Music Interviews

‘J-Town’ blends traditional Indonesian sounds with electronic rhythms. Could you share more about the creative process behind this track and what inspired you to fuse these elements?

Actually, ‘J-Town’ is my first 2025 release that steps away from my signature Indonesian Bounce sound. This track marks a new chapter in my production journey, where I explore influences from techno and house music. The creative process was all about pushing boundaries – experimenting with different rhythms, textures, and grooves while still maintaining a vibe that feels authentic to me. It’s part of my evolution as an artist, showing that growth doesn’t mean losing your roots but expanding them.

You’ve been instrumental in pioneering Indonesian Bounce. How has this genre evolved since your breakthrough, and where do you see it heading in the next few years?

When I first started producing, my influences were rooted in Baile Funk, Dutch House, Breaks, and Brazilian sounds, which shaped what eventually became Indonesian Bounce. During the pandemic, interest in this sound exploded, especially as border restrictions gave local scenes more room to grow. I was fortunate to tour nationally and introduce Indo Bounce to new audiences. Today, it’s recognized and appreciated more than ever. Moving forward, I see Indo Bounce evolving through collaborations and fresh production techniques. It’s important to keep refining and experimenting with the sound to keep it exciting and sustainable for the future.

With ‘Yummy’ being a chart-topping collaboration with Bravy, what role does collaboration play in your creative process, and can we expect more exciting collaborations in the future?

Collaboration has always been a huge part of my creative journey. Bravy and I go way back – we worked on tracks like ‘Big Booty’ and ‘Booty Call’ before ‘Yummy’ even happened. He was one of the first people I connected with to talk about music production, and our casual chats eventually led to the birth of Package Collective, our community of like-minded artists. Working with friends who share the same passion brings a unique energy to the process. And yes, you can definitely expect more projects from us in the future – we’re just getting started!

You’ve mentioned Whisnu 2.0 as part of your new vision. What does Whisnu 2.0 represent, and how does it reflect your growth as an artist?

Whisnu Santika 2.0 represents my growth, evolution, and development as an artist. It’s not about changing who I am but about exploring new sounds and styles while keeping my signature vibe intact. I want people to hear a new track and think, “This feels fresh, but it’s definitely Whisnu Santika.” It’s about surprising my audience while staying true to what makes my music unique. For me, evolution isn’t just a phase – it’s a mindset.

Looking ahead to 2025, what can fans expect from your upcoming projects? Are there any particular themes or styles you’re exploring?

I can confidently say that 2025 will be full of surprises – it’s going to be a wild ride! I have some exciting collaborations lined up with artists I’ve admired for a long time. Musically, I’ll continue pushing Indo Bounce, but I’m also diving deeper into techno and house while experimenting with some pop influences. I’m all about breaking the mold and stepping outside my comfort zone, so expect the unexpected – fresh sounds, bold ideas, and projects that feel different from anything I’ve done before.

What has been the most challenging aspect of your musical evolution, and how have you overcome it to reach where you are today?

One of the biggest challenges has been finding the balance between staying true to my roots and evolving as an artist. It’s easy to get comfortable with a formula that works, but growth comes from stepping into the unknown. There were times when I felt unsure about experimenting with new sounds, wondering how people would react. But I’ve learned that trusting the process and staying authentic is key. Every challenge has been a lesson that has shaped my sound today.

You’ve performed at some iconic events like Tomorrowland and Borderland. How have these global stages influenced your sound, and do you bring elements of these experiences into your studio work?

Absolutely. Performing on global stages like Tomorrowland Belgium, Borderland Malaysia, and Siam Songkran Thailand has been a game-changer. You feel the energy of diverse crowds, and it shifts your perspective on how music connects with people. Seeing what resonates live helps me understand how to structure my tracks differently – whether it’s building tension, creating unexpected drops, or adding elements that hit harder in a festival setting. Those experiences definitely inspire me when I’m back in the studio.

With your multi-city tour with Package Collective, how does performing live differ from producing in the studio?

Performing live and producing in the studio are two sides of the same coin, but they feel completely different. In the studio, it’s all about experimentation – there’s room to try, fail, and refine. On stage, it’s about reading the crowd in real time, feeding off their energy, and creating an experience. When I’m performing, the instant connection with the audience pushes me to be more dynamic, and that energy often influences how I approach my next production.

What do you aim to convey through your live performances?

I want people to feel a connection – not just with the music, but with the moment. My goal is to create an atmosphere where people can let go, feel free, and lose themselves in the sound. Whether it’s a high-energy drop or a deep groove, I want every set to be memorable – like a shared experience between me and the crowd. It’s more than just playing tracks; it’s about creating a vibe that sticks with you long after the show ends.

You’ve built a strong following in Southeast Asia—how important is it for you to represent Indonesian culture on a global stage, and what do you want people to take away from your music?

Representing Indonesia on a global stage is something I’m really proud of. Our culture is rich and diverse, and I love weaving that into my music in subtle ways – whether through rhythms, melodies, or even just the energy I bring to my sets. I want people to hear my music and feel something universal while also discovering a bit of where I come from. It’s about showing that Indonesian artists have a place in the global scene and that we have something unique to offer.

What are some upcoming collaborations with Indonesian artists that you’re excited about, and how do you think these projects will push the boundaries of what Indonesian music can achieve on the global stage?

I’m really excited about some upcoming projects with fellow Indonesian artists who are pushing boundaries in their own way. Collaborating locally isn’t just about making tracks – it’s about building a movement and showcasing the diversity of talent we have here. These projects will blend so many colors into one creation, but more importantly, they’re a step toward putting Indonesia on the international map. Our music scene has so much to offer, and I truly believe these collaborations will help amplify our presence on the global stage.

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Your debut single, ‘I’ll Be,’ has gained significant traction online, earning you a strong following. Can you share the inspiration behind the song and how it feels to see such a positive response?

I’ll Be is somewhat of a personal manifesto… a pledge to my future self and the person I want to become. I touch on a lot of different aspects in my life that are important to me, so to see it connect with people is incredibly fulfilling and special. 

You’ve shared the stage with major artists like Newton Faulkner, Kim Churchill, Vera Blue, and Pete Murray. What’s the most valuable lesson you’ve learned from supporting these artists?

As a support artist, it’s your job to start the night off with good energy and create a vibe in the room before the headline. Doing shows like these have really taught me that the crowd is already on your side. When people come out for a show, they’re wanting to have a good time- and I think learning to lean into that mindset has been super beneficial. 

