# Intervju s Diegom Carlomagnom (Analog Tears): „Želim stvoriti imaginarni krajolik kojim možete putovati“

- Link: https://zadar.tv/intervju-s-diegom-carlomagnom-analog-tears-zelim-stvoriti-imaginarni-krajolik-kojim-mozete-putovati/
- Published: 2026-09-19T22:45:41+02:00
- Author: Barbara Likter

**Diego Carlomagno**, svestrani umjetnik koji stoji iza imena **[Analog Tears](https://zadar.tv/izmedu-oprosta-i-iskljucivanja-sto-cancel-culture-govori-o-nama/)**,
stvara glazbu koja se nalazi negdje na granici tame i [intimnost](https://zadar.tv/room-2015-recenzija/)
i. Rođen u La Plati u Argentini, danas sa stalnom adresom u Seattleu, Carlomagno
svojim radom spaja _dream-pop_, _[shoegaze](https://zadar.tv/shoegaze-subkultura-zvuk-identitet/)_,
i [filmski](https://zadar.tv/how-i-met-your-mother-recenzija/) pop, gradeći **atmosferičan,
gitarama vođen zvuk** koji je istodobno prepoznatljiv i izrazito osoban.

Njegove pjesme ispunjene su intimnim vokalima, sanjivim dionicama na sintesajzeru
i [emocionalnom napetošću](https://zadar.tv/usuditi-se-stvarati-je-li-konstruktivna-kritika-postala-gotovo-endemska-vrsta/).
No ispod te zvukovno kompleksne površine krije se nešto možda još važnije, poput
suptilne fascinacije proturječjima koja često prate ljudske odnose. [Želja da nam netko bude blizu, ali i strah da ga zaista pustimo k sebi](https://zadar.tv/kako-prepoznati-lose-navike/);
potreba da se držimo nečega i onda kada znamo da je to već izgubljeno, pronalaženjem
[ljepote čak i boli](https://zadar.tv/na-kraju-dana-kazuo-ishiguro-esej/).

**[Analog Tears](https://zadar.tv/glazbeni-identitet-mladi-streaming/)** ne želi
stvarati glazbu koja samo _dobro zvuči_. Riskantnije je stvoriti osjećaj, mjesto,
uspomenu kojoj se slušatelj može ponovno vratiti. To je [glazba za kasne sate](https://zadar.tv/utjecaj-digitalnih-uredaja-na-kvalitetu-sna/),
duge vožnje i one [trenutke kada misli jednostavno ne žele utihnuti](https://zadar.tv/kako-putovati-bez-stresa-psiholoski-trikovi-2/).

U razgovoru s Diegom otkrivamo [kako je nastao **Analog Tears**](https://zadar.tv/kako-napraviti-vlastiti-planer/),
koliko na njegov [glazbeni identitet](https://zadar.tv/anita-gojanovic-volimo-plesati-novi-djecji-singl/)
utječu [argentinski korijeni](https://zadar.tv/argentina-sp-2026-analiza-reprezentacije/),
koji su ga izvođači i čiji zvuk oblikovali te kako izgleda njegov kreativni i produkcijski
proces. Razgovaramo i o [emocionalnoj pozadini](https://zadar.tv/inside-out-2015-recenzija/)
njegova opusa, nadolazećem albumu i želji da njegova glazba jednoga dana postane
dio osobnih priča ljudi koji su voljni osluhnuti.

Engleski izvornik našeg razgovora pročitajte u nastavku.

## **Od La Plate do Seattlea: kako je nastao Analog Tears**

### **Nastupate pod imenom Analog Tears, koje zvuči emotivno, gotovo filmski. Kako je nastalo i što Vam ono predstavlja?**

Ime [Analog Tears](https://zadar.tv/hip-hop-kultura-identitet-adolescenata/) odabrao
sam kao način da predstavim ljudski zvuk u digitalnom svijetu. Riječ „analogno“ 
za mene sugerira nešto toplo, fizičko i pomalo nesavršeno. Upravo tako želim da 
se moja glazba osjeti.

