What’s the story behind your latest album?

It’s not just one story. It’s multiple narratives. Farewell, My Lovely is an album borne of hypnagogia, trains, virtual anime girls, and Raymond Chandler novels. It’s about traveling to Fallbrook to find a retired famous musician and interview him about one guitar. It’s about waking up at the crack of dawn to help a green and white automaton girl trebuchet the mayor of a coastal town into the sea, then escaping through the backcountry and avoiding fighter jets hunting you down. It’s about burying the Dead Man’s Chest in the Carrizo Gorge, in the shade of wrecked boxcars. It’s about watching someone you love be led to the gallows, sentenced to hang, only for her to suddenly grab a bishop’s ceremonial dagger and cut her own throat. It’s about true stories from places that don’t exist.

Who or what has been inspiring your music lately?

If you want me to name a band that people might know, it would be Pere Ubu. They’ve always been a mainstay in my influence bin. (RIP the true king of rock n roll, David Thomas.) There are a few like-minded musicians I have been working and exchanging ideas with for years now, among them being Monsieur Herr and D. Jefcoat, who have had a notable impact in my trajectory as an artist. Even more recently, I took a road trip out on the historic US-80 from San Diego to El Centro and back. The things I saw out there–and just as much the things I didn’t see–can be called the greatest inspiration for me going forward.

How do you handle creative blocks or self-doubt?

The creative moment is a hidden place, an eye of a hurricane encircled by the chaos of the human condition. It doesn’t conform to our sense of time or urgency. You can’t force it to bend to your will. I deal with “blocks” by waiting them out. I don’t give myself deadlines or impose expectations. The well of ideas might be dry at one moment, but I’m confident enough that it may be full the next time I come around, whether that’s the next day or the next month.

Self-doubt is an inevitability when it comes to exposing your art to an audience for the first time. The instant a third point of perspective, an Observer, is introduced, you become acutely aware of all the strengths and weaknesses of your creation in a way that you weren’t when it was still in progress. While working on Farewell, My Lovely, I gave myself a set of ten “guiding light rules”, based on David Thomas’s Chinese Whispers methodology, specifically designed to curtail second-guessing myself. Among my rules were “trust the first idea you get”, “deliberation is the enemy of the process”, and “don’t worry, it’ll work out”. As someone who is not great at improvisation and can succumb quickly to “analysis paralysis”, I had absolutely no idea what to expect from restricting myself in this way. I found pretty quickly that with these self-imposed limits, I was more confident in the material as it came together.

What’s a piece of advice you wish you had received earlier in your career?

“Ars Longa, Spectatores Fugaces”… Art stands the test of time, the audience comes and goes. As the artist, I follow a course that I have set for myself. The audience has their own course that they set for themselves. Every so often our respective paths will intersect, but only for so long. We put our work up for display in our personal galleries. The audience passes through, focusing only for the moment, imparting their judgment, and moving on to the next thing. They don’t live with the thing their entire life. Therefore, the only option left to an artist is to do nothing short of exactly what they want to do, regardless of outside pressures or judgments. That’s not to say I don’t care if people like what I do or not–I’m a human being, I care immensely about social approval. But confidence in my artistic course, i.e. creating a body of work that I will be satisfied with for the rest of my career, is paramount to everything else. 

What’s next for you—any exciting projects or goals on the horizon?

The next Zhir Vengersky album is already underway. The thesis of the album is as follows: “Liars own all the words… but geography is a language they cannot get their hands on”. The album will be a journey down the US-80 and the Old Spanish Trail, from the Imperial Desert, through the In-Ko-Pah Gorge, into the Live Oak-covered mountains, and finally ending where the city of San Diego is halted by the Pacific Ocean. New production techniques are being adopted for this project, namely junk-o-phonics. With the right components and a soldering iron, almost anything can be fashioned into a decidedly lo-fi, idiosyncratic microphone. Baby monitors, speakers from toy drum machines, guitar cabinets, and even a coffee can with a piezo disk inside are all being pressed into service. Could this be done with a graphic EQ? Yes, it could be, but where’s the fun in that? Perfection and accuracy gets old quickly. I would rather take the long way around and get the sound naturally. Like taking the scenic route as opposed to gunning it down the Interstate and missing all the sights. As you can see, it’s all connected!

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If you could collaborate with any artist, living or dead, who would it be and why?

Tough choice but I’ll say Paul McCartney, circa 1967, just because I’d love to be involved with a song that had a complex and memorable melody, like “Eleanor Rigby,” “Yesterday,” “Here There, and Everywhere” or the dozens of other incredibly catchy and beautiful melodies that miraculously came through him in that small window of time.

What’s one misconception people have about being a musician?

