Jeff Hodges
Jeff Hodges Jeff Hodges reflects on growth, struggle, and creative freedom in this interview, unpacking the meaning behind “If I Was A Road” and his evolving approach to songwriting, performance, and genre exploration. 1. “If I Was A Road” feels deeply reflective and personal. What shaped the metaphor behind the song?Definitely. I use a lot of metaphor throughout the song.Lines like “if I should fly, I’d have some wings” but still being stuck in the leaves represent that feeling of wanting to rise above something, but not being able to break through. It’s like not being able to see the forest through the trees. It can mean different things depending on where you are in life.When I talk about willpower and strength, that comes from real experience. Sometimes you need strength to push forward, and sometimes you need strength just to hold back. That idea of “what doesn’t kill you makes you stronger” is in there too, but I flip it slightly to say even what doesn’t kill you still requires strength.In the second verse, when I say “my records should go to the top but it feels like the bottom I’ve got,” that’s me being honest about feeling stuck or frustrated at times. I think a lot of people relate to that.The “road” itself is about being worn down, marked up, used, but still serving a purpose. No matter what it goes through, it still connects people. That’s how I see music and life. 2. You mentioned shifting from chasing outcomes to chasing alignment. How has that changed your process?I wouldn’t say it changed my songwriting process as much as it changed me.I’ve been chasing outcomes my whole life. I’ve been doing this since I was seven years old, always pursuing something. Now it’s more about alignment — trusting that things connect the way they’re meant to.It’s about energy, people, and connection. That shift has made the process feel more natural and honest. 3. Your sound blends country, soul, and storytelling. How have those influences shaped you?Honestly, I haven’t actively listened to artists like Zach Bryan, Chris Stapleton, or Leon Bridges.When I lived in Nashville, I wasn’t even pursuing country music. I was just doing my own thing.My biggest influence in storytelling actually came from working with a band called Driven Train. They were incredible storytellers, and I learned a lot from producing and recording with them.As for the soul side, that came later. Playing regularly in Turks and Caicos, especially with the band, exposed me to a lot of blues and soul — artists like Freddie King and Wilson Pickett. That really shaped the feel of what I’m doing now.At the end of the day, I’m just writing what comes out. I’m not trying to fit into a genre. 4. There’s a strong sense of honesty and minimalism in the production. Was that intentional? The honesty, yes. The idea of minimalism depends on how you define it.Compared to modern pop production, my music might feel stripped back, but there’s actually a lot going on underneath.I experiment a lot when I’m creating. If you were to listen to the individual stems from If I Was A Road, you’d hear how much detail is actually there. The version that was released was shaped to feel more focused and accessible, but there’s a lot of depth behind it.I’m very conscious of what I’m doing, but I also allow myself to create freely without overthinking it. 5. How has performing live impacted your connection to the song?Playing live has changed everything for me.I got invited to sit in with the band one night, and the next day Bob called me and said, “Are you coming back tonight?” I wasn’t trying to impose, but he had already put my name on the board.That moment stuck with me.Since then, playing with the band and performing regularly has brought me closer to the kind of music I’ve always wanted to make. The audience response has been amazing, and it’s made the songs feel more real. 6. Are you staying on this path or exploring new directions?I’m always experimenting.I have a lot of unreleased material, and I’m constantly writing new songs. Some of the newer work has different influences — I’ve written a track inspired by my time in Morocco with Arabic elements, and others that lean more into rock or alternative.I’ve never really boxed myself into a genre. I didn’t grow up on country music, so I don’t necessarily see myself as a country artist, even if some of the songs land there.Everything I do is about exploring and seeing where it goes. Jeff Hodges
Garbage Garden
