Ivelisse del Carmen Unveils “An Ocean in Between” and Opens Up About the Story Behind the Spark
- STAFF
- Jun 14
- 12 min read
By: Staff
A Spell of Spark, Distance, and Cinematic Desire—Something New Just Arrived.
Every now and then, a track comes along that doesn’t shout for attention—it glows. It lingers like a glance across a crowded room or the feeling right before someone walks through your door after too long apart. It doesn't try to explain itself. It just lets you feel.
There’s a new voice crafting that exact kind of magic—one that threads together sensuality, elegance, and storytelling with such subtle precision, you almost don’t realize you’ve been completely pulled in.
Ivelisse del Carmen, and her latest release, "An Ocean in Between", is an intoxicating blend of soft tension and sunlit rhythm—a sound that floats somewhere between longing and delight. The production shimmers with polish, the vocals breathe with intention, and the emotional tone feels both personal and universal. You won’t need to be told what it’s about. You’ll know.
And just when you think you’ve got it figured out, the visuals arrive—a dreamlike short film directed in London that captures everything the song only hints at. It’s scripted by the artist herself, and brought to life with a cast whose chemistry feels too real to fake.
But rather than tell you too much, we’ll let the artist do the revealing.
We sat down with Ivelisse del Carmen for an interview, and what she shared about the process, the message, and the mysterious space between distance and desire might surprise you.
Read on below.
Begin Interview:
Hello, Ivelisse del Carmen, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more intrigued to get a deeper look into both your brand and your personal and professional inspirations.
Q. Is Ivelisse del Carmen your birth name or a stage name? What inspired you to choose that for your artist persona?
A. Ivelisse del Carmen is my given name, though I didn’t always like it. As a child, it was usually only used when I was in trouble. But my director at the children’s choir called me by my full name constantly, and always with warmth. Over time, it began to feel like something I could claim with pride. While my family and friends call me Ivelisse or Ive, Ivelisse del Carmen became the name I use in artistic and professional spaces. It now carries a sense of identity and presence that feels true to who I am.”
Q. We read this description: “Lounge with edge — Ivelisse del Carmen’s ‘An Ocean in Between’ explores tension, distance, and desire… the moment before a reunion — when possibility is everything.” That’s such a specific, cinematic emotional space. What inspired you to write about that exact moment? (spare no detail!)
A. “I was chasing a memory — something that brought back a very specific feeling. The song comes from that space between wanting someone and pretending you don’t. You’re hoping they’ll reach out, checking your phone, but acting like it doesn’t matter.
For me, I didn’t want to commit. Not because I didn’t care, but because I wasn’t ready to deal with everything that comes with actually saying, “Yes, this means something.” So I pulled away.
Instead of writing about regret or what could’ve been, I focused on the part that felt good — the moments that still make me smile. That in-between feeling, where you’re holding back but still caught up in the connection, shaped how the song feels and moves. It’s not about resolution. It’s about the tension before you decide.”
Q. In terms of the meaning behind An Ocean in Between, what do you hope listeners absorb and take away from the song? What’s the emotional or thematic imprint you want to leave with them?
A. “I want people to connect through their own experiences — whatever “in between” means for them. That space can be confusing, even uncomfortable, but it also holds so much possibility.
We often treat uncertainty like something to get through or escape, but sometimes, the in-between is a gift. It gives us time to feel, to reflect, to imagine what we really want before we act on it.”
Q. The music video premiered on May 16th on YouTube, directed by Lee Thomas and starring Chloe Saracco and Luke Bodnar. You wrote the script yourself — that’s such a bold creative leap. Have you written for the screen before? And do you see this branching into more visual storytelling or even bigger screen projects?
A. “This was my first time writing a script — and I absolutely loved it. It felt like a natural extension of the songwriting process, just translated into visuals and movement. I’m already working on the next music video and can’t wait to bring that story to life.
I definitely want to keep developing this side of my creativity. Bigger screen projects are 100% on my wishlist — I’m dreaming in scenes now.”
Q. Producer Paul Stanborough really hit it out of the park with this track. How did you end up collaborating with such a celebrated London-based producer, and what was that experience like?
A. “I met Paul while studying for my MA in Songwriting at ICMP here in London — he lectured the production module. I was already really interested in production, and his lectures stood out. After the module ended, I kept reaching out for advice, and he was kind enough to keep guiding me.
A few months later, I showed up at his studio with a few songs in hand, and we decided to work on “Las Mariposas” first — that was the start of our collaboration, and it was released earlier this year in February. From that session on, it just felt right to keep creating together.
Working with Paul has been an incredible experience. He really listens. I feel heard, respected, and encouraged to be fully myself — musically and personally. He doesn’t try to change or mold me into something else; instead, he helps me go deeper into what makes my voice unique.
