Miya Folick arrives at Los Angeles’ Silver Lake Reservoir and immediately takes off running. Between the two of us, she’s the only one that can close the quarter-mile distance to catch up to the stroller-pushing mom who left her phone on a nearby bench. “That’s so weird,” Folick says. “I’m usually the person who loses things.”

It’s 9 a.m., and Folick has already been up for hours. In a limited-edition graphic tee and black running shorts, her formerly shaved ’do evolving into a modest mullet, she’s just come from breakfast with a film producer, where they discussed a treatment for an upcoming video. And now the plan is to walk the reservoir’s perimeter, which actually played a critical role in Premonitions, her upcoming full-length, major-label debut. Whenever Folick was stuck for lyrics while making the album, she gave herself a deadline: two laps around the water—a healthier creative process than you might expect from a twentysomething musician (she declines to disclose her exact age). “We probably had the most sober studio in Los Angeles,” she says, laughing. “I enjoy drinking, but not when I’m working. It makes me sleepy.”

Co-produced with Justin Raisen (Charli XCX, Angel Olsen), Premonitions is an eclectic, emotional sprawl. “Deadbody,” released earlier this year, is a post-Harvey Weinstein anthem that writhes with banshee energy, as Folick warns, “Don’t tell your friends I’m lying to convince them I’m insane.” “Stock Image” steadies its pulse with 1980s synths and sweeping resilience, while “What We’ve Made” channels Tori Amos at her most kinetic. “Leave the Party” is a straight-up curveball, held together by horns and swagger. Throughout, her stratospheric vocals effortlessly mutate to suit each track.

“I wanted something for every mood,” says Folick. “I wanted to make a record like Björk’s Post that contained many sonic influences but is one cohesive world.”