Garbage Garden In this interview, Garbage Garden delves into “Quiet Garden,” unpacking unseen emotional labor, identity, and the haunting beauty of existing quietly within the “Still Being” series’ introspective world. 1. “Quiet Garden” introduces the “Still Being” series with a deeply introspective concept—what inspired you to focus on the unseen “ghosts” who quietly sustain others’ lives?I was thinking about the people who exist in the background—those who support and carry the weight for others without ever really being acknowledged. Over time, I realized they function like ghosts: essential to the structure of someone’s life, yet almost invisible. That quiet, uncelebrated strength is what inspired the song. “Quiet Garden” came from wanting to recognize that unseen foundation and the bittersweet feeling of being indispensable but unnoticed. 2. The track explores the idea of existing beyond recognition, where devotion often goes unnoticed. How personal is this theme for you, and how did you translate that feeling into the song’s atmosphere?It isn’t a direct autobiographical story, but it definitely comes from observing this dynamic in myself and in people around me. What interested me wasn’t the devotion itself, but what’s left behind when the recognition is taken away. I tried to translate that into the atmosphere: a presence that hasn’t disappeared, but has been reduced to something like ambient noise — constantly there, yet no longer truly seen. 3. You collaborated with co-producer Peachoman on this release. How did that partnership shape the evolution of “Quiet Garden” from a personal story into a more universal exploration of “The Noise”?Working with Peachoman changed things quite a bit. At first, the track felt very private and specific to my own emotional experience. His perspective helped me step back and see it as something bigger. That’s when the idea of “The Noise” started to come in — all those external voices, expectations, and distractions that can drown out these quiet presences. The collaboration moved it away from a singular personal narrative toward something more universal that could exist in any human relationship. 4. The lyrics carry striking imagery, like “the closer I stand, the more I disappear.” Can you walk us through your songwriting process and how you craft such raw, evocative metaphors? I usually don’t start with metaphors. I begin with a physical feeling or a condition — something that’s hard to name directly. Then I look for an image that behaves in the same way. “The closer I stand, the more I disappear” came from trying to capture that specific contradiction: being close to someone but still not really recognized. Once the internal logic of that feeling becomes clear, the right language and images tend to follow naturally. 5. Musically, the track feels both intimate and unsettling. How did you approach building the soundscape to reflect that sense of emotional erasure and internal struggle?I wanted the sound to feel close, but slightly unstable. I avoided anything too dramatic or loud; I wanted it to be quietly unsettling. Instead of building toward a big emotional release, I focused on small distortions — subtle textures, restrained movement, and a sense of space that feels just a little too empty. It was less about expressing a momentary emotion and more about holding onto a persistent condition. 6. With “Still Being” set as an ongoing series, what can listeners expect next from Garbage Garden, and how will the project continue to explore the fragility of existence and human connection?“Still Being” isn’t a linear story — it’s more like a collection of different states of existence. Each track looks at how our sense of self gets shaped, distorted, or sustained under different conditions, whether through relationships, social pressure, or isolation. Going forward, I want to keep exploring these shifts, not as one big narrative arc, but as various perspectives that slowly expand what it means to “still be.” Garbage Garden | Instagram, X | Linktree
Cashus King
Cashus King In this interview, Cashus King breaks down the making of “Streams,” its collaborative spirit, cultural roots, and how it defines the vision behind Water to Wine. 1. “Streams” brings together a unique mix of voices—how did the collaboration between Cashus King, Big O, Blu, Frannie EL, and Shari come together, and what did each artist bring to the track? Streams was not originally included on the album. Big O personally chose the piece of production specifically for me because he thought it would suit my style. He asked me to speak from the heart without picking a specific topic, which reminded me of the concept of a stream of consciousness. That’s how the concept was born. Each artist chose to speak on a topic that resonated with them personally. I spoke about the mentality of the average criminal in urban neighborhoods and Blu spoke on absentee fatherhood. Big O suggested Blu as a feature on the track and asked me to write a melodic hook. I wrote the hook and Big O brought in Frannie EL and Shari to sing the second half of the hook. The singing contributions to the songs are immeasurable. It wouldn’t have been the same if I performed the hook solo. 2. The song draws inspiration from the Congo and Nile rivers—how did these powerful symbols shape the mood and message behind “Streams”? Water is the element on earth that enables life. I have always felt a strong connection to my cultural/racial Lineage to Africa. Being a black American, I don’t know exactly what part of Africa I descend from, but I feel a strong connection to the motherland. When I think about streams of consciousness, I also think about the literal bodies of water that enable life. I think about the Nile crocodiles And the deepest river in the world, the Congo river. These bodies of water host a multitude of species and lifeforms, But they also provide resources for the people that live Close to the rivers. These bodies of water are located on the continent where the Homo-Erectus species originated and was the first to migrate out of Africa to inhabit other parts of the world. When I think about what enabled homo-sapien consciousness, I think about Africa. When I think about streams, I think about the rivers of the Nile and Congo. 