Marc Soucy
Marc Soucy This interview explores Marc Soucy’s creative world—his “mini soundtracks,” genre-blending compositions, lifelong bond with technology, and the visual dimension that shapes his immersive musical journeys and ever-evolving artistic identity. 1. Your work is described as “mini soundtracks” that blend world music, electronic elements, and cinematic storytelling. When you begin composing, what usually comes first—an emotion, a visual scene, or a musical motif? I begin by coming up with a musical motif. If I like it from a pure musical perspective, I’ll start to compose additional parts. As I’m doing it, it feels to me like I’m improvising. I have really good recall of music I’ve encountered my entire life, and I’m quite sure snippets of them all make their way into my thinking as I’m working. I believe this is how authentic music composition works anyway. Originality has become truly fragile and difficult to achieve, since so much has been done and is being done now. I do have the advantage of having studied classical piano for my entire childhood. This gives me a sense of structure, execution, and knowing when something’s right, even if it has nothing to do with classical music. My growing music catalog is made up of many different mixtures of styles: unpredictable, and hopefully emotionally provocative. Getting back to your question, once the musical piece has developed some, I start to examine how it makes me feel, and what visual events might accompany that feeling. Is it ominous? Is it tense and stressful? Is it loving and nurturing? Is it surreal and otherworldly? …and on and on. This thinking gives me a direction to continue developing the piece and the concept I want it to convey. Once many of them were done, the pattern for me became “mini soundtracks”, because of the twists and turns each piece can take as it progresses. 2. You’ve been connected to music since childhood and have witnessed the evolution of music technology from the early days of MIDI to today’s digital tools. How has this lifelong relationship with technology shaped your creative process and the sound of your recent releases? That experience with both music studies and music technology has allowed me to progress beyond what the normal approach to this technology is. As I said, I have a very improvisational approach to this, and finding “that sound” I think I need in a given passage is part of the process. I never let the sound library dictate anything. That’s not my thinking at all. I’ve been asked what sound libraries I prefer. I own seven or eight of them, plus a couple dozen virtual instruments, besides my keyboard rig. I find and use a sound without committing my self to any specific approach or formula on how each thing is used. This gives me even more freedom to create what I hear in my head. The sound of my recent work is indicative of this process. Electronic sounds often appear almost anywhere, or a keyboard instrument from recent history—say a Mellotron or a Clavinet—might appear suddenly. Just because it captures the feeling for that moment. On top of all that, overall, I use organic “acoustic” sounds even more often than the electronic ones. Violin, trumpet, cello, string sections, French horns, tin whistles, you name it. Mixing it up constantly, and never sitting still with a style is what I’m all about. 3. Your compositions often feel like immersive journeys with influences from classical, rock, jazz fusion, world music, and more. How do you approach merging so many genres into a cohesive piece while still maintaining your unique artistic identity? That question is a good one, and also a hard one to answer accurately. I guess I simply refuse to follow ANY of the “rules” out there about how to arrange a song. Any piece of mine might start with a minute long soundscape and suddenly erupt into a dynamic musical thrust. A minute later, it might become introspective, or awe inspiring. It could go silent and crawl its way back. If anyone wants me to “get to the point” or “where’s the hook?” forget about it. You won’t get that from me. I am not a creator of “popular music” in any form. I might touch upon it briefly here and there, but that’s it. 4. Each track is accompanied by a music video and often carries elements of sci-fi, surrealism, or spirituality. How important is the visual dimension in your artistic vision, and what role does it play in deepening the listener’s emotional experience? Creating my music videos is my hobby, whereas music itself is my art. Let’s be clear about what my intentions are. I consider my music “sync ready” and I am working to make it so for the entertainment industry. That said, I see the videos as just one possible interpretation (among many) of what the music implies. That “mini soundtrack” concept really kicks in when you watch the videos. Most listeners have a much more immersive experience when they watch them. The industry people may have little use for my music videos, but the public might. Plus they are fun to do. 5. Reviews have compared your work to cinematic giants like Hans Zimmer and Max Richter, yet highlight that your sound remains unmistakably your own. How do you navigate the balance between recognizable influences and forging a distinct personal signature? I keep my distinct musical signature my being free of any rules. That constant exploration, and willingness to add another style to any piece is my approach. I never sit still in a given genre or sound. There are many very gifted music artists and composers out there that can cross stylistic boundaries, and really master them at a level that I can’t. I listen to people like that for enjoyment. For me though, it’s all about the constant change and unpredictability of my music that keeps it “me”.. You can’t listen to ANYTHING that I’ve done, and assume
Eastar and Karlie