„Tears“ dolazi iz melankolije ponovnog proživljavanja priča i trenutaka koji ostaju
u nama. Pjesma vas može vratiti nekome u misli i na nekoliko minuta ponovno vas 
uvući u dio te priče. To ne mora nužno biti tuga. Ponekad u prisjećanju nečega lijepog,
čak i kada je to nešto već nestalo, postoji određena nježnost.

![](https://zadar.tv/wp-content/uploads/2026/09/diego-keyboard-color-768x1024.webp)

Foto: Privatna arhiva

### **Živite u Seattleu, gradu s bogatom glazbenom tradicijom. Koliko je lokalna scena utjecala na Vaš zvuk i način na koji doživljavate glazbu? Utječu li na ono što stvarate i Vaši argentinski i talijanski korijeni?**

Podrijetlom sam iz La Plate u Argentini, a danas živim u Seattleu. Moj [glazbeni identitet](https://zadar.tv/drum-and-bass-subkultura/)
proizlazi iz više različitih mjesta. Ne bih rekao da je [Analog Tears](https://zadar.tv/kako-izgraditi-osjecaj-zahvalnosti/)
izravni potomak zvuka Seattlea, ali atmosfera ovog grada definitivno pojačava ono
što radim i vrlo dobro se uklapa u moju glazbu. Ovdje postoji određena introspektivnost,
oblačnost i [ljepota u tami](https://zadar.tv/house-md-recenzija-2004/) koja mi 
je bliska.

Moji argentinski korijeni najviše se osjećaju kroz ljubav prema argentinskoj glazbi
80-ih i 90-ih, osobito prema Luisu Albertu Spinetti i Gustavu Ceratiju. Privlači
me način na koji spajaju melodiju, teksture gitare i sugestivne tekstove.

I talijanski korijeni dio su mog identiteta, iako mi je puno teže pokazati na neki
konkretan glazbeni element i reći: „Evo, ovo je taj talijanski dio.“ Sve to na kraju
prolazi kroz istu osobu – mene.

### **U vremenu kada produkcija postaje sve digitalnija, odražava li naziv Analog Tears Vaš odnos prema analognom zvuku ili je riječ o nečemu drugom?**

Ne u smislu da sam protiv digitalnih alata. Bavim se tehnologijom jednako kao i 
glazbom, pa bi mi bilo prilično čudno zauzeti takav stav. Zanima me što nam različiti
alati omogućuju.

Ono što mi je važno jest da u konačnom rezultatu ostane ljudska prisutnost. Volim
teksturu, toplinu i karakter gitare ili ljudskog glasa. „Analogno“ za mene više 
opisuje takav senzibilitet nego neko pravilo prema kojem sve mora biti snimljeno.
Možete analognom opremom napraviti nešto emocionalno hladno, kao što na računalu
možete stvoriti nešto što duboko dira.

## **Glazba koja prati ritam noći: estetika Analog Tearsa**

### **Kako biste svoju glazbu opisali nekome tko je nikada prije nije čuo?**

Opisao bih je kao noćni, filmski pop, negdje između dream-popa, shoegazea i post-
punka. Tu su slojevite gitare, nešto sintesajzera i osjećaj intimnosti koji se skriva
ispod cijele te atmosfere.

To je glazba za kasnonoćnu vožnju, kada ste sami, ali u glavi i dalje vodite razgovor
s nekim.

### **Koliko osobnih iskustava i emocija unosite u pjesme, a koliko prostora ostavljate slušatelju da ih protumači na svoj način?**

Velik dio emocije proizlazi iz mojih osobnih iskustava, ali više me zanima uhvatiti
osjećaj nekog iskustva nego precizno ispričati što se dogodilo.

Možete nekome jako nedostajati, a istodobno se bojati pustiti ga blizu. Možete željeti
ljubav i ponašati se na načine koji vas zapravo štite od nje. Takve me kontradikcije
zanimaju.

