that the album is here, what are you most proud of?

I'm so proud of the music, and the songwriting and the way that it all came together but I can't lie, I'm also really proud of getting my label to be more legitimized in not only a distribution level but in the eyes of my fans, to see that just a woman like me, a rando from Los Angeles recording in her closet, can put together a campaign that's as professional as any label. And to give that inspiration to other artists to make them feel like they can do the same. That's really important to me.