Eastar and Karlie Eastar and Karlie discuss their collaboration on Moonlit Dreams, a late-night, cinematic pop track capturing freedom, emotion, and that magical 3 AM feeling, exploring creativity, chemistry, and the power of musical connection. 1. Moonlit Dreams feels like a song about freedom and that late-night magic where time stands still. What inspired the idea behind the track, and how did it come to life in the studio? Eastar: First I had the beat and gave it to Karlie to write the song. Karlie: I immediately felt the world of it — that clean, late-night vibe. We didn’t force anything; the topline came fast. It had that “everything quiet, mind awake” energy from the start. You know what I mean? 2. Eastar, you mentioned that Karlie’s vocals gave the song the emotional edge you’d been searching for. Can you both describe that creative chemistry between you? What makes your collaboration “click”? Eastar: Karlie is easy to work with and open for ideas and suggestions. Honest if she likes it or not. Karlie: There’s a lot of trust between us. We both show up with good instincts and no ego, so ideas move fast. He creates a world I can step into, and I know I can try things without overthinking. That’s why it clicks. 3. The song captures that special 3AM feeling — where the night feels endless. Was there a real-life moment or memory that shaped that mood? Eastar: I had to dig back in my memories, but then I remembered a moment when I was young and went back to my grandfather’s village, Seri, on the island of Ambon, Maluku. I remembered the big clear full moon in the dark sky at night — almost unreal. Karlie: For me it’s that mix of calm and focus you get when the world goes quiet. Especially surrounded by close friends and family. A twirl is your stomach, that feeling of happiness. Those moments always feel a bit cinematic, and that mood ended up shaping the whole track. 4. Karlie, this single is part of your upcoming debut album, which Eastar is also producing. How does Moonlit Dreams fit into the bigger story or sound of your album? Karlie: It’s part of the lighter, more fluid side of the album. The record has depth, but it’s not heavy — it’s confident, sleek, emotional pop. Moonlit Dreams shows that late-night clarity and freedom that runs through the whole project. And ofcourse it’s so special to have this collaboration with EASTAR on the album. To work together on another level. 5. Two weeks after Moonlit Dreams, you’ve released the See Her (EASTAR Remix) — a deeper, late-night version of an earlier single. How does the remix transform the original, and what do you hope listeners feel when they hear it? Eastar: I wanted to create a more danceable club version of the song, which is more pop. Karlie: The remix takes the message from reflection to release. It’s the See Her world — but turned up, brighter, faster, louder. It even touches that late-night rave feeling. It’s the kind of freedom where you stop thinking and just move. The best feeling 🙂 I hope listeners will feel that vibe. To feel strong, powerful. Like an anthem for self love. 6. Both of you seem to blend emotion and nightlife energy in your music — that mix of vulnerability and freedom. How do you balance those two sides when creating? Eastar: I follow my heart and feeling, hoping to inspire Karlie to finish the song. Karlie: For me it’s always about balance. The track has energy, but it never loses emotion. That’s the sweet spot — pop you can feel, the kind that makes you move but makes you think and feel as well. THIS IS KARLIE
The Mikols/Goble Project
The Mikols/Goble Project The Mikols/Goble Project began when Karl Goble discovered Philip Mikols’ music online, sparking a faith-driven collaboration that merges diverse styles into heartfelt, soulful songs filled with meaning and musical ingenuity. 1. This collaboration started from a simple online message. Can you walk us through that first connection and what made each of you feel that this partnership was worth pursuing? Philip: Karl sent me a DM saying that he found my music online and if I would be interested in doing a collaboration. I checked out his Cosmic Silk Project and responded by asking him to send me some demos of what he had in mind. The first song was Under the Wings and I thought it had potential. Then he sent me Much Wiser Than That Now, and I said, “Let’s do this.” The lyrics to Much Wiser Than That Now really hit home. Any man who has been through the wringer in life can instantly relate to this song. Karl: When I first thought of collaborating with Philip, I was thinking lyrics. Wow, was I surprised! He sent me back this music that caused my heart to leap. I mean, you don’t get a chance to play with this caliber of musician, but maybe once in a lifetime if you are lucky. So, Philip wrote me, let’s do an album. Here we are now with an album. 2. Your musical backgrounds are vastly different — from folk and gospel to classical and progressive rock. How did you approach merging these styles without losing the essence of what defines you individually as artists? Philip: It all starts with a good song, and the song itself will dictate what needs to be done with it. No amount of technical wizardry and virtuosity can fix a bad song. Many of the songs I actually reworked to be much simpler than what was on Karl’s demos. With the simpler chord progressions and song structures of Karl’s songs, it gave me the opportunity to do some interesting things that I don’t normally hear in this genre of music. Things like using different chord voicings and chord inversions for each section of the song instead of playing the same thing each time. Plus, I was able to let the bass take a lead role in many songs by playing subtle counter melodies throughout the song. Karl: I never really thought about our styles merging. I just think of it as two musicians improvising and having a great time doing it. 3. Faith appears to be a central thread in both of your creative identities. How does your shared spirituality influence the themes, lyrics, and emotional direction of your music together? Philip: It is all for the glory of God. Our coming together for this project was quite a synchronicity. I have released seventy-four of my own instrumentals and was working on some new ones but was not feeling very inspired. I was thinking that I would like to do something really different with someone