Hiya Scott, thanks for joining us in the virtual RGM lounge today. Grab a brew and take a seat.
What made you decide that music is a thing for you?
I must have been 11 or 12 when I first saw Guns N’ Roses and thought, I want to do that. I imagine that’s how it starts for most kids who decide to make music – we see a favorite bands and get inspired.
I have moved around a lot and through all geographical changes, music has been my one constant—the driving force behind so many of my choices.
As a kid, I was deep into the early death metal and black metal scenes. I ran my own fanzine, selling it worldwide, and traded tapes with people across the globe. My bedroom looked more like a record store, and I’d even loan out my albums to friends. Music wasn’t just a passion—it was everything.
For a long time, it was all I did. I spent years working in the music industry—at Universal Music Publishing, an independent label, a digital distributor, and a performing rights organization. I handled licensing, cleared music for film and TV, and worked on promotional opportunities. And when I wasn’t at my desk job, I was writing or performing music.
These days, I work as a Copywriter, which I love. It gives me the creative energy—and the space—to focus on writing music again.
So yeah, music has always been a huge part of who I am.
Introduce us to you all and your musical history.
Sure thing. My name is Scott I record and release music under the name Star Vision, based in Stockholm, Sweden. I was born in Melbourne, Australia, but I’ve spent half my life overseas, and moved to Sweden almost eight years ago.
The idea for Star Vision came about three years ago, during COVID and right after my Dad passed away. I started reminiscing a lot about brighter days and of my youth and found myself listening to a lot of the music I grew up listening to either on the radio or through my Dad in the 80s and 90s. When I started Star Vision, I had no idea that there was this kind of 80s revival thing and that Sweden has a really big AOR and melodic rock scene.
Since forming Star Vision, I’ve released two EPs, three singles, an electronic remix, and an acoustic remix.
My musical history began as a teenager when I played bass in a couple of bands. I bought a Tascam 4-track recorded when I was 15 or 16 years old, layering ideas and trying to create songs for whatever band I was in at the time. I even had short-lived industrial project.
At 20, I moved to Canada and formed a trio that had a lot of potential—we even shared the stage with people who later went on to do big things, namely Default and Nickelback. We recorded an album in Australia but never saw the light of day.
After that band, I moved back to Australia and decided I’d need to learn guitar and sing if I wanted to really write songs. So, I put down the bass and my 20s were quite literally spent learning how to play guitar and write songs.
I moved to Los Angeles and formed a duo called The Black String Theory, heavily inspired by Muse, Radiohead, and Coldplay. We released an album and an EP, but after our drummer left to become a pilot (!), I hit a rough patch. The grind of the LA and its live scene left me feeling disillusioned, and for a while, I wasn’t sure if I even wanted to keep making music.
Then, an opportunity came along to compose music for an annual live sci-fi theater production, which led to working with some really cool directors. That opened doors to writing music for creative agencies and film campaigns, including an online campaign for A Good Day to Die Hard.
Following a pretty big life change, I left the U.S., and stepped away from composing for film and TV since I wasn’t tapped into that world any more. I had a small experimental ambient project for a couple of years but I hadn’t performed on stage or written rock music for over a decade—until 2022, when the idea for Star Vision came about.
What’s the live music scene like in Stockholm, Sweden right now? Anyone we should be looking out for (bar you, of course)?
Stockholm is honestly spoiled when it comes to live music. We get so many great tours passing through, tons of summer festivals, and a constant flow of amazing shows. No matter what you’re into—death metal, techno, experimental music, or pop—there’s always something going on.
For up-and-coming bands, there are a few pubs and venues to play at, which is great. But I have to say, what the team at The Node is doing is truly inspiring. I wish every city had a space like that. It’s more than just a venue—it’s a creative hub with rehearsal and recording studios, two live stages, a bar, and a restaurant. They host events six days a week and genuinely support live music in a way that feels rare. They’re building a safe, welcoming space for creatives, and they’re doing an incredible job.
