Carpenter Brut is a titanic force that has redefined the intersection of 80s horror nostalgia, metal fury, and pulsating synthwave. Emerging from the underground in the early 2010s with his Trilogy EPs, he quickly became a cult figure known for his electrifying live shows and unrelenting sound. A potent blend of distorted synths, crushing drums, and apocalyptic energy, his music evokes images of neon-lit car chases, blood-soaked rituals, and final boss showdowns. Drawing inspiration from the likes of Dario Argento, John Carpenter, Slayer, Meshuggah, and Justice, Carpenter Brut has carved out a universe where darkness meets the dancefloor, and metalheads and club kids alike are united in the strobe-lit haze. With boundary-pushing albums like Leather Teeth and Leather Terror, Carpenter Brut continues to defy expectations with a unique mix of humour, violence, and cinematic flair. Deliberately eluding photoshoots, little is known or seen of Carpenter Brut beyond his cutting-edge releases and immense, theatrical live shows – an artistic philosophy that spotlights the music entirely. Currently touring internationally (see tour dates HERE), working on new projects, and even exploring a clothing line, Carpenter Brut remains as unpredictable as ever.
In this exclusive interview, we delve into the creative chaos that fuels his work and the mind behind the music.
What sparked your passion for the arts in the first place? Was there a single moment or experience that solidified your decision to pursue this path?
I grew up in a family where art was at the center of everything — whether it was theater, cinema, or music. I remember watching my dad play guitar or seeing my mom act on stage. I guess, in some way, I wanted to do what they were doing.
At one point, I took piano lessons for a year, but I was more into drawing. I used to sketch a lot. Then one day during an art class in high school, I started playing around on an Amiga computer and discovered music software — trackers. That’s really when it all clicked.
Since then, I’ve always made music, whether it was with a groovebox or a computer. At the same time, I got into sound and mixing. I started recording bands, going on tour with them… and eventually, I decided to take a shot at doing music for real. After years of learning and experimenting, Carpenter Brut was born.
When you create, what leads the way – a feeling, a story, or the sound itself?
I usually start with a little scene in my head when I compose. I ask myself: what kind of moment in an imaginary movie could this be? A chase scene, a dark ritual, a sex scene — that kind of vibe. It helps me find the right tempo, sounds, sometimes even melodies.
Other times, I start with the idea of a track in the style of a band — like Judas Priest, Meshuggah, or Gesaffelstein, for example — and then I try to build a story around that. So it really works both ways.
That approach lets me explore new sounds, new atmospheres, even new genres. Of course, some listeners might not always love that. Some would prefer I just stick to one formula, and others constantly compare me to this or that artist. But for me, I need to keep trying new things — otherwise I get bored.
What’s in your toolkit? Share the gear, gadgets, or software you can’t create without.
I started out with an old Korg N64 and a Roland Groovebox 505 — or something like that, I honestly don’t remember the exact model. It was a gift from my grandparents, haha.
Later on, I bought a PC and got into Cubase. That’s also when I started recording local bands. I had a MIDI keyboard, but I barely touched it.
When I launched Carpenter Brut, I picked up the Arturia plugins and U-He’s Diva. Then, after making a bit of money, I bought a Prophet-6 for live shows, and a Pro 2. I went through a few Moogs too, but I ended up selling them all.
Eventually I added an OB-6, a Syntrx, a Minibrute, a Prophet X, and so on… but I quickly realized I’m really more of a computer guy. I just naturally gravitate toward plugins — that’s how I started, and it’s what still fits my workflow the best.
These days I keep it pretty tight: a NI Kontrol S61 MKIII, an Osmose, and two Arturia Astrolabs for the stage on upcoming tours. Studio-wise, I’ve got the Console 1 and Fader MKIII setup, three Universal Audio Apollo units, an Audioscape 260, an SSL Fusion, an SSL Bus+, and a Gainlab Audio Empress EQ — all running through Barefoot MM26 monitors and a Mac Studio M1 Ultra.
And yeah — I use Ableton Live.
What’s your go-to ritual or trick for getting into the creative zone?
Unfortunately, I don’t really have a set method when it comes to starting a track. When I first began, it was just pure excitement — the thrill of making music, discovering new sounds, having fun with it. It was all new to me, and I loved it.
But over time, so many things come into play. There’s pressure. The fear of making something bad, the fear that your next album won’t live up to the last one… and that kind of stress slowly eats away at the joy. It becomes more anxiety than pleasure.