else, and shortly thereafter, Karl’s DM showed up. Karl: Well, I pray a lot and count my blessings just for being in life with God. The ideas come straight from Him, and they are all His songs. If God doesn’t write it, I can’t. I personally believe God brought us together for such a time as this. 4. Karl, your songwriting often feels deceptively simple on the surface while carrying deep meaning underneath. How did Philip’s arrangements and instrumentation help expand or reinterpret the messages in your songs? Karl: I write the songs, the basic melody, and send them to Philip. He interprets them in what ever way he does. Philip may ask for more lyrics to be added, but usually when I send a song to him it develops. I write by feeling, and that feeling comes from God. 5. Philip, you come from a classically trained perspective with a strong focus on composition. What was it like adapting your instrumental style to complement Karl’s storytelling and vocal approach? Philip: I am actually not a fan of any of the genres that Karl writes in, but there was something very unique about his songwriting that really appealed to me. There was a lot of really good raw material to build from. I started putting some backing track ideas together and found myself having way too much fun with them because I have never done anything with this style of songwriting before. It was really easy to adapt my compositional style to Karl’s songs because they are just so good. I was able to do something with them outside of the same, tired old pentatonic and blues scale licks. “Honest With You” is a song that is really different from Karl’s original demo. It was a techno rock song, but I started playing around with 7th and 9th chords, and it became a 1970’s style “yacht rock” song and is a favorite of mine. The mood of the song really fits with the moody lyrics. There were little bits and pieces of melodic ideas in the demo that I was able to develop more fully, and am really pleased with how that song came out. 6. As this project continues to grow, what can listeners expect next? Are there themes, sonic directions, or messages you’re excited to further explore in future releases? Philip: It is anybody’s guess as to what comes next. There are a few of Karl’s demos that did not make it on this album that I will be revisiting. I also have a few musical ideas floating around in my head that would work with Karl’s lyrics and voice. Karl: God is in charge, so I just hang on. Cosmic Silk Project Musique | Philip Mikols
Vanessa Tottle
Vanessa Tottle Trip Hop singer, songwriter, and producer Vanessa Tottle opens up about her deeply personal track “Can I Go Now?”, sharing the grief, memories, and creative process that shaped its haunting beauty. 1. “Can I Go Now?” was written after the passing of your mother-in-law and described as a love note to your four children. What moment or emotion first pushed you to sit down and write this song? Ma passed on a Monday, my husband had travelled to be with family to help with arrangements. I had been told that her last words were can I go now? Or to that effect, and so when no one else was home I sat on the couch to take a moment and the words just came to me. I started to write them and after the funeral I shared this with my husband who in turn passed my phone around the table for them to read. That’s where the song sat for a year before I recorded the vocals, it was too much to deal with even after that year! 2. You chose to keep the tremble in your voice during the recording. How did embracing that rawness shape the track’s emotional impact and your own connection to it? With songwriting and singing it’s a great vehicle for the grief train and I was riding that train daily so for me to keep that rawness – it was easy! It was a good outlet for me, it was about a struggle with an illness that took Ma in 3 short brutal years – yet this track needed to be beautiful, a love letter. 3. The song references sand and uses vintage-style vocals with subtle reverb. How did you craft the sonic atmosphere to reflect June’s spirit and the story you wanted to tell? Waihi Beach is where all the family would congregate for years and she simply loved life at the beach, my daughter and all of the cousins have memories as well as her own children of being on the beach and Ma going in for a swim herself. The vintage style for me was about how I saw her – an English rose born in Wales and when I think back to the stories we would discuss over tea and Coronation Street, it just felt extremely fitting to have that element in the songs creative process. And who can say no to a subtle reverb? Can I Go Now? de Vanessa Tottle 4. Trip Hop isn’t always associated with deeply personal narratives. How do you balance intimate storytelling with the genre’s dreamy, atmospheric production? One of the many things I love about Trip Hop is its ability to let you be expressive – with the music, and lyrics. With it being a blend of different elements, R&B Regge, Electronica, Soul, Jazz – I find it easy to translate it into Trip Hop together with my strong vocals – I feel the music I create and I hold the lyrics to it and constantly check if this is staying the course, kinda like a Jedi knight I feel the genre flow through me, its a surreal euphoric feeling – does that sound weird ha! I also have other songs that are a little faster, different shape but they all fall under the Trip Hop genre. With every song I create there is a story, even with the instrumental tracks I produce for Radio Trip Hop Brazil – in my head there are full length videos playing – if only money was no object! 