Signing a worldwide deal with AWAL US is a huge milestone. Can you walk us through how that opportunity came about and what it means for your career moving forward?

That journey really started from focusing heavily on my songwriting for a number of years – so that when it came to having the conversation with labels I had a big catalog as a sort of proof of work. I’ll Be was the song that set it into motion, with the amazing Mike Taylor joining our team and helping to set up the deal with AWAL. 

With your debut album on the horizon, what can fans expect in terms of sound, themes, and songwriting? Are there any particular influences shaping this project?

I feel like my music lives in the world of rock influenced singer/songwriter. I’m very inspired by stripped 60’s folk to modern pop, rock bands to cinematic soundtracks. Most of the songs have originated in writing on either guitar or piano, and centred around themes of self-discovery, purpose and love. 

Your music has resonated with both live audiences and online listeners. Do you approach songwriting differently knowing that your music connects in such varied ways?

In my writing I mostly try and follow what the song feels like it wants to be- both thematically and musically. Sometimes I’ll know when I’m writing that it could be well suited for live performances, and other times I’ll be writing a simple slow folk song with no chorus that will be less live suited. The song is the boss!

You have a captivating stage presence. How did you develop your live performance skills, and do you have any pre-show rituals to get in the right mindset?

Thank you! I’ve been playing live since I was 8 years old – singing Michael Jackson in a school production haha. Then writing, busking and doing gigs most weekends from around 12- travelling Aus in a caravan for 6 months with my family and playing everywhere we went. I just really love it so much and it’s huge reason for pursuing music. My pre-show rituals are mostly just warming up my voice and listening to some songs to get me in the right headspace. 

As part of Live Nation’s ONES TO WATCH series, you’re joining a lineup of rising talent. How does it feel to be part of this platform, and what are you most looking forward to about the Melbourne event?

It’s awesome to be included in this incredible series. To join a great list of past performers is exciting and I’m super keen to play the Gaso- it’ll be my first show there! 

The Australian music scene is evolving rapidly. As an artist navigating the industry, what are some challenges you’ve faced, and how have you overcome them?

I think finding the right team is so important. I kept writing and focusing on the music for years until I felt confident in the team around me to achieve a shared vision. I’m grateful and excited to be starting this new phase of my journey with some awesome and talented people.

Your career is on an exciting trajectory in 2025. What are your biggest goals for this year, and are there any dream collaborations or projects in the works?

I’m looking to spend some time overseas this year playing gigs and touring new places… I’m super excited by that! Working on these songs with Eric J Dubowsky has really been a dream collaboration… we’ve written songs together that will be on the record and he’s producing and mixing. A really cool relationship with someone who’s Grammy and ARIA winning. 

For fans discovering your music for the first time through ONES TO WATCH, what’s the one thing you’d like them to take away from your performance?

That I’m in this for the long haul! I’ve been focused on music since I was a kid and yet this now feels like a new beginning. I have so much to give moving forward and would love if people connect to lyrics or a feeling I’ve facilitated. 

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How did The Bentley Project come to life, and what inspired you both to combine the sounds of harp and guitar?

The Bentley Project, is a marriage/music duo. Before Mark, I was a professional French horn player and quite honestly, Once I performed with Roger Daltry, played in the orchestra doing his rock opera Tommy,  watching him awesomely work the huge crowd , and then Georgia on my Mind with Ray Charles, I knew I couldn’t top this on French horn. So, I decided to pursue piano/ harp. For my wedding gift, Mark bought a replica of a 1500’s Italian Baroque triple harp and the rest is history. Mark was and is a fabulous classical guitarist and studied with the best in the world like Pepe Romero and Christopher Parkening.  As I grew on the harp, we started realizing how primevally beautiful the harp and guitar are together. He patiently waited for me to grow and in 2018, we decided to try an album of music friends said they would love for us to record and music Mark plays that I wanted to capture. We came up with the name The Bentley Project to allow us freedom to do multiple genres. Given our love for all kinds of music, we wanted the name to reflect that this is an ongoing project with many lanes to explore. I love playing/improvising New Age the most so personally, this will continue to be my main interest in exploring. 

Theresa, with your background in classical music and a diverse array of instruments, how do you approach blending traditional and contemporary elements in your compositions?

With learning multiple instruments, dancing flamenco, loving Van Gogh, and reading poetry, all the disciplines compound into something that you can’t have without each piece in the recipe. I also have so much music listening time(70’s rock, new age, classical music, bluegrass, Celtic) and French horn, harp, classical/jazz piano and voice training in my head It all had a synergistic effect that has all come out as this album.  I observe literally everything I hear down to our creek running on our land. (It’s on track 4 of the album!)  or the rhythm of the train in our small town. As for blending, I pull my most favorite parts from each discipline and put them together for something new. For example, I call Kind as the Shade an “Ambient Tone Poem”. The core idea is borrowed from the classical world, Richard Strauss and his tone poems. I love them all so thought why not use it here and tell the story of the poem that inspired this album By John Neihardt but with an ambient twist. Thus, I guess I wanted to create a new genre of “Ambient Tone Poem”? Why not… 

Mark, your experience as a guitarist spans multiple genres. How has your versatility in classical and acoustic guitar shaped the sound of The Bentley Project?

As a trained classical guitarist, You can do nearly anything that is asked of you. It’s a bit like learning ballet then you can springboard into any dance with that foundation. When Theresa asks me to play an idea, I can approach it anyway she would like. For example, on our single Eventide, she wanted acoustic guitar but play it like a classical guitar. It resulted in a unique sound that fit the song perfectly.  She says she loves my tone the most so she writes for it. My Whisper to You was all about that concept for her.

Can you tell us about the creative process behind your compositions? Do you primarily collaborate or is there a specific role each of you plays in the songwriting and production?

We definitely have unspoken defined rolls. I am the dreamer and Mark is practical. I come up with the ideas or something inspires me. I use my phone constantly to capture a sound or portion of a song/progression I really like.  I never know when that will catch me. Once that happens I start working on the song.  Then I bring Mark into the process to make everything I do better. We do all recording, mixing and mastering. Mark has an incredible ear to hear the tiniest sounds that need to be adjusted or fixed. Sometimes I can get him to write with me (like My Whisper to You on the album) and it is always incredibly beautiful but I usually have to pull that bit out of him. I am always glad he allows me to push that! Anything regarding recording that I struggle with, he seems to always have an answer. 

You both have extensive performance experience, from symphonies to engagements with artists like Roger Daltrey and Ray Charles. How does performing as a duo differ from these larger-scale engagements?

