5 Q&A With Blacklight Beat Patrol
How did everything come together?
‘Meet the Blacklight Beat Patrol’ is, in many ways, a natural extension of my earlier release, Whispers from the Void. While working on Whispers, I had tracks that didn’t quite align with its overall vibe. At first, I thought about releasing them as singles, but over time, I realized they belonged together in a larger project. That’s how this album came to life—a mix of those “misfit” tracks and new ones that share a common auditory thread. It’s a blend of individuality and cohesion, a testament to the idea that music can find its own place when given time.
Can you share any interesting or unique musical elements or production techniques used in ‘Meet the Blacklight Beat Patrol?’
The album thrived on experimentation, as did my previous works. Each track starts with a different spark—whether it’s a bassline, a beat, or a melody. I feel like I’m piecing together a puzzle without a reference image, so it’s a lot of grabbing a bass or guitar, firing up my DAW, and plugging in a synth to mess around until I find something that feels worth keeping.
I wish I could say I go in with a set of ideas, but that’s just not how I work—for better or worse.
Which track(s) from ‘Meet the Blacklight Beat Patrol’ do you think best represents your artistic vision?
That's a tough question. I always feel like it’s never fully quite right. Honestly, I don’t have much of a vision until I start laying down a few sounds that I like (for the time being).
“Fun with Ray Guns,” a nod to Rachel Gunn of the Olympics, celebrates individuality and the cruelty of people regarding their opinions and distorted expectations. I think that maybe speaks to my vision of just finding a way to be myself and battling negative self-talk.
“Project Shellback” encapsulates my love for combining nostalgia and vibrant energy.
I’m also partial to the two short songs, “BYte Size” and “Party Econobox.” They represent a bit of my past. In my old band, I’d write these short, weird instrumental songs that fused different styles and stuck them between sets. So those, in a strange way, represent my past.
Can you tell us more about you as an artist?
I’ve always been drawn to music that leaves room for interpretation—that’s why I like instrumentals. My work often blends electronic and indie influences, creating soundscapes that allow listeners to form their own stories. I used to do that myself as a kid (and still do, if I’m being honest)—narrating stories behind the sounds I heard.
I’m not about following trends; instead, I focus on crafting something I enjoy putting together, even if it doesn’t fit the industry’s format or what most listeners might expect. My goal is to create a unique experience for my audience.
I’m not saying I’m opposed to doing a song with lyrics or something more aligned with mainstream standards, but nothing has come together yet to make me feel like it’s the right choice. Plus, to be frank, I’m a bit of an introvert, so reaching out to people is awkward, and I have a weird hangup about being in front of a microphone—whether alone or in front of people.
Where do you find inspiration for your songs or musical ideas?
Inspiration comes from all over—pop culture, personal experiences, and everything in between.
For instance, “Fun with Ray Guns” was inspired by Rachel Gunn from the Olympic breakdancing team—her commitment to her style and the bonkers backlash she faced for it.
“Project Shellback” started with a few sounds, and it immediately made me think about my childhood love of the Teenage Mutant Ninja Turtles. So, I kept going with it.
Beyond that, every sound, every beat can spark a new idea. It’s less about sticking to a theme and more about letting the music guide its own journey.
