{ "title": "ANASTASIA BENTLEY \u2013 DELULU!!!!12: Unshakeable Belief, Misplaced \u2014 Then Reclaimed", "modified_at": "2026-04-16 23:48:06", "published_at": "2026-04-16 23:48:00", "url": "https://pr.dooweet.org/anastasia-bentley-delulu12-unshakeable-belief-misplaced-then-reclaimed", "short_url": "http://prez.ly/mXBd", "culture": "fr", "language": "FR", "subtitle": "Berlin, Neue Odessa Bar, June 2022. She is coming off several weeks of high tension \u2014 caught between war, displacement, and a loss of direction. He arrives: he is her age, driven, already showing promise \u2014 the kind of potential that makes you imagine the rest. A conversation that lasts seven hours. He says he is married, but \u201cseparated for two years.\u201d Hands marked by work \u2014 he explains he renovated his house himself. No wedding ring. At a moment when her own footing had shifted, those details take on gravity. She is drawn not just to who he is, but to what he seems to represent \u2014 and to what he could become.", "slug": "anastasia-bentley-delulu12-unshakeable-belief-misplaced-then-reclaimed", "body": "

That moment becomes the starting point for DELULU!!!!12.

Anastasia Bentley constructs her debut album through a series of concrete scenes, drawn from lived experience in Berlin, Brandenburg, Ljubljana, and Cape Town. At its core, the album is structured around a mechanism: self-betrayal — recognizing it early, explaining it away because something about it still feels worth it, and staying, as small compromises accumulate. \u200b

Central to the narrative is a relationship with an entrepreneur she supported as he grew his startup, even contributing to a multi-million dollar fundraising round. He is married when they meet. She knows it. And still, she leans in — not because it is logical, but because at that point it feels easier to trust what he represents than to rely entirely on herself.

By then, against a backdrop of war, displacement, and repeated resistance in her own path, her usual sense of self-belief had already been shaken — and he felt, at that point, a more credible place for that conviction than she herself. \u200b In the song British Racing Blue, she recognizes an obvious red flag in the second thing he says, but chooses to explain it away. Then the story unfolds: she settles into an illusion in a house in Brandenburg where the wife’s presence is still visible (Two Honey Weeks). \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b \u200b

She remains silent in the face of a co-founder who hurls misogynistic remarks to avoid destabilizing the relationship too early (Betrayed Myself Again).
\u200bShe steps into the role of a partner without that role ever being acknowledged (Love In Good Faith).
\u200b
\u200bShe accepts being secondary, even on a day that is supposed to be hers (My Birthday). She begins to doubt her own perception after episodes of gaslighting (Ljubljana). And in Cape Town, she realizes she will have to defend herself alone.

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DELULU!!!!12 does not tell the story of what he did. It shows what she accepted.

Before music, Anastasia Bentley built a career in finance, tech, and startups. She worked across multiple countries, participated in major fundraising rounds — a trajectory that, from the outside, checked every box. She credits that success to an unwavering belief in herself, even in the absence of proof. Yet, despite it all, something weighed on her. In 2025, while still traveling for work, she began writing — the album’s twelve tracks taking shape on airplanes between business trips, as a way to process a story she could not put aside. Toward the end of that year, a break from her previous role forced a decision she had been putting off. She chose to stop adjusting herself to fit in. With no formal training in music production, she left for an artistic residency in Greece. In Kavala, she met musicians Jim and George (Acid Plato), and then her main producer, Anastasios Papazoglou, with whom she recorded the entire project at Nemesis Studio. \u200b

The work moved quickly and instinctively, often based on structures she developed herself. Other collaborations rounded out the project, including Harald Schoger (!NTELLIGENT COMMUNICATIONS, Germany), Cedrick Loyson (Studio Tour des Dames, Paris), and her vocal coach Tetiana Stytsenko (Landestheater Linz, Austria), whose experience as an opera singer guided Anastasia's vocal development.

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Musically, the album embraces an unusual range for a debut project. It moves across genres by design, with each track holding its own identity rather than being shaped into a uniform sound: \u200b

Dance on British Racing Blue and Just Like That
\u200bPop-rock on Betrayed Myself Again and DELULU!!!!12
\u200bTaylor Swift-inspired Synth-pop on My Birthday
\u200bIntimate Piano/Pop on Two Honey Weeks and Queen’s Exit
\u200bLady Gaga-inspired High-energy Pop on Love In Good Faith
\u200bHoliday Pop on Christmas Wife
\u200bMetal on Ljubljana
\u200bDrill/Rap on Cape Town
\u200bCabaret on Intoxication
\u200b
\u200bThis stylistic diversity reflects an identity forged between multiple cultures, languages, and influences — ranging from French chanson to Rammstein, and Taylor Swift to Oxxxymiron, by way of Depeche Mode and Freddie Mercury. \u200b Betrayed Myself Again has already surpassed 100,000 views on its video formats, thanks in part to a raw, direct portrayal of silence and contradiction within the relationship. Visually, the project adopts a cinematic approach, featuring music videos directed by Jeetendra Prajapati (Ljubljana) and Alex Radjou Poucheparadjou (Cape Town, scheduled for release in April 2026). \u200b

However, the heart of the project remains the title track, DELULU!!!!12. The term borrows a contemporary concept to make a simple distinction: “delulu" is not something to eliminate, but something to place correctly. The same capacity for belief can trap — leading to self-betrayal — or build, when directed toward oneself beyond logic. The album documents the transition from misplacing conviction to reclaiming it. \u200b

The final track, Just Like That, takes place in Ljubljana. A red dress, heels, a restaurant on the embankment. She sees him, seated outside with his co-founder — the same person who had been at the center of her unease earlier in the story. He sees her. He walks inside. A message from him: “No.” He chooses his co-founder. She leaves. That is where the story ends — not in reconciliation, but in the moment she sees how far she had gone against herself. What follows is a shift — not the disappearance of that unwavering conviction, but a change in where it is placed — back where it had always belonged: on herself. \u200b

Now based in Paris, Anastasia Bentley extends this work through a series of releases centered on broader themes — power, identity, and personal growth.

Discover the first music video from the album for the metal track "Ljubljana”:

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\"Christophe
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\n Christophe SOUSA\n Attaché de presse\n \n
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