Tekstove uglavnom držim kratkima i ostavljam prostor instrumentima da također nešto
kažu. Želim stvoriti imaginarni krajolik kroz koji možete putovati, u kojem se zvukovi
kreću oko vas i postupno vas uvlače sve dublje.

Riječi daju određene natuknice, ali velik dio onoga što pokušavam izraziti nalazi
se u samoj glazbi. Ako netko neku pjesmu poveže s potpuno drukčijim iskustvom, to
mi je jednako vrijedno. Ne želim svojim objašnjenjem zatvoriti ta vrata.

![](https://zadar.tv/wp-content/uploads/2026/09/diego-acoustic-bw-768x1024-1.webp)

Foto: Privatna arhiva

### **Je li se Vaš odnos prema glazbi promijenio otkako ste objavili prve singlove?**

Mislim da mi je sve jasnije kakav osjećaj želim da [Analog Tears](https://zadar.tv/digitalni-identitet-osobni-brending-mladi/)
izazove. Različiti utjecaji i dalje su prisutni, ali više ne osjećam potrebu da 
svaka pjesma pokaže baš sve od njih.

Sve me više zanima intimnost – ono što se događa kada vas atmosfera pjesme privuče,
a ispod nje postoji nešto emocionalno izravno.

Ponekad jednostavna rečenica može imati veću težinu od još jednog sloja produkcije.
Učim prepoznati trenutak kada pjesma već govori sve što treba reći.

## **Od osjećaja do glazbe: kako nastaje prepoznatljiv zvuk**

### **Kada počinjete raditi na novoj pjesmi, što obično dolazi prvo – melodija, tekst, ritam ili određeni osjećaj koji želite prenijeti?**

Obično osjećaj, ali često ga otkrijem kroz gitaru. Nekoliko akorda ili određeni 
zvuk mogu sugerirati melodiju, a onda neka fraza počne tom osjećaju davati smjer.

Primjerice, kod pjesme **„Stay With Me“** – koja bi, nadam se, uskoro trebala biti
objavljena – sve je počelo gitarskim _riffom_ iz uvoda. Zatim su mi se u glavi pojavile
riječi „stay with me“ i odatle je sve jednostavno počelo teći.

Pjesma je postala priča o želji za bliskošću, ali i strahu od onoga čega bi vas 
ta bliskost mogla stajati. Kada sam shvatio tu napetost, znao sam prema čemu želim
usmjeriti pjesmu. Nisam još morao imati cijelu priču.

### **Kako izgleda Vaš kreativni proces kada zapnete? Postoje li neki rituali ili metode koje Vam pomažu vratiti se inspiraciji?**

Ponekad jednostavno moram prestati pjesmu doživljavati kao problem koji trebam riješiti.
Kao producentu lako mi je nastaviti nešto mijenjati i podešavati, iako zapravo nije
problem u produkciji, nego u tome što sam izgubio povezanost s izvornim osjećajem.

Povratak gitari  ponekad pomogne. Maknem sve slojeve i provjerim znače li mi još
uvijek nešto samo nekoliko akorada i melodija.

A ponekad mi je naprosto potreban odmak. Slušanje glazbe ili vožnja daju ideji prostor
da se razvija bez potrebe za time da je neprestano analiziram. Pokušavam ostaviti
dovoljno prostora za sviranje bez potrebe da se svaka ideja odmah pretvori u završenu
pjesmu.

![](https://zadar.tv/wp-content/uploads/2026/09/diego-thinking-bw-819x1024.webp)

Foto: Privatna arhiva

### **Što Vam je važnije – tehnički besprijekorna produkcija ili emocija koju pjesma prenosi?**

Emocija. Ali produkcija mi je važna jer tu emociju može učiniti još snažnijom. Boja
tona gitare, prostor oko vokala ili način na koji bubnjevi ulaze u priču mogu potpuno
promijeniti način na koji doživljavate određenu rečenicu.