Sometimes I get a sense that someone envies my ability to write songs and perform them, as if I’ve got it made and that I get more love from the world than other people. I always wish there was a way for them to experience what it’s like to be me–all the self doubt, the struggle, the difficult process of figuring out how to solve problems with a song. The initial inspiration is great but there is always a difficult editing process of making a complete song (I have dozens of half-finished songs laying around). For me, being a singer-songwriter has been a pretty solitary and often lonely path.

What’s a piece of advice you wish you had received earlier in your career?

I wish I had been able to understand that just because something is difficult, it doesn’t mean I shouldn’t continue working at it. Discipline was not a part of my upbringing, and just saying the word still brings up a reaction in me. I’ve had experience with some intense teachers and motivational speakers demanding strict and total dedication and putting everything else aside in order to go after a goal. I found that when I took that approach I would make some initial progress, but then some part of me would rebel and refuse to go further. What has worked better for me is leaning into difficulty, taking a break when I need to, but coming back and leaning in again. Never giving up on something because it’s difficult.

Is there a specific moment in your career that felt like a turning point?

Last October I set an intention to look at whatever was in the way of me giving my all to this dream of being a working singer-songwriter. Up till that point I had one foot in and one foot out. My inner critic was making sure I knew that I was too old, not good enough, saying “why bother trying, it’s not going to work anyway,” and so on. So a lot of my time was spent doing anything but music. I would play video games for a couple of hours a day. Last October I had a powerful experience with breath work, where I got deep into this stuck place in me, and a difficult memory from my childhood came to the surface. I was able to work with these things and a couple of weeks later I started having all this energy to devote to music. It was an incredible gift. Since then, not a day goes by where I don’t spend a minimum of a few hours working on my dream. I’m so grateful for the opening, and I hope it lasts!

Who or what has been inspiring your music lately?

As much as I would like to write love songs or focus on my own personal journey, it’s impossible to ignore the moment we’re living in. A song I’ve been working on lately is about all the conspiracy theories that are all over the Internet and all the brainwashed people who are so sure of themselves. I recently lost my best friend because we got into an argument about politics, and I couldn’t believe some of the things he was saying, how far down the rabbit hole he had gone, and how unwilling he was to consider that he might be wrong.. I still haven’t finished the song and not sure I ever will because it’s not easy to make an engaging relatable song about current events and politics, though someone like Jesse Wells would disagree!

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What’s the story behind your latest song/album?

Comme Une Fleur is a phrase my husband said to me during a date night. While we were slow dancing, he told me ” You smell like a flower -soft & sweet. That is the part deux.

How has your creative process evolved over the years?

My creative process comes from life. Things I know or experience first hand. Things I like, things I need in my life. I love to write poetry, so that poetry becomes lyrics.

How do you handle creative blocks or self-doubt?

Right now in my life, I am going through an overwhelming period, both my mother and father-in-law have Stage 4 Cancer and neither look to good. So I have very little energy to concentrate on music at the moment. I don’t know what to expect or if I would even have the strength to continue from here.

If you could collaborate with any artist, living or dead, who would it be and why?

I’d collaborate with Janet Jackson. I did a cover of her 93″ song Body That Loves You & I think she’d be proud of me.

What’s next for you—any exciting projects or goals on the horizon?

As far as plans this year… Later in October, I will be releasing a Jazz Noire piece because I had so much fun with the last one. I love all things Jazz, but that genre is my favorite.

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What’s the story behind your latest song/album?

See Her is the second drop of my upcoming album, and it’s about that moment you stop believing the voice in your head that tells you you’re not enough. That voice that makes you doubt your worth, compare yourself, feel less-than. You know what I mean? Instead you start seeing yourself like others already do. It’s not a self-love cliché. It’s a shift. A decision. A reframe. Because why is it so hard to see the beauty in ourselves? If others can see it, why can’t we? I think that’s such a shame, cause we really do deserve to be kinder to ourselves. I wrote this song on a day I felt really far away from “her”, I wasn’t being very kind to myself either 😉 I was in my old hood in Paris and even though I was having an amazing time, I really didn’t feel good about myself. The song really turned out to be a little reminder to take a step back once in a while, to see the real you again. I wanted it to be a reminder not only for me, but for everyone who needs to hear it. Cause I think we all do sometimes. You don’t need a glow-up. You just need to see her. You know — that moment when “you start to see her, the way like others do”. That really what this song captures. Most of my songs are like that, rooted in something real I’ve felt, seen, or heard. I get inspired by the people around me, stories I pick up, books, movies, memories. And heartbreak, even if it’s not mine. Honestly, I can romanticize a walk through the supermarket if there’s an idea on my mind 🙂

How has your creative process evolved over the years?

