Matt Gallaway’s creative journey unfolds like a carefully crafted album—each chapter a different sound or mood, yet all tied together by a thread of honest self-expression. From basement jam sessions in Brooklyn to publishing acclaimed novels, Matt’s story is a powerful reminder of how art can shape, and be shaped by, personal transformation.

In our conversation, Matt shares how Saturnine came together almost by accident. He had moved to New York, supposedly for law school, but really to chase the city’s music scene. He lucked into a Brooklyn apartment with a basement perfect for band rehearsals, and soon after, Saturnine was born. They’d go on to record a handful of under-the-radar but beloved indie albums. Matt still lights up when talking about their first show at Brownies, booked by the legendary Karen Edlitz, and an unforgettable rooftop gig on a sweltering July 4th in Chinatown.

What really sets Matt’s story apart is how deeply intertwined his art is with his personal life. Listening back to Saturnine’s albums—especially Mid the Green Fields—he can now hear the hidden struggle he was going through. “I listen to that record and I’m just like, ‘this is about wanting to kill myself,’” he says, half-laughing, half-sighing. It’s raw, but honest—and a reflection of what it meant to grow up gay in a time when role models were few and far between.

Matt didn’t leave music behind; he just found a new way to tell his story. Writing novels like The Metropolis Case and #Gods let him explore identity and emotion in a more direct way. “A song takes me a few weeks,” he says. “A novel takes years.” But both are cut from the same creative cloth.

Now, with his latest project Death Culture at Sea, Matt is circling back to songwriting—this time with a broader view and a deeper well to draw from. Last summer, he teamed up with former bandmate Mike D’Onofrio and Matt Kadane of Bedhead/The New Year for recording sessions in Vermont, and there’s more music to come.

Want to hear what this journey sounds like? Head to Matt's blog for a playlist of his latest work with Death Culture at Sea.

Send us a text

Support the show

linktr.ee/colleyc

Pieter Van Dessel takes us on an unexpected journey from law student to the creative force behind Marble Sounds, revealing how serendipity and persistence shaped his musical evolution. When his wife received a grant to work in Montreal in 2005, Pieter's planned sabbatical transformed into musical opportunity after landing a position at a recording studio. This fortuitous circumstance provided both equipment access and creative community, allowing the first Marble Sounds EP to take shape with help from Canadian musicians.

His evolution as a performer stands as perhaps the most compelling aspect of Pieter's story. With disarming candor, he admits never aspiring to sing or front a band, making his growth all the more remarkable. "I wasn't a born entertainer," he shares. "I really had to learn it." Through countless live shows and persistence, he gradually developed the confidence that studio work alone couldn't provide. The key lesson? Rehearsals only help so much—real growth comes from repeatedly facing audiences.

For Pieter, songwriting remains his natural strength, with musical composition flowing more easily than lyrics. He chases that elusive creative spark—"the best feeling in the world"—that signals something special is emerging. Recent albums showcase distinct artistic approaches: the self-titled 2022 release employed self-playing pianos in deliberately limited arrangements, while 2025's "Core Memory" embraces 80s influences and childhood musical touchpoints like Phil Collins. Looking ahead, fans can anticipate "More Memory" featuring outtakes from recent sessions, while Peter already contemplates his next full album for 2028. Subscribe to hear our conversations with other fascinating musicians whose unexpected paths led to creative breakthroughs.

Send us a text

Support the show

linktr.ee/colleyc

What happens when a musician rediscovers their creativity after a 15-year hiatus? Neil Hill's journey with his project SHOPFIRES answers this question with a soul-stirring blend of reverb-drenched melodies and DIY ethos.

Unlike many musicians, Neil grew up in a home devoid of musical influence. No parental record collections, no instruments lying around—just the chance encounters with music through television and radio that would eventually shape his artistic sensibilities. The turning point came through John Peel's legendary radio sessions, introducing him to post-punk and experimental sounds that resonated deeply with his emerging musical identity.

After early musical explorations followed by a lengthy break, Neil returned to creating music with a beautifully minimalist approach. Armed with nothing but "a cheap laptop and the same acoustic guitar from the 80s," he began crafting the intricate, layered soundscapes that define SHOPFIRES. What makes his music truly remarkable is how he creates rich, complex arrangements using just one inexpensive Hohner guitar purchased decades ago for £25.

The result is a sound both nostalgic and fresh—interweaving melodic lines that dance around each other, created through his distinctive technique of recording multiple guitar parts and drenching them in reverb and delay. His latest album "We Are Not There, But We Are Here" represents an evolution toward more mature, cohesive songwriting while maintaining the dreamy atmosphere fans have come to love.