As a woman, that kind of studio environment is rare. The music industry — especially in production spaces — can still be very male-dominated, and many of us have had to fight just to have our ideas taken seriously. With Paul, it’s the opposite. He creates a space of trust and genuine collaboration. He’s not only a brilliant producer — he’s also a wonderful human being.”
Q. The chemistry between Chloe Saracco and Luke Bodnar felt incredibly real. Were they seasoned professionals, or was this a breakthrough performance for them? We were truly impressed.
A. “They’re both seasoned professionals, and I feel really lucky to have worked with them. Chloe is a singer, actress, model, and performer, and Luke is an actor and model. From the start, they were excited to be part of the project and brought such focus and commitment.
We filmed all of their scenes — with multiple outfit changes and location shifts — in just four hours. That speaks to their incredible professionalism. They had studied the script, came prepared, and understood exactly what each scene needed.
And of course, the guidance and direction of Lee Thomas made everything flow. He created a space where the actors could trust the process, stay grounded, and bring that chemistry to life naturally. It was an absolute pleasure watching it all come together.”
Q. We absolutely love your vocals. They are so incredibly unique and beautiful.
When was the first time you realized you had this ability? How often do people tell you just how much they love your voice?
A. “Thank you — that really means a lot. I started singing very young; my earliest memory is around five. But it was when I was about seven, singing in front of classmates, that people — especially teachers — started complimenting my voice.
My English teacher also directed the church choir and invited me to join. That opened the door to school festivals, competitions — I became the soloist of the group. Then, when I was 13, my mother took me to a concert by the town’s children’s choir. I had never heard classical music live before. I stormed out of that performance in tears, asking my mom why no one had told me this world existed — I knew that’s what I was supposed to be doing.
I wish I had kept that confidence and clarity as I got older. But over time, I was told to tone it down — be more humble, less loud, less dramatic, more "likable." That, along with mentors and even friends trying to push me into just one box — classical or pop — slowly chipped away at me. Eventually, I stopped singing. I lost my sense of purpose... and with it, my voice.
What you're hearing now is years of putting myself back together. Years of learning to love my voice again — not just the sound, but everything it holds.
People tell me they love my voice often, and now… I finally believe them.
Am I humble? No — I’m kind. And I’m allowed to be proud of this voice, this sound, that so many tried to reshape. It’s mine.”
Q. The music video for An Ocean in Between is such a terrific performance. Everything — from the storyline to the editing — feels like a major studio release. What was it like putting together such a powerful team to bring your vision to life? And when you saw the final cut, did it capture everything you had imagined?
A. “It felt surreal. I had envisioned it, daydreamed about it… it all made perfect sense in my head. But I also had a very real fear: the budget. I'm an independent artist, and I finance every part of my career — from production and promotion to my website, social media, and press.
That’s why finding the right collaborators was everything. I believe artists should be paid for their work. Studying and practicing music, film, dance, photography — these paths take real time, money, and dedication. So I set aside what I could, placed ads, and put my full belief behind the vision. I trusted that the right people would show up.
And they did. It felt like pure magic. I manifested this, I believed it — and the team that came together brought the story to life in ways that even exceeded what I imagined.
What I’m playing with — what I’m building — is magic. That’s how it felt when I saw the final cut.”
Q. So many music videos lean on tension, conflict, or heartbreak. But this was different — joyful and upbeat all the way through. It felt so refreshing. Was that always your intention for the song and the video?
A.”Yes — absolutely. I wanted to celebrate connection, chemistry, and that delicious build-up before anything is fully said or done. There’s a kind of joy in anticipation, in letting something be light and magnetic without needing to complicate it.
So much of life and love already carries tension — I didn’t want to recreate that. I wanted to capture the spark, the playfulness, possibility and the feeling of yes, this could be something.”
Q. Do you see An Ocean in Between as a natural evolution of your sound, or were there specific experiences — personal or musical — that pushed you in this direction?
A.” I see An Ocean in Between as a mix of both — a natural step forward and a conscious exploration. It wasn’t planned as a stylistic shift, but personal experiences shaped the lyrics, and my emotions led the melody. The song just grew organically.
From early on, even before it was finished, I could feel that it wanted to dance. That energy pushed me to explore a more commercial, pop-leaning sound — something I hadn’t fully allowed myself to do before. So while it’s still very much me, it also reflects a new openness in my creative process.”
Q. How did you land on An Ocean in Between as the title? Was it the first choice or did it evolve over time?
A.”The title actually came directly from the chorus — it wasn’t the first idea, but once I wrote that section, An Ocean in Between felt so right that everything else shifted around it. I ended up cutting verses and lines that didn’t fit the mood or message of the chorus, just to make space for what that title captured.
