A Q&A with MeK
Mek: Modern metal, cinematic arrangements, electronics and
classical intricacies…
What’s the title of your latest release, and what does it mean to you?
My debut single is called ‘Unawaken’, and the title is deliberately contradictory. We’re constantly encouraged to awaken, to become more conscious, to discover some deeper understanding of ourselves and the world around us. But I’ve always been fascinated by the possibility that what we consider enlightenment might simply be another layer of illusion. The song explores that tension through two opposing perspectives, one holding firmly to its understanding of reality while the other begins questioning everything. For me, ‘Unawaken’ isn’t necessarily about finding answers. It’s about reaching that uncomfortable moment when you realise the questions themselves might have been wrong.
What was the hardest part about putting this release together, and why?
Probably bringing everything together into something that felt cohesive. With MeK, I’m not simply writing and recording a song. I’m also developing the visual language, philosophical ideas and wider narrative surrounding it. The music itself went through a lengthy evolution, and there were countless decisions involving arrangements, production and the overall atmosphere. But the biggest challenge was making sure the visual side genuinely belonged to the music rather than feeling like something added afterwards. And, of course, knowing when to stop refining everything! When you’ve spent years developing something, there’s always another detail whispering that it could be improved.
Who produced the release – what did they bring to it? If you produced it yourselves what do enjoy most about producing your own material?
I wrote, arranged and produced ‘Unawaken’ entirely myself, with the mixing and mastering handled by some incredibly talented engineers, including Matt Hyde, Joel Wanasek and Scott Elliott. What I enjoy most about producing my own music is having complete creative freedom. I can take an idea in whatever direction feels right, without worrying about whether it fits a particular genre or formula. Sometimes that means combining a crushing metal riff with an orchestral arrangement, introducing electronic textures or exploring harmonies influenced by classical music and flamenco. For me, production isn’t something that happens after the songwriting. It’s part of the creative process itself, and the two develop together. Of course, the downside of having that much freedom is that I can become ridiculously obsessive about the smallest details. Sometimes I probably need someone to physically drag me away from the studio!
What do you want the listener to take away from listening to your music?
I’d rather people came away with questions than with a particular message I’ve tried to impose on them. Music is such a personal experience. Something that feels unsettling to one person might be strangely comforting to somebody else. I’m interested in creating that space where the listener can interpret what they’re hearing through their own experiences. Of course, I also want them to enjoy the riffs, the melodies and the atmosphere. It is metal, after all! But if somebody finishes listening and feels compelled to explore an idea, question an assumption or simply listen again to discover something they missed, that’s incredibly rewarding.
How does a track normally come together? Can you tell us something about the process?
There’s no fixed formula, which is probably why I enjoy it so much. Sometimes everything begins with a guitar riff. Other times it might be a particular harmony, rhythm, electronic sound or even a visual idea that suggests a musical atmosphere. I tend to develop the composition and production alongside each other, experimenting with arrangements and textures as the track takes shape. My classical and flamenco background influences how I approach melody and harmony, while metal provides much of the rhythmic intensity and aggression. I also enjoy introducing unexpected elements, but they have to serve the composition. There’s no point adding an orchestral passage simply because I can! The process is often quite instinctive initially, followed by a rather obsessive period of refining everything.
What band/artists have influenced you the most since you started this project, and why?
Steve Vai has been one of my absolute heroes since my teenage years, but not simply because of his extraordinary guitar playing. What fascinated me most was his wonderfully unconventional mind, his willingness to experiment and his ability to create music that feels completely outside the box. He showed me that the guitar could be a vehicle for imagination rather than just technical ability. On the heavier side, bands like Decapitated, Gojira and Septicflesh have been hugely influential in different ways. I love Decapitated’s rhythmic precision and aggression, Gojira’s organic grooves and distinctive musical identity, and Septicflesh’s ability to combine extreme metal with genuinely cinematic and orchestral compositions. Emperor also deserves a special mention, particularly their album Prometheus: The Discipline of Fire & Demise. It’s an extraordinary piece of music, incredibly dense, dark and beautiful, with intricate arrangements and classical influences that continue to fascinate me. It’s one of those records that reveals something new every time you listen to it. Beyond metal, classical music, flamenco and electronic music have all shaped how I approach composition, melody and atmosphere. Ultimately, I’m drawn to artists who challenge conventions and create their own musical language. That’s something I continually strive for with MeK.
What countries would you like to tour? Are there any standout venues you’d like to play in?
I’ve been fortunate enough to perform in different settings over the years, including playing Download Festival in 2026 as Lowen’s live bassist, which was a fantastic experience. With MeK, however, I’m concentrating on the studio and audiovisual side of the project rather than planning live performances. I think the music and its visual world would require a particular kind of presentation to translate properly onto a stage, and I wouldn’t want to rush that. That said, I love performing, and festivals such as Hellfest and Wacken would certainly be wonderful experiences. If MeK ever does become a live project, I’d want the performance to feel like entering the Construct rather than simply watching a conventional metal show.
If you could pick one track for our readers to listen to in order to get a taste of your music, what would you pick, and why?
At the moment, it would have to be ‘Unawaken’, since it’s the first official MeK release. It introduces several of the elements that define the project: aggressive modern metal, electronic atmospheres, cinematic arrangements and a certain fascination with contrasting musical ideas. I’d particularly encourage people to watch the accompanying video, because it provides another dimension to the experience. The music and imagery were developed to complement one another, and together they offer a much clearer introduction to the world I’m building.
What ambitions do you have for the band/your career?
My main ambition is to build something sustainable that allows me to keep creating music on my own terms. I’ve spent years developing material and ideas, and I’m now at a point where I can finally begin sharing them. I’d love MeK to reach an audience that connects with both the music and the broader creative world surrounding it. I’m also very interested in collaborating with artists from different disciplines, particularly people working with film, visual design and other forms of storytelling. Ultimately, success for me would mean being able to continue making ambitious music, exploring new ideas and releasing work that genuinely represents what I want to create. I’m not particularly interested in chasing trends. I’d rather build something that has its own identity and grows naturally over time.
Finally, as you leave the stage, what are your parting words?
Stay curious, question everything, and never assume you’ve reached the end of what there is to discover. And if you happen to find a strange biomechanical doorway along the way, you know where it leads. Welcome to the Construct!
Find out more about MeK at linktr.ee/mekproject
