FENRA, the Portland-based electronic producer and moniker of B Laws, has burst onto the scene with his debut single ‘COFFEE’, a mesmerizing blend of left-field ambient and downtempo vibes released on October 3, 2025, via 6x Records—a track that premiered on tastemaker Magnetic Magazine and was masterfully polished by Aneek Thapar, whose résumé boasts heavyweights like Rival Consoles and Max Cooper. Drawing from the genre-blurring wizardry of icons such as Caribou, Four Tet, Floating Points, Bonobo, and DJ Koze, alongside the minimalist grace of Philip Glass and soul-stirring echoes of Gloria Ann Taylor, FENRA weaves pitched-down vocals, hammered dulcimer, and woozy atmospherics into a sonic spell that slows time to a hypnotic spiral, offering a tantalizing preview of his forthcoming debut EP Delusional set for November 28. With roots in Santa Rosa, California, where church hymns sparked his love for harmony, and a self-taught guitar journey that evolved into synth-driven experimentation across bands that toured the US, Europe, and Asia, FENRA channels a lifetime of artistic fire into music that’s as cinematic as it is intimately personal—marking him as an unmissable force in electronic’s evolving landscape.
Dive deeper into his creative alchemy with FENRA in this exclusive interview, where he unpacks the magic behind ‘COFFEE’ and beyond.
What sparked your earliest memories of music, like those church hymns with your grandmother in Santa Rosa?
I remember the first time I heard harmony filling a room, how it felt kinda magical. It was enveloping but also seemed to go through you. Just a great feeling. In a super different way I can remember the first time I heard The Prodigy or The Chemical Brothers from kids at school and just loving how intense it was. I was really into breakbeats as a child
How did teaching yourself guitar at 14 shape the way you approach creating music today?
Teaching myself guitar forced me to follow curiosity rather than rules, which made experimentation feel natural. Even now, I don’t work out of a particular key or tempo. I don’t start with the beat or the chords. I’m not aiming to make house music or downtempo or ambient or whatever. I just sit down and do whatever I feel like each time.
After touring the world with your bands across the US, Europe, and Asia, what drew you to settle in Portland and start this solo electronic journey as FENRA?
The trees and the food.
Who among your inspirations—like Caribou, Four Tet, or Bonobo—has influenced your production style the most, and in what unexpected way?
Genre-wise Four Tet has probably shaped me the most, I like how he blends human imperfection with precise production. That approach brought me back into electronic music after I had drifted away for a while. I like it when elements feel just slightly off, when things swirl. There has to be emotion in the music.
How does the minimalist elegance of Philip Glass blend with the soulful vibes of Gloria Ann Taylor in your genre-blurring sound?
I guess it just means I’ll sample anything.
Walk us through the moment you first experimented with synths, vocals, and drums—what felt like the biggest breakthrough?
I had this PS1 game called MTV Music Generator — in Europe it was called Music 2000. It was basically a proto-FruityLoops: a grid-based sequencer with drum hits and samples. Having that as an early touchpoint was huge for me. It made building tracks feel playful and intuitive.
With ‘COFFEE’ blending left-field ambient and downtempo with those organic textures like hammered dulcimer, what everyday ritual inspired its dreamy, time-slowing atmosphere?
That’s a good question… I’d say the real ritual is just listening — to a lot of different music and a lot of different sounds. I like moving through the world with my ears open. It’s powerful. Sometimes I’ll hear a bird in the yard or some random sound and immediately
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