For me, this has been a huge adjustment. With big orchestral engagements, a French horn player can hide fairly easily in the back of the orchestra(with the exception of solos). That is what I was use to and never being the center of attention as an instrumentalist. I am happy that way but with harp, I have had to learn how to handle performing as a soloist or in the duo. No hiding. That was a shock to me but getting more use to it. As for Mark, classical guitarist are generally on their own or a duo/quartet. For most of his performing life, Mark was in a guitar duo so this is not much different for him except I have pulled him into writing music.

The Bentley Project has a unique style that mixes elements of folk, classical, and new age music. How do you balance these diverse genres while maintaining a cohesive sound?

I have such  enjoyment for the impressionistic period of music and see the original New Age movement (Windham Hill, Andreas Vollenweider for example) and Phillip Glass, stemming from that period.  That is the lens I ran everything though as I wrote this album. I can use a Celtic type melody but it had to lay on top of the dreamy Windham Hill type sound. 

In your performances, you invite audiences to ‘listen with intent.’ What does that phrase mean to you, and how do you encourage this deeper connection with your music?

Listen with intent means create your own mental story as you listen and fully experience the music. Or, learn the artist story about the music. Great musical art is so much more and worth the effort of learning each song’s meaning. They always have a story of some sort. Science has confirmed the health benefits of this type of listening as well! 

You’ve performed across the U.S. and Europe. How have these international experiences influenced your music, and what do you think audiences from different cultures appreciate most about your sound?

Europe was such an incredible place to perform. They universally have a deep appreciation for live classical music(and it’s variations which our music fits into)  and encourages its nurture. I have a harpist friend in Germany, Nadia Birkenstock, who is experiencing great success and she has been such a role model for me. She has been deeply embraced and is helping to expand harp music around the world. The track, Language of the Hills is probably somewhat inspired by her and what is happening in Germany by having a single instrument harp song that is complete and beautiful on the album. Here in our Kansas City, Missouri culture, we have fantastic music that is just exploding!  There is a growing subculture as well that we would fit into. The audiences are not huge yet but I am hoping The Bentley Project can help expand it more. People here always love to hear us play but it is so different for them generally it is like a new life experience they didn’t know they needed emotionally. They are always surprised at the calming effects. I love playing at the farmer’s market here and seeing the reactions. People immediately calm and smile at me. That’s what I want to grow in my culture. I have been told there “ I make it feel European”. I see that as a great compliment!

You both have strong academic backgrounds in music and business. How do these two aspects complement each other in your work with The Bentley Project?

I would say the simple answer is we both fully understanding each other’s language in music and business.  Neither of us could do what we do if our partner did not have the complementary pieces that we each have.

To create something like Kind as the Shade, our ability to communicate as you are creating something new was invaluable and helped us to pull greatness from each other that wouldn’t happen if we were not together. 

What can fans expect from The Bentley Project in the coming year? Are there any exciting new projects, collaborations, or performances in the works?

Projects:

We have spoken about Mark doing a Classical Guitar Spanish Dance album( which he is magnificent at).

I actually have many ideas stirring in me.  I have time freedom as there is no one to give me constraints. I can fully allow my internal artist do her thing and let it grow organically as it did with Kind as the Shade. Regarding my current ideas, I really enjoy fantasy stories. (Earth’s Fragrance Remembered(Eolyn) is a perfect example of this showing up in my music.) Eolyn is a magical character that I just loved.  I thought it might be fun to do another tone poem on the Tales of the Fae or a fantasy album about this character . With my harp, I can be as magical with this as I want!  I also have a collection of hour long sleep songs that are part of my  Sanctuaries series. We have a baby in the family and she loves to sleep to them. Especially Peaceful Waters. So, I am planning to build upon that. Lastly, with Kind as the Shade being inspired by a poem, I may start a New Age Poetries collection of music. As I find a poem that inspires me, I can start building  upon this collection idea. Poetry is generally how I write music. Poems first then the music. I have always worked that way.

Performance: We have a couple coming up this spring one private and one public. Our public concerts tend have sections: music from 500 years ago on replicas of early instruments , a folk section like Spanish dances, and now of course some new age music to introduce ideas like running my harp through a guitar shimmer pedal like on track 8, Language of the Hills.  At our concerts, we tell stories about each song and the multiple instruments which helps the listener to “listen with intent”.

Listen At : thebentleyprojectmusic.com

You’ve collaborated with an incredible lineup of legendary MCs on your upcoming record. How did these collaborations come together, and what was the creative process like?

I have to thank the producers I’ve been working with since around 2020. Wyshmaster, Anno Domini, Legion, and Temper made these “colabos” possible for me and other indie rapper types. And of course, I thank the rappers involved for lending their voices for the purpose of helping myself and others gain some attention. Unfortunately, I have never met any of these guys, but the chance to show that I can hang with them on a track is monumental and just plain fun at the same time. It’s my dream mixtape.

With so many different personas—Mile High Mike Colin, Milky Way Mike Colin, Zhitkur Roswell—how do you decide which alias to use for a specific project?

Ever since the get-go, I was Eclecticore. I grew up in the ‘70s and ‘80s listening to the rock I loved and still love: The Beatles, The Stones, Jimi, Bowie, Iggy, Lou, Prince. I also loved Hip Hop—Run DMC, Beastie Boys, Public Enemy. I even loved solo classical for some reason. I used to put it all under one label, “Phantasmorgasm,” which was my band in the ‘90s, but as time went on, I splintered.

Mike Colin is a rock singer/songwriter.
Mile High Mike Colin is a rapper/lead guitarist.
Milky Way Mike Colin is a composer/multi-instrumentalist.
Zhitkur Roswell is a beat producer.
Where to use each alias is sort of built into the alias itself.

Your output is prolific, often compared to music legends like Prince and Zappa. What drives your relentless creativity, and how do you keep the ideas flowing?

Well first off, I’m nowhere close to being in league with Prince or Zappa or any of those guys who are true artistic geniuses. I have a knack—a knack for putting music into a song/record format. I’m not a virtuoso musician. I’m not a talented vocalist. I just have a knack for expressing myself honestly and exploring song ideas that others don’t.

Ideas are no problem. They can start with a beat, a riff, a vocal. If your goal isn’t limited to commercial appeal, then you can just create. I throw music at the canvas like Pollock, I celebrate the ordinary like Warhol, and sometimes I obsess over a grid of details like Da Vinci. Music itself is the genius. I’m just lucky enough to be able to do it.