The level of talent in Stockholm—and Sweden in general—is really impressive. As for Stockholm-based artists to keep an eye on, there are plenty, depending on the genre. One new electronic-pop duo I’m excited about is MiamiPanic—and I look forward to hearing more from them. Rock-wise, Houston is working on a new record and I think they’re fantastic, as are Remedy who are doing really well right now.
I’ve seen a lot of people struggling for support recently online. What’s your view on the industry?
I’m not surprised to hear you say that. It’s definitely tough, and it can feel discouraging at times. You put so much time and effort online, but the traction often feels minimal.
If I’m completely honest, I don’t spend too much time thinking about the industry as a whole—being an independent artist means taking full responsibility for building your fanbase and releasing music yourself and I think it really depends on what your goals are.
I don’t follow, for example Billboard or whatever, to keep up with what labels are doing anymore. Years ago that kind of thing mattered more, at least to me and my goals. But now? It’s all about the artist or band and their direct connection with fans.
The only part of the industry that is of interest is to me today is working with booking agents and venues for live shows, trying to connect with music supervisors for film and TV placements, and getting onto playlists and, of course, online publications like this one. It’s all about creating awareness of your brand, finding, targeting and connecting with your audience. That said, I can see the benefits of how a label might help you do that but it’s not something I spend any time on. I try to focus on what is in my control, instead of what is out of my control.
Where do you feel you currently sit within the music industry?
I don’t really feel like I’m part of the industry. For example, I don’t have an agent, a manager, or a record label—any ‘success’ I’ve had has come purely from my own efforts and expenses.
As I said earlier, I don’t spend too much time thinking about the industry because I try to think about what I can do instead of waiting for someone else to do it for me. Again, being an independent artist means taking full responsibility for building your fanbase and releasing music on your own terms. Would I like help and support? Of course. There are some great companies, tools and services out there, and I use several, but I can’t rely on anyone else to help me and, to be honest, anytime I have, I have been disappointed at their lack of care.
At the end of the day, I think we need to focus more on what’s within our control. I just focus on what I can do—creating the best music I can and then putting on shows and hopefully seeing more and more people come out and connect with the music. That’s the ultimate goal.
Tell us two truths and a lie about you.
I have three citizenships (Sweden, Australia, USA), I have a child in every country I have lived and I have been vegan for more than 20 years. I’ll let you guys figure out which are the two truths and which is the lie! Ha, ha!
Do you ever worry about people taking things the wrong way or cancel culture? Discuss….
I have always admired bands and artists who can speak their mind and stand for something. In addition to metal music, I listened to D-beat, crust, and hardcore, where strong messaging was a big part of the music.
I grew up reading fanzines and bands could say whatever they wanted in fanzines but now, with everything being online or filmed, you have to be really careful—because whatever you say will be out there for everyone to see. Things can easily be taken out of context, and I think some people are looking to be offended.
Looking back at the ‘80s and ‘90s, things were definitely different—especially in films, where the portrayal of women and the way people talked about being gay were often negative. That kind of thing wouldn’t fly today. So when reminiscing about the past, which I do with Star Vision, I think you also have to be mindful of which aspects you’re nostalgic for—otherwise, you risk unintentionally endorsing things that don’t hold up anymore. And, of course, there will always be people ready to be argue, which seems to go hand-in-hand with being online.
Do you sign up to any conspiracy theories? If not, why not?
That’s a great question. My first instinct was to say a straight-up “no,” but honestly, with the way the world is today—politics, fake news, and AI generating images of things that never even happened—I think it’s important to question everything. There’s definitely more going on behind the scenes than what we’re shown. The news gives us one version of events, but we’re rarely privy to the full picture. What is the truth? I guess I have my own ideas and I’ll just leave it at that! Ha, ha!
What was your best experience on stage?
For me, the greatest feeling is looking out at the crowd—no matter the size—and seeing people truly engaged. When you can feel their focus, hear them singing along, and see that connection happening in real time, it’s incredible.
