How has your creative process evolved over the years?

Charming Scars is a relatively new band, which started in August 2024, and there is definitely a different approach from a songwriting perspective with this band compared to previous bands. Probably the biggest difference was that there was a goal to be able to play every song from front to back on acoustic where it didn’t sound odd from missing other instruments. This was a huge focal point for sure. In previous bands, the music was more opened-up; for example, a bass line is driving a section of the song and the guitar is bouncing the melody and riff off of the bass line. While that is a cool sound and approach, the guitar riff doesn’t make much sense without the bass, so it can become a scenario where each instrument is so reliant on other instruments to make it even playable. I definitely did not want to deal with that, because band members can quit or not be present for a rehearsal or maybe you just want to show a song on acoustic to a friend. These are punk songs we are talking about, so it def took some adjusting to find a way for them sound natural acoustically, but I learned a lot from doing this. Also, in the past I was in bands where a bandmate would bring a riff or some idea to rehearsal and then the band would jam it out and hope to find some spark. Again, while that approach definitely works and can lead to some cool material, it can also be a very slow way of creating songs. Not saying we don’t still do this in Charming Scars, but there is no reliance to that way of writing. The great majority of the songs and parts of the songs are done on the acoustic with the vocal melodies fully worked out, before presenting the song to the band. The idea being that if it sounds good before adding other instruments, then it should sound better once the other instruments are applied. Lastly, something that has evolved over time with me is that I write more in my head now, before ever picking up a guitar or singing. I quit just randomly trying stuff and really think in my head now with the question asking myself what do I really want to hear. Once the melodies and/or guitar riffs are in my head, then I pick up the guitar and just use that instrument and my voice to find what it is that is repeating in my mind.

How do you handle creative blocks or self-doubt?

For self-doubt, be honest with yourself and answer the question…are you truly playing what you want to hear? As long as you are doing that, then you should be fine. If you aren’t fully satisfied that the music you are doing is exactly what you would want to hear say like if that music was being played by some imaginary band, then tell yourself you are going to fix that issue and go to work. The worst thing you can do is start wondering if other people will like it, because it will put creative barriers on your music because you will begin conforming to what you think someone else wants to hear. For musicians that think about what people want to hear and don’t get a lot of response, of course self-doubt will set in and he or she won’t know if it is even valid or not. For creative blocks, I tend to write more with my mind and less with my hands or voice. Meaning, I spend more time brainstorming and developing a feel of what I really want to hear before singing and playing guitar.

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

Who are some of your favorite bands…if you are not writing better music than those bands, you are doing a disservice to those great bands by not trying to push past them and you are also doing yourself a disservice as well as the audience. The listener deserves more than a watered down mixed-up version of your favorite bands. This is not an act of being arrogant or self-absorbed, rather you owe it to your audience and all of your heroes to add to the music collage by pushing those boundaries. If you are going to do it, do it big and quit being safe, because that is boring and nobody wants to hear that. What am I getting at is that I wish someone would have told me years ago to set the bar super high and meet those standards, because again, it is wasting everyone’s time to not do so.

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

The political situation in the U.S. is distressing. The lack of leadership, the rampant hate, the mistruths, the cult-like blind following the blind. I was choosing from 3-4 songs I had already written, but the universe was speaking to me and guided me to write Sun is Going Down. The song totally began in a dark place, which is reflected in the dreamlike hip-hop/trap verses and spoken word. Eventually, it morphs into a song of defiance and fight as it weaves into an EDM/House celebration of hope and rebellion. We can never give in to this bullshit.

How has your creative process evolved over the years? 

I’ve learned to trust myself more, trust my creative instincts. And follow no one. Early in my writing career, I would mimic artists I admired to some degree. Now, I incorporate my musical experiences and make them my own. 

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

I think my song Black Swan was a turning point for me. It was where I felt I could be experimental, be free, and not worry so much about what people thought of my mixing genres. I understand I pay a price with this with fans. For example, after my alt. folk song I Need a Yoko, I gained a lot of followers on different platforms. Lost quite a few of them with Sun is Going Down and it’s Hip-Hop/EDM/Trap foundation. I almost feel like I should apologize to them. But if they appreciate art, they will stay for the journey!

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

That we are broke bums, derelicts and druggies! At least, that’s what my grandmother told me I would be! 

Who or what has been inspiring your music lately?

The journey into different levels of the creative process inspires me. Finding my soul in each song I write is a challenge once on the mic. When I create, singing the song always sounds great off mic, but once I put the headphones on, the challenge is to find the soul of the song, find the right vocal approach that sounds authentic. Usually, I’m just fooling around on the mic and while recording, it comes to me.

Can you share a memorable or unexpected moment from a live performance? 

Last time I played live singing with my acoustic guitar, I having a great show. Everything felt good.Then, on the last song, I literally lost the chords! My friend who was backing me on guitar looked at me like I had no clothes on! I found my way back, but def memorable. My friend is a really talented musician so it was a little embarrassing too!

