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WØLZT is a solo artist from French Alps. Always in search of a singular sonic experience with his moody, introspective productions.
Welcome to the Decent Music PR blog. Please introduce yourself. And how would you describe your music?
Hey there! I’m Kevin Brung a solo artist from France working under the name WØLZT. Depending on my mood and the orientation of my latest release, I generally describe my music as contemplative rock. It's essentially a blend of post-rock and ambient with elements drawn across a wide spectrum of genres, from electronica to folk rock, but also in sound design for film. I do everything on my own, from composition to mixing. My first EP I Found a Space Between Two Worlds was released in 2018.
Who are your biggest influences?
Musically speaking, I don't really know. My favorite bands include Pink Floyd, Nine Inch Nails, Tool and a certain amount of film composers; but where do we draw the line between inspiration and influence? I don't feel that I'm inspired directly by their work; on the other hand, the many hours I've spent listening to them inevitably influence my way, which may be reflected in the structure of a track or how I approach it, but not necessarily in the outcome, so it's hard to tell.
More generally. Cinema, without a doubt. More specifically: David Lynch. I'm fascinated by his productions. I love the strangeness of life more than anything else, and his work is a goldmine for that kind of mood. I learned there that you can distort your perception of reality at will, scrape the veneer off everything in the world to find its dark side; and also be satisfied with the absence of answers as a mirror to life. About cinema itself. Some people tend to focus on the image and sometimes forget a major part of a film: the sound. I'm very interested in sound design. Lynch does a fantastic job and is very directly involved in the process, supported by various people throughout his career and especially Dean Hurley in recent years. Their collaboration led to various musical forays, including two solo albums, which sounded to me a bit like a liberation from a certain misguided, even elitist, vision of musical creation: he didn't consider himself a musician, but he loved experimenting with the medium. I can definitely see myself in this; getting rid of the feeling of being an impostor allowed me to go in a direction that really suited me, putting aside certain archetypes to focus on telling a story.
Who do you create music for, and what messages do you want people to get from your music?
For myself. I made hundreds of sketches before embarking on this journey with the ambition of a concrete release; I like to refer to this period as a musical private diary. Releases now allow me to put an end to a creative period, so that I can move on to something else; it's become a kind of indispensable constraint.
At first there were a lot of things I'd like to transmit, but I realized along the way that a lot of it had to be understood from the inside, so I guess that's the message now: look inside (yourself) and figure out what you're going to find.
If you could imagine the best moment for a first-time listener to listen to your music, what would it be? What is one song that you wish you wrote yourself, and why?
No mental burden, just a little melancholy; in the right environment for a truly introspective moment, which can vary greatly from one individual to another.
There's no song I wish I'd written, because even the songs I like best, or the ones that speak to me so directly that I've almost made them my own, wouldn't have the same taste if I knew I'd written them.
What have you learned from your artistry through the years?
To be true to myself even if I have to die alone.
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