Beyond SHOPFIRES, Neil maintains another project called NEUCLOUDS, his self-described "vacation band" where he challenges himself to write songs under two minutes. This parallel creative outlet showcases his versatility and commitment to exploring different facets of his musical expression.

Listen now to discover how limitations can spark creativity and how sometimes the most beautiful sounds come from the simplest tools. Share your thoughts with us about Neil's unique approach to making music and what inspires your own creative endeavors!

Send us a text

Support the show

linktr.ee/colleyc

What happens when toxic furnace fumes accidentally become part of your album's creative process? M Ross Perkins shares this surreal discovery and much more as we delve into his methodical approach to DIY music production.

Growing up with a baseball bat as his imaginary guitar and the crushing disappointment of a shattered Chipmunks record, Perkins' musical journey reflects his systematic yet deeply thoughtful approach to song craft. He reveals how his latest album "What's The Matter M Ross?" came together under bizarre circumstances - with furnace exhaust pumping directly above his writing desk for months. When finally fixed, his bandmates reported sudden clarity during rehearsals, a strange twist that perfectly captures the unpredictable nature of artistic creation.

Perkins takes us behind the curtain of his unique production method, where he records all drum tracks across an entire album before moving to bass, then guitars, and finally vocals. This approach allows him to maintain consistency while maximizing efficiency in his small studio space. He demonstrates remarkable craftsmanship in how he handles tempo, watching a BPM counter while playing claves to allow natural fluctuations within a controlled range - creating recordings that breathe with human authenticity.

Beyond technical insights, our conversation explores deeper philosophical territory. Perkins eloquently dismantles the myth of complete originality in music, comparing it to claiming sole credit for your car while ignoring thousands of workers and generations of innovation behind it. This perspective frames his approach as a "lifelong learner" of his craft, constantly refining his systematic techniques while remaining open to new influences and ideas.

Whether you're a musician looking to improve your own DIY production or simply fascinated by the creative process, Perkins' insights offer a masterclass in thoughtful music creation. Listen now to discover how one artist balances methodical precision with creative spontaneity - even when toxic fumes are accidentally part of the equation.

Send us a text

Support the show

linktr.ee/colleyc

Ever wondered how a great band finds its voice? Sheffield's dream pop trio Pale Blue Eyes offers a fascinating glimpse into the alchemy of friendship, creativity, and musical evolution that shapes extraordinary music.

Fresh off their spring UK tour, Matt and Lucy describe how their most recent performances felt like "one big party" with their best mates, culminating in their biggest London show to date at Islington Assembly Hall. This camaraderie extends beyond the stage; it's the foundation of their creative process.

Their origin story reads like indie music serendipity—a photographer named Aubrey, originally there just to document a studio session, stepped in when a bassist didn't show up. Despite never hearing the songs before, he immediately connected with the material. Six months of rehearsals without gigs or even a band name followed, until they had unwittingly created an album's worth of material right before lockdown hit.

The pandemic, while devastating for live music, became an unexpected catalyst. Their first single "went nuts on Bandcamp," offering what Lucy calls "a beacon" during difficult times. Three albums later, their approach to songwriting continues to evolve deliberately. Matt collects phrases, experiences, and observations in notebooks that later become songs, while the band consciously experiments with different creative approaches to avoid falling into patterns.

What makes Pale Blue Eyes special is their ego-free collaboration. Where many bands falter when "someone thinks that they're it," this trio thrives on their differences. Lucy and Matt bonded over shared loves like Broken Social Scene, while Aubrey brings entirely different influences from disco, soul, and jazz backgrounds. This fusion creates their distinctive dream pop sound that blends shoegaze and synth elements into something uniquely captivating.

Listen in as we explore how three friends from Sheffield crafted one of the UK's most exciting musical projects, and discover why their latest album "New Place" feels like their most honest work yet. Are you ready to discover your new favorite band?

Send us a text

Support the show

linktr.ee/colleyc

Sibling trio Womb takes us behind the scenes of their dreamy shoegaze sound and shared creative journey. From their childhood musical foundations to the evolution of their distinctive sound, this conversation reveals the beautiful simplicity of creating art with family.

Haz and Georgette (GiGi) share the remarkable story of their musical heritage, tracing back to a great-great-grandfather who holds a world record for distance-walking while playing the fiddle. This musical DNA flourished when the family relocated from Illinois to Wellington, New Zealand, immersing the teenage siblings in a vibrant DIY music scene that would shape their artistic sensibilities.