And with the whole social media and algorithm culture, you’re expected to always be online, constantly sharing every little thing you do, trying to generate clicks, views, attention… It’s just bullshit.
So lately I’ve been trying to step back from all that noise and find my way back to the simple pleasure of just making music.
The only issue right now is that I’ve got a lot on my plate — between the album, another big project, and the shows coming up this July, it’s back to stress mode. But I think it’s still exciting, in a weird way.
What’s the one item you always keep within arm’s reach while creating or performing?
My computer — with everything inside it, haha.
How did you ultimately end up defining your sound?
I think my sound is something I find pretty quickly, because to me, sound is really just a state of mind. Then it’s just a matter of finding the right tools to make that mindset audible.
At the core, my original idea was basically to “kick ass with synths”, so yeah, that part comes naturally. But you can spend ten years refining it. And you keep evolving it over time.
If you do it right, it’s a never-ending process.
How has your creative process or perspective shifted since you started your journey?
It’s definitely changed a lot. When I started, I was just doing things instinctively, for the pure fun of it. I didn’t overthink it — I just made music because I loved it.
Now, there’s way more pressure. You carry the weight of expectations — from yourself, from the audience, from the industry. Sometimes you overanalyze everything, and it kills the vibe.
In the end, I guess the biggest shift is realizing that creativity needs space — not just deadlines and noise.
Walk us through a recording session: what’s the most memorable moment you’ve had in the studio?
I don’t really have any particular ‘studio moments,’ because I’m in the studio every day, working alone, and it’s all very scattered. Sometimes I work in the morning, sometimes in the middle of the night. It can be five minutes or twelve hours… I don’t have any sort of schedule.
So yeah, it’s not like I have these magical sessions with people or a producer where something unexpected just happens.
But I’ve definitely had moments of joy, especially when I collaborate with artists I love, and they send me their vocals. That moment when both worlds merge into one song… that’s really cool. That’s why we do this.
Are there any unexpected or dream collaborations hidden in your work?
I would’ve loved to do a track with Peter Steele, but sadly he passed away. Maybe Dave Gahan… I say maybe because I know it’s almost impossible — but hey, never say never.
Or maybe the singer from Tool. People I’ve been listening to for what feels like a thousand years.
That said, I’m kind of in a phase right now where I just want to make instrumental stuff — either short and punchy or long and progressive, but without vocals.
We’ll see what happens on the next album. I’m not really into planning too far ahead.
Any side projects you’re working on?
I do have another project I’m working on as Carpenter Brut, but I can’t talk about it yet. NDA stuff.
If it happens, it’s gonna be really cool… or at least I hope so! (There’s always that stress, you know).
Who’s an emerging artist you think deserves more recognition right now?
I don’t really keep up with new music these days, I’m too old for that now, haha.
But I do have a soft spot for Sierra. We toured together back in 2022, and she’s just a super badass artist. Her music is really cool, and I’d love to see her blow up…
Just not more than me, hahaha.
What’s the strangest or most surprising song currently on your playlist?
Something absolutely horrible by Patrick Sébastien.
That’s the thing with algorithms — you listen to a crappy song once just for a laugh, and boom, it keeps showing up in your playlist, haha.
Which song, album or playlist do you never get sick of no matter how many times you listen to it?
Pink Floyd – The Wall
Are there any unexpected hobbies or projects you’re exploring outside of your main work?
My wife and I have started working on a clothing brand, because, you know, it’s important to go out dressed, haha.
It’s something we’ve had in the back of our minds for a while, and whenever I get a break from Carpenter Brut, we spend some time thinking about it.
We’ll see if it actually leads somewhere, but it’s pretty exciting so far.
If your life and career were an album, what would its title be, and what’s the hidden track only your fans would know?
If my life and career were an album, I think I’d call it Anxiety & Synths. Pretty straightforward.
The hidden track would be something totally unexpected — like a cheesy acoustic ballad or a Patrick Sébastien remix. Just to mess with people.
But only real fans would know it’s actually the most emotional thing on the whole record. Hahaha!
Give us a glimpse into the future – what surprises or milestones are coming up for you this year?
For 2025, not much, just a few festivals this summer to stay in shape.
The album will drop in early 2026, and there’ll be several tours after that. That’s when the real fun begins. All year long, and even into early 2027 if everything goes well.
Famous last words?
Basements are where revolutions are made.
Follow Carpenter Brut:
Spotify – Apple Music – Youtube – Soundcloud – Bandcamp – Instagram
