All These Great Answers - Sebastian Schneider
What’re your highlights of the year so far?
This year has been pretty exciting. January started with no idea that in a couple of months, I’d be recording a full album and writing songs between recording sessions. It also allowed me to fully test out my new studio.
Recording the music video for “Keep Them Waiting” was also a big highlight, as I managed to break free from certain creative boundaries while doing so.
What are your goals for the rest of the year?
I need to dive deep into social media and content creation, so a lot of effort will be geared towards that. I’m also planning an album release concert, but that’s still under wraps. An important goal is to promote this album as much as possible.
Since we’re almost in the last quarter of the year, I think it’ll be more about reaching new audiences, analysing things, and planning a comprehensive strategy for 2025—especially when it comes to live shows and other projects.
Which new bands/artists are you into right now?
I listen to a lot of music, and I’m pretty eclectic. These past few weeks, I’ve been listening to Black Pumas, Sam Fender, and Sundara Karma. Right now, I’m into Saun & Starr, who play retro-style soul music, and HARDY, though I’m still undecided on whether he’s more of a nü-metal or country act (maybe both!). Who knows what I’ll be into next week!
I try not to box myself into a specific artist or style. I’m always open to whatever the algorithm gods throw my way and then dig deeper from there.
What was the band or artist that got you into music or inspired you to be a musician?
I started at the Conservatory when I was five, and a couple of years later, I hated it all. It took years for me to even listen to music again. As a teenager, a random song inspired me to sing and become an artist. But I’d say there were certain artists who propelled my growing interest in music.
One such artist is Mark Knopfler. I came into contact with his guitar-playing style when I was coincidentally playing fingerstyle and learned a lot from him. As for songwriting, The Beatles were a huge early influence. And vocally, I was inspired by a lot of rock singers, especially from the '70s onward.
Country music was also a big deal when I was starting out and still is. My guitar coach had a lot of experience playing country in the US, and this influenced me heavily. I discovered amazing session players like Brent Mason and classic country artists like Alan Jackson and The Eagles.
Finally, in terms of the quintessential rock solo artist, I think David Bowie has been an inspiration for my solo career. Even though his music spans a wide range of genres, themes, and ideas, it still always feels like it came from the same person. The same goes for his many different personas.
AI has become a bone of contention among creators. What’s your view of it?
I think AI is here to stay whether we like it or not. As with any disruptive technology, we’ll have to find a way to come to terms with it. I don’t think people really understand how profoundly everything might change with AI and other accompanying technologies.
However, I’m optimistic about one thing. I believe we’ll get flooded with AI content, and eventually, a two-tier system will emerge. If you want something fast and mass-produced, you’ll go for AI. If you want something more authentic, you’ll turn to real artists.
In a way, it might trigger a renewed appreciation for human-made music, arts, or crafts. It’s like the difference between eating frozen food and dining at a fancy restaurant. I think it’s an incredible time for artists to be as unique as they can be because that’s much harder to replicate.
How best do you write; in a jam room or a studio?
I usually start by messing around with my guitar, often coming up with a new riff or lick. Then, I think, “This could be a good idea for a song,” and I develop it from there. This works best in a controlled environment like my studio, where I can work without interruptions and record everything.
But I also have those magical moments where I feel the urge to write lyrics, almost like I’m in a trance, and then I start trying chords and a melody over them. This can happen anywhere—I’ve written lyrics while on vacation, waiting for someone, or even in the middle of the night.
What was your wildest show so far, and why?
There have been several! Live music is full of strange situations and unbelievable anecdotes. At my first show in Germany, a drunk guy started dancing next to me and then grabbed an acoustic guitar that was connected to the portable PA system. He almost knocked everything over!
At a major festival in South America, my first string broke right in the middle of a solo. It was a well-known cover, so I couldn’t just improvise whatever I wanted. I somehow managed to replace the unplayable notes with harmonically correct ones on the fly. Later, they brought me a replacement guitar, but no one told me it was tuned a full tone down. I had to play out of tune for a bit until I figured out what was going on.
What inspired the lyrical themes behind your new record?
The original working title for the album was “I Believe in Hollywood,” which had a bit of sarcasm and a bit of truth to it. The songs are like tales from within. There’s a progression through different themes like unfulfillment, love, loss, vanity, and more.
None of it should be taken literally, though. My lyrics are often allegorical, talking about things inside us for which there are no words. In that sense, they’re inseparable from the music—you need both to get the full message. It’s more of an emotional language than a mental one.
What’s the story behind the artwork?
The artwork is closely tied to both the original and new titles. It’s heavy on symbolism, but I prefer to let each person interpret it for themselves. What I can say is that I’m showing two sides of the same face. I’m emerging from under the water, as if waking from a deep slumber, and showing with my face what was underneath.
The moon in the foreground, in front of the clouds, is significant. The burning turntable is too, but again, I think it’s better for people to form their own interpretations. Overall, it’s a panoramic view of the inner world, which graphically represents the themes of the songs.
Where is the furthest across the globe you’ve played so far?
I’ve been lucky to play in different places across the world, mostly in South America—in Argentina, Bolivia, Ecuador, and Peru—and now in Germany. I wasn’t able to perform throughout Europe because of the pandemic, but it’s a milestone I’m aiming for after the album’s release.