Opasnost vreba u tome da nešto toliko ispolirate da ponestane karaktera. Tehnički
savršena izvedba ne znači automatski da je i uvjerljiva. Želim da vas produkcija
približi pjesmi, a ne da vas natjera da joj se divite s određene distance.

## **Umjetnici koji su inspirirali njegov zvuk: utjecaji i nadahnuća**

### **Koji su umjetnici ili bendovi najviše utjecali na Vaš umjetnički razvoj, čak i ako se njihov utjecaj na prvi pogled ne čuje u Vašoj glazbi?**

Cocteau Twins, My Bloody Valentine i Chapterhouse povezani su s mojom ljubavlju 
prema imerzivnim teksturama gitare. Depeche Mode donosi tamu, senzualnost, elektroniku
i snažno pisanje pjesama. Tu su zatim napetost i suzdržanost Interpola i Editorsa.
Gustavo Cerati također mi je velika referenca. Privlači me način na koji je mogao
biti melodičan i emocionalno pristupačan, a istodobno eksperimentirati sa zvukom
i jezikom. Jonathan Bree još je jedna referenca kada je riječ o toj filmskoj, pomalo
neobičnoj i nelagodnoj atmosferi. Ti se utjecaji ne isprepliću nužno svi u svakoj
pjesmi, ali pomažu objasniti različite smjerove koji me privlače.

### **Kad biste mogli surađivati s bilo kojim umjetnikom, bez obzira na žanr ili razdoblje, koga biste odabrali i zašto?**

Danas bih odabrao Davea Gahana iz Depeche Modea. Njegov glas ima tu kombinaciju 
tame, senzualnosti i ranjivosti koja mi je jako bliska. Volio bih producirati pjesmu
i pjevati s njim, izgraditi atmosferu oko njegova glasa i istražiti gdje bi se naši
glasovi mogli susresti. To bi mi bilo nešto zaista posebno.

## **Pjesme koje ostaju: što nas očekuje**

### **Postoji li pjesma iz Vašeg opusa koja Vam je posebno važna? Što je čini toliko značajnom?**

**„Stay With Me“** mi je trenutačno vjerojatno najbliža, iako još nije objavljena.
U njoj se nalazi ono približavanje i udaljavanje o kojem sam govorio, između želje
da vam netko bude blizu i straha da se do kraja prepustite.

Tražite od nekoga da ostane, dok se dio vas još uvijek pokušava zaštititi.

Od pjesama koje sam već objavio odabrao bih „Bleed Love Again“, suradnju s Viennom
Vox. Govori o želji da ponovno osjećate duboko, čak i kada znate da vas to čini 
ranjivima. Stalno se vraćam toj ideji. Postoji nešto lijepo u tome da si ponovno
dopustite da vam je stalo, iako znate da biste zbog toga mogli biti povrijeđeni.

Ironično, „Bleed Love Again“ ujedno je i najmanje popularna pjesma u mom katalogu.
To mi je zanimljivo jer pokazuje da ono što meni neka pjesma znači ne mora biti 
isto ono što u njoj pronađu slušatelji – i to mi je sasvim u redu. To ne mijenja
ono što ta pjesma znači meni.

### **Kako danas gledate na odnos glazbe i društvenih mreža? Osjećate li pritisak da budete stalno prisutni online ili radije dopuštate da glazba govori sama za sebe?**

Društvene mreže pomogle su mi da se povežem s ljudima koji možda nikada ne bi otkrili
[Analog Tears](https://zadar.tv/scene-subkultura-rani-internet-fenomen/). Kratki
video s gitarom može pokrenuti razgovor s nekim na drugom kraju svijeta, a to mi
puno znači.

Istodobno postoji određena napetost između stvaranja glazbe i stalnog predstavljanja
samoga sebe. Za jedno i drugo potrebne su različite vrste energije. Volim dijeliti
vizualnu atmosferu projekta, fragmente pjesama i trenutke sviranja. Ali želim da
sve to ostane povezano s glazbom. Važno mi je doprijeti do ljudi, ali jednako mi
je važno imati dovoljno prostora za stvaranje nečega što uopće vrijedi podijeliti.

