[2] Garzón-Montano was born and raised in Carroll Gardens, Brooklyn to immigrant parents, a French mother and a Colombian father.

[4] He went to rehearsals as a freelance mezzo soprano and performed in the choir at the New York City Opera at Lincoln Center throughout his childhood.

After his parents divorced at the age of five, Garzón-Montano would be flipped between homes, living at several addresses in New York City as well as back-and-forth trips to Colombia to see his father.

The extended play's title derives from his family heritage as Bishouné is a phonetic spelling of a childhood nickname his French mother called him, and Alma del Huila is a name for the Colombian municipality of Garzón, his father's last name.

After the project was completed, he pressed 500 vinyl copies of Bishouné with the indie label, which distributed it door-to-door to record stores in New York City.

Imagery of fruit and plant life are components of the lyrics from "Sour Mango" to the cactus in "Crawl", as well as in sequences in "Fruitflies".

He described the album as "anti-genre" with him flirting with many diverse sounds including reggaeton, art rock, trap, hip hop, urbano, electronica, post-punk, folk and ambient music alongside the usual offerings of soul, funk and alternative R&B.

[19] Garzón-Montano mentions musical influencers such as Prince (whom Jardín is dedicated to), Stevie Wonder, Sly & The Family Stone, Marvin Gaye, The Beatles, and Radiohead.

[16] During an interview, Garzón-Montano references a purchase of some bargain greatest hits CDs that impacted him, which included music such as "Sing a Simple Song" by Sly and the Family Stone, as well as James Brown and Parliament.