3. The track leans into a stream-of-consciousness style—how important is spontaneity and raw thought in your creative process? My creative process almost always involves spontaneity. I rarely ever think of a topic before I begin to write. I recall Kendrick Lamar saying he doesn’t even know where his lyrics come from, they come from the soul. I feel the same way. This song felt natural and organic to me because it aligned with my creative process. 4. Blu’s verse touches on fatherhood in a very emotional way—how did that moment influence the overall direction and impact of the song? Blu’s Verse took the song to another level. I talked about the reputation of the common street person’s tendency to commit violence and Indulge in impulsive behavior. Blu took the song to a personal level. He was honest and vulnerable. The song went from a Smooth West Coast banger to something with depth and intimacy. His verse altered the entire shape of the song. I really appreciate that he did his own thing, it added weight and diversity to the record. 5. “Streams” has a soulful, laid-back West Coast feel that stands out today—was there a conscious effort to revisit or reinvent that classic sound? I think there was a conscious effort from Big O, but I admittedly slept on the beat. I tend to gravitate towards things that are a bit more melancholy. When Big O suggested the beat, I immediately understood why. It’s up-tempo, energetic, but still encapsulates emotion and spirit. It combines all of the spectrums of color, from light to dark. 6. As the lead single from Water to Wine, how does “Streams” set the tone for the rest of the album, and what can listeners expect from the full project? Water to wine encapsulates all of the vibes of the album into one song. Upbeat, intimate, street, West Coast, soulful And diverse. The listener can expect a diverse array of topics, stylistic presentations, and production styles throughout the record. We literally touch on every style of rap music from trap to gangster to introspective. We have contributions from all around the world literally. From Africa to Philadelphia to New York back to Los Angeles. We poured everything into this record and we hope people can take something from it after listening. Water to wine is about taking the ordinary and turning it into the extraordinary. I hope people feel something when they listen to this record. I want it to inspire the world. https://www.instagram.com/cashusking/ bigrodamous – Listen on YouTube, Spotify, Apple Music – Linktree
Blueprint Tokyo
Blueprint Tokyo Blueprint Tokyo dive into the emotions behind their upcoming EP Dark New Days, discussing urgency, reflection, and growth while revealing the stories, struggles, and energy shaping this concise, powerful release. 1. Your upcoming EP “Dark New Days” explores themes of pressure, repetition, and reflection. What was happening in your lives during the writing process that shaped the emotional direction of this record? It’s an amalgamation of general life going on. Jobs, family, music all play into it with being pulled in numerous directions. We’ve had our ups and downs as everyone has and we’ve always tried to channel those feelings into our music. 2. The lead single “Orange Tiger” opens the EP with a strong sense of urgency and momentum. Why did you choose this track to introduce the project, and what does it represent within the overall story of the EP? We’re trying to constantly write and as we got serious about doing an EP a collection of songs seemed to jump out at us. Orange Tiger was the first one we actually finished from that set and we put it aside and felt like it was a good re-introduction to Blueprint Tokyo and had the sense of urgency we wanted to share. 3. The record balances driving alternative rock energy with more restrained and introspective moments. How did you approach finding that balance between intensity and emotional depth? We set out really just to say these are the songs, and not stress too much about balancing those moments. We know ourselves well enough that songs happen (or not). The balance maybe purely accidental, maybe cosmic, kismet, who knows. But we did want a little more urgency and aggressive vibes that was in the back of our mind as we were writing. Songs that we could really have a lot of fun playing live and being able to rock on stage was a big driver. 