How do you handle creative blocks or self-doubt? 

I used to experience blocks because I was always pressing. Now, I trust the songs and chords are there when I need them. Thank you God!

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

Miles Davis hands down. I originally was a trumpeter. I always wanted to play with the dexterity of Freddie Hubbard, but creatively, I was most influenced by Miles. I used to play jazz with my horns electrified with a wah-wah pedal. I’d also place tin foil over the bell of my horn for a funky tonal effect. Total Miles. Only thing I didn’t do was wear clogs like he did! I love Miles because he believed art is change. He always explored and because of him, I feel free to do the same. The world constantly evolves, so our art should too.

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

Believe in yourself, listen to your heart, don’t sweat trying to be perfect, don’t compare, and just be. 

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

My immediate goal is to get my song I Need a Yoko placed in a museum exhibit featuring her art. The next goal is to get my music placed in films and tv. The final goal is to keep creating. I am confident that my best is yet to come. 

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

“Burning” came out of a time when I was really scared and angry about a lot of things in my own life and in the world. One part of that was a doctor with a particular knack for making me feel like a broken piece of machinery. That inspired the second verse. But more generally the song is about how isolating it can be to be angry, to be grieving, especially if the people around you aren’t feeling the same way. It also has a lot of fire imagery. I wrote it during wildfire season, when the air smelled like smoke and the sky was dark, and I couldn’t stop thinking about the fire that burned my neighborhood when I was a little kid.

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

Starting to record and release my songs two years ago was a big moment for me. I’ve been writing songs and playing them for myself my whole life, but I’d mostly thought about it in terms of my own personal entertainment and emotional processing, and sometimes I’d perform them, but that wasn’t really where the songs were coming from. It’s been really fun to start to think of the songs more as an object I’m creating, and to think about how someone else might experience those songs.

Who or what has been inspiring your music lately?

A lot of the songs I’ve been writing recently have been inspired by my friends and family. Some of these songs sound like love songs, and they are, but not romantic love. Others, like “Ernestine” or “For Rosalie” are really clearly songs of support. Those are my favorites, the songs I’ve written for specific people, to tell them how much I love them and how proud I am of them.

What was the first concert you attended?

My first concert was “The Indigo Girls.” I went with my best friend when we were 14 or 15. They were amazing! There’s a little reference to that hidden in “Ernestine,” a song I wrote for my best friend, along with references to Our Poem (Christina Rossetti’s “The Goblin Market”) and a lot of other shared experiences.

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

Yeah, I have some new music coming up! I’m working with a producer for the first time, which is really fun. I think that’s going to help me get closer to the sound I really want for these songs, but it’s also just been so much fun to have someone to talk to about the songs. She really gets what I’m trying to do with them, and I love those moments where I can feel that shared vision start to take form.

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

“X” is the first single from my upcoming album project Keep Your Light In Everything (abbreviated: K.Y.L.I.E.), which is a tribute album to Kylie Minogue. Each song on the album reflects one of Kylie’s studio albums. “X” was the first era of Kylie’s career that I experienced as a fan. I was nine years old at the time and eagerly anticipated the album’s release. So it was clear to me from the beginning that the song representing X would be the first single from the project.

How has your creative process evolved over the years?

I started recording cover versions in 2009, when I was 11 years old. Over time, I created several albums full of covers and continuously improved my recording techniques. In mid-2023, I decided to start recording my own songs and began working on my debut album Electrix, simply following the best instincts I had at the time. The more songs I recorded for Electrix, the more experience I gained. Released in March 2024, Electrix was shaped by electronic dance-pop inspired by the sound of the 2010s. I knew early on that my second album would be a disco record. So for Disco Rhythm, I initially focused on pure disco tracks. However, during the recording sessions, I started experimenting with synth sounds inspired by the 1980s. As a result, my second studio album Disco Rhythm, released in February 2025, became a hybrid of disco and ’80s synth-pop. With the K.Y.L.I.E. project (Keep Your Light In Everything), the music of Kylie Minogue took center stage. She has always been my greatest source of inspiration, but with this project, I wanted to specifically explore each of her studio albums and create songs that capture the mood and sound of each era.

Who or what has been inspiring your music lately?

Besides Kylie Minogue, there are several other artists who inspire me. Among them are Anastacia, Dannii Minogue, Sophie Ellis-Bextor, Erika Jayne, Eric Saade, Darin, and many more. With “X” and the K.Y.L.I.E. project, however, the focus was clearly on Kylie.

How do you handle creative blocks or self-doubt?

When I experience creative blocks, I try to take a step back from the project. I give myself a day or two without working on any songs and focus on something else instead, just to let my mind breathe and reset. When I’m dealing with self-doubt, I definitely talk to my boyfriend about it—he’s a huge support in my life and someone I can talk to about anything. I also open up to my friends. I’m a very communicative person, and I talk a lot about problems. It really helps me to share what’s on my mind with my boyfriend, friends, or family. Just getting it out and hearing their perspectives helps me clear my head and move forward.

