Velvet Sun Interview: From Psychedelic Roots to Ethereal Rock and Studio Evolution

Congratulations on the release of Empire! What inspired this new chapter in your musical journey, and how does it differ from your earlier work like Dreamhome?

My old bandmate Eric Gould set up a music room in his house and was learning GarageBand software. He suggested we start writing some new songs together, so I began refining ideas that had been floating around in my head for a decade or so. Things were moving in the right direction, but the finer points of producing songs in GarageBand were eluding us. So, I decided to go to a local studio to lay down the basic tracks, and then I circled back to Eric for keyboards and additional guitars.

Velvet Sun has always been rooted in psychedelic and British Invasion sounds. What drew you to those genres, and how have they continued to influence your sound over the years?

In my youth, I was a fan of songs like Don’t Fear the Reaper, Crimson and Clover, and Matchstick Men—songs firmly rooted in jangly, psychedelic guitar sounds with an otherworldly mood. They didn’t require guitar virtuosity, so I was able to play them without formal guitar training.

There’s a noticeable dynamic tension in Empire—moments of restraint followed by powerful bursts. Was this intentional during the songwriting process?

I was a fan of the Pixies, though I didn’t aim to mimic them. I just like some space in a song—when the rhythm becomes too incessant, it can feel deadening to the ears after a while.

You’ve collaborated with new musicians on Empire, including Eric Gould and Marcel Salas. How did these collaborations shape the overall sound of the EP?

Empire is political in nature. I got the idea for the song during the Iraq War, when it became clear that the war was more about empire-building than anything else. The song explores the trials and tribulations of a relationship, complicated by scenes on TV of "shock and awe," with exploding bridges and military events seemingly staged only for the benefit of empire.

What’s the story behind the EP’s title, Empire? Does it reflect a specific concept or emotional journey across the four tracks?

Empire is political in nature. I got the idea for the song during the Iraq War, when it became clear that the war was more about empire-building than anything else. The song explores the trials and tribulations of a relationship, complicated by scenes on TV of "shock and awe," with exploding bridges and military events seemingly staged only for the benefit of empire.

From crunchy guitars to ambient textures, your sound palette is incredibly diverse. What tools or techniques do you lean on to achieve such depth and nuance?

This was my first time using keyboards, which helped create extra dimension in the sound. I also worked with guitar and vocal interplay—allowing each to weave in and out of the other. Layering multiple guitar tracks added unexpected depth and surprising synchronicities.

How has your creative process evolved since the early Velvet Sun days? Are there new rituals, gear, or perspectives that now shape how you approach music?

Marcel Salas has a bass tone that’s anything but standard rock—it almost sounds like a synth, which smooths out the sound and creates a heavenly effect at times. Empire featured more planning than my previous work. The songs are constructed with more care and attention to detail, intentionally leaving space for the music to breathe

Can you share more about the influence of Quiet Sun and artists like Brian Eno and Phil Manzanera on your work, both past and present?

There’s a solo by Phil Manzanera on the song Mummy Was an Asteroid from the 1972 Quiet Sun album Mainstream that is so elegant, angelic, and—dare I say—cosmic, that I still return to it as a source of inspiration. It sounds like it comes from some distant future. The random, experimental nature of the keyboard parts on Empire feels very Eno-like in that same spirit.

Velvet Sun’s music often feels cinematic and immersive. Do you visualize scenes or concepts when you compose or record?

On Empire, I pulled back from a straight rock rhythm and allowed sounds to move in and out, giving the track a spatial, almost visual quality—though I don’t picture specific scenes. On Wait, for example, I left space in the middle for a slow guitar build that feels like it ascends into a higher space. That kind of progression can definitely create a visual atmosphere.

In today’s indie landscape, what challenges do you face in keeping your sound authentic while reaching new audiences?

I only recently started diving into the current indie scene. In a way, not knowing what was happening allowed me to develop my own vision, uninfluenced by newer trends. That said, I’m very impressed by many new bands today who are creating sophisticated, sonically rich music. It wasn’t my aim to fit into that world—it just happened naturally. I also took some pleasure in reviving the big guitar sounds of the arena rock era, like harmony guitar parts.

What do you hope listeners take away from Empire—whether they’re longtime fans or hearing Velvet Sun for the first time?

I think my music appeals to people who enjoy the power of rock but also want more space and texture in the sound. I describe it on my website this way: "Velvet Sun holds the power of rock in reserve, unleashing it to knock the cobwebs from the somnambulist dream." It’s a mix of raw energy and ethereal beauty.

What’s next for Velvet Sun? Are there live performances, videos, or more music in the pipeline for 2025 and beyond?

There’s definitely new music in the pipeline. I’m planning a small show soon, featuring myself on acoustic guitar, Marcel on bass, and a backing vocalist. The focus will be on the floating beauty of the songs and the vocals. For a full live show, I’d want the sound to be perfect—very true to the EP—which is a big undertaking. For now, Eric and I will likely stay focused on studio work, unless the right opportunity arises.

In this exclusive interview, Velvet Sun’s Scott Weinkle discusses the inspiration behind his latest EP Empire, his love for British invasion and psychedelic rock, and how collaborations with Eric Gould and Marcel Salas shaped the record's cinematic sound. Discover the evolution of his creative process and what’s next for Velvet Sun.

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