Dreaming In Colour feels very instinct-driven—when you were making it, were you chasing a specific sound, or just following whatever felt right in the moment?
The sound came together really naturally. I wasn’t even trying to write for a specific project at the time, and that project didn’t really exist yet. I was just writing for the fun of it, and when I realised I’d made something I genuinely loved, it kind of clicked. I thought, “this is it”, this could be the sound I’ve been wanting to explore with my solo work.
After locking in your sound with ‘Paris Strut’, you mentioned everything started flowing quickly—what actually changed in your mindset or process at that point?
I think I instinctively understood what the sound was and the palette of instruments/genres it drew from. I also settled into a kind of creative rhythm that made the process feel much smoother. Each song came together in a similar way, with small variations in the process, and I think that helped give the whole EP a really cohesive sound.
There’s a strong sense of ease and movement across the EP—how intentional was that “effortless” feeling versus something that just naturally emerged?
I think a big part of it comes down to starting all the songs within the same period, using a creative approach I’d naturally fallen into, along with a fairly consistent palette of instruments. That combination gave the whole project a real sense of intention. It’s something both I and others can feel. It’s probably how I’ll continue making music for this project, as it’s been the most effortless and fulfilled I’ve felt working on a record.
Collaboration plays a role on tracks like ‘Slow Down’—what do you look for in a collaborator, and how do you know when someone fits your sonic world?
I’m lucky to have so many incredibly talented friends from years of making music, and I’m genuinely a fan of so many of them. My dream is to collaborate with as many of them as possible, so whenever the right song comes along, I’m always excited to see if they’d be up for being involved. I’m drawn to them because they’re making music I truly love and connect with, and that naturally shapes my own work, so when the energy feels right, it’s always exciting to see what we can create together.
Compared to your work with daste., this project feels more raw and groove-led—what does Monsieur Mellow allow you to express that the band doesn’t?
I love making music with daste.—it’s where I feel most challenged, and my bandmate Tyler Harden is not only my best friend but someone who constantly pushes me to be better. The difference with the Monsieur Mellow project is that it feels like a more direct reflection of my own musicality. I’m playing most of the instruments, and I think that’s where a lot of the rawness comes from. I’m less focused on capturing the perfect take and more on preserving the energy of the moment. With daste., we tend to lean more toward refinement and precision, which really suits that project.
The EP blends jazz-house, funk, and soul influences—do you think in genres at all anymore, or has that become irrelevant in your process?
I think these are simply genres I’ve always loved and continue to be influenced by. I probably do think in genres to some extent, but I try to let the music come naturally and those influences tend to reveal themselves on their own.
A lot of the tracks feel like they could exist in a live setting with a band—how important is that “live energy” when you’re producing in the studio?
I think that’s really the core of the project. I don’t want the records to feel overly polished. I want them to sound like a live band playing house or soul, even though most of it is actually just me in a room.
‘Dreaming In Colour’ as a title suggests something quite visual—do you see your music in images or moods when you’re creating it?
The name actually came after the songs. I tend to come up with names in my head all the time, but every now and then one really sticks, something that feels genuinely right. Dreaming In Colour was one of those moments. It also ended up reflecting where I was in life at the time, just stepping into a series of defining experiences, with the solo project being one of them.
You’ve described the project as being shaped by momentum and intuition—has that approach ever led you somewhere unexpected or even uncomfortable creatively?
I’d definitely say so. There were a few songs in this process that pushed me creatively, but that’s also how I knew they weren’t right for this record. They didn’t come together as effortlessly. I’ve found that the songs that feel the most natural and instinctive are usually the ones that end up belonging on the album or EP I’m working on.
Now that the EP is out, do you feel like you’ve defined the Monsieur Mellow sound—or are you still exploring what it can become?
I think I’ve definitely found my sound for the time being, and I’d love to explore it further in an album context. At the same time, you never really know what’s next, and I’ll never close myself off to new influences. I want to keep things familiar, but always push them to feel as fresh as possible.
Credits:
Co-Written by Callum MacDonald, Jackson James Smith, Soothsayers, The Finishing Touch
Produced & Mixed by Callum MacDonald
Mastered by Paul Blakey
Artwork & Visuals by Callum MacDonald
Stream:
https://bfan.link/dreaming-in-colour-ep
Monsieur Mellow:
https://linktr.ee/monsieurmellow