5. You’ll be performing “Can I Go Now?” live in Brisbane at the Stone Corner Hotel. What can listeners expect from hearing this song in a live, open-mic setting compared to the recorded version? They can expect a strong performance and from someone who has had to battle the grief journey since 2023. That emotion will certainly still be there as the anniversary of her passing will be the next day. Hopefully they can connect with me through my set and come for a chat afterwards – perhaps my journey can help someone else. 6. This is your final release of 2025. After such an emotionally significant project, what direction do you feel your music and creativity will take moving forward? I am staying the course on my musical journey. I am very proud of myself for staying in the Trip Hop genre even though not classed as mainstream. I have never been one to follow the pack so it’s fitting I have fallen into this genre. A few people including my sound engineer has said to me “you can tell this is your work, there are certain things you do with the production that is signature”. Those comments are unreal but I am so grateful to be seen as that – one of my aims is to be seen more, so thank you for allowing me to answer questions on your platform. I have my release plan locked till March 2027 with more songs to produce and write. My next single to be released is in February 2026 and I can’t wait to share that with everyone. Vanessa Tottle Music (@vanessa_t_music) • Photos et vidéos Instagram
Stray Planets
Stray Planets Stray Planets return with Are You Real, Cristobal Leedy?, an EP blending surreal humour, nostalgia, and digital-age unease. In this interview, they explore inspiration, collaboration, and the art of feeling unreal. 1. Your new EP Are You Real, Cristobal Leedy? feels like both a continuation and a reinvention of your earlier work. How did your creative process evolve between Messed Up and this new collection? I don’t think there was an evolution in my own creative process, maybe a slight evolution in the nature of my collaboration with Rian (in so far as we know each other better). ‘Artificial Love’, for instance, is based off a very early instrumental I recorded before I learned to write lyrics. ‘Hallucinations’ started as a melody/chord progression hummed/played into my phone drunk four years ago. Stuff often evolves in a non-linear, vague way, for me anyway. 2. The EP’s title track reflects on “the strange unreality of making art in the algorithmic age.” What inspired you to explore that tension between authenticity and artificiality so directly? That track was inspired by a YouTube comment from a probable bot called Cristobal Leedy that read, “Truly astonishing beat and music”. The idea of someone obsessing over whether a person who likes them is real or not, wishing they were, knowing they’re probably not, appeals to me. Probable bots often pop into my Instagram inbox telling me I’m great, likely trying to scam me, and on some level I think I’m happy to be scammed as long as they keep the compliments coming. It’s amusingly tragic also to contrast love from bots with the indifference of real people. My primary fanbase at the minute are TikTok dancers looking for paid collaborations, showering me with generic praise. Part of me wants to see what an “Hallucinations” TikTok dance would look like and a greater part of me wants to bring them all together and form a TikTok dancer supergroup. Alas, Instagram forbids me from responding, some kind of protective scam blocker thing I cannot override. Reminds of the time I got a telemarketing call about toothpaste where I effused about the aesthetic beauty of Aquafresh and in the end it was they who wanted to hang up. Also, Cristobal’s photo looks real so maybe he is real. I really hope he is… maybe… well maybe not now at this stage. Also, I always like the idea of giving pathos to non-living things. I anonymously wrote songs about pasta sauces once and found I could empathise with the crappy ones perpetually on special offer. 3. You’ve described Your Revolution as a song about AI’s inability to suffer — which is such a fascinating concept. How do technology and emotion intersect in your songwriting? Not sure how technology intersects with emotion — every song I write is based on some emotion though. I find they’re no good otherwise. That song suggests that the constant low level anxiety of being alive is a privilege/power we humans will always have over our would-be robot overlords. Not sure if that paints a bleak picture or not. 4.“Hallucinations,” featuring Dara Kiely of Gilla Band, has this vivid, technicolour energy. Can you tell us how that collaboration came about and what Dara brought to the track’s vision? I’ve known Dara a long time, first met him when he was a kid doing work experience in the now defunct Asylum Studios. He liked my early anonymous food-based material, initially not being aware it was me. Dara’s voice is great, sort of like a damaged crooner. In the studio, he has great instincts, and is very discerning, more so than me. I quite like the Care Bears movie soundtrack for instance (I wrote that in jest and am right now listening to said soundtrack assuming I liked it but it is in fact quite bland). 5. Your music often feels like it’s time-traveling — weaving elements from 60s psychedelia to futuristic synth textures. What eras or artists most influenced ‘Are You Real, Cristobal Leedy?’? Rian would mention some of MGMT’s recent work as a production reference, though I’m not sure how much of that came through in practice. He’s generally drawing on a vast palette. I think I was trying to write a post-modern surf song a la “Bros” by Panda Bear with “Your Revolution” which you can sort of hear in the verse melody maybe. The chorus melody is a bit Sonic 2-ish I think though. From a songwriting perspective, I’m generally drawing on lots of things unconsciously, and always I suppose indebted to my old faves from when I was starting out — Cole Porter, Burt Bacharach, Ennio Morricone, High Llamas and such. 6. You’ve said you make the kind of music your 19-year-old self would want to stumble upon. What do you hope today’s 19-year-olds feel or discover when they hear this EP for the first time? I just hope they like it. I genuinely don’t know if there are any 19-year-olds out there like 19-year-old me. I sort of hope not, for their sake. strayplanetsmusic | Instagram, Facebook | Linktree
Martyrs