4. You’ve described Dark New Days as more about refinement than reinvention. In what ways do you feel your sound has evolved or tightened compared to your previous releases? It’s always going to be us. We have the same instruments, but after our last album the full-length Neon Circuits and the Mission of Hope, it was a lot of music. That album was almost 16 songs and we started from probably double that number. We wanted to dial it back slightly into something that was manageable and easier to digest in a quick maybe 20 minute setting. And then musically, just refine what we do, but just dialed up performance-wise, production-wise, and even release-wise. 5. The EP seems carefully structured, with deliberate sequencing and atmosphere. How important was the flow of the six tracks when you were putting the final version of the record together? The world mostly operates in singles, so taking any individual song by itself was important. But we still also love albums and wanted to put out a cohesive album. While we’d never say it’s a concept album, very loosely, the album does tell the story of relationships won, lost, fighting for their life, and acceptance of the reality. We put time and effort into the sequence. 6. With Dark New Days arriving on May 1, what do you hope listeners take away from the EP after experiencing it from start to finish? Pretty simply, we just hope to win fans both new and old. And to have it an album that they go back to repeatedly and find their favorite songs over time. https://www.instagram.com/blueprinttokyo
Ten Ton Devil
Ten Ton Devil Fueled by raw emotion and decades of experience, Ten Ton Devil unveils Seasons of Sorrow—a fierce, cathartic debut exploring anger, identity, and unfiltered creative freedom through uncompromising heaviness. 1. Seasons of Sorrow feels like a raw and uncompromising introduction to Ten Ton Devil. What pushed you to channel such a stripped-down yet brutally intense direction for this debut EP? Making “Seasons Of Sorrow” originated as a bunch of singles I created when I realized these 5 tracks had a shared emotion to them, anger, rage and frustration. Thematically these songs had a thread running through them, a connection of sorts. I’m always experimenting with different ideas and mixing genres. It’s also a catharsis for me and those who feel these same emotions. 2. You’ve been part of multiple projects across different eras and styles—from Soul-Sick to Disciplinary Action. How did those experiences shape the sound and identity of Ten Ton Devil? All my past endeavors as a musician from way back in the early 90s to today have been a stepping stone towards a sound I’m trying to capture. All excellent for what they are at the time but also a stepping stone to where I am today. 3. The EP taps into themes of anger, revenge, and inner rage. Do these emotions come from personal experiences, or are they more of a broader reflection on the world around you? Yes, these tracks are based off of personal experiences and are meant to touch fans who share these feelings. Everyone has felt anger at one point or another in their lives. This Ep is designed to express emotions that we all feel. We also have all had experiences with anonymous trolls online attacking people and the frustration people may feel not being able to confront our tormentors. 4. Tracks like “DIE!” and “FAFO” hit with immediate, almost violent impact. When writing these songs, do you prioritize emotional release, sonic heaviness, or a balance of both? My music starts usually with a song title then I craft lyrics based on the song title. I think it’s an equal balance between emotions within the lyrics and the heaviness of the music I’m creating. 5. You handle everything from live instrumentation to MIDI programming at Born Wrong Studios. How does having complete creative control influence the final outcome of your music? Oh the difference between being a solo artist as opposed to being in a band is night and day. As a solo artist I have to answer to anyone. There’s no bickering or wrestling with bandmates about with thinks their ideas are better. Being in a band is akin to being married to 4 or 5 unhappy controlling wives lol. As a solo artist I’m free to express my music however I please. 6. You’ve described yourself as a “conduit” for the music. Can you expand on that idea, and how it shapes your creative process when writing something as intense as Seasons of Sorrow? I’ve always said if I sit down and try and force a song out of myself it will almost always suck but if i feel the gift of creativity hit then really cool shit happens in the studio. The universe gives all a creative soul and it demands that gift be shared with the world. But you have to find your gift, unfortunately people go thru life to busy or ignorant to realize their god given talent and to me that’s unbelievably sad. Musique | Ten Ton Devil
JESUS THE APOLLO
