Far more than just a band, Mazmere is a living concept, one that continually evolves through shifting collaborations, personal histories, and a distinct approach to sound and storytelling. Originating from unexpected beginnings and shaped by deeply personal creative philosophies, the project has developed a noise-driven identity rooted in emotional intensity and expressive experimentation. In this interview, lead singer and songwriter Jake Sinetos opens up about the journey behind Mazmere, the forces that shape its work, and the landscapes the music seeks to explore.

I’m sure fans would love to know more about your backstory. How did you all come together, and what journey led you to form this band?

Mazmere is more of a concept than a band; I mean, there are band members, but they change depending on the recording. I am currently working with a band for  live performances that I am extremely happy with and hope to work with more long term.

The debut album, “MBJDEBNRBM,” was recorded in Bristol with a different band. I was reasonably happy with how it turned out but I felt I gave in a little too much to what the other members wanted, which led to a more polished album than I would have chosen. The new single ‘Run’ was recorded with various people that I brought in to help, and I feel reflects the sound I always wanted Mazmere to have.

The story of Mazmere goes back to when I was a young child. My imaginary friend was named Mazmere, he was a very tall ghost that I believed to be from eastern Europe. Mazmere as a concept became a visual / audio representation of mental health issues I’ve struggled with in the past and is now representative of my artistic output.

Is there a specific philosophy or worldview that influences your music? What do you want people to think about or feel when they listen to your songs?

I want people to think or feel whatever it makes them think or feel. In my opinion that’s the point of art. I feel like, if you want someone to tell you what to think then go listen to some boring middle of the road punk band, like the Sleaford Mods or Idles.

And if you had to pick one track that shows people who you are as an artist, which one would it be?

I think the new single ‘Run’ really shows who we are and where we are going. Off the first record, I’d say the song Mannequins is the key song to really get the sound we are going for. Both have that uneasy noise that builds up with the song and truly sound unique.

When you start working on a new project, like your recent single ‘Run,’ do you already hear the music in your head, or do you prefer to experiment and see where it takes you?

The song ‘Run’ will be on our next album that is yet to be titled, and yeah I very much have a sound and visuals in my mind before I start writing or recording. I see most things in visual and audio when I think of them, even emotions, so I tend to try and recreate those images and sounds.

For this release, what was the creative process like? Were there any unexpected twists or challenges that shaped the outcome?

After leaving my band back in Bristol, I struggled for a bit on how to get the sound I was actually looking for. There were many versions of ‘Run’ before I decided on this version. It was an interesting process, I ended up working with Amyas Varcoe and H.A. Eugene from my old San Francisco band Anderson Congress, and I called up Ian Evans to help me make some extra noise.

I think it really turned out like I wanted it to. H.A. Eugene is going to produce the rest of the album and Ian Evans is also in my live band now.

There are many descriptions of the ideal state of mind for being creative. What is it like for you? What supports this ideal state of mind and what are distractions? Are there strategies to enter into this state more easily?

As I mentioned earlier, my brain tends to work a little differently and the process for me varies. I generally come up with an idea and need quite a lot of time on my own to really understand what it means. I don’t think I have specific strategies, it just kind of happens.

How do you know when a track is ready? Does it ever become difficult to refine ideas or stop perfecting?

I like chaos, mess and noise so there is no perfection in what I’m going for, however, I started producing ‘Run’ myself and it really wasn’t where I wanted it, too muddy and I couldn’t hear bits that were important. Getting in H.A. Eugene really helped, I completely trusted him and I knew he would be amazing. I think it’s all about trusting your producer.

Do you have certain rituals to get you into the right mindset for creating? What role do certain foods or stimulants like coffee, lighting, scents, exercise, or reading poetry play?

Noise and colour of different types inspire me, it can be wind blowing through leaves, heavy traffic, the sound of machines or an art gallery but as long as the combo is there, I’ll generally start thinking of creating.

What music have you been listening to recently and what excites you for the remainder of the year?

I’ve been listening to some instrumental stuff lately like Brian Eno, Thelonius Monk and  Delia Derbyshire when I’m on my own but I also always go back to my favourites like Syd Barrett, Bruce Haack, Silver Apples, The Fall, Pavement, Vagabon, Flaming Lips, Deradoorian, Built to Spill and maybe a bit of hip hop like Black Star, The Korea Town Oddity and Digital Underground.

I hope to get in a few gigs with my band before the year ends, playing live again really excites me.

What’s next for you?

I want to finish the album and do a series of small tours. The live band I’ve mentioned is looking back on various music projects of mine and also unreleased songs. So we’ll play some new songs, some early Mazmere, Anderson Congress, Manuel’s Parking Lot and even a couple What I Wanted to Do’s songs, all reimagined through a Mazmere lens.

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