![](https://zadar.tv/wp-content/uploads/2026/09/E18DC59E-5A5E-4FBE-9C8B-DA14A197891C-
1024x768.webp)

Foto: Privatna arhiva

## **Novosti na horizontu**

### **Što nam možete otkriti o nadolazećim projektima i što publika može očekivati od Vas u bliskoj budućnosti?**

Radim na albumu i nadam se da ću uskoro objaviti „Stay With Me“.

Želim da ovaj album bude savršen suputnik na putovanju. Nešto što pustite tijekom
duge vožnje i dopustite da postane dio krajolika koji prolazi kroz prozor. Ali želim
i da vas odvede nekamo kada mirujete, sjedite zatvorenih očiju i samo slušate. Zamišljam
pjesme kao mjesta kroz koja možete lutati, u kojima gitare, glasovi i različite 
teksture stvaraju krajolike koji postoje samo u vašoj glavi. Ovisno o trenutku, 
volio bih da ti zvučni krajolici pomognu smiriti se ili pojačaju ono što već osjećate.
Ponekad nam glazba treba kako bi utišala misli. Drugi put želite nešto osjetiti 
još intenzivnije i ostati uz taj osjećaj malo dulje.

Želim ostaviti prostora za oboje.

Više od svega, volio bih da album postane dio vlastitih priča ljudi – nešto čemu
se vraćaju zato što ih nekamo stvarno i odvede.

# ** **

![](https://zadar.tv/wp-content/uploads/2026/09/diego-acoustic-bw-3-768x1024-1.webp)

Photo: Private Collection

# **Diego Carlomagno (Analog Tears): “I want to create an imaginary landscape you can travel through”**

**Diego Carlomagno**, the artist behind **[Analog Tears](https://zadar.tv/emo-subkultura-evolucija/)**,
makes music that lives somewhere between darkness and intimacy. Originally from 
La Plata, Argentina, and now based in Seattle, he blends dream-pop, shoegaze and
cinematic pop into something** atmospheric, guitar-driven, and distinctly his own.**

His songs are full of textured guitars, hazy synths, intimate vocals, and emotional
tension, but beneath the atmosphere, there’s a real fascination with contradiction:
wanting someone close while being afraid to let them in, holding onto something 
even when you know it’s gone, and finding beauty in the things that hurt.

[Analog Tears](https://zadar.tv/ska-subkultura-ritam-zajednistva/) isn’t interested
in making music that simply sounds _good_. It’s about creating a feeling, a place,
a memory you can step back into. The result is music made for late nights, long 
drives, and those moments when your mind refuses to stay quiet.

In this conversation, we talk with **Diego Carlomagno** about the origins of [Analog Tears](https://zadar.tv/rave-subkultura-elektronicka-glazba/),
his Argentine roots, the artists and sounds that have shaped him, his approach to
songwriting and production, and the emotional space behind his music. We also look
ahead to what’s coming next and why he wants his songs to eventually become part
of stories that belong those willing to listen.

## **From La Plata to Seattle: The Making of Analog Tears**

### **You perform under the name Analog Tears, which has an emotional, almost cinematic feel to it. How did it come about, and what does it symbolize for you?**

I chose Analog Tears to represent human sound in a digital world. “Analog” suggests
something warm, physical, and a little imperfect. That’s how I want the music to
feel. “Tears” comes from the melancholy of reliving stories and moments that stay
with you. A song can bring someone back into your head, and for a few minutes you’re
living part of that story again. It isn’t always sadness. Sometimes there’s tenderness
in remembering something beautiful, even if it’s gone.

![](https://zadar.tv/wp-content/uploads/2026/09/diego-keyboard-color-1-768x1024-
1.webp)

Photo: Private Collection

### **You live in Seattle, a city with a rich musical heritage. How has the local scene shaped your sound and the way you think about music? Do your Argentine and Italian roots also influence the music you create?**

I’m originally from La Plata, Argentina, and based in Seattle. My musical identity
comes from more than one place. I wouldn’t describe Analog Tears as directly descended
from the Seattle sound, although the atmosphere here amplifies it and feels very
compatible with the music I make. It’s introspective, overcast, sometimes quite 
beautiful in its darkness.