JESUS THE APOLLO A deep dive into JESUS THE APOLLO’s “HUSH HUSH! (lucid dream edition),” blending lucid dreaming, trauma, and esoteric symbolism into a bold sonic journey through consciousness, shadow work, and experimental storytelling. 1. “HUSH HUSH! (lucid dream edition)” explores lucid dreaming and trauma processing—what drew you to merge these themes into a single sonic experience?Trauma processing is incredibly important when completing shadow work and accessing higher states of consciousness and wellbeing. I see lucid dreaming as a state that is other worldly, exploring a realm heavily studied that many shy away from due to the fear of the sleep paralysis that may accompany it, lucid dreaming makes us question reality and what it means to exist- an experience all can obtain. There are parallels in the links between trauma and lucid dreaming, the brains neurological network attempting to process life while also processing another realm- there’s a beauty within this, combining neuro pathways together again to return the being back to original functionality but this time the individual now knows what it means to lucid dream and enter the realm of processing the past which is interdimensional, processing of dimension 4. 2. Your work is rooted in esoteric concepts like the shadow self, karmic cycles, and lunar teachings—how do these ideas shape your creative process?These processes and ideas helped to a significant magnitude in crafting and shaping my creative process- there is serenity in the karmic orbit that is missed by many, it allows for life changes and the closing of pathways with stagnated ends that no longer align with who we are anymore and no longer aligns with the ‘Moon Man’- I mention this on the song as a ‘Moon Man’ has many layers to it, one being the karmic cycle which is apart of the episodic and cyclical nature of all things in existence. The Shadow self can be processed with the listening of genres like Hip-Hop which is one of the genres that the song is created in as it tunes through rhythmic and poetic elements as language can help tune the subconscious shadow with boisterous lyrics and heavy electronic elements seen in trap music allowing all the process the shadow self. Lunar teachings teach us about the harmonic orbit, the harmonic orbit is the processing of trauma, life and the shadow allowing all to “walk above it”. Frequency and vibration it’s important within our existence. Once you “walk above it” you access your higher dimensional self allowing you to walk in harmony with the self, the highe self and the universe. I say in this song “11 been my fave set of digits, I’ve seen the moon but they lie and say ‘sky’s the limit” hinting at the importance of seeing the number 11 continuously in your environment and it’s esoteric connections to the Moon. 3. The track samples a familiar lullaby but flips its meaning—what inspired this subversion, and what message are you conveying through it?The lullaby that’s sampled is incredibly important in this tracks production and composition. The subversion is talking about systems of oppression or sadness that has been weaved into our social psychology and functioning over the past 2000 years. When we are suffering on many occasions we have been essentially told that our struggles are not worthy enough to be looked into and eradicated, causing many to lose interest in their dreams and being emotionally honest, causing people to fully conform and never aviebe peace in one lifetime; having to reincarnate over and over to break karmic cycles and pay off karmic debt. Modern practices are helping to eleviate this, with countries now looking into the social psychology of life and social practices to ensure that people are to live comfortably. Past social paradigms have had not only an effect on people but an effect on the economic climate causing people to never be content with peace or reach their goals. Lullabies are important for helping babies who are awake to sleep in this instance the lullaby is telling the inner child to “hush” and not share worries or discomfort which is anti evolution, we now know as societies consciousness has been evolving that peace and person centred support is not only just important for personal wellbeing but the growth of humanity. 4. You describe the release as “sonic cinema”—how do you approach building a track that listeners can visualize as a dream-like narrative? I see music working adjacent to film and the human imagination. I approach making music in more of the freeexperimental fashion, not focusing too much on the traditional pop method of production (pop is great by the way) this allows for more room for open ideas and crafting a record that has a lucid approach in its composition- many records in the 60s and 70s followed this approach. Film and music are known to complement each other, having an understanding of this when making music is of importance. 5. The numbers 5, 7, and 11 appear throughout the song—can you expand on their symbolic significance within the project?The numbers 5,7, and 11 appear throughout the universe and those who are awakened or have an understanding of the cosmos, time being our companion not enemy will notice when they are operating in universal alignment, where they see the numbers 5,7, and 11 in their reality, and our reality. There is beauty and serenity within numbers with ancients understanding these practices and how to navigate life through numbers. 5 & 7 signify that one is walking in alignment or experiencing reality and the universe to its true extent, with 7 signifying that as you live life (dance) you are living life (dancing) with the universe and the universe as noted this. 11 signifying that you are in universal alignment adjacent to numbers 5 & 7, signifying that you are now or about to reach an harmonic orbit which is being aligned with the 5- dimension 5, which is your higher self. 6. The instrumental came together