The trauma you’ve experienced is heartbreaking yet inspiring. How has it shaped your music and your approach to life?

I have been through a lot, just like a lot of people. Life is both beautiful and horrific. I think we are all left wondering what the purpose of pain is, and the finality of death on our plane.

In 2024, my dog of 10 years died, and it just about killed me. I just want to see him again. I haven’t seen my mother or her parents in almost 30 years because they all passed. I finally found out who my father was thanks to DNA. He died before I could meet him.

This is what we all carry with us in one form or another. This is what art is. It’s all of it, all at once. Entertainment is art that distracts us from our pain. I wish I was an entertainer.

You’re known for your love of recording over performing live. What is it about the studio environment that resonates so deeply with you?

I love the studio because any and every song is a go to explore. In the ‘90s, I toured and performed 500-plus shows, and what you learn is that the audience only wants to hear a small segment of material. The repetition drove me crazy. The 375th time you play the same 15 songs, it becomes a job.

Also, I’m just not an entertainer. I’m trying to relate.

Producers like Wyshmaster, Anno Domini, Legion, and Temper have played a big role in your projects. What do these collaborations bring to your sound?

Working with producers has kept me going. I love getting the tracks and just going for it. It’s collaborating in a manner that I understand.

Your new record features a mix of hip-hop heavyweights like Eminem, Method Man, and KRS-One. What makes this project stand out from your previous work?

This album is just different than anything I’ve done because I’ve never done anything so accessible or commercial. I hope this opens the door and allows the audience to discover some of my other music.

You’ve dabbled in so many genres and styles, from hip-hop to acoustic to beatstrumentals. What draws you to explore such diverse musical paths?

I love music. I have dabbled in most genres, just like The Beatles or Prince. Time has proven that Rock/Hip Hop/Classical is what I do. The dabbling is over.

Except—I am making a K-pop record just to be hip.

Vinyl and cassette releases are scheduled for April. What inspired you to embrace these classic formats, and how do they complement your music?

I’ve been around long enough that the first recordings I released were on vinyl and cassette. They’re fun. Nostalgic.

That said, digital access is pretty great. I love Spotify and Apple Music. I have every record I have ever wanted at my fingertips. It’s incredible.

Despite everything you’ve endured, you’ve remained focused on creating music. What advice would you give to artists facing their own struggles, both personal and professional?

Don’t let depression keep you from making your music. It is hard. Believe me, I know.

Sadly, don’t bring your sorrow to the biz. Nobody gives a shit. If you expect them to, then you are in for a rude awakening and a lot of wasted time.

There is music the art, and there is music the business. Make music because you want to, not because you think you could be the next Guaplord or Smoked Cheddar the Ass Getter.

Even so, you must promote your art once in a while. I’ve been writing and recording for 30 years. I never “made it,” yet I have fans in 81 countries.

Maybe someday I will get to perform for them. Life’s a continuous, contiguous journey that isn’t over until it’s over.

mikecolin.net

“The Depths” explores the theme of introspection and uncovering quiet truths. Can you share the personal journey or inspiration behind this album?

“The Depths” was born from my own journey of seeking peace and meaning in life’s quieter spaces. Having lived across continents—Africa, the U.S., India, and now Europe—I’ve learned that external movement often mirrors an internal quest. In a world filled with noise, I wanted to create a space where listeners can pause, reflect, and reconnect with their own truths. This album feels like an invitation to dive deep into one’s self, embracing both the beauty and challenges of introspection.

Your music blends classical and world influences, reflecting your multicultural identity. How do your cultural roots shape your compositions, particularly on “The Depths”?

My multicultural identity is at the heart of my music. Growing up in the U.S. with roots in India, being born in Africa, and now living in Spain, I’ve absorbed a rich tapestry of sounds and traditions. Indian classical music taught me to appreciate depth, patience, and improvisation. Western classical influences brought structure and harmony. Living in Spain introduced me to the passion of Flamenco and the understated elegance of European minimalism. On The Depths, these worlds come together naturally. It’s less about representing any single tradition and more about honoring how these influences have shaped who I am and how I hear music.

You’ve described “The Depths” as both a sanctuary and a guide. What role do you think instrumental music plays in healing and offering clarity in today’s fast-paced world?

Instrumental music has a unique power to heal because it transcends language and speaks directly to the soul. In today’s hyper-connected and overstimulated world, we often neglect moments of stillness. The Depths offers that stillness—a sanctuary where listeners can step away from the chaos and find clarity. Without words, the music allows each person to project their own emotions and experiences onto it. It becomes both a personal retreat and a guide, helping them navigate their inner worlds.

Your previous albums, “Secret Garden” and “The Long Road,” were met with critical acclaim. How has your creative process evolved from those works to “The Depths”?

Each album represents a distinct chapter in my life. Secret Garden was about uncovering hidden beauty through music, a journey of quiet discovery. The Long Road became an outward expression of love, grief, and connection—raw emotions translated into sound. With The Depths, my creative process has matured and become more intentional. I’ve learned to trust the music, allowing it to flow intuitively rather than overthinking. I leaned deeper into minimalism, letting each note breathe and finding power in the spaces between them. It’s a deeper exploration of simplicity and emotional clarity.

“The Depths” flows seamlessly from one piece to the next, creating a meditative experience. How do you approach crafting such cohesion within an album?

Cohesion comes from listening to the music as a whole, rather than as individual pieces. I approach each composition as part of a broader emotional arc, ensuring that one piece naturally leads into the next. Working closely with my producer, we carefully sequenced the tracks to balance their energy and transitions. For The Depths, I envisioned the album as a single narrative—an immersive journey that unfolds gradually, inviting the listener to explore deeper emotional and introspective layers with each piece.

The album is arranged in three distinct phases, each representing a stage in the transformative journey:

The Opening Tracks: Pieces like Dreams of Zagyva and Stars set the tone through a classical lens, telling stories that evoke memory and introspection.

The Middle Section: This phase blends instrumental pieces with piano solos, delving deeper into personal emotions and meditative states.

 The Final Phase: Beginning with Diamond Gaze, the music ascends into spirituality, capturing the essence of offering, transformation, and eternal truths.

Each phase takes the listener on a transformative experience—from quiet reflection to deeper introspection, and ultimately, to a sense of spiritual awakening.

Many listeners connect with your music on an emotional level. How do you translate vulnerability and personal experiences into your compositions?