Martyrs Martyrs return with Halloween Dream, a haunting fusion of nostalgia, folklore, and DIY artistry. Michael Hall dives into the EP’s eerie inspirations, evolving sound, and the duo’s ambitious ten-release journey. 1. Your new EP, Halloween Dream, feels steeped in atmosphere — equal parts nostalgia, melancholy, and magic. What draws you to the autumnal and supernatural imagery that runs through these songs, and how does that connect to your broader creative identity as Martyrs?I think growing up in Wales, which is steeped in folklore and mysticism,was the seed of the obsession. Also, writers like Algernon Blackwood and MR James, then more modern authors like Susan Hill and Stephen King instilled a desire to make strange art, that has something more beneath the surface, something unexpected. There’s definitely a darker side to what we do, and that’s informed by the kinds of books and films we grew up with, the kinds of art I still enjoy now. Giallo movies, folk horror, gothic literature…I think there’s comfort to be found in the strange and eerie, and there’s a great deal of humanity to be found in a lot of horror writing – you look at how Stephen King or a filmmaker like John Carpenter can depict community and relationships in the face of terror and it’s quite beautiful. It’s not like we brand ourselves as a folk-horror band or anything, but elements of that are often found in what we do. Nostalgia seeps into everything I think, and we all have a different relationship with it. I think it features quite prominently for Jon and I simply because we grew up together and we share the same reference points both culturally and with regards our home town, Merthyr Tydfil. I think the melancholy element is just part of being Welsh to be honest. 2. You’ve recorded, mixed, produced, and even filmed everything yourselves — an impressive commitment to the DIY ethic. How does total creative control shape the final sound and feel of your music, and do you ever miss the outside perspective that comes with working in a studio or with a producer?It means we’ve no-one else to blame, which is unfortunate. I think the complete DIY approach is essential to the band. We wouldn’t be doing any of this without it. Neither of us had any interest in starting a band in the traditional sense, dealing with egos, losing endless money on shows no-one goes to, trying to make music to please other people etc. etc. So if you have no interest in doing things the traditional way, you have to do everything yourselves. I’ve always admired DIY scenes, and I’ve been lucky to be a part of them a few times in my life, making zines, putting on shows. I’m a strong believer in that ethic. We may not sound much like Minor Threat or but I certainly love them and have definitely learned from them and similar artists who take responsibility for their work and how it’s both conceived and released. The way we’re working though, if it has a downside, it’s that we’re doing all the work but we’re not really a part of a broader community, aside from conceptually or in terms of other artists we meet online who work in a similar way. We’re very much on an island. Artistically, we try to entertain one another, surprise one another, and that’s the only approval we need to move forward. I trust Jon’s instincts, I think he trusts mine, so we’re golden. Obviously there are benefits to working in a studio and working with an outside producer, but I think Jon’s production is phenomenal and we’re pretty stubborn about doing everything ourselves. It’s just not in our collective DNA to do it any other way. The way it ultimately shapes what we do is that we end up making very specific music that could only come from us, it’s got our personalities all over it, for better or worse. 3. You’ve mentioned that Delta Rain and October Kind mark a shift toward acoustic textures and more impressionistic writing. What sparked that evolution, and how do you balance this new warmth with the electronic and experimental edge you’re known for?Jon bought a new acoustic guitar. It was all downhill from there. We always want to try new things. We give ourselves room to try whatever we want – metal songs, ambient stuff, sound collage, disco…and doing something more traditional, more organic, that’s also experimental to us. Hearing the music Jon was putting together, I wasn’t moved to write the kinds of characters or narratives that usually populate our songs. I was inspired to say something personal, albeit in quite an oblique way. It became about conjuring atmosphere as a way to express emotions that are very hard to pin down in a literal sense. I think Jon is able to balance the organic and electronic very well, he’s able to keep an eye on both angles and that’s given us the opportunity to widen our sound. Halloween Dream EP de Martyrs 4. Your reimagining of The Man Don’t Give A Fuck is both reverent and radical. As lifelong fans of Super Furry Animals, how did you approach deconstructing such a cult classic without losing its original spirit — and what made this song feel relevant to reinterpret right now? I think it’s the right time for protest songs for so many reasons. The rise of fascism, the entropy of late stage capitalism, the kind of power the wealthy wield over the population…these are big topics, overwhelming. But because TMDGAF is a sort of multi-purpose protest song, it gathers all that in one place. You’re angry at everything, frustrated, so you want to lash out, and this was a good way to do it artistically. We’ve both loved Super Furry Animals since we were kids so it was a perfect choice for our first cover. Gruff Rhys from the band gave us a shout-out when we released
Daniel Alspach