Pocket Lint
Pocket Lint Exploring genre, texture, and imagination, Pocket Lint crafts a cinematic sonic world. In this interview, they discuss identity, experimentation, and the curious inspirations behind their album Wunderkammer. 1. Pocket Lint is described as a “genre-hopping musical vehicle”—how do you approach blending styles while still maintaining a cohesive artistic identity? I’m not sure that it is something I approach so much as something I am. I think regardless of what intent I have with various styles, there is always a core to what I do and that is me. That might be certain keys or chord changes that are favourites, or the palette of sounds that I use. Words or subject matter too. I tend to write in film noir tones. I see the genre-hopping as a way to avoid retreading the same ground in much the same way as I like to change my equipment for each project and experiment with a different way of working. It’s all about keeping myself interested and learning. 2. The origin story involving carving amethyst is quite unique—do you see a connection between that tactile process and how you “sculpt” your music? Great question and one I hadn’t really considered. I do know that my processes are quite hands on. I don’t really use loops or midi very much. I prefer to play in entire live parts and I use a lot of pedals that help colour or sculpt the sound I am making. It’s not something I had considered before, but I think there is something in the idea as I tend to believe in having an idea of a song and then working to see what comes out, which I suppose it a little similar to Michaelangelo’s idea that the figure is freed from the marble. 3. Your upcoming album Wunderkammer is inspired by a cabinet of curiosities—how did you translate that concept into sound and structure? This for me gives me the freedom to create different types of songs with different moods. So, once I had the idea of the Wunderkammer, I started to think of things that could fill it. Then what type of song and the sound palette that would represent it. My starting point is always quite conceptual, but I do want to make pop songs, odd pop songs admittedly, but nonetheless, pop and so, how could those ideas be transformed into a song. So it starts with idea, then sounds and that will lead to a song. Lyrics are often the last to be done, but I have often created a word collection for the song or written lyrics, which may or may not end up being used in the finished song. For Cyanometer, the first verse was written around the same time as the music. The rest came a little later. Oddly with this one, the bass part was the last part added. 4. “Cyanometer” suggests measuring the sky—what themes or emotions were you aiming to capture with this particular track? So, this song for me is about measuring how blue your soul is. So I see some of the sounds as the flickering of the measuring lights on the machine and lyrically it explores that idea of the association of blue with misery and depression. It also references a few pop culture references for good measure. 5. You mentioned drawing influence from Romantic poets like Shelley and Coleridge—how do their ideas shape your lyrical or sonic direction? Really for this album, it was about the sense of decoration and indulgence. I think the album begins with a bit of a Shelley reference in the opening track and it is this idea of wonder and a sort of heady exploration. Lots of ornate decoration, but also appreciation of beauty. There are pastoral elements, fragments of ancient culture, but also the machine and that was a world they inhabited. Increased movement towards machines and engines. This duality. Within some of their work, there is a darkness and yet there are also daffodils. They seemed a good fit for the Wunderkammer of a genre-hopper. 6. As each song represents an “exhibit,” what kind of journey do you want listeners to experience when moving through the album as a whole? The whole album is supposed to be an experience. It begins and closes with a narrator. Each song in-between is an exhibit. I suppose I would like it to be first and foremost ‘an experience’. One that hopefully covers a lot of ground. A fever dream that stays with you a while. https://www.instagram.com/pocketlintmusician
Mark Rolfe