I used to wait for the perfect mood to write something. I was so self aware, and honestly, way too hard on myself. Every lyric and idea had to be perfect. I put so much pressure on it. So tiring when I look back at it. The mood doesn’t need to be perfect anymore, I just need to show up. If inspiration knocks, I’m ready, but I don’t need her to ring the bell every time. I’m much more at ease, and I let it flow much more. Funny how the best ideas usually find you when you stop chasing or forcing them. Working with Geronimo (Latumeten) has been such a game-changer as well. When we write together, I feel completely uplifted, supported and free to show up as I am. He inspires me a lot. That kind of creative space and support brings out the best in me, and it helps to land on songs that I genuinely love and feel 100% me. And blasting the songs over the speakers after a studio session? It’s a whole vibe haha

Is there a specific moment in your career that felt like a turning point?

Performing in Oslo during a Fashion Hair show, and singing my own music, was a real turning point. It felt like everything I’d been building landed in one clear moment. The music, the sound, the show, the people. Everything really came together. I didn’t have to force it. I just had to perform, be myself, and it was received. That felt big. The audience even sang along to songs they were hearing for the first time. Crazy! It was truly magical and a little surreal. A few months earlier, I’d done a stripped-back performance at a Chanel event. A different vibe, but still part of that shift where I felt more and more seen for who I am as an artist. That whole period, especially since the release of the first song of the album, reminded me how powerful it is to manifest. The performances, the songs, the places — this new era started as a feeling, a vision. And then I saw it take shape, piece by piece. It shifted something. In how I create, how I show up, and how I trust what’s coming next.

What’s one misconception people have about being a musician?

That it’s all glam and glitter 24/7. Yes, there are moments that sparkle big time: lights, outfits, stages. I LOVE those. But most days, it’s me in an oversized tee, cat snoring next to me, figuring out new ideas, prepping a show, or doing a dozen things behind the scenes to keep everything flowing. Being an artist is also deeply intentional. It’s about holding the vision, staying consistent, and trusting what you’re building. Even when it’s quiet. Even on off days. People often think it’s just about being on stage, but there’s a whole world underneath that’s not always visible. Yes, I love performing, but I also love the quiet chaos of creating. The voice notes. The last-minute outfit decisions. The moment a random thought turns into a lyric. That’s where the real magic happens. So yes, the glamour’s real, but so is the Google Doc full of notes at 2AM.

What’s next for you—any exciting projects or goals on the horizon?

Oh yes! See Her, together with There Will Be Light, is just the beginning, and I’m genuinely so excited (and grateful!) for everything that’s unfolding right now. I’m building toward my debut album, and with every release I feel like another corner of my universe is falling into place. It’s not just songs, it’s a story. A sound. A feeling. A world you can step into. Think pop with a pulse — fresh, edgy, emotional, and just a little nostalgic. So yes, there’s a lot going on 🙂 There’s more music coming, more visuals, and some things I wish I could spill… but not yet. (I know. I’m that person haha). Let’s just say: this new era has officially started, and I can’t wait for you to be part of it.

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What’s the story behind your latest song/album?

Well, SIVA had been releasing only singles since 2021, 6 in total,  and when that cycle ended with Daylight in early 2024, we decided to take on an EP instead, a collection of 4 songs that go well together, and at the same time are very different in sound and style. The ALERTA  – EP has 2 songs out, both in Spanish, “Estaciones” and “Influencer”. The latest one, now also with an English version, we thought it was a good song to connect with our fans overseas,  since we´ve been releasing music in that language since the beginning. The whole EP deals with the concept of emergency, a constant state of alert,  fast life, social media anxiety, the invasion of AI in everyday life and how the simplest things can now be done faster and better than a human mind, just by typing a prompt, etc.

How has your creative process evolved over the years?

Evolution occurs when you can discover other sounds and styles, when you understand that there is much more in the world at a musical level. Then that evolution happens, that´s what is going on in the band right now, digging deeper into other sounds, and ways of songwriting, which will surely result in our next batch of songs sounding with greater musical maturity.

If you could collaborate with any artist, living or dead, who would it be and why?

Oh so many artists we admire, hard to choose from! I think I would love to write a song where we could invite someone great to sing lead vocals, like Shirley Manson from Garbage, or maybe co write a cool song with some of our favorite songwriters like Billy Corgan, Rivers Cuomo, Dave Grohl, Josh Homme. That would be a dream come true!So far, we have been producing collabs with Riff Raiders from Australia (The Rockstar – calling the 90s), and more recently Noodle Boonn from Buenos Aires (on “Safe Place”), and it’s been a great experience, we´ll surely keep inviting artists from all over the worlds to collab with SIVA in the future, as long as they´ll have us!

How do you handle creative blocks or self-doubt?

When there´s a creative block, the best way is for someone else to give you their point of view, unlock so the idea flows again. We work as a team, and try to ensure that these types of situations do not overwhelm us.