What began as Cello's solo project organically expanded to include her siblings, with visual artist Georgette courageously picking up drumsticks despite minimal experience. "I did always fantasize about being a musician when I was little," Georgette reveals, recalling childhood dreams of becoming "Alanis Morissette in leather." This natural progression highlights the intuitive understanding that makes their collaboration special—no formal discussions about musical direction needed, just a shared wavelength that produces their cohesive sound.

The band's creative process reveals beautiful insights into collaborative artmaking. Their innovative "self-imposed residencies" carve out dedicated space for creation away from day jobs and distractions, blending structured music-making with time to connect in nature. This approach has yielded three distinctive yet connected albums, including their latest release "One is Always Heading Somewhere."

Looking ahead, the band hints at exciting developments: Cello's upcoming residency in Spanish cave structures, potential string quartet collaborations, and film scoring projects. After completing what they consider a trilogy of albums, they stand at the threshold of a new artistic chapter, ready to explore fresh sonic territories while maintaining the sibling bond that gives their music its emotional depth.

Listen for an intimate glimpse into how family connections create artistic magic, and how three siblings from New Zealand crafted one of indie music's most distinctive voices.

Send us a text

Support the show

linktr.ee/colleyc

What happens when a band decides to record not just one album, but a complete 52-song deck of cards? Ryan Walsh of Hallelujah the Hills takes us deep into his most ambitious creative undertaking yet.

"DECK" represents what Walsh calls "revenge creativity" – a defiant response to the pandemic that halted their momentum following their acclaimed 2019 album "I'm You." Rather than producing a standard follow-up, Walsh finally brought to life an idea he'd contemplated for two decades: creating a complete musical deck of cards with four distinct "suits" (albums) each containing thirteen songs.

The concept is brilliantly executed – Diamonds features polished, radio-friendly tracks; Clubs delivers faster, punkier "bangers"; Hearts showcases emotionally vulnerable material; while Spades explores experimental territory. Beyond the musical organization, Walsh designed custom artwork for each song, available as an actual playable card deck that fans can purchase alongside the music.

Most fascinating is how the project reimagines listener engagement in the streaming era. Walsh encourages fans to "shuffle the deck" by randomly selecting 13 songs to create unique playlists that statistically no one else will ever duplicate. This transforms passive consumption into something participatory and personal, giving listeners agency in how they experience this massive body of work.

The album features notable collaborations including Cassie Berman (Silver Jews) and Jeremy Gaudet (Kiwi Jr), reflecting Walsh's collaborative songwriting approach. As Hallelujah the Hills celebrates its 20th anniversary in November 2025, "DECK" stands as both an artistic milestone and a defiant statement against disposable music culture: "You work on something for two years. It gets attention for 48 hours and then everyone's on the next thing... we made this in defiance of that idea."

Listen to "DECK" when it releases this June and catch Hallelujah the Hills on tour across the Northeast as they share this extraordinary musical achievement with the world.

Send us a text

Support the show

linktr.ee/colleyc

Nick Bendzsa sits down with us to peel back the layers of his musical metamorphosis from synth-pop architect to folk-trap innovator. The Newfoundland native, now based in Montreal, candidly reveals how his sound has evolved alongside his personal journey.

Growing up with a music professor father who specialized in experimental and improvised compositions, Nick absorbed the spirit of musical freedom from an early age. While his teenage years found him playing bass in a blues band and performing for crowds of 2,000 at just 17, his true artistic voice was still developing. Nick reflects on how these formative experiences shaped his approach to music-making: "I think it was very much like being around him and going to his concerts and picking up this spirit of freedom through music and the joy of creation."

The conversation delves into the fascinating transition from his previous project Hello—characterized by densely layered electronic soundscapes—to his current solo work under his own name. This shift wasn't just stylistic but represented a deeper change in creative philosophy. "I'm not trying to add frivolous stuff," Nick explains. "I want to just communicate a bit more directly." His self-described "trap folk" sound merges fingerpicked guitars with trap beats and ambient textures, creating something uniquely authentic that flows from genuine emotional experiences rather than genre conventions.

Particularly illuminating is Nick's discussion of how producing for other artists has informed his own work, teaching him to consider what elements truly serve the emotional core of a song. This perspective has helped him embrace minimalism and authenticity over the pressure to create attention-grabbing pop songs in today's saturated music landscape. With his album "Very Soft Glow" set to release on May 24th, Nick Bendzsa invites us to witness the next chapter in his evolving musical story—one that promises to continue blurring boundaries while remaining firmly rooted in emotional truth.

Subscribe to hear more conversations with boundary-pushing indie artists who are redefining genres and creating deeply personal music on their own terms.

Send us a text

Support the show

linktr.ee/colleyc