"Madonna has loads of great songs. She is the boss. She gets respect. She survived a lot of bad things. Sometimes I think she's really mean and horrible to people. Her ego sometimes makes her a drag to be around. No one else can breathe. Yet I can't dislike her. I think she's probably amazing in bed."

Rosie Blair from Ballet School doesn't hold back. At all. And it's brilliant. The above quote is just one amongst a never ending, meanderings series of cultural references, detailed analysis and personal caveats to stories that decorate the whole interview (which totalled nearly 4000 words unedited!). The Northern Irish singer and musician, who now resides in Berlin along with fellow band members Michel Collet (guitar) and Louis McGuire (drums), clearly has a lot to say for herself. She hasn't got to a Kanye level of ranting yet but here's hoping for her own 'leather sweatpants' moment and its eventual fallout in the future.

Perhaps unsurprisingly, just as her interview style is distinctive and uninhibited, her singing voice follows a similar unconventional path. It's a curious mix between the floating trill of Elizabeth Frazer (Cocteau Twins) and the well-annunciated delivery and bouncy metre of Morrissey. As for the music, it would be hard not to pinpoint The Cure as a primary influence, as the likeness is, at points, uncanny. But with melodies this strong, it would be difficult to dismiss the band as 80s indie-revivalists. There is a forward-thinking attitude and tangible feeling of propulsion in the music. As Rosie says herself, she is "running fast fast fast towards it." That 'it', Ballet School hope, is a bright future.

According to Bella Union's website you've only been playing since last December but your Soundcloud has demos from over a year ago. Who's telling porkies? Can you give us a brief history of the band to clear up the confusion?

Well there's no pork, it's just a long story I guess. Michel and myself met in Jan 11 and started playing together. Busking on the street. Writing, struggling to be honest. The intention was to add other musicians and we went through about ten people. Half of the visible scene drummers in Berlin have been in Ballet School at some point. Finding the right people takes a very long time. Remember how like D Boon and Mike Watt (from cult Calfornian punk band Minutemen) were friends since boy hood and were destined to be musical brothers? Well that is not what it's like for us. I was looking for, like, two husbands, you know what I mean? I found Michel and then together we found Louis. Louis first played with myself and Michel in April '12 but we didn't become committed as a real band until December. The idea for Ballet School has been in my head since I was seven LOLOLOL.

You all reside in Berlin but are not from there originally. The city is often associated, musically, with a very different sound than your own. How does Ballet School 'fit' into Berlin? Is there any particular scenes that you immerse yourselves in or does it not matter now we are in the borderless internet age?

I think the outsider opinion of Berlin is a bit out of date. People love to make out like techno is the only thing happening over here. I love techno by the way. But usually intelligent people love lots of different kinds of music. Our scene is just DIY. Some great artists knocking about right now are DENA, Black Cracker, Ornis, Cunt Cunt Chanel, Florian Kupfer, Ken Park, Pale Male/Black Black Gold, Touchy Mob, Perera Elsewhere. Every single one of these artists is self-sustaining and totally different in style. Then there's bigger artists like Molly Nilsson, Dan Bodan, Butterclock. We're living in Berlin because London and New York are too expensive and a high cost of living culls the scene. All the freaks disappear and all the flavour is lost. In Berlin, you can be an artist and only work one job on the side. It's the best place to be. The internet means you don't miss anything going on back home.

You said on your Tumblr that you're particularly fascinated with music that can crossover (particularly genres and their relative boundaries) which is true - the internet has freed up people from their geographical and cultural limits. Yet, at the same time, there is a seemingly unquenchable thirst for nostalgia. I feel like your music sits somewhere between these two camps. How do you feel about these two notions in regards to your music?

I feel like nostalgia is actually the mourning of life's transience. You know that everything eventually fades away. Nothing is permanent. But yet you try to hold on. It's utterly beautiful. Yeah, this is sort of two questions. By crossover, I was referring to the underground and how scenes manage to break into the mainstream, like PM Dawn being on Gee Street and then selling 10 million in America. My god... what a wonderful victory. Did you read that Malcolm McLaren quote about 'the ruins of pop culture'? I love that quote and I often reference it in interviews. There is just so much to glean, so much to discover, so much music to fall in love with that I really believe the ability to elegantly edit and traverse the mass of information has become a discernible creative skill in itself. Like Tumblr users are curators.

I can't tell you my favourite genre or my favourite artist. I don't want to argue about how 'nothing is really new'. It's just so not the point. I can suddenly vibe with you and together we decide we MUST RIGHT NOW listen to Killing Joke and Throbbing Gristle or that epic song by Supertramp 'Crime of the Century' or we just MUST talk for three hours about Mark Hollis or J Dilla and how ?uestlove is not playing on the beat or how fucking good Christina Aguilera's 'Your Body' was and why the hell did she not do any live TV performances of it? We definitely need to talk about Grimes clearing the floor in the Boiler Room. That's like our generation's Sinead tearing up a picture of the pope. She's the most important person in music right now.

