The Colourflies | Interview

The Colourflies have never been a band to follow the rules. Emerging from Washington State’s underground rock scene, they have built their reputation on a foundation of raw energy, sharp-witted lyrics, and an unshakable DIY ethos. Their music blends grunge, punk, and alternative rock, creating a sound that feels both familiar and entirely their own. As they shared in their previous SoulRiffic interviews, their mission has always been to challenge conventions—whether it’s through their unpredictable live performances or their refusal to conform to industry expectations.

Over the years, The Colourflies have cultivated a loyal following, drawn in by their unfiltered approach to songwriting and performance. They thrive on spontaneity, often writing songs in the moment and embracing imperfections as part of the creative process. In past interviews, the band spoke about their love for the chaos of live shows, where anything can happen, and that’s exactly how they like it. Their fans aren’t just passive listeners; they’re part of an experience that is equal parts cathartic, chaotic, and deeply personal.

While their sound carries echoes of the grunge legacy that Washington State is known for, The Colourflies refuse to be boxed into a single genre. They take inspiration from everything—classic punk, experimental noise, and even unexpected pop influences—melding it all into a sonic identity that is entirely their own. Past SoulRiffic discussions revealed their belief that music should never be predictable; instead, it should surprise, challenge, and leave an impact. This fearless approach has kept them moving forward, evolving with each new project while staying true to their core spirit.

With their ever-growing fan base and an uncompromising artistic vision, The Colourflies show no signs of slowing down. They’ve made it clear that they’re in this for the long haul, not chasing trends but creating music that is raw, real, and unapologetically theirs. Whether in a packed venue or a makeshift basement show, The Colourflies continue to prove that rock music is alive and well—and it doesn’t need to ask for permission.

1. Your recent PBS appearance was a big moment. How did it feel to share your music with such a wide and diverse audience?

Mostly, honestly, I was nervous. I knew it wasn't going to be live, but I also knew it would be months before we see it air on TV. Having those big TV cameras on you is strange. Evenutually we warmed up enough for it to start feeling comfortable. I just tried to imagine I was playing somewhere else and that a hundred  thousand people weren't going to see it. On the other hand, I've loved PBS ever since I was a kid, I loved Seseme Street and have a specially affinity for Grover.

2. What kind of feedback have you received since the broadcast? Did it open any unexpected doors for you?

Yeah it definitely did. It was a huge room with really tall ceilings, so it took a while to get dialed in sound wise, and we had a violin player and acoustic guitars so it just kind of was a strange and new experience, and the interview at the end is one of the times I can remember where I was actively nervous thinking about what to say about the questions I was being asked. It was very professional and I scrawled the setlist for the show in my notebook and used it during broadcast. 

3. Did performing in that setting differ from your usual live shows? How did you prepare for it?

The feedback I've recieved mostly, is that we did something notable. It hasn't aired yet, but we took our own videos of the soundchecks and stuff. I'm as curious and interested to see it as anyone else is.

4. Any memorable moments from the trip that stand out—whether onstage, in the studio, or just experiencing life abroad?

The European tour came out of a fan in Dublin getting a hold of me and basically offering to get us some gigs over there. At the same time we were falling out of favor with our then current label. What ended up happening is we got dropped from that label as plans were being made for the tour and gigs were being booked, Kind of scrambling, we had a lead on another label and it just so happened that they had their eye on us here in America. They were out of Brighton, London, so it just had kind of a perfect synergy to where I was already going. Once we inked out details, they said send us kind of your best material for our vibe, and that started me to go crazy and put together a record really quickly. Before I know it, it's out in a week and a half and I've got a record that's selling in Europe again and I'm on my way out there. 

5. Do you hope to collaborate with any European artists while there?

Yes, I hope to record a little with Faith in Strangers as well as jam some songs with them onstage, Neil Young songs and stuff. and the Moffets also rock, so them too. 

6. DO you think the different cultures and environments will influence your music or songwriting?

yeah I can't see how it couldn't. I'm french, and my Grandmother and Great Grandmother are English. My Great Grandmother came over to the states as a War Bride during World War 2, so it's in my DNA. I'm supremely influenced by English bands, whether it be The Beatles, or Led Zeppelin or Catherine Wheel, There's a lot to draw from. To be playing in these places with new culture and new scenery truly is amazing, I would imagine. 

7. The meaning behind the name Staresque is kind of a joke on me, and aren't they all?

It's more being called a star when you're not one. I remember we had a manager when we in our early 20's and he said, " you're a star kid" and I said no I'm not. I'm not even staresque. and I sort of just remembered it ten years later. The idea is that I'm star adjacent, which is silly, but I have a lot of respected and revered famous musicians who seem to like what I'm doing, so Staresque it is and I'm okay with that. 

8. You worked closely with your producer on this project. What was that collaboration like, and how did they help shape the album’s direction?

Our sound on this record has definitely changed. Mostly from the idea that working with producers has taught me how to kind of engineer my own records, with help of course, but I know how to build up a track from the ground up. Some of the ambitious guitar work on this record does signify a progression and I suppose the dynamic control of a particular part being put down while recording. The songs seem to have a new life to them. 

9. We heard you have been working steadfastily with a producer, what does he think of your work tendencies and ability to record records and parts? 

Working with Matt is a manic experience. You'll think he's stacking so much chaos all over the place that it can't possibly work, and yet it fools you every time, and all the static works together like some mad guitar furnace. Like there was math between all the lines. You can tell he has to get the songs out, or else they will just eat at him endlessly. Almost like they are mocking him, toying with him. But he also hasn't set any of them in concrete either, and allows the spontaneous, seemingly crazy ideas to fall right onto the tracks. I see many artists trimming every edge too precisely, and also many artists too wild and ravenous for their own good, but Matt can somehow walk that line while he is recording. You don't see the picture till you're high above, but he knew what the bones were the whole time. And then he is antsy for the next one.

-Derek Hardt

Bad Penny Studios

10. Were there any unexpected challenges or breakthroughs during the recording process?

Well I recorded the solo for Rush first take, and usually we do two or three, but I recorded that and we just knew that was the one. I remember recording To Here Here When in this beautiful LA studio with a member of one of my favorite bands, he's now a part of SilverSun Pickups, I remember Green Tea being particularly easy to record and that was a breakthrough because we had been having a rough go right before that. 

11. Do you have a favorite track on the album, and if so, what makes it special to you?

My favotite song on the record is Jellyfood. It signified my life changing in a way I've never written about. It's about my sweet Hannah passing. She was my kitty for most of my twenties, and I couldn't even listen to the playback when I did my vocals on it without crying, It almost didn't make the record, But it's more about pushing on and going ahead that makes me proud of it,and musically I did everything on it so it's very personal and emotional and captures my head space at the time. There is also a sophisticated sequence of chords that I surprised myself by writing which further opened me up emotionally and led me to a very different place. 

12. With the album release and recent travels, what’s next for you? Are there plans for a tour or more collaborations?

What's next for me? Probably put out one more record this Summer, and then tour on that and do promotional stuff. I might write a record while I'm in Europe also and put that out before, but I'm thinking of a more mellow approach to what I do next, I'm 32 and will be 33 by the time I get back from tour, so I't s a lot of that whole settling down and kind of revaluation thing. I will probably be doing something with Jacob Givens and Arion from Third Eye Blind at some point though, or maybe William from Sunny Day Real Estate and Assertion. 

13. If you could describe this current phase of your career in three words, what would they be?

Rock,  Rock Lobster

14. What do you hope listeners take away from Staresque when they hear it for the first time?

I hope people take away just at least 10 percent of something they haven't necessarily heard before and on the next record we can give them 20.