Mark Rolfe This interview with Mark Rolfe explores how the Isle of Wight shaped a deeply atmospheric album, blending field recordings, cinematic textures, and personal memory into an immersive sonic journey. 1. The Isle of Wight feels deeply rooted in place and atmosphere—how did your personal connection to the island shape the emotional and sonic direction of this album?Absolutely, I’ve been visiting there on holiday since I was one years old. I’ve watched it grow alongside me, we’ve grown together. On my most recent trip to the island (a small coastal island located six miles from the UK mainland) I found myself reflecting on how deeply it has shaped me. My relationship with the island is rooted not only in the beauty of childhood memories, but also in the now. I think that’s why the album carries such a strong blend of tradition and technology; it mirrors the time and I’ve reflected that in both the traditional composition methods and more electronic devices of producing music. 2. Your work blends field recordings with composed elements in a very seamless way. Can you walk us through your creative process when transforming natural sounds into immersive musical landscapes?The field recordings came about quite by chance. Once I returned home, I knew immediately that I wanted to begin work on an album. I have a home studio and am fully equipped as a producer, engineer and mixer, so I was able to carry that creative momentum straight from field recording into the studio. In most cases, the field recordings form the foundation of each track, either as the initial spark for an idea or as an underlying layer of ambience within the composition. However I was able to use them by sending he same reverbs, delays and synth auxiliaries as the music. 3. The album draws comparisons to artists like Brian Eno and Arvo Pärt, as well as the cinematic storytelling of David Lynch. How have these influences shaped your artistic vision, and where do you feel your sound diverges from them?All of those artists are true architects of texture, building their productions through layers and atmosphere. For me, texture is always the starting point when producing, it’s the everythingI have a deep love for Arvo Pärt, particularly his ability to move between extremes: from the stark minimalism and purity of Spiegel im Spiegel to the more expansive, symphonic Cantus in Memoriam Benjamin Britten. The term “genius” is often overused in the arts, but in his case, he’s nailed it.I’ve also always been drawn to cinematic music, and I tend to visualise scenes as I write, there’s usually an image or narrative forming in my mind. David Lynch is somewhat under-recognised as a musician and composer, although much of his work was scored by the late, great Angelo Badalamenti, Lynch was very much a musical creator in his own right. 4. There’s a strong sense of narrative and “world-building” across the record. Did you approach The Isle of Wight as a conceptual journey, and if so, what kind of experience do you hope listeners take away from it? Yes, I really connect with that. Each piece feels like its own journey—a story told without words. Every track reflects a particular part of the island, a specific moment in time, and sometimes even a certain time of day. When I was writing, it was always completely clear to me whether something belonged to the day or the night. I hope listeners can experience it as a kind of soundtrack to an imaginary film set around a beautiful island. 5. As a multi-instrumentalist and producer working from your own studio, how does having full creative control impact the way you build such detailed and textured compositions?I’m not a great musician, I’ve simply always been fascinated by sound and texture, which has led me to try composing across as many instruments as possible and I like to understand those instruments by playing them. I can make a living as a guitarist and most things with strings and frets, I’m reasonably proficient on keys and percussion. I can also get by on clarinet, and I’m an ambitious cellist who is still very much learning. And on the seventh day… he created autotune, so all is not lost.For some of the more exceptional performances, I collaborated with a number of incredible musicians who contributed their parts in post-production. I’m really grateful to Sharon, Maddie, Iain and Nick for their playing. 6. Given the album’s cinematic quality, how do you envision The Isle of Wight fitting into film, television, or other visual media, and are there specific types of projects you’d love to collaborate on in the future?Yes, I would love to score a film about the island. I’m drawn to telling musical stories, even when there’s no accompanying image. I’m currently scoring a film, and it’s a fascinating headspace to be in markrolfemusic Official: TikTok, Instagram, Facebook | Linktree
Block
