Hiya Alwyn Morrison, thanks for joining us in the virtual RGM lounge today. Grab a brew and take a seat.
I know you have new music out. What can you tell us about it?
I just released my first EP in September. It’s called ‘Heartsplit’ — of course, the name nods to heartbreak, but I also imagined a heart literally doing a split because it’s happy! I thought that was funny. Honestly, when that word popped into my head out of nowhere, I just knew it had to be the title. It’s not a breakup record — it’s about all the dimensions of love, I think: from falling in love, to struggling in a relationship, to overcoming heartbreak, and looking back with perspective.
On the day ‘Heartsplit’ came out, I also released a music video for the song ‘Turn All The Lights On,’ which I shot with Viken Kazandjian — an incredible American-French cinematographer I’ve been collaborating with for a while. It was such a fun video to make. It features tons of people just dancing and having a great time. It’s a bit tongue-in-cheek, with a big pink piano in a pink room and hundreds of colorful lights. But what made it really special was the mix of people — from their 20s to their 80s, from all walks of life — just dancing like nobody’s watching. It was a blast to film.
I really hope the song connects with people. It’s a pop track, but it’s full of energy — with electric guitars, drums, and a big, fun sound.
What was the recording process like?
Honestly, I was working on these songs with others that didn’t end up on this EP, so the recording process was quite long. Even though the record only has six songs, I wrote around 60 and recorded and produced many of them. When it came time to decide the track order, I felt that these six songs told a very cohesive story, and it felt right to “close the chapter” on them. I recorded most of these songs in Los Angeles.
The last song on the EP was recorded at Dubway Studios in New York. It’s a beautiful studio with a lot of natural light, which I really appreciate — especially since the studio I usually record in Los Angeles is pretty dark, which I like and think adds to the vibe. But it’s nice to work in a different space sometimes. There are a few other songs I recorded at Dubway Studios, but they’re not on this EP.
Would you change anything now that it’s finished?
One of the reasons I feel the need to release music is exactly to stop changing things. While a song is just living with me in my little world, I’m constantly thinking, “Should I re-record the chorus and change that one line?” or “Should we tweak the drums and try a new mix?” That can get exhausting and, at some point, isn’t very productive. So no, I wouldn’t change anything now — and I hope I still feel that way in the future.
It’s like when someone suggests a change to make a song “better.” My instinct is always to keep it as is, because that change would turn it into a different song. Maybe it would be better, maybe not — but it would be different. There’s always time to write more music or experiment with production and mixing in the future.
So when people tell me to change this or that, I just think: I’ll do that on the next song. I guess I prefer to be future-oriented rather than overly picky about things that already exist. I always imagine a painter or sculptor who has just finished a piece — they’d probably just move on to the next one if inspired. I feel the same about music, especially songwriting. I can be more particular about production and overthink it a bit, but with the songs themselves, I try to let them be.
It seems like being a social media curator has become added to the many jobs of a musician, how do you feel about this?
It’s definitely not easy. What I really love is songwriting, recording, and dreaming up longer-form visuals for my music. Music videos, for example — who even makes those anymore? Well, I do. I’m not entirely sure why, but I think it’s just part of how I express creativity. Some people write scripts or direct films; for me, there’s something special about telling a story through a three- or four-minute video.
Social media, though, is a whole different world. Just figuring out what to post can be stressful — it doesn’t come naturally to me at all. But it is one of the best ways to connect directly with listeners, and that part makes it worth it. I just wish, especially as an independent artist, that it didn’t take up so much time and energy.
What’s your view on the music industry today?
What even is the music industry anymore? It’s changed so much over the past decade that it feels like a completely different thing now — though I’m not sure what exactly it’s become.
As an independent artist, I’m not deeply involved in the “industry” side of things. But when I talk to people who’ve been in it for years — folks from radio, agents, or longtime session musicians — their stories are wild. Everyone agrees, though, that things are nothing like they used to be.
Honestly, it feels like there’s just too much music being released every week for the industry to ever really be “contained” again. It’s like there’s a kind of cultural monopoly held by artists who’ve been established for decades, which makes it all the more exciting when someone new breaks through.
And success looks so different now. Some artists tour constantly without caring about charts or social media numbers — and I think that’s awesome. Others are blurring genres in ways we’ve never seen before. It’s a fascinating time to be alive and, somehow, part of this ever-changing world of music.
What’s the biggest thing you have learned recently as you progress with your music?
You really have to do it for yourself. I’ve always known I was doing it for the art, first and foremost. Still, I hoped that others — family members, friends, collaborators, peers — would share that same excitement. That’s not always how it goes, though. Maybe that’s why so many bands drift apart, and why musicians often find themselves working with different people over time.
For me, that’s been a bit difficult to accept. It feels like letting go of the idea that I’d always make music the way I did when I recorded my first couple of songs. But that’s just how things evolve. It might sound a little idealistic, but it’s the truth.
Someone once told me the music industry can be pretty cutthroat — and sometimes, it really is.
Tell us something about you that you think people would be surprised about to learn about Alwyn Morrison.
I speak several languages, and my collaborators have often encouraged me to record in others, like Portuguese or Spanish. And lately I’ve been thinking — why limit a song to just one language if the emotion can travel further?
Sometimes I start writing in another language, like Portuguese or German, and I think, “This could sound so beautiful this way.” For me, it’s also about connection — even singing a song in someone’s language feels a little like saying, “I see you, I feel you.”
So yes, I might explore recording in other languages in the future. It’s just a thought for now. But music, to me, is always about finding new ways to reach hearts.
Is there anything else you would like to share with the world?
I don’t know when this is coming out yet, but I’m working on a few exciting projects — from remixes of my songs with an incredible Swedish musician and producer, to writing and producing a couple of Christmas tracks. Most of these will probably be released in 2026, so stay tuned!
I’m always excited about creating new music. It’s fascinating to me that artists — myself included — promote their latest releases while already working on what’s next. It feels like living between different worlds.
FOLLOW ALWYN HERE
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