Daniel Alspach Daniel Alspach’s new single “I’ll Follow” opens a deeply personal chapter, blending heartfelt storytelling and intimate production. In this interview, he reflects on loss, memory, collaboration, and the journey shaping his upcoming EP. 1. “I’ll Follow” has been out for a couple of days now. How has it felt to finally share such a deeply personal track with the world, and what early reactions have stood out to you the most? It’s been out for a couple of days, but I’ve been waiting months to release it. It’s nerve-racking, but exciting at the same time. When I first had some friends and partners in music listen to it, they found it to be incredibly moving being about my grandpa. Inc. CVRNVTE brought on the instrumental and Diego Fernandes brought it to life from almost 5,000 miles away. I did more with this song than I’ve ever done before. 2. The song was inspired by your late grandfather, yet it resonates broadly with themes of family, friendship, and loyalty. When you listen back now, what emotions or memories come to mind first? I think back to the times when I was young. When everything was so easy, but you know you’re gonna keep those memories of loved ones with you until the end. 3. You collaborated with Greenlonely on production and with Diego Fernandes for mixing and mastering. How did these collaborations help shape the emotional impact and final sound of the track? It was actually Inc. CVRNVTE on the production. He delivered the kind of instrumental and sound I was looking for with this entire EP. Something that didn’t drown out my vocals, but still would sound great on an afternoon cruise. Diego brought the track to a whole new level and made it the kind of track you can bump in the car or cry to. Have a Happy Day is going to deliver a lot of surprises with the production. 4. As the first glimpse into your upcoming EP Have a Happy Day: Act 1, how do you feel “I’ll Follow” sets the tone for what listeners can expect in 2026? “I’ll Follow” is the beginning of a very personal musical journey I’m on and I feel like the rest of this EP and what is to come next really tells my story. I’ve been through heartbreak, grief, homelessness, and found a way to come out of the dark. This is just part of the journey. 5. You mentioned recording the vocals simply at home. How did this minimalistic and intimate setup influence your performance and connection to the song? I think by doing it at home I felt more connected to the song. No distractions, no producer telling me what to do; Just me, my microphone, and a small computer set-up. 6. Since “I’ll Follow” comes from such a personal space, did creating it teach you anything new about yourself or your artistic direction moving forward? I think I’m always gonna make music from the heart. About what I go through. I’ll Follow helped push the same vision I’ve always had and always will have. Daniel Alspach (@danielalspach1) • Photos et vidéos Instagram
Plastic Orchestra
Plastic Orchestra Blending disco sparkle with surf-rock charm, Plastic Orchestra craft music that radiates pure joy. In this interview, they dive into their sound, studio adventures, and the playful creative energy behind “Foot In Mouth.” 1. “Foot In Mouth” has such an infectious blend of disco and modern surf-rock. How did you land on that particular sound, and what drew you to merge those two styles?I think personally they are the 2 most fun and kind of feel good genres for me. I really like the tones and almost hypnotic sound of surf guitars and how grooving songs in that vein can be, but also these are upbeat and fun songs and that incorporated that disco element I think. i think I was just writing for myself because this type of song is what I would put one when I’m working, on the move, hyping myself up for going out, and when I am trying to motivate myself to get the house in order… pretty versatile. 2. You mentioned that this project began after winning a competition that gave you a week in the studio. What was that week like — any memorable moments or unexpected turns during the recording process? Oh Grace and Palmer at nuthouse studios were so great! Memorable moments I would have to say was living back at my mum’s house for a week because it was way closer to the studio and driving with her work and the studio to ABBA was the best way to start the day.I think there are few people who would say a week off from work to hang with your best mates, making sometimes ridiculous noises, is not a very fun idea. Everyone who contributed to the EP came in with their game faces on, but everyone also contributed their own brand of fun to these tracks. 3. The track feels full of motion and freedom — it really captures that “joy of letting go.” Was there a specific experience or feeling that inspired the song’s theme and energy?When you absolutely stir the pot by accident or “cock it up” verbally, you can choose to think about it for ages and think “my god why did I say that”, or you can brush it off and when it pops into your mind you just kind of laugh and think “oh damn that was not the right choice.” And I think making a song that sounds so fun and light hearted reflects that second situation where you wipe it off and have a laugh about it. 4. The name Plastic Orchestra is intriguing — it suggests both playfulness and cohesion. What’s the story behind the band name, and how does it reflect your collective identity? Everyone within earshot of me for the last… 5 years maybe more, has heard me spitballing band names and never picking one until this name… nobody talks about how hard it is to pick a band name and stick to it, I was at some points probably insufferable.I picked Plastic Orchestra because I can’t see this band writing something super dark or serious, and it sounded like a great way to reflect the fun and interesting vibes I think we put out. “Orchestra” came from people listening to the demos and recording the songs often bringing up how big the files for the songs were, and how many layers of sounds we were putting on top of each other; it may only be a few people involved in the band but we recorded a lot of different instruments and sounds. 