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Los Angeles-based singer-songwriter, multi-instrumentalist, and producer Eli Hirsh (better known musically as Eli Hurts) made a tremendous splash with the release of his debut EP, Future Accountants of America, Unite, in October 2020. But now, the rising artist has returned to the spotlight with his immaculate ten-track debut album, Ouch, Eli Hurts, a co-produced project by Eli and fellow music producer Sam Pura.

Ouch, Eli Hurts is a soulful and heartfelt collection of ten tracks about being alone, heartbreak, and feeling like the world is falling apart. Ouch, Eli Hurts showcases the singer-songwriter's powerful voice and raw emotional intensity by blending an abundance of genres that range from everywhere, like alternative, pop, punk, emo, and synth styles of music. In addition, it draws heavily from his influences of artists and bands like My Chemical Romance, 100 Gecs, Steven Sondheim, Lil Peep, and Smashing Pumpkins.

Overall, Ouch, Eli Hurts is an unforgettable debut album. Eli's powerful, poppy, passionate vocals, relatable lyrics, and skillful instrumentation across the impeccable ten tracks make it a compelling listening experience that resonates with pop, pop punk, and emo music fans. It's one deliciously chaotic emo mess, in the best way, establishing Hurt as a rising talent to watch in the emo scene, making his debut album just the beginning of a promising, blossoming musical career.

The Noise had the opportunity to chat with Eli about the record, his evolving creative process, and the future of his project.

First of all, congrats on the release! How are you feeling now, knowing people are listening to Ouch, Eli Hurts?

Thanks so much! It's great. But honestly, the most fun part by far was making it. I feel so grateful that people listen to and resonate with the record, but mostly I feel grateful that I got to make it

I was a massive fan of your last EP, especially "What If" and "Eli Hurts." How do you feel the two records differ in terms of sonics and songwriting? Or are your methods pretty tried and true at this point?

Wow, you know the deep cuts! That's awesome. I love both of those songs. Sonically I think this record is just sort of the expansion on those ideas on the EP. The songs on this record are between 2-10 years old, so they're all sort of just pulled from the last decade of songs I wrote and never put out. 

Genres are ultimately subjective and unnecessary, but how would you define your sound if you had to? Would you classify your music as "emo" or something else? Where do you feel you fit in within the alt scene?

I don't think they are totally unnecessary. They can help us understand and give context to the music. When it restricts, then obviously, they become unhelpful. I grew up on Weezer and Green Day and my chem, but honestly, I sort of feel like it's more of an electronic record in the sense that it's like that genre but sampled. There are a few songs on the record that are more straight pop punk, but the goal was sort of to innovate on that. 

What does the title mean to you, and how does that meaning carry over into the record? (It's also ok if it just sounded cool!)

It's a title that's been in my head for years. I guess I thought it was funny. Is it? 

If you had to pick, what would be your favorite track on the record? My favorite track on the album is probably "Parking Lot Philosophers!"

Wow! Love that you love that one. Definitely, my favorite song is "Virtually Reality" as a song. As a production, I feel like "Hot Shit" sort of encapsulates what I was trying to do.

What was the most challenging aspect of making the LP? Did you encounter any writer's block? Was there one song that was hard to nail down in production? How did you go about working through it?

By far, the most challenging part was waiting too long. Not just doing it. It took me a long time to let go of the fear to put music out on my own. Songs built up. It's vital I've learned to allow it to flow. Make it and put it out. 

There are a lot of powerful moments in this LP that explore themes like mental health, depression, and self-destruction. How do you stay grounded in those moments of creation so that the message comes across in the music without becoming melodramatic but also not being so restrained that it's apathetic?

I guess I don't think about it. The music is sort of the only place where I'm allowed to really be a full emotional human. I guess also with my family, but nothing feels as cathartic as putting it in a song, so really, I'm just fucking grateful to the universe for giving me an outlet. 

Obviously, music is subjective, and everyone will get something different out of it, but what is one thing you hope people get out of this LP?

When I listened to records I loved growing up, I got this feeling that Gerard Way, for example, really saw me. Like he was my buddy. If anyone felt that way listening to this record, that would be amazing.

What would you like to experiment more with in the future?

So much shit. Definitely ready to get uncomfortable sonically. This record was very much me letting go of my teenage years. 

If you could give a piece of advice to your past self from the beginning of your journey as an artist, what would you say to them?

There really are no shortcuts. It's like physics. 

Be sure to check out Eli Hurts' album, Ouch, Eli Hurts, today!