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.

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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.

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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!

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