I read your essay on Madonna. There was a lot I agreed with (although my favourite album is definitely Bedtime Stories...) particularly the more general argument that there is so much thinly veiled sexism thrown at her, so much so, that a lot of her greatness as an artist is obscured. What is it you love about Madonna so much?

I love Bedtime Stories too. Madonna does new jack swing. 'Sanctuary' is such a good song. So many great moments on that album and I swear the video for 'Human Nature' has consistently looked cool since the day it came out. Hello - the choreography? The styling? Flawless. She was on the cover of the Face magazine around this time and you should read the interview because it's just after the Erotica-era backlash and she is uncommonly vulnerable. She admits her abortions in it. She talks about the stuff she NEVER would usually discuss. It's clear that the reaction to Erotica totally knocked the crap out of her for about two years. It's really interesting and freaky to see her so bare. Then 'Take a Bow' goes to number one for like 7 weeks and she's back on form. She closes up again, she's back in her comfort zone. It's a fascinating period. I love Madonna because she has loads of great songs. She is the boss. She gets respect. She survived a lot of bad things. Sometimes I think she's really mean and horrible to people. Her ego sometimes makes her a drag to be around. No one else can breathe. Yet I can't dislike her. I think she's probably amazing in bed. I love how gay men react to her. She possesses practical intelligence, which is my favourite kind of intelligence. She can't act for shit, yet she has amazing physical presence. So fabulous. So driven.

What can you tell me about the forthcoming Boys Again EP. It must be an exciting experience releasing this on Bella Union?

Yes, it's called Boys Again. I love those words together. I have a song called 'Boys Again' that maybe I will release sometime. 'Boys Again' is like my awareness of white male patriarchal society. Boys. Always boys. It's all about boys. One of the big lyrical themes of my whole life has been boyhood. Sometimes I look at how boys are and I just am so dazzled by the beauty, the ability and the ego of boys. It's not even jealousy. It's more yearning. Have you ever been so in love with a boy that you just yearn for him with every breath in you? I have. It's a giant powerful wing that never gets to take flight. Mothers feel this for their sons, I think. I got used to living with yearning. So long that it just re-shaped my whole personality. So it just comes out in songs. Two of them are about crushing out. One is about death. The last is about being a feminist. I called a song 'Yaoi' because there is very little precedent in western culture for the understanding of the sexuality of girls. Yaoi is porn for girls. Yaoi is safe and non-threatening and considerate of girls' fantasies and desires away from the pressure of men's giant sexuality. It's totally under-represented in western culture though. And yet we have mainstream pop songs on the radio every day about girls kissing girls. I always thought that was funny. I used to read a lot of Yaoi. I kind of grew out of it but I always thought it was interesting that no one really knows about it. It's porn utterly for girls. So fabulous.

Bella Union is the correct home for us because they like my voice. I know my voice is strange at times. I always get really shocked when a man likes my voice. Rockism teaches us that high female voices sound wrong. That always made me sad and insecure. That's probably why I listened to RnB and to Sean-nós (a form of Gaelic singing). But the violence of rock, that is in me. I have these incredibly long fingers. Patti Smith said she likes long poet fingers. Remember she said that about Tom Verlaine (frontman of Television)? What a way to flirt. Courtney Love said you have to be built for rock. I'm 5'7''. I have this long blonde hair, long legs. When I play music, emotionally I am very strong and tenacious, resilient, active aggressive - like a man. Michel really likes my voice. But he's from another planet.

Regarding the creative experience of being in a band; making records, touring, creating artwork etc., what do you think is most important to you: the journey or the finished product?

It's sensible to say 'the journey'. But I like things to be perfect. And I can be very intense about getting it right. Really, my biggest fear is that one day I will just run out of fire and I will stop being compelled to do this. Because it is such a struggle. You never have any money. You can't do normal things like have a relationship and have a child. Well you can have them but you'll just be doing it out of selfishness. I think it's wrong to bring up a child with no money. I am totally compelled to do music, I think it could be enough for me. Maybe. Stevie Nicks never had a child but she's so maternal and so loving. She probably could have fitted it all in if she hadn't lost those years to drugs. I hate drugs. That's another thing I love about Madonna - no drugs. I am really driven. And I thrive on fire. I can't imagine how it must feel to not know what you want to be in life. I have always wanted to do this. I have always known. For a long time I was scared and I lacked the business knowledge and communication skills involved in getting a band going and noticed. That was frustrating. But I stuck with it and figured it out. At some point it just all started to come together. And now I'm really running fast fast fast towards it.

Ballet School's Boys Again EP is out now on Bella Union.