5. Collaboration seems central to your sound. How do you balance individual creativity with the group’s overall vision when writing or arranging songs?The projects I have worked before have always worked best when, at least at the start, 1 person writes the song and then everyone comes in and puts their spin on it. Because the first EP was on a strict schedule, it was pretty important we went in with something that was roughly 70% done so we had something to start with and a direction. But everyone who came into the studio brought so much to the songs. Clancy on the drums is a beat specialist, but somehow makes hitting things sound like its own melody. Pan and Astrid are both incredible vocalists in their own way, Ast at one point harmonised with herself with something like 8 different harmonies, and Pan spat some incredible runs and just amazing vibrato. Pat really knows his way around surf guitar and knew when a little noodle or a whammy bar would go a long way; and Mack brought in a whole music store’s worth of percussion into the studio, he is like a real-life version of the percussion loops library that comes with recording software, and just as pocket-perfect. 6. “Foot In Mouth” is the first glimpse into your upcoming EP. What can listeners expect from the rest of the record — will it follow the same disco-surf vibe, or are you exploring new directions?We really found our groove with this genre and we kept the fun going in every track. When Palmer and I were mixing and producing the songs, we both couldn’t stop bopping our heads and having a dance for the 3 ish days we were working. Each song has their stand out moments and strays from the last but its very much rooted in the same sound and the same themes of introverted reflection and not-so-fun topics lyrically, backed up by very infectious riffs and a constant groove, there isn’t a lot of down time but I kind of love that. @plastic_orchestra.music Lnk.Bio · link in bio
AdieVibes
AdieVibes This interview with AdieVibes explores his listener-focused philosophy, the liberating role of AI in music, and how prioritizing emotional impact over tools is reshaping his creative identity and the future of sound. 1. Your philosophy states that “if the listener likes the music, the tools used are irrelevant.” When did this idea first crystallize for you, and how has it shaped your creative identity? The idea that “if the listener likes the music, the tools used are irrelevant” didn’t crystallize in a single moment, but emerged from a long-term frustration with the gatekeeping and obsession with gear in music production communities. I noticed that online discussions often focused more on the type of synthesizer, microphone, or mixing console used than on the quality of the melody or the emotional impact of the song.This philosophy solidified as I began experimenting with highly accessible, non-traditional, and AI-assisted tools. The realization was: I could create tracks that evoked the exact same feeling—joy, melancholy, energy—as tracks made with $10,000 worth of equipment, simply by focusing entirely on the emotional output. It has shaped my creative identity into one of radical pragmatism and listener-focus. My identity is tied to the vibe I deliver, not the method I employ. 2. Many artists see AI as a threat to traditional musicianship, but you position it as a democratizing force. What do you think is the most misunderstood aspect of AI in music today? The most misunderstood aspect of AI in music today is that it’s seen as a replacement for human creativity, rather than a powerful, new instrument.Many people fear AI will devalue “traditional musicianship.” However, I see it as a monumental democratizing force. It removes the barrier of needing years of instrumental training, expensive studios, or technical expertise to translate a musical idea in your head into a tangible, shareable track. It makes the act of creation purely about taste, curation, and vision.AI doesn’t compose the emotion; the human composer still curates the prompt, selects the best output, structures the song, and applies the final sonic polish—the essential “human touch” that defines the vibe. It allows someone with a great sense of melody but no piano skills to finally share their gift with the world. 3. Your approach invites listeners to focus purely on the vibe rather than the production method. How do you personally define a “good vibe” when creating a track? For me, a “good vibe” when creating a track is defined by three things:Immediacy and Effortlessness: The track must feel natural and flow without forced transitions. The listener shouldn’t have to work to enjoy it; it should just be.Emotional Clarity: The vibe must deliver a singular, unmistakable feeling—whether it’s relaxed, energetic, introspective, or celebratory. A good track clearly communicates its emotional intent.Transportive Quality: The best vibe is one that momentarily pulls the listener out of their current reality and places them squarely within the world of the music. It’s a sonic environment they want to live in for three minutes.If a track achieves that sense of relaxed, effortless flow and can immediately transport the listener, I know the vibe is right. 4. Do you ever feel pressured to disclose your creative tools or techniques, and how do you respond when people fixate on the technology instead of the music itself? Do I feel pressured? Not really. I’ve chosen to be deliberately transparent about my philosophy that the tools are irrelevant, which preempts a lot of the pressure.When people fixate on the technology, my response is simple: I shift the focus back to the listening experience.If someone asks, “What software did you use?” my internal response is always, “Did you like the bass line? Did the song make you feel like dancing?” I might respond by saying: “The technology I use is constantly changing, but what matters is that the feeling we captured is universal. Listen to the track again and tell me which part connected with you the most.” I aim to re-educate the listener to value the artistic result over the technical process. 5. As someone who challenges the idea of gatekeeping in music creation, what advice would you give to young or emerging artists who feel held back by limited resources? For young or emerging artists who feel held back by limited resources, my advice is direct and liberating:Your limitations are your greatest creative tool. Embrace the “Bad Art” phase and start sharing now.Abandon the Gatekeepers’ Lie: The idea that you need expensive gear or a degree to make “real” music is a lie perpetuated by those who benefit from exclusivity. You have a free DAW (like GarageBand or equivalent), an old phone, and now AI tools. That is enough.Focus on Taste, Not Technique: Your greatest resource is your unique taste—what you choose to keep, what you choose to throw away, and how you arrange the elements. Taste is the ultimate skill.Publish Ugly: Don’t wait until it’s “perfect.” Perfection is the enemy of progress. Release music that is 80% finished. The practice of putting your work out there, getting feedback, and moving on is more valuable than endless tweaking in isolation. 