For me, composing music is an act of vulnerability in itself. I approach the piano with honesty, letting it reflect what I feel in the moment—be it joy, longing, or uncertainty. I believe that authenticity in expressing my emotions allows the music to resonate deeply with others. Rather than telling a specific story, I aim to craft an emotional language that invites listeners to bring their own experiences and interpretations to the music.

Your music has been featured on SiriusXM’s Spa channel and resonates across 86 countries. What does it mean to you to have your work touch such a global audience?

It’s incredibly humbling. Growing up across cultures, I’ve always felt like a citizen of the world, and it’s beautiful to see that reflected in how my music resonates globally. Knowing that a composition created in my quiet moments can bring peace to someone on the other side of the world feels like a shared human connection—one that transcends borders, languages, and backgrounds.

With “The Depths” releasing in January 2025, what are your hopes for how this album will be received and the impact it will have on listeners?

My hope is that The Depths offers listeners a sense of peace and perspective—especially in moments when they need it most. I want it to feel like a trusted companion, whether someone is reflecting, healing, or simply seeking stillness. If it helps even one person reconnect with themselves or find clarity, then it has fulfilled its purpose.

Your work is reminiscent of the golden era of New Age piano. Which artists or movements have inspired your approach to composing and performing?

I’m deeply inspired by artists like George Winston, Yiruma, and Yanni, who masterfully blend simplicity with profound emotional depth. The New Age movement, with its focus on music as a source of healing, introspection, and mindfulness, has significantly influenced my approach. At the same time, my exposure to Indian classical ragas has taught me the power of improvisation and the importance of emotional nuance. Minimalism and world music traditions have also enriched my compositions, allowing me to explore diverse textures and moods. Together, these influences have shaped a style that is deeply personal yet universally resonant.

Looking ahead, do you see yourself exploring new themes or genres in your music, or continuing to deepen the introspective and emotional journey you’ve begun with “The Depths”?

I believe there’s always more to explore. While I’m drawn to introspection and emotional storytelling, I’m curious about blending new sounds and themes into future work. I’d love to collaborate with musicians from different traditions, bringing in instruments and influences that push my creative boundaries. But no matter the genre, my focus will always be on creating music that feels authentic, meaningful, and deeply human.

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‘7 Seconds’ is such a compelling track. Can you tell us about the inspiration behind the song and how Clive Wearing’s story shaped its themes?

Thank you for the kind words! A few months ago, AKINAT sent me the documentary about Clive Wearing’s heartbreaking story, and it had a profound impact on me. I couldn’t stop thinking about him. Clive Wearing was a fascinating British classical musician who lost his memory and now experiences life in brief, seven-second intervals. His story made me think long and hard about the fragility of life. The fact that his wife, Deborah, remains a constant as his condition deteriorates only further proves that love truly transcends time. Drawing from both his story and our own life experiences, we wrote 7 Seconds.

How did the collaboration between the two of you come about, and what was the creative process like working together?

We’ve been collaborating for many years… honestly, the process is always seamless. AKINAT is an exceptionally talented producer, and I always love what we create together. Our history and deep understanding of each other really helps the process—plus, we know when to push one another creatively, which I personally sometimes need! When you’re creating music, it’s easy to get stuck on an idea, so sometimes you need to throw a musical spanner in the works or try something completely out of left field. That’s more often than not where the magic has been hiding.

You’ve mentioned that the track draws influence from Fleetwood Mac’s ‘Dreams.’ How did that iconic sound inspire your approach to production and songwriting?

Yes!! Initially, we set out to write a song inspired by Dreams! It’s funny telling people that the Fleetwood Mac classic was an influence for us, as I feel that connection might be a bit difficult to make now. The track went through many iterations before reaching its final version, and I’m really curious to see if people can hear the little nods to that track throughout 7 Seconds.

Your music blends influences from artists like Jamie xx, Sabrina Claudio, and now Fleetwood Mac. How do you balance such diverse inspirations in your work?

Brilliant question! I love the depth and emotional range Sabrina Claudio consistently achieves through her music, the production and artistry of Jamie xx, and the unparalleled creative songwriting that forms the backbone of all Fleetwood Mac songs. I try to weave those influences together naturally—to be honest finding that  balance feels almost effortless because I draw inspiration from each artist in very different ways!

AKINAT, your production style is influenced by electronic greats like Four Tet and Jon Hopkins. How do you incorporate those elements while maintaining Joey’s vocal-driven sound?

I’m in consistent awe of artists like these guys – they’re particularly their ability to create a rolling, driving texture, with each element findings its pocket. It’s in that sense that i was inspired – not through genre but an appreciation of each and every sound arriving in its own time. 

Joey, living in Tokyo has clearly influenced your artistry. How has your time in Japan shaped your sound and opened up new creative opportunities?

For those who haven’t been: Japan, particularly Tokyo, is a living, breathing Blade Runner dreamscape—bustling streets, neon lights, and creativity everywhere you look! Living here and being consistently immersed in this culture has shaped me as an artist, giving me the freedom to explore and experiment, not just in music but beyond. I’ve always been passionate about fashion, and I love blending it with my artistry —the fashion scene in Tokyo is truly unparalleled!

What’s the music scene like in Tokyo compared to Sydney, and how does it influence the way you approach your work?

Live music is everywhere!! That has been the biggest difference I’ve observed between the two. Everyone loves live music here & makes sure there are ample opportunities to both perform and attend, across all genres. Musicians are championed for expressing themselves through their art, particularly Jazz musicians. If and when you visit Tokyo I highly recommend dipping into one of the moody Jazz bars like ‘Blue Note’ in Aoyama, having a cheeky cocktail & seeing where the night takes you! Living here has pushed me to search for live performance opportunities much more than I did previously, there is nothing quite as special as connecting with a person via music.

The themes in ‘7 Seconds’ touch on profound connections and love that transcends memory and time. How do you hope listeners interpret or connect with the story you’re telling?

Oh, I love this question! The beauty of music lies in how uniquely it can be interpreted by each listener. One of the most rewarding aspects of creating music is seeing how people connect with the tracks and relate them to their own life experiences. We also hoped that featuring samples of Clive Wearing himself might encourage listeners to explore his story, if they haven’t already. He captures the essence of life and love in the most profoundly beautiful way.

Since releasing your first single in 2021, your career has gained momentum. How do you feel you’ve evolved as an artist, and what’s next on the horizon for you?

