Julie Weiss has been quietly releasing music worldwide since 2008. Nearly 20 years, a sizable catalog, countless songs, and remarkably little interest in making a big fuss about any of it.

Originally from New Jersey, Julie is an independent songwriter, producer, performer, and full-time working mom who makes music whenever she can find the time. She writes, records, performs, produces, and eventually releases her songs into the world—usually without much fanfare, promotional machinery, or expectation that anyone is paying attention.

Julie’s music doesn’t fit particularly well into a single genre box. It lives somewhere between electronic music, synth-pop, dance, pop, and atmospheric singer-songwriter territory, with experimental ideas, industrial textures, humor, and the occasional left turn thrown into the mix. Her music can be melodic and introspective, playful and ridiculous, atmospheric, strange and rough around the edges at times.

Sometimes it’s a little off. Sometimes it’s a little unhinged. But it’s never insincere.

That spirit carries through to Julie’s latest album, Beats to Nowhere, arriving October 30, 2026. The album goes wherever it wants to go. Some songs are seriously unserious (“Don’t.Kill.My.Vibe”, “You’re Good” and “Basti, ist das neu?”) Other songs are more personal or reflective (“Haunted Little Book”, “It Was Always Too Late”, “Very Much (Closer to Me).” Julie experiments with sounds, structures, moods, and ideas, sometimes allowing the music to loop around itself and slowly evolve into something else. Electronic beats (“Give Me More”, “Snow in April”), pop melodies (“Du You”), dance influences (“Where Do We Go From Here”, “Just a Dream”), and industrial-tinged textures (“Revive Me” and “Leave it Alone”) coexist without much concern for whether they belong together.

They do—because Julie says they do.

The album features her latest single, “Basti, ist das neu?”, an unapologetically unhinged danceparty track inspired by the early-2000s discotheque era and a decades-old inside joke. Weird, fun, and quite danceable. It’s a good example of what happens when Julie follows an idea simply because it makes her (ok, maybe just Jessica) laugh—or because she wants to know where she can take it.

She is also particularly proud of the album. For Julie, pride in her work doesn’t necessarily translate into wanting attention for herself. In fact, self-promotion makes her want to throw up a little.

Her approach through the years has remained stubbornly simple:

make music → release it quietly → don’t bother anyone about it → receive little feedback → make another record → release that quietly.

For nearly two decades, she has continued this cycle.

Earlier in 2026, Julie released These Old Cassettes, released on April 23rd 2026, accompanied by the instrumental collection These Instrumentals, released on May 22nd 2026, The project combined new recordings with sounds taken from cassette tapes she made in the early 2000s. More than simply an archival exercise, the albums became a personal gift to her younger self—a way of bringing something from the past into the present and allowing an earlier version of Julie to become part of the music she is making now.

Her song “Tonight (Finally)” brings together recordings made across 26 years—in 2000, 2006, and 2026—to create an entirely new version of her first single, “Tonight,” originally released in 2008. The result is a version that feels new while remaining closer to the sound and spirit of the original 2000 recording.

The same is true of “Never Awake (Finally)”, which brings together recordings spanning 26 years. Like “Tonight (Finally),” the new version somehow feels closer to the original early-2000s recording than the version of “Never Awake” that was released in 2010.

You can even hear echoes of Julie’s younger self in the vocals. They weren’t perfect takes—some were a little rough and maybe even slightly off-key—but that was part of the reason she wanted to keep them. Rather than replacing those early recordings with something technically “better,” Julie chose to incorporate her original voice as a way of bringing her younger self into the music she is making today.

So… Why So Many Releases in 2026?

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If you’re wondering why Julie suddenly had so many releases in 2026, there’s actually a reason.

While working on These Old Cassettes, Julie occasionally needed a break from the emotional weight of the project. But taking a break from one piece of music didn’t necessarily mean taking a break from making music. She still needed to do something.

That’s where Electr08n and Disoriented came in.

Electr08n, released February 21st 2026, contains two pieces—“Electr08n.01” and “Electr08n.02”— that Julie originally started while taking an electronic music class in college. She had already finished and released another piece from that class, “Electr09n,” back in 2015. More than a decade later, she decided to go back and finish these two.

Like the cassette projects, it became another personal challenge: What happens if I go back and actually finish this?

Disoriented, released a week later, on February 28th 2026 grew out of a very different part of Julie’s past.

There had been years when she barely touched music, aside from sporadic experiments. Some of the material on Disoriented came from the period when she was finally beginning to make music again, shortly after her mother died. Grief was closing in quickly, and Julie was lost—she didn’t know what to do or where to go. She wasn’t necessarily making music about her mother. She simply needed somewhere to put herself.

For Disoriented, Julie went back even further, incorporating cassette recordings of her own young voice from the early-to-mid 1990s. “Disoriented Violin & Piano” also uses recordings from that era of Julie playing piano and violin as a child.

Revisiting so many different versions of herself might sound like something most people would prefer to avoid. Julie sees it a little differently. Looking directly at parts of the past—even the painful or uncomfortable ones—can sometimes help her reframe them, understand them differently, and move forward.

Both mini-releases became distractions, experiments, and personal challenges. They weren’t planned as part of some grand 2026 release strategy. They simply happened because Julie kept working.

When things felt overwhelming—personally and otherwise—when everything felt just too heavy, Julie would put her head down and try to work on something.

Music was a safe place.

So she kept making things.

And somehow, Electr08n and Disoriented ended up becoming part of the story too.

So, how does an artist make and release music for nearly two decades without building a conventional audience around it?

Part of the answer is that Julie has never been particularly interested in becoming a conventional “career artist.” Her catalog moves between electronic songs, dance-oriented material, pop songwriting, instrumentals, alternate versions, remasters, experiments, and personal recordings. It can be difficult to put her music into a single discovery category. Julie also knows her work can sometimes seem a little rough around the edges. At times she feels like she could really use the help of a talented (and heavy-handed) producer or arranger, but she does the best she can with the limited resources, equipment and time that she has.

But perhaps the bigger reason is philosophical.

Julie doesn’t want to impose her music on people. She has spent much more energy creating a catalog than creating a persona around that catalog. While the modern music world often demands constant visibility, branding, promotion, and audience engagement, Julie has mostly chosen the opposite path: keep making things, keep learning, keep improving, and put the music out there when it feels ready. She continues to give it a try on social media on her Tik Tok, Instagram, Facebook, YouTube pages etc…and then she immediately regrets it...Almost. Every. Single. Time. The last thing she wants to do is to start shouting in a room that is already way too loud.

She doesn’t know if an audience will ever come.

She’s releasing it anyway.

Today, Julie continues to develop her songwriting, performance, and production skills while balancing music with the demands of every day life. There is no carefully constructed genre identity, no grand artistic manifesto, and no particular timeline she feels obligated to follow. There is simply the music.

Beats to Nowhere is the latest installment in that ongoing experiment: eclectic, melodic, occasionally ridiculous, sometimes serious, occasionally strange, and completely Julie.

Maybe it’s niche.

Maybe it’s a little weird.

Maybe it will find the people it’s meant to find.