My Argentine roots come through especially in my love of Argentine music from the’
80s and ’90s, particularly Luis Alberto Spinetta and Gustavo Cerati. I connect with
the way they bring together melody, guitar textures, and evocative lyrics. My Italian
roots are part of my identity too, although I’d find it harder to point to a specific
musical element and say, “That’s the Italian part.” It all comes through the same
person.

### **At a time when music production is becoming increasingly digital, does the name Analog Tears reflect your relationship with analog sound, or does it represent something entirely different?**

Not in the sense of being against digital tools. I work in technology as well as
music, so that would be a strange position for me to take. I’m interested in what
tools make possible.

What matters is retaining a human presence in the result. I love texture, warmth,
and the character of a guitar or a voice. “Analog” expresses that sensibility more
than a rule about how everything has to be recorded. You can make something emotionally
distant with analog equipment, and something deeply moving on a computer.

## **Soundtracking the night: Defining the Analog Tears aesthetic**

### **If you were introducing your music to someone who has never heard it before, how would you describe it in a few sentences?**

I describe it as nocturnal, cinematic pop, somewhere between dream-pop, [shoegaze](https://zadar.tv/shoegaze-subkultura-zvuk-identitet/),
and post-punk. There are textured guitars, some synths, and a sense of intimacy 
beneath the atmosphere. Music for a late-night drive, when you’re alone but still
having a conversation with someone in your head.

### **How much of your personal experiences and emotions do you weave into your songs, and how much do you prefer to leave open for listeners to interpret in their own way?**

A lot of the emotion is personal, but I’m more interested in capturing what an experience
feels like than documenting exactly what happened. You can miss someone and still
be afraid to let them close. You can want love and behave in ways that protect you
from it. Those contradictions interest me.

I tend to keep the lyrics short and leave room for the instruments to say something
too. I want to create an imaginary landscape you can travel through, with sounds
moving around you and pulling you further in. The words give you hints, but a lot
of what I’m trying to express is in the music itself. If someone connects a song
to a completely different experience, that’s just as valid. I don’t want my explanation
to close that door.

### **Has your perspective on music changed since you released your first songs? If so, in what ways?**

I think I’m becoming clearer about what I want Analog Tears to feel like. The different
influences are still there, but I don’t feel that every song needs to show all of
them.

I’m increasingly interested in intimacy, in what happens when the atmosphere draws
you in and there’s something emotionally direct underneath it. Sometimes a simple
phrase carries more weight than another layer of production. I’m learning to recognize
when a song already says what it needs to say.

## **From feeling to the song: Inside the creative process**

### **When you’re writing a new song, what usually comes first, the melody, the lyrics, the rhythm, or a particular feeling you want to convey?**

A feeling, usually, but I often discover it through the guitar. A few chords or 
a particular sound can suggest a melody, and then a phrase starts to give that feeling
a direction.

For example, with “Stay With Me” (hopefully dropping soon!), I started with the 
guitar riff that plays in the intro. Then the words “stay with me” popped into my
head, and everything started flowing from there. The song became about wanting closeness
while being afraid of what it might cost you. Once I understood that tension, I 
had something to write toward. I didn’t need the whole story yet.

### **What does your creative process look like when you hit a creative block? Do you have any rituals or methods that help you reconnect with inspiration?**

Sometimes I need to stop treating the song as a problem I’m supposed to solve. As
a producer, it’s easy to keep adjusting things when what’s missing is a connection
to the original feeling.

Going back to the guitar can help. I take away the layers and see whether a few 
chords and a melody still mean something to me. Other times, I need distance. Listening
to music or taking a drive gives an idea room to develop without constantly examining
it. I try to leave room for playing without requiring everything to become a finished
song.