What’s next for you—any exciting projects or goals on the horizon?

SIVA is currently preparing the release of a live session recorded in Romaphonic Estudio, a renowned studio in Buenos AIres where some of the biggest names in rock and pop of Latin America work at. These 3 songs will be launched on our @sivarawk Youtube channel very soon. Then, we´ll embark on a national tour over various cities we haven’t been to yet,  as well as going back to the capital  of Buenos Aires with more live shows.Before that happens,  the rest of the EP songs will be released and complete “ALERTA” with the title track  – featuring some surprise guest vocals –  and closing with “No es el fin” (It´s not the end) an indie rock ballad in the vein of R.E.M. and Nada Surf, a sound departure for us,  so we hope people will love it as much as we do!

Please follow #sivarawk on all socials, there’s a lot more to come! 

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What’s the story behind your latest song/album?

The album, “Buying Into the Hype,” was originally intended as kind of a faux-Beatles record, believe it or not, in the vein of the Rutles or Utopia’s “Deface the Music.” It wasn’t intended as anything particularly ambitious at all. Then, as things tend to do, it sort of evolved into something a little brainier. I’d gotten super into the work of Scott Miller, of Game Theory and the Loud Family, and I felt a sort of artistic kinship with that stuff not only on the level of it being essentially pure pop with equal propensity for inventive melody and really Out-There sound fuckery, and not only as a fellow self-deprecating overthinker, but also as a white dude with big curly hair from California (granted, Scott Miller was from NorCal and I’m from SoCal, but still). It’s the kind of thing that really inspires evangelism. I wanted my songs to be on that high level. The single, “Uranium Glass,” more or less mulls on people’s impulses towards nostalgia for an imagined past. I also have another song from the album that’s out called “Irony Poisoning,” which is what it’s about, and I have another coming out early next month called “History Repeating Itself,” which is also what it’s about.

How has your creative process evolved over the years?

I suppose, in a lot of ways, I just got more confident in what I was doing. My actual, physical process of recording hasn’t fundamentally changed much; I just got better at doing it. Learned what mid scoops were and such. I’m sure some more uptight music production people will balk at my admission that I record everything in Audacity, and have since I started, but I’d say the results speak for themselves. I think limitations allow for more creativity in many cases. Peter Gabriel banning cymbals from his third album, for example—kind of a genius move. I got to be clever about how I did things because I had no other choice, plus which I’m stubborn as a mule.

Who or what has been inspiring your music lately?

I was on a bit of a Beach Boys kick anyway before Brian Wilson died, but that really kicked it into high gear. Just beforehand, I’d gotten into the unreleased “Adult/Child” album that was supposed to follow “Love You,” which is probably my favorite non-“Pet Sounds” Beach Boys record, and aside from, like, “Hey Little Tomboy,” I thought it was this really fascinating, odd record. It’s actually, sincerely great, and I Mean It. “Love You” is pure Brian, good and bad, and “Adult/Child” is even more extreme in that sense. I recently put together my own rendition of “Shortenin’ Bread” as a tribute—which, to be clear, I also Mean. I’ve also gotten super into Wings’ “Back to the Egg” recently; one of Paul’s two divisive new wave records, the other obviously being “McCartney II.” It’s not one a lot of people hold in very high regard, and I didn’t think much of it for a long time, either, aside from maybe “Arrow Through Me” and stuff, but, you know, As It Turns Out…! I’ve seen a lot of people slag off particularly the “my salamander” line in “Getting Closer,” but all of those people are wrong and they should feel bad for thinking that. I think more songs should have lines about salamanders. Thirdly, Pere Ubu—I’m grateful to the late David Thomas for putting essentially his entire creative philosophy on his website for all to enjoy. It’s been a great opportunity to re-examine my own approach to making art.

How do you handle creative blocks or self-doubt?

Self-doubt is my stock in trade, I’ll have you know. I tend to handle it by playing it up and leaning into it a bit. At the moment, though, I’ll say I feel particularly and uncharacteristically confident in what I’m doing, which isn’t a feeling I always have. I was horrified when my album “Replay Cement” was coming out, for instance, because it just completely sank in that it was Not My Best Work. It’s such a dreadful feeling to know that what you’ve been doing Kind Of Sucks. Your mileage may vary, of course. But I’m pleased to announce that “Buying Into the Hype,” at least by my standards, unequivocally Does Not Suck.

What’s next for you—any exciting projects or goals on the horizon?

I’d like my next album to sound really hideous and noisy. Not to jettison melody entirely, mind you, just with a lot of hideousness and noise. Besides that, for the last few years I’ve been chipping away at a sort of quasi-fantasy novel where most of the characters are cat-people. It’s really only “fantasy” in the sense that I’m using it as an excuse to make most of the characters cat-people.

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