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

First of all, I’m obviously excited about the release of my album Keep Your Light In Everything on July 4th. “X” is just one of 17 songs on the album, and I’m really curious to see how people will respond to the full tracklist. After that, I think I’ll start working on my third studio album. I already have a rough idea or direction for it, actually. There might also be other projects outside of music that I’d like to explore—maybe a science fiction novel or even acting—but nothing is concrete yet. So after Keep Your Light In Everything drops on July 4th, my plan is to take it easy at first, keep writing songs, and slowly start recording my third studioalbum . Above all, I’m just grateful to be able to make music, and I truly appreciate every single person who wants to join me on this journey.

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

“Eudaimonia”, my latest release, is an energetic indie-punk tune about freedom and self-love. It is inspired by my 3-year-old daughter who screams ‘let me be’ (and I know she means ‘let me be me’). The ultimate anarchist. And I get it! I’ve always been the same. On a constant journey of autonomy. The song attempts to catch that which cannot be caught: pure freedom

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

I was doing this coaching course and part of the assignment was about my “Ultimate Dream”. I had to elaborate on my vision for the perfect life. Now, this process usually gives people some utopian dream they can use as a guiding star for their life — but never can attain completely. But my ultimate dream was totally possible. Realizable! — so I started moving towards my vision immediately. I have been pursuing it since. ‘Morgenrøde’ is part of that dream

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

Jeff Mangum for sure. I was blown away during my first encounter with the “In the Aeroplane Over the Sea” album. It has inspired me so much in my life — also my music. I even have a tattoo on my upper arm inspired by the cover of that album. If I could get a glimpse inside the machinery of his writing I’d be stoked

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

Just freaking start. I know, I know. It’s lame. Watered down. But it is so unbelievably true. So many of us keep waiting. Maybe not even thinking we COULD start. Thinking “oh if only…” as if it is unattainable. But if we just start moving. Pursuing what we want, what we dream of, what we want our lives to be — we might make it. And if not, then at least we’ve been moving in the direction of our vision. Just freaking start!

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

I’m releasing my second album soon, “Romkugler & solskin” [rumballs and sunshine, rum balls being a Danish pastry]. But even more cool, for me, is the fact that I’ll be releasing my very first vinyl pressing this summer! My music on vinyl! That is a dream come true! I am also underway in creating a second alter-ego “band”. A band consisting of three different personas, three of my alter-egos. The style will be somewhat lighthearted pop-punk with progressive elements. And lyrics will be in English. But right now the upcoming album and vinyl pressing for Morgenrøde is my whole (musical) world!

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

Maik: Juicy Boom was born out of a phase of deep exhaustion. I was lying in bed with a dry throat, craving something refreshing and fruity – ideally a juicy orange. That feverish night, the song grew and ripened in my dream just like that fruit. And the next morning, my daughter actually brought me an orange to my bedside – and with the very first bite, it became clear: that feeling was the core of the song. Everyone needs that Juicy Bomb every now and then. It’s out there, waiting. But the important part is: you have to let it boom! It’s not enough to just hold the orange in your hand – you have to take a bite. (laughs) Just like at the end of the song – that’s when it finally explodes.

How has your creative process evolved over the years?

Pat: We share ideas much earlier now than we did in the early years, when we would only present each other with finished songs. These days, most of our tracks are true collaborations rather than the work of just one person. It really helps, especially when you’re stuck—like when you’re trying to write a second verse, for example.

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

Maik: Our first phase as a band was quite a while ago – late ’90s, early 2000s. After we split up, I spent many years playing in a cover band, but somehow I always felt something was missing – that personal, creative part. When the pandemic hit, I started focusing more on writing my own music again and immediately reached out to my old bandmate and friend Pat. He instantly put a pandemic-themed song on the table – our “Masken Song” – which became our first release together. Even though the pandemic brought difficult times for so many people, for me personally, it was a catalyst to get creative again. A turning point in my musical life – in a positive way.

Can you share a memorable or unexpected moment from a live performance?

Maik: Back around the 2000s, we played quite a few more or less glorious gigs – people still call us a cult band to this day (laughs loudly). One show in particular really stuck with us – though for all the wrong reasons: during the performance, the power kept cutting out right in the middle of the song. Each time we had to start over from the beginning. And the stupid part? We kept starting the same song again and again. By the fourth time, the audience had started to flee – but hey, we were in a great mood, the beer was cold and free, and we were punks, after all.

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

Pat: The drawer with old ideas has long been emptied and immortalized on our latest EP. But now, a new drawer is filling up—packed with fresh songs. Some are already in their final stages, others are still rough sketches. So it won’t take long until something new is coming. Just sit back and have some tea, I’d say. (yeah ha)

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