I am feeling immensely grateful as we wrap up 2024. The New Year always feels incredibly cathartic—a chance to reflect and recognize how much I’ve grown over the past year. Heading into 2025, I already have four new songs ready to go. I’ve had the privilege of working with some sensational producers, and I can’t wait to share everything we’ve been creating!

Do you have plans to continue experimenting with different styles and textures in your music, and are there any collaborations or projects in the pipeline we can look forward to?

Absolutely! I will be hitting the ground running in 2025 with a few collaborations I secured at the end of this year. I couldn’t be more excited about the songs we’ve created—they definitely explore different textures/styles, and I’ve really pushed myself out of my comfort zone with songwriting! Keep your eyes peeled!

https://www.instagram.com/joey.sachi/

Can you share the story behind “Into The Dark”? What inspired you to explore  themes of rejection and abandonment in this track? 

‘Into The Dark’ is about the experience of realising that someone you’ve been seeing was  never as invested as they led you to believe. It’s that moment when you’re swept up in the  idea of something special, only to have the rug pulled out from under you with no  explanation. The abandonment comes in the aftermath, when you’re left questioning  everything – the moments you shared, the connection you thought you had – and you’re  haunted by the uncertainty of whether it ever meant anything to them. It’s a deep  emotional spiral, wondering how someone could so easily walk away if they truly cared. 

The music and lyrics became my way of channeling that hurt and turning it into something  more than just a painful memory. Instead of letting the experience feel tragic, I wanted to  create something powerful and cathartic. 

The song evokes a dystopian and cinematic soundscape. How did you approach  creating this atmosphere in your music? 

Heartbreak, especially when it’s paired with so many unanswered questions, can feel  apocalyptic. When I think back to that overwhelming sense of confusion and hurt, it felt like  the world was crashing down around me. I wanted ‘Into The Dark’ to capture that “end of  times” feeling. I layered synths and textures to simulate that intense emotional  overstimulation – like when everything is building up inside you, just on the verge of  exploding. 

In my mind, the soundscape had to feel futuristic, alien – like a chaotic sci-fi world where  nothing is familiar or comforting. This led me to approach the song as a synthwave track,  creating a sonic environment that matched the sense of isolation and turmoil in the story. 

You mentioned that you self-wrote, recorded, and produced “Into The Dark.” Can  you walk us through your creative process for this single? 

The process for ‘Into The Dark’ wasn’t overly planned or structured. It all started when an  arpeggiated synth melody popped into my head one day, and I immediately began laying it  down in my DAW before I could forget it. From there, the song almost wrote itself. I had a  clear vision of the sound and structure, so I just went with it – building the instrumental,  developing the lyrics, and finding vocal melodies as I went along. 

At the time, I’d been listening to a lot of The Midnight, so I wanted to incorporate a  saxophone solo, something I’d been wanting to do for a while. I grew up playing alto sax,  so it felt natural to bring that into my music. Once the song was structured, I refined the  production the next day, cleaning up the track and adding some extra touches like  background vocals and vocoder effects. I think it was completely done – minus mixing and  mastering – in 2 days. 

For the visual concept of ‘Into The Dark’, I wanted to symbolize the journey described in  the song – how the protagonist is pulled from the light, corrupted by their lover, and  ultimately left in darkness. It evokes the image of an angel who has fallen from grace,  tainted by the darkness (the partner) and left alone, reaching desperately for the light. And  so, the cover artwork for the single was created.

You’ve drawn comparisons to the sounds of “Stranger Things.” Which artists or  genres influenced your sound in this track? 

The ‘Stranger Things’ score by Kyle Dixon and Michael Stein is definitely a big influence  for me. I also draw inspiration from artists like The Midnight, FM-84, Timecop1983, and  CHVRCHES.  

When I wrote ‘Into The Dark’, it was around when The Weeknd released ‘Blinding Lights’,  which also tapped into that ‘80s synth-pop vibe. That song really pushed me to explore  how I could merge synthwave with pop elements and vocals, and ‘Into The Dark’ became  the result of that exploration. 

The song delves into profound emotional themes. How do you balance personal  vulnerability with the broader themes of heartbreak and isolation in your music? 

In ‘Into The Dark’, I wanted to express my personal vulnerability while making the themes  of heartbreak and isolation feel universal. While the song draws from my own experience, I  focused on the emotional journey – feelings of doubt, confusion, and being left in the dark –  that anyone can relate to. I aimed to tell the story in a way that allowed listeners to find  themselves in it, even if their situation is different. 

By embracing vulnerability, the song becomes a catharsis, not just for me, but for anyone  going through similar emotions. Heartbreak can be isolating, but it’s also an opportunity for  growth, and I hope listeners can find strength in that transformation. 

The inclusion of vibrant saxophone and lush synths adds a unique layer to the  track. How did you decide on the instrumentation, and what do these elements  represent in the song? 

The saxophone was essential for me – it’s such an iconic instrument in ‘80s music, and it  has this power to grab attention in a way that no other instrument can. Growing up playing  alto sax, it was always going to make an appearance in one of my tracks. In ‘Into The  Dark’, the sax solo acts as the emotional climax, lifting the track just as the tension and  emotion reach their peak. It’s symbolic of that emotional eruption – the point where all the  pent-up feelings explode. 

The synths and other textures were chosen to add a sense of mystery and depth to the  song. I wanted to create an atmosphere that felt “chilling,” something that would leave  listeners wanting more – just like the protagonist in the song, who’s desperately searching  for answers that never come. 

What do you hope listeners take away from “Into The Dark”? How do you want them  to feel when they hear it? 

I want listeners to know that it’s okay to feel your heartbreak, to go through the emotional  rollercoaster without rushing to brush it off. ‘Into The Dark’ is about letting yourself go  through the process and purging those feelings rather than burying them until they  overwhelm you. But beyond that, I want people to take away a sense of empowerment.  Heartbreak doesn’t have to define you – it can become something you transform into  something epic. Use it to fuel your growth, and don’t let it defeat you.

How does this single compare to your debut release? In what ways do you feel  you’ve grown or evolved as an artist since then? 

My debut single, ‘Yearn’, introduced a confident, playful side of KYARA. It was bold,  cheeky, and fun – a perfect introduction to my music. ‘Into The Dark’ marks a shift, though.  It reveals a more vulnerable side, while still maintaining that confidence. Sonically, it’s  darker and more cinematic, with a depth that wasn’t as present in my debut. 

