MOMARZ Interview: A Piano-Built Planetarium of Human Feeling and Cinematic Electronic Sound –

With the album arriving on May 28th, what did you most want this record to say about where you are creatively right now?

This album is me stepping into my identity with clarity. I’ve spent years shaping the edges of my sound, but this record is the first time it feels fully realized, cinematic, emotional, and unapologetically mine. I wanted it to say: this is the world I’m building, and I’m finally creating from a place of confidence rather than experimentation. It’s a snapshot of a music artist who knows exactly what he wants to say and how he wants it to feel. At my core, I’m a musician first and a producer second. That’s simply the lens I create from the musical foundation is the priority I’ve spent my life developing. Every artist has their own path and their own strengths, but for me, the heart of my work begins with musicianship and the commitment to shaping sound with intention.

Your sound seems rooted in piano‑led melody and hypnotic percussion — what is it about that combination that keeps pulling you back?

Piano is my emotional compass. It’s the first instrument I ever touched, and it still feels like the most honest way for me to communicate. Pairing the natural piano with hypnotic percussion gives the music its pulse of human emotion.

You’ve built this album using a Yamaha P‑125, KORG microKEY, M‑VAVE MIDI piano, and GarageBand. How does that setup shape the character of the music?

That setup forces me to stay hands‑on. Nothing is automated, nothing is outsourced. It’s me physically shaping every chord, every texture, every rhythm. The Yamaha gives me warmth, the KORG gives me agility, the M‑VAVE gives me percussion precision, and GarageBand keeps the process grounded that most people have access to. The limitations actually became part of the identity. You can hear the fingerprints and the decisions. It’s not a sterile digital environment and it’s a workspace with personality.

At a time when many artists lean on AI tools, you’ve been clear that you refuse to use AI in your production. What does keeping the process human mean to you?

For me, music is a dialogue between emotion and craft. The moment I hand that over to AI, I lose the part that makes it personal. Major corporations use AI to automate routine and repetitive tasks. The kinds of things they consider too mundane for human attention. I don’t see music through that lens. I don’t ever want an algorithm treating my creative process like a box to check or a task to optimize. I want listeners to feel the hours, the revisions, the human imperfections, and the breakthroughs embedded in every track. That’s the essence of music. Keeping the process human is my way of protecting the soul of the work. It’s not about rejecting technology, it’s about preserving intention, emotion, and human values. I want people to hear the person behind the electronic instruments, not the machine behind the person.

Was there one track that unlocked the wider sound for the rest of the record?

Absolutely, Unseen By Human Eyes was the turning point for me. When I finished that track, I genuinely sat back and thought, Wow… I can’t believe I created this. It had this cinematic, futuristic energy that felt like it belonged in a space‑themed film. Indie Boulevard Magazine heard it early, and they picked up on the exact same thing. That sense of scale and atmosphere that surprised even me.

It was the first piece where everything aligned: the piano, the atmosphere, the rhythmic tension. It didn’t feel like a song anymore, it felt like a world. Once that track existed, the rest of the album started orbiting around it. It became the blueprint for the emotional tone, the pacing, the cinematic scope. That was the moment I realized, This is the universe I’m building and MOMARZ’s Theory on music.

Early feedback from EARMILK, Indie Boulevard Magazine, and Apple News has already started rolling in. How has it felt seeing people respond so strongly before release?

It’s surreal in the best way. When you spend months alone with a project, you start to wonder if the world will feel what you felt while making it. Seeing early support from outlets I respect, before the album is even out. Feels like confirmation that the vision is translating. It’s motivating. It makes me feel like I’m stepping into the conversation as an emerging music artist with something real to offer to listeners.

Your music values atmosphere as much as structure. When producing, are you led more by instinct, technical detail, or the images the sound puts in your head?

Instinct is the spark, imagery is the guide, and technique is the architecture. I usually start with a feeling, a chord that hits a certain way, a texture that opens an idea. Then I follow the images it creates: a landscape, a scene, a moment. Once I can see the world, the technical side takes over to build it properly. It’s a balance between emotion and musical craftsmanship, but the emotion always leads.

When listeners press play on May 28th, what do you hope lingers with them after the album ends?

I hope they walk away with a sense of immersion. Like the listener stepped into a cinematic world. Whether it’s the melodies, the mood, or something they can’t quite name, I want the feeling to stay with them. If the music leaves a visual imprint in their mind or an inspirational thought, then I’ve met my intention for making music.

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Stream Unseen by Human Eyes on all major platforms, including Spotify, from May 28^th.

Interview by Amelia Vandergast