In this interview, BSP explores how synesthesia, ocean horizons, and collaboration with FREQUENCY33 shaped “Mirror” into an immersive, multisensory experience bridging introspection, sound healing, and visual performance between London and Madeira.
1. As a synesthete who translates sound into color, how did your unique perception shape the creation of MIRROR? When you were composing and performing this track, what colors, textures, or visual landscapes emerged, and how did they influence the emotional intensity of the song?
I feel incredibly lucky because I can see the ocean from my house in Madeira. When Noah (FREQUENCY33) and I were composing Mirror, that’s what I was looking at most of the time. The sea, the horizon, that deep, cold blue that changes every hour. That colour stayed with me while we were writing. I kept seeing this dense, almost metallic blue, like water before a storm, calm but carrying something underneath. The production naturally followed that image. We left space because visually it felt open, reflective, and suspended. When I write, I follow what I see. The atmosphere appears first, then the emotional tone grows around it. With Mirror, the colour guided everything.
2. MIRROR feels deeply introspective, almost like standing at the edge of a life-changing decision. What personal experiences or inner reflections inspired this narrative of fear, truth, and vulnerability?
It came from that very specific moment when you already know what you need to do, but you’re secretly hoping for a louder sign so you don’t have to take responsibility for it.
I grew up near water, and standing on a pier has always felt symbolic to me. You’re stable, but you’re also facing depth. The water starts sounding like your thoughts. The waves repeat things you’ve been avoiding. When I wrote Mirror, I was sitting inside that feeling. The quiet realisation before anything changes on the outside. That space felt powerful enough on its own.
3. Your performances—whether in underground clubs or at institutions like the Tate Modern and the Venice Biennale—are known for their immersive, multisensory nature. How does MIRROR translate into your “canvas orchestra” live format?
Live, it becomes physical. When I perform it with my canvases, the tension of the song translates into slower, more deliberate gestures. The colours are darker, more layered. The audience can see the build-up before they hear it fully. My “canvas orchestra” is about making sound visible. With Mirror, the repetition at the end almost feels like carving. Each touch activates sound, and visually, you see the persistence of the thought. It turns the internal dialogue into something shared.
4. BSP and FREQUENCY33 merge synesthetic art with sound healing. How did your collaboration evolve creatively, and how did his background in energy work influence the atmosphere of this track?
I found Noah at a moment when I knew I needed someone who genuinely wanted to work with me inside Ableton. It’s the software I use live, so it matters that whoever I collaborate with understands how my set is built from the inside. He posted something in a WhatsApp group, I replied, we met once, and it just clicked. From there, things moved quickly. At one point, we were writing almost one track per day, which was slightly mad and very inspiring. We influenced each other constantly. I’d send him songs I love, and he’d bring his favourite atmospheres and textures. There was never a sense of pushing an idea through. We both adjusted, listened, and reshaped things. It felt balanced. Working with FREQUENCY33 feels very calm. There’s no rush in the process. We leave space. His background in energy work shaped the atmosphere of the track quite deeply. We paid attention to how certain frequencies sit in the body, how tones linger after they fade. We were drawn to that suspended feeling. A held breath that stays with you.
5. After spending time in London and now being based in Madeira, Portugal, how have these environments shaped your artistic identity and the emotional tone of your recent releases?
London gave me an edge. It’s fast, loud, and slightly chaotic. You have to claim your space there. Madeira changes your rhythm without asking permission. There’s horizon, silence, distance. You slow down. Mirror carries both energies. There’s tension in it, but there’s also openness. Living between places reshapes the way you listen. Borders feel softer when you move between them often.
6. Released via HITMINT MUSIC, MIRROR is your second collaboration together. What does this partnership represent for your artistic journey, and what can audiences expect next from this evolving sonic and visual universe?
HITMINT gives me freedom while offering guidance, and that balance is rare. There’s encouragement, trust and respect at the core of the relationship. Pamela Pagano (Music Executive) is constantly moving. Pitching for sync, coordinating promotion, looking ahead. She works relentlessly, and you can feel that she genuinely believes in the artists she works with. For most artists, that level of support feels like a dream. This partnership feels like shared growth. I’m really looking forward to the next phase of our journey together and seeing where building this world side by side will take us. There will be an EP coming out soon, but I can’t reveal too much yet!
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