6. Looking ahead, how do you envision AI and accessible technology evolving the global music scene, and what role do you hope AdieVibes will play in that transformation? I envision AI and accessible technology completely shattering the traditional music industry model. The global scene will become incredibly diverse, fragmented, and personalized, with millions of micro-genres and creators catering directly to niche audiences. The power will shift entirely from major labels and expensive studios to the individual curator/artist with a strong online presence.I hope AdieVibes will play the role of an architect of this new era—not just by making music, but by serving as a living proof of concept. I want AdieVibes to be seen as the ultimate example of the post-production artist, showing that a relentless focus on delivering an authentic, high-quality vibe can connect globally, regardless of the tools used. My role is to normalize the use
Joe Sensible
Joe Sensible This interview with Joe Sensible explores the inspirations, creative process, and authentic songwriting behind his new EP, revealing how he balances personal expression, mood, and individuality in today’s music landscape. 1. “Don’t Say Goodbye” explores the pivotal moment between holding on and letting go in a relationship. What personal experiences or reflections inspired this song, and how did you translate that emotion into sound? I think everyone finds themself in that position at some point. When I wrote Don’t Say Goodbye I was feeling very positive about holding on in the relationship I was in. To translate the emotion and positivity into sound, I added as much warmth to the mix as possible, especially with the acoustic guitar, vocals and cello. The uplifting piano took the longest time and I had to develop my skills to get the feel I wanted. I then layered on the retro soulful licks on the electric guitar to give the song a laid-back rock vibe. 2. Your new EP highlights a calmer, more introspective side of your music. What drew you to focus on this mood, and how does it fit within the broader narrative of your upcoming 2026 album? If you create anything meaningful then it inevitably reflects different aspects of your personality. I think that when you start to deliberately focus on specific moods, there is a risk that your music can lose meaning. When I’m writing, I try to let the mood of the song take shape by itself. I have a calm and introspective side as well as a more complex and darker side. Both sides make an appearance on the album. 3. You’re known for a distinctive vocal style and unique fingerstyle acoustic guitar. How did your approach to arrangement and production evolve on this EP compared to your earlier work? My first album was a set of ‘live’ recordings with just guitar and vocals. This E.P. has the same foundation but I wanted to do something much more musically immersive. The whole process taught me a great deal. I thought I had all my arrangements in place at the start of the project but I really didn’t give enough consideration to tone during the initial recording sessions. When it came to mixing I was continually revisiting issues in the arrangements that I had created during recording. In the future I will give pre-production a lot more time and respect. 4. You’ve described the album as a “time capsule” of songs from your twenties. What made this the right moment to release that era of your songwriting into the world? It eventually became apparent that there wasn’t a wrong moment to release the music. These songs are as much part of me as the music I write now. I think I had something worth saying and it is still worth saying now. 5. You’ve carved a voice in a music industry where authenticity often feels curated rather than genuine. How do you stay true to your own identity while navigating the pressure to fit into certain sounds or trends? A friend of mine once released an amazing piece of music and it was only streamed a few times. Nobody would add it playlists or give him airtime because it was different. He told me the biggest lesson to learn is that no-one cares. Ironically, I have found that liberating. In the modern music industry, almost no-one cares about your music so there is really no point in making music for anyone else. Making formulaic music is straightforward so lots of people are doing it every day. However, you’re not doing anything meaningful, you’re making almost no money and what’s the point if you haven’t stayed true to yourself anyway? I would rather be genuine so whenever a listener connects with my music it is a real connection and it really means something to me. 6. Your influences range from Nick Drake to The National. In what ways do these inspirations shape your songwriting, and how do you balance honoring those roots while avoiding sounding like anything else?” I don’t really have any clear roots. When I was learning guitar I listened to everything from heavy metal and blues to traditional folk music. I’ll never stop loving the artists that inspired me but I don’t feel obliged to emulate their work. I listen to a huge range of music but I have always been determined to do my own thing rather than sounding like anyone else. That is especially true of my songwriting. As soon as you start trying to copy someone else’s songwriting style, you start singing songs that sound like someone else wrote them. If I’m writing a new song and it starts to remind me of someone else, I try changing something. If the song still sounds like something else I put it aside and forget about it. Joe Sensible | Instagram, Facebook | Linktree