Thematically, ‘Into The Dark’ shows growth. While ‘Yearn’ was about desire and control –  inspired by a deep fantasy, ‘Into The Dark’, explores a reality in some relationships –  processing pain and vulnerability. It’s about embracing all sides of ourselves – the strong,  the confident, the vulnerable. I’ve learned that it’s okay to be both, and that embracing the  darker, more complicated parts of yourself can lead to growth and strength. 

Can you give us a glimpse into what’s next for you after “Into The Dark”? Are there  any upcoming projects or collaborations you’re excited about? 

There’s a lot in the works. I’m continuing to explore the themes ‘Into The Dark’ introduced,  diving deeper into stories of relationships, both romantic and personal, and exploring them  from different angles. You can expect more dark, cinematic electronica fused with pop, but  there’s definitely a shift coming. At some point, I’ll be telling these stories through a  

sweeter, more romantic lens, and I’m really excited to see where that takes me. 

I also hope to experiment with different sounds within electronic music to see how they can  complement and enhance my existing sonic aesthetic. 

How important is it for you to engage with your audience on platforms like  Instagram and TikTok? What role do you think social media plays in the music  industry today? 

Social media is crucial, especially for independent artists like me. It’s not just about  marketing – it’s about building a community and connecting with people who resonate with  my music. Platforms like Instagram and TikTok give us the opportunity to share our work  and stories with a broader audience, and they’re invaluable in creating genuine  connections with listeners. For me, it’s less about just promoting my music and more about  fostering a sense of belonging, where fans can connect with each other and with me. It’s  how you can share the real side of being an artist, beyond just the music. 

Additionally, social media is a valuable tool for receiving feedback from listeners. It allows  you to consider different ideas and perspectives, helping you grow as an artist and better  connect with your audience by understanding what they want to hear.

INSTAGRAM

‘7 Seconds’ is such a compelling track. Can you tell us about the inspiration behind the song and how Clive Wearing’s story shaped its themes?

Thank you for the kind words! A few months ago, AKINAT sent me the documentary about Clive Wearing’s heartbreaking story, and it had a profound impact on me. I couldn’t stop thinking about him. Clive Wearing was a fascinating British classical musician who lost his memory and now experiences life in brief, seven-second intervals. His story made me think long and hard about the fragility of life. The fact that his wife, Deborah, remains a constant as his condition deteriorates only further proves that love truly transcends time. Drawing from both his story and our own life experiences, we wrote 7 Seconds.

How did the collaboration between the two of you come about, and what was the creative process like working together?

We’ve been collaborating for many years… honestly, the process is always seamless. AKINAT is an exceptionally talented producer, and I always love what we create together. Our history and deep understanding of each other really helps the process—plus, we know when to push one another creatively, which I personally sometimes need! When you’re creating music, it’s easy to get stuck on an idea, so sometimes you need to throw a musical spanner in the works or try something completely out of left field. That’s more often than not where the magic has been hiding.

You’ve mentioned that the track draws influence from Fleetwood Mac’s ‘Dreams.’ How did that iconic sound inspire your approach to production and songwriting?

Yes!! Initially, we set out to write a song inspired by Dreams! It’s funny telling people that the Fleetwood Mac classic was an influence for us, as I feel that connection might be a bit difficult to make now. The track went through many iterations before reaching its final version, and I’m really curious to see if people can hear the little nods to that track throughout 7 Seconds.

Your music blends influences from artists like Jamie xx, Sabrina Claudio, and now Fleetwood Mac. How do you balance such diverse inspirations in your work?

Brilliant question! I love the depth and emotional range Sabrina Claudio consistently achieves through her music, the production and artistry of Jamie xx, and the unparalleled creative songwriting that forms the backbone of all Fleetwood Mac songs. I try to weave those influences together naturally—to be honest finding that  balance feels almost effortless because I draw inspiration from each artist in very different ways!

AKINAT, your production style is influenced by electronic greats like Four Tet and Jon Hopkins. How do you incorporate those elements while maintaining Joey’s vocal-driven sound?

I’m in consistent awe of artists like these guys – they’re particularly their ability to create a rolling, driving texture, with each element findings its pocket. It’s in that sense that i was inspired – not through genre but an appreciation of each and every sound arriving in its own time. 

Joey, living in Tokyo has clearly influenced your artistry. How has your time in Japan shaped your sound and opened up new creative opportunities?

For those who haven’t been: Japan, particularly Tokyo, is a living, breathing Blade Runner dreamscape—bustling streets, neon lights, and creativity everywhere you look! Living here and being consistently immersed in this culture has shaped me as an artist, giving me the freedom to explore and experiment, not just in music but beyond. I’ve always been passionate about fashion, and I love blending it with my artistry —the fashion scene in Tokyo is truly unparalleled!

What’s the music scene like in Tokyo compared to Sydney, and how does it influence the way you approach your work?

Live music is everywhere!! That has been the biggest difference I’ve observed between the two. Everyone loves live music here & makes sure there are ample opportunities to both perform and attend, across all genres. Musicians are championed for expressing themselves through their art, particularly Jazz musicians. If and when you visit Tokyo I highly recommend dipping into one of the moody Jazz bars like ‘Blue Note’ in Aoyama, having a cheeky cocktail & seeing where the night takes you! Living here has pushed me to search for live performance opportunities much more than I did previously, there is nothing quite as special as connecting with a person via music.

The themes in ‘7 Seconds’ touch on profound connections and love that transcends memory and time. How do you hope listeners interpret or connect with the story you’re telling?

Oh, I love this question! The beauty of music lies in how uniquely it can be interpreted by each listener. One of the most rewarding aspects of creating music is seeing how people connect with the tracks and relate them to their own life experiences. We also hoped that featuring samples of Clive Wearing himself might encourage listeners to explore his story, if they haven’t already. He captures the essence of life and love in the most profoundly beautiful way.

Since releasing your first single in 2021, your career has gained momentum. How do you feel you’ve evolved as an artist, and what’s next on the horizon for you?

I am feeling immensely grateful as we wrap up 2024. The New Year always feels incredibly cathartic—a chance to reflect and recognize how much I’ve grown over the past year. Heading into 2025, I already have four new songs ready to go. I’ve had the privilege of working with some sensational producers, and I can’t wait to share everything we’ve been creating!

Do you have plans to continue experimenting with different styles and textures in your music, and are there any collaborations or projects in the pipeline we can look forward to?

Absolutely! I will be hitting the ground running in 2025 with a few collaborations I secured at the end of this year. I couldn’t be more excited about the songs we’ve created—they definitely explore different textures/styles, and I’ve really pushed myself out of my comfort zone with songwriting! Keep your eyes peeled!