One moment that really stands out was playing When You Look at Me for the first time last summer. It’s a ballad Star Vision released in October, and during the bridge, there’s a high note I hit. I had my eyes closed, and during the build, I could hear people cheering. That energy, that reaction—it was electric!
I think performing live and seeing new faces in the crowd and people really connecting with the songs is the greatest reward.
What was your worst experience on stage?
Hmmm, I think when you don’t have on stage monitors and you can’t hear yourself, it’s a pretty scary feeling! I think the mix and energy up on stage is crucial to your performance and I think if you have a bad mix, it can really throw you off.
Tell us something about you that you think people would be surprised about.
I am a self-taught musician and have no formal training. In fact, I don’t even know the notes on a keyboard – I create completely by ear and feeling!
What are the next steps you plan to take as an artist to reach the next level?
My main goal is to keep releasing music, evolving my sound, and building my fanbase.
I think even across the first two Star Vision EPs, there is variation in my music and I want to continue exploring and blending genres and influences to create my own sound.
So, reaching “the next step” means continuing to develop and understand my the fanbase, releasing more music that resonates, and playing more cities and countries.
I hear you have new music. What can you tell us about it?
The latest single is a cover or remake of Lionel Richie’s 1983 hit Running with the Night.
Growing up, my family always played Lionel Richie’s Can’t Slow Down on cassette. Last year, I revisited the album for the first time in decades, and when Running with the Night came on, it really hit me. Unlike his other R&B tracks, this one had a rock edge, and instantly, I could hear it with bigger guitars and synths. That became my approach—staying true to the original while amplifying the rock elements.
After releasing a couple of EPs and a single last year, I thought it would be fun to do something different with a cover. Not only did I want to introduce Star Vision to new listeners, but it was also a chance to showcase a wider range of influences. For many people not familiar with Lionel Richie’s version, it might even be the first time ever hearing the song!
What was the recording process like?
I played and recorded everything at home using Ableton, then hired a bass player, Luca Giachi, and a guitarist, Jimmy Konsta. Luca’s based in Italy, and Jimmy’s in Greece, so they sent me their tracks digitally. There was no back-and-forth or need for revisions—after I told them what I was looking for, both of them, being pros, delivered perfect tracks right away.
For this release, I decided to work with a different mixer than the one I used on the previous EP, just to try something new. The track was mixed and mastered by Matt Dougherty, based in Chicago, IL, who has worked with bands like Alien Ant Farm, Pop Evil, and Airbourne, among others.
I recorded everything in Stockholm over the course of one month. My setup is pretty basic, and I use two plug-ins for everything instead of actual synths, so I had everything I need at my fingertips.
What is the biggest learning curve when writing new tunes?
Since I produce my own songs, I find that building the track takes the longest, but it’s also the most rewarding and crucial part of the process. For me, the sound and the song go hand in hand—often, the production shapes the song, rather than the other way around. The learning curve I guess is getting what’s in my head recorded in the DAW and that can be playing around with sounds and production elements until I get the right feeling I’m after.
Would you change anything now it’s finished?
I think there’s always something you want to tweak. I’m really happy with the bass and guitars—I wouldn’t change a thing there. But I think, as with most artists, you’re always your own harshest critic. I do wish I had access to a higher-end vocal mic or a wider range of mics to capture more of the vocal tones and nuances. That said, I’m still really happy with how the single turned out. I tend not to really appreciate things until I get some distance, which often occurs when I am working on the release of a new single! Ha! ha!
Is there anything else you would like to share with the world?
I just want to say a huge thanks to everyone who has supported Star Vision so far. There are times when it feels like you’re doing everything alone, or just talking to a wall. But then, when you perform live and make that connection, or someone leaves a positive comment, signs up to the newsletter, subscribes to your social media, it really means a lot. And of course, thanks so much for YOUR time and support!
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