So no, it wasn’t the original title — it revealed itself through the writing process. I don’t follow a fixed structure when I write songs. I stay flexible and open to change. I’ll rewrite melodies, toss whole sections, or even combine two different songs if it leads somewhere interesting. The title, like the song, evolved — and I followed it. Everything is fair game, as long as it excites me creatively.”
Q. What was the creative process like for An Ocean in Between? Did it come to you in a burst of inspiration, or was it a track that slowly revealed itself to you over time?
A. “It came in a burst. I opened my phone, and a “memory” photo popped up — that guy, with the smile and the messy hair. It immediately brought the feeling back.
I sat down, started writing, and the whole song came together within a few hours. It was one of those rare moments where everything just clicked. No overthinking, no wrestling with lyrics — just pure, emotional recall and flow.”
Q. You were the writer, performer, and mixer on An Ocean in Between. That’s such a full-circle creative role. Does that level of involvement feel like pressure — or does it give you a unique sense of ownership and creative freedom?
A.”Just to clarify — I didn’t mix the track. Paul Stanborough handled the production, mixing, and mastering. I wrote and performed the song and was deeply involved in the creative direction and production process.
That level of involvement gives me a real sense of creative freedom. Being so hands-on helped me discover parts of myself as an artist I didn’t know were there — like writing the script for the music video, which was a completely new and exciting step for me.
But I think it’s really important to say: I didn’t do it alone. Having support at every phase of the process is what made this possible. There’s a tendency to romanticize the idea of doing everything by yourself, but that mindset can be isolating and unsustainable.
Collaboration doesn’t take away from your voice — it amplifies it. And I’m proud to have had a team that believed in the vision and helped bring it to life.”
Q. Is there a song from your past, one you listened to growing up, or one that still hits you today, that you’d love to cover in the studio as a tribute to your roots or inspiration?
A.”Anything by Sylvia Rexach. Her songwriting is pure poetry — emotional, elegant, and timeless. I grew up listening to her music, and her way of expressing love, longing, and vulnerability has stayed with me. Covering one of her songs in the studio would feel like honoring a part of where I come from — both culturally and emotionally.”
Q. We feel like we’ve learned so much about you from just this one song, which is a rare and special thing. But what’s one surprising or unexpected fact about you that fans might not know?
A.”I’ve sung at Carnegie Hall — twice. Once with a choir when I was younger, and later with an opera group.
I also once acted and sang in an Off-Broadway show. That’s a side of me most people don’t know, but performing live in those settings was unforgettable.”
Q. What are the biggest challenges you face as a solo artist? And what are some of the rewards of working independently that might surprise people?
A.”One of the biggest challenges is financial. As a solo artist, every decision is an investment — so I have to be really intentional about where my money goes and whether a project will truly help move my career forward. There's no safety net, and that pressure can be intense.
But working independently also gives me full control over my creative world — and that’s a huge reward. I get to choose who I work with and make sure they align with my values and vision. That’s something I don’t take for granted.
I’ve learned how important it is to surround yourself with people who see you clearly and like you for who you actually are. This is a really tough career path — there’s no clear roadmap — so at the end of the day, you have to believe in your work more than anyone else does.”
Q. Of all the stages of making music, the songwriting, production, release, promotion, which one feels the most stressful to you, and why?
A.”Promotion, hands down. I always feel like it robs me of valuable creative time. I know it’s necessary, but constantly thinking about how to package, post, or “sell” what I’ve made can pull me out of the emotional space where the music actually comes from.
It’s a completely different mindset — and switching between artist and marketer isn’t always easy or natural for me.”
Q. If you could be a guest on any late-night talk show, which one would it be — and based on your life right now, what would be the topic of conversation?
A.”I’d love to be on The Tonight Show with Jimmy Fallon! I think we’d have a blast talking about music fusion — blending genres, cultures, and unexpected sounds.
I’d want to pick a song and challenge him to mash it up with a totally different genre — and then do it again with a new combo. We’d probably end up laughing through the whole thing… but also make something kind of brilliant in the process.”
Q. We can’t thank you enough for opening up and sharing these intimate insights. So finally, what’s next? Can you give us the inside scoop on what fans can look forward to in your upcoming projects? We’d love to be the first to share the news.
A.”Thank you so much — I’m really grateful for the space to share all of this. As for what’s next… let’s just say I’m working on something that pushes me creatively in a whole new direction. It’s emotional, bold, and definitely unexpected.
I don’t like to speak too much about a project before it’s fully finished — I really believe in protecting the energy while it’s still taking shape. But I’m deep in the process, and I can’t wait to share what’s coming when the time is right.”
Ivelisse del Carmen, thank you so much, we appreciate you taking the time to talk to us!
End Interview
We’re happy to have shared Ivelisse del Carmen’s exciting journey with you and uncovered such inspiring insights about their creative process.
Now, click the links below to experience their incredible work firsthand!