Block Born from grief, healing, and raw honesty, this interview with Block dives into the emotional core of “Firefly” and Love Crash, exploring loss, creativity, and the journey back into the light. 1. What inspired the deeply personal story behind your latest single “Firefly”?The song is about my brother Michael. And also about many of my other friends who have been lost to the disease of addiction. It was one of those songs that just came out fully formed, Channeled from the ethers. 2. How did the emotional journey you experienced influence the overall direction of Love Crash?The songs on Love Crash came out of a very cracked open time for me. Frankly, I was a mess. All sorts of childhood abandonment issues came out to play. I knew I was in a dark place. But I had faith I would get out of it. I figured I would take the opportunity to document what I saw down there: that’s where these songs came from. 3. What does this new album represent for you at this stage of your career? It’s a real celebration. I’m enjoying having another opportunity to share my music. I didn’t see it happening. And I’m so grateful that it has. 4. How do you stay authentic while gaining recognition from Rolling Stone and Apple Music? All I have to offer is my experience and point of view. One person’s point of view. As soon as I start thinking about trying to write something with a specific goal in mind, I lose my center. 5. What was it like collaborating with Chris Kuffner and Blake Morgan on this project?They were fantastic. I really needed them both. Chris helped me in the first stage of spontaneous, uninhibited creation and Blake helped craft the chaos into a coherent sound. Polar opposites, but both necessary! 6. What can fans expect from your upcoming U.S. tour and the live performance of these new songs?Of course I’ll be playing songs from Love Crash. But I’ll also be playing songs from my catalogue. It’s been fun to listen to some of my old albums, it’s been a long road and there’s lots of music so I’m looking forward to sharing it on stage. Block | Instagram, Facebook, Threads | Linktree
SOLVIK
SOLVIK Exploring fleeting emotions and quiet beauty, SOLVIK delves into the suspended magic of early connection in “Golden Hours,” crafting a delicate sonic space where possibility, nature, and atmosphere gently intertwine. 1. “Golden Hours” beautifully captures the early stage of a relationship. What inspired you to focus on this specific emotional moment? There is something very particular about that early phase – a sense of openness, almost like standing in a landscape before anything has been defined. It is less about the relationship itself and more about the feeling of possibility that surrounds it. “Golden Hours” tries to hold that moment where everything feels suspended, before things become fixed or explained. 2. The song reflects on something fleeting, yet meaningful. How do you approach translating such subtle, temporary feelings into sound and atmosphere? It often starts with restraint. Instead of describing a feeling directly, the idea is to create space where it can exist. Slow harmonic movement, minimal arrangements, and textures that feel slightly distant help to mirror that sense of something passing. The music does not try to capture the moment completely – it allows it to remain slightly out of reach. 3. SOLVIK places a strong emphasis on mood, nature, and emotional continuity rather than traditional storytelling. How did these elements shape the creative process behind this release? The process is less narrative-driven and more about building a coherent emotional environment. With “Golden Hours,” the focus was on continuity – how a feeling unfolds over time rather than how a story progresses. Nature becomes a reference point because it already carries that kind of slow, organic development. The arrangement follows that logic rather than a classic verse-chorus dynamic alone. 4. Your work often feels deeply connected to natural imagery—light, tides, and landscapes. How did these influences manifest specifically in “Golden Hours”? The title itself already points to light as a central element. That warm, fading light at the end of the day has a very specific quality – it softens everything but also signals that something is about to end. This translated into a warmer harmonic palette, gentle dynamics, and a sense of gradual fading rather than a clear resolution. The song moves more like light changing than like a structured narrative. 5. SOLVIK collaborates with different vocalists while maintaining a cohesive identity. How do you ensure consistency in the project’s sound and emotional direction across collaborations? The consistency comes from the framework rather than the voice itself. There is a clear idea of space, tone, and emotional restraint that defines SOLVIK. The vocal becomes part of that environment, not the center of it. By keeping the production language and the emotional perspective consistent, different voices can exist within the same world without breaking its coherence. 6. The song invites listeners to be present and appreciate moments before they fade. What do you hope listeners take away from “Golden Hours” after experiencing it? Maybe just a slight shift in awareness. Not necessarily a clear message, but a feeling of recognizing these moments while they are happening. The song does not try to hold on to them – it simply stays with them for a while. SOLVIK | TikTok, Instagram | Linktree