‘7 Seconds’ is out Now
JOEY SACHI:Official Website | Twitter | Instagram | TikTok | YouTube | Triple J Unearthed

“Tonight” is a beautiful blend of 80s-inspired R&B and retro funk. What inspired you to explore this nostalgic yet modern sound, and how did the collaboration with Carlinhos come about?

For some reason, ever since I was a kid, I’ve always been drawn to nostalgic sounds. Not just in music, but to the very concept of nostalgia itself. For example, I remember feeling warm waves of emotion when I was 6 or 7, triggered by certain scents that reminded me of my even earlier childhood, like when I was 3 or 4. I think many of us have experienced something similar. This innate attraction to nostalgia naturally extended into other aspects of my life—art, music, literature, paintings, and more. As an artist, though, you don’t just want to recreate what’s been done before; you also want to leave your imprint and make it clear that this is “now.”

Carlinhos and I met in 2022 when I was sending out my demo songs to labels. We instantly connected over our mutual love for nostalgic, retro music. “Tonight” is our second collaborative effort, and it’s significant because our creative partnership has evolved. Carlinhos, an ex-member of Papanegro—a popular Chilean funk band—brings deep musical insights and a unique transcontinental approach to the creative process. I’m immensely thankful for our collaboration.

The concept of “New Retro” is central to “Tonight.” Can you explain what this term means to you and how it influenced the song and its visual storytelling?

Great question. I touched on this earlier, and it’s a central theme for me. Nostalgia often comes from a longing for the past, but it’s a romanticized version of the past, stripped of its unwanted or negative aspects. Importantly, this reflection on the past happens in the present. To me, the concept of “New Retro” acts as a conduit that brings the past into the present and reinvents it. It transcends time and gives the art a timeless, universal quality.

The cinematic romance depicted in “Tonight” feels timeless. How did you approach writing the lyrics to convey such vivid imagery and emotional depth?

Storytelling is a key theme in my songwriting. I want my songs to tell a story, even if each listener interprets it differently or applies it to their own experiences in their own way. That said, storytelling through songwriting is easier said than done, especially when writing lyrics in English. Unlike Japanese, where the phonetics allow for a broader range of words to complement the music, English often prioritizes phonetic congruence. This can create a tension between the melody, rhythm, and narrative.

When writing the lyrics for “Tonight,” I first had to feel and understand what the music was telling me. Once I grasped the sentiment embedded in the music—including life’s complexities and love stories—I worked to create lines that were vivid, visual, and metaphorical, all while staying true to the melody and rhythm. It took a long time to finesse the lyrics. I also drew inspiration from retro slow jams and R&B love songs, incorporating elements of their lyrical style.

I admire Rupert Holmes as a master storyteller in music, not surprising, as Holmes eventually became a playwright. His ability to craft a short story within a song, has been a huge influence on me. His storytelling inspires me to push the boundaries of narrative within the confines of melody and rhythm.

Collaborating with Carlinhos and chao! brought international influences to “Tonight.” How did this fusion of Japanese, Chilean, and Australian creativity shape the final track and video?

Beyond transcending time, I wanted to transcend national borders, languages, and cultures. For this reason, it was essential that this song involved collaborations across three continents. This universality added a unique timelessness to both the track and the video. That was my hope, and I believe we achieved it.

Your music video for “Tonight” was directed by Taisei Sanada and features actress Sakura Ariana. How did you work with the team to bring your vision of a glamorous yet bittersweet Showa-era vibe to life?

The biggest credit goes to Mr. Sanada for bringing the song to life visually. Communication and a shared understanding of the vision were key. We spent hours over coffee discussing and refining this shared vision. It also helped that Mr. Sanada had experience working with retro music and aesthetics in his previous short films.

For the casting, we chose Sakura Ariana from a shortlist of actresses who fit the role perfectly. Her part-European ancestry aligned with my vision of cultural transcendence, complementing both the aesthetics and the concept of the video.

City Pop has a massive following in Japan. How do you see “Tonight” fitting into this genre, and what sets your take on City Pop apart from others?

City Pop, by definition, embodies an urban, sleek quality, with 1980s Tokyo as its central figure. This aesthetic arose during the growth of Tokyo as a global urban centre in the 60s and 70s, attracting young rural Japanese chasing the “Tokyo dream.”

I’m in a unique position, writing this “city” style music from rural Australia. Portland, Victoria, where I’m based, is over 350 kilometres from a major urban centre and couldn’t be further from Tokyo’s urban landscape. Yet, subtle traces of my surroundings sneak into my music. For example, the line “sprinting through the meadow” in “Tonight” is not an urban scene. Even the artwork by chao! features green, undeveloped hills rather than a bustling cityscape. In this way, I’m tacitly stating that City Pop isn’t just about the city—it transcends different types of human settlements.

What have been some of the highlights of your recent live shows in Japan, from performing at the Tanzaku CD Festival to the Yokosuka Jazz Rock Festival?

Performing in my home region of Japan was incredibly special. For these occasions, I brought band members from Australia to join my Japanese bandmates, creating an international band for the performances. It became a celebration of international friendship and collaboration, so a huge thank-you to Doug, Saori, Atchan, V, and Dennis. I’m also grateful to my friends and family who supported this journey, and most importantly, to my mother. Though she intended to be there but couldn’t be there—and never will be again—she still heard from me that everything went well. Thank you.

The retro resurgence offers people a nostalgic escape. Why do you think audiences today are so drawn to the sounds and aesthetics of the past?

Memories grow sweeter over time. Nostalgia offers a romanticized version of the past, an idealized escape from reality. But this isn’t about running away—it’s about drawing strength and resolve through reflection. Nostalgia reminds us of simpler, better times, even if those memories are tinged with illusion.

As a Japanese-Australian artist, how has your multicultural background influenced your music, and how do you navigate blending these cultures in your creative process?

Thank you for this question. Growing up across two cultures has strengthened my conviction that what I uniquely bring to the world is the ability to unite Japan and Australia through music and other creative endeavours. If I can serve as a bridge between these two cultures, my mission will be complete.

Looking ahead, what can fans expect from you next? Do you plan to further explore retro-inspired music, or are there other styles and projects you’re excited to dive into?

I’m always up for new challenges, so expect something slightly different in the future. That said, my music will always explore key themes like nostalgia, timelessness, cultural transcendence, and storytelling. Regardless of the style, there will always be something uniquely “Jun Parker” in my work. I’m currently working on a full album, planned for release in early 2025, so please stay tuned!