### **What matters more to you, technically flawless production or the emotion a song conveys?**

Emotion. But I care about production because it can make that emotion more powerful.
A guitar tone, the space around a vocal, or the way the drums enter can change how
a line feels.

The danger is polishing something until the personality disappears. A technically
perfect performance isn’t automatically a convincing one. I want the production 
to bring you closer to the song, not make you admire it from a distance.

![](https://zadar.tv/wp-content/uploads/2026/09/diego-thinking-bw-1-819x1024.webp)

Photo: Private Collection

## **The artists behind the sound: influences and inspiration**

### **Which artists or bands have had the greatest influence on your artistic development, even if their impact isn’t immediately obvious in your music?**

Cocteau Twins, My Bloody Valentine, and Chapterhouse connect with my love of immersive
guitar textures. Depeche Mode brings darkness, sensuality, electronics, and strong
songwriting. Then there’s the tension and restraint of Interpol and Editors.

Gustavo Cerati is also a major reference for me. I’m drawn to the way he could be
melodic and emotionally accessible while still being adventurous with sound and 
language. Jonathan Bree is another reference for that cinematic, slightly uncanny
atmosphere. Those influences don’t all appear in every song, but they help explain
the different directions I’m drawn to.

### **If you could collaborate with any artist, regardless of genre or era, who would you choose, and why?**

Dave Gahan from Depeche Mode would be my choice today. His voice has this combination
of darkness, sensuality, and vulnerability that really resonates with me. I’d love
to produce a song and sing alongside him, to build an atmosphere around his voice
and explore where our voices could meet. That would be something very special for
me.

![](https://zadar.tv/wp-content/uploads/2026/09/E18DC59E-5A5E-4FBE-9C8B-DA14A197891C-
1-1024x768.webp)

Photo: Private Collection

## **Songs that stay with you: Meaning, connection and what’s next**

### **Is there one song in your catalog that holds a particularly special place for you? If so, what makes it so meaningful?**

“Stay With Me” probably feels closest to me right now, although it hasn’t been released
yet. It captures that push and pull between wanting someone close and being afraid
to let yourself go. You’re asking someone to stay while part of you is still trying
to protect yourself.

Of the songs I’ve released, I’d choose “Bleed Love Again,” my collaboration with
Vienna Vox. It’s about wanting to feel deeply, even when you know it makes you vulnerable.
I keep coming back to that idea. There’s something beautiful about allowing yourself
to care again, knowing you could get hurt.

Ironically, “Bleed Love Again” is also the least popular song in my catalog. I find
that interesting because it means so much to me personally. It reminds me that what
I feel about a song won’t necessarily be what listeners feel, and I’m okay with 
that. It doesn’t change what the song means to me.

### **How do you view the relationship between music and social media today? Do you feel pressure to maintain a constant online presence, or do you prefer to let your music speak for itself?**

Social media has helped me connect with people who might never have discovered Analog
Tears otherwise. A short guitar video can start a conversation with someone on the
other side of the world, and that’s meaningful.

There’s also a tension between making music and constantly presenting yourself. 
They use different kinds of energy. I like sharing the visual atmosphere around 
the project, fragments of songs, and moments of playing. But I want that activity
to stay connected to the music. Reaching people matters, and so does having enough
space to make something worth sharing.

### **What can you tell us about your upcoming projects, and what can audiences expect from Analog Tears in the near future?**

I’m working on an album, and I’m hoping to release “Stay With Me” soon.

I want the album to be the perfect travel companion. Something you put on during
a long drive and let become part of the landscape outside your window. But I also
want it to take you somewhere when you’re sitting still, listening with your eyes
closed. I’m imagining the songs as places you can wander through, with guitars, 
voices, and textures creating landscapes that only exist in your head.

Depending on the moment, I’d like those soundscapes to help you calm down or amplify
whatever you’re feeling. Sometimes you need music to quiet your mind. Other times,
you want to feel something more intensely and stay with it a little longer. I want
to leave room for both. More than anything, I’d love for the album to become part
of people’s own stories, something they return to because it takes them somewhere.