Pinwheel Valley, the genre-blurring indie project led by Jordanian-Canadian artist Qais Khoury, returns this June 10th with their powerful new single, ‘Werewolf’, via Hot Soap Records. Fusing cinematic textures and raw vulnerability, the track exemplifies the sonic ambition that has earned the band over 2 million streams, features in CLASH Magazine, NOTION, and Billboard Argentina, plus international acclaim for their award-winning videos. Once known as KAIS, Qais’ evolution into Pinwheel Valley brings a sound that dances between Indie Soul, mellow Alt-Rock, and Folktronica, inspired by the likes of Jeff Buckley and Radiohead. With a multicultural background spanning Amman, London, Vancouver, and now Cyprus, Qais channels lived experience into every haunting melody and introspective lyric, positioning ‘Werewolf’ as both a personal reckoning and a sweeping anthem for a restless generation.
Dive into Qais’ world in our exclusive interview with him below:
Paint us a picture: 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 was nine the first time I stepped onto a stage for my school’s talent show. Nervous but excited, I was armed with a guitar and teamed up with an electric guitarist who had mastered the iconic solo from Hotel California. The lights dimmed, and before I knew it, we were performing in front of 400 people. Teachers, students, parents, all completely dialed in. Some were lifelong Eagles fans, and you could feel the nostalgia ripple through the room. Every note seemed to land just right. I even heard whistles and cheers echoing through the crowd. It was electric. But then, right in the middle of the solo, disaster struck. My pick snapped in half. I froze. As a beginner, I hadn’t yet learned how to improvise without it, and the flow of the performance fell apart. We didn’t win that day, but the reactions afterward stuck with me. “You guys should’ve won,” people kept saying. Despite the hiccup, I’d tasted something powerful. I knew I had to get back on that stage. Two years later, I returned, this time alone with a gritty 12-bar blues. No broken picks. No lost flow. Just me, the guitar, and the crowd. That year, I won. And in that moment, I knew. Music wasn’t just something I liked. It was something I needed. My calling.
When you create, what leads the way – a feeling, a story, or the sound itself?
I’ve made music in all kinds of ways. When I first started writing, it was all about feelings and stories. Sometimes real, sometimes totally made up. I’d chase a mood, a memory, or a scene in my head, and try to turn that into sound. It was messy, intuitive, and straight from the heart. Over time, I got better at tapping into that space. But now things have shifted. As I’ve gotten deeper into music theory and the technical side, I’ve found myself creating from sound itself. The sound leads, and the story follows.
What’s in your toolkit? Share the gear, gadgets, or software you can’t create without.
I use a G&L Telecaster for a darker tone, a Paoletti Tele for brightness, and a Taylor acoustic for more raw energy. My go-to amp is the Supro Dual Tone. I also use an 88-key MK7 Fender Rhodes, a Yamaha U1E upright piano, or Native Instruments plugins. Bass is typically electric or upright. For synths, I use a Moog Grandmother or Nord Stage 3. Drums are recorded with a Sonor Infinite Birch kit. I use Cubase at the studio and Logic at home. Plugins include Guitar Rig, Valhalla bundle, Soundtoys, Waves, and FabFilter. Pedals: Neural DSP Quad Cortex, EHX Superego, Strymon Flint, Boss RE-20, Ibanez Tube Screamer, and Strymon Sunset. Wishlist: Automatone CXM 1978, Hologram Microcosm, Vongon Replay Polyphonic Synth.
What’s your go-to ritual or trick for getting into the creative zone?
Capturing the spark as soon as it appears. I explore ideas immediately on piano or guitar. If I’m away from the studio, I record vocal sketches on my phone. It keeps me in the creative flow and prevents losing ideas. Just humming into the phone can lead to core elements of a track.
What’s the one item you always keep within arm’s reach while creating or performing?
Guitar or keys. They are the basis and guide for anything I’m creating melodically and vocally.
How did you ultimately end up defining your sound?
I naturally gravitate toward certain genres and over time shaped a distinct sound. I release under two names: Tea Dragon for cinematic and ambient work like The Cinematic Orchestra or Bonobo, and Nativalien for House and Electronic Dance. Categorizing helps each project stay true. I also archive anything that doesn’t resonate with my sound.
How has your creative process or perspective shifted since you started your journey?
I used to think everything I wrote should be released. Now I curate. I’ve removed my debut album and cut two others in half. I can now hear what truly represents me. The industry has also changed—playlists are gatekeepers now. You have to plan around that. Creation is still meaningful, but the strategy is vital.
Walk us through a recording session: what’s the most memorable moment you’ve had in the studio?
The moments I remember most are the late-stage sessions. When a track is nearly done and everyone in the room is locked into it. Nods, smiles, a shared energy. That’s when you know you’ve created something real.
Are there any unexpected or dream collaborations hidden in your work?
One remix single with Lonely in the Rain is in the works for 2026. I’d love to work with Elderbrook, Model Man, Keanler, and step into the Drum and Bass space with someone like Polaris. On the experimental side, Hania Rani, Ólafur Arnalds, and Jon Hopkins are dream collaborators.
Any side projects you’re working on?
Yes. Five more releases lined up this year. I also direct Hot Soap Studios in Cyprus (www.hotsoapstudios.com). This summer, I’m curating DJ and instrumental events at hotels in Larnaca through our music curation service. I’ll also perform as Nativalien with local and international artists.
Who’s an emerging artist you think deserves more recognition right now?
Semi-established: Common Saints, Harvey Causon, Maro, Sasha Keable, Matt Storm. Lesser-known: Joseph Lawrence (aka Joseph Lawrence and the Garden). Incredible voice and aesthetic. He deserves much more attention.
What’s the strangest or most surprising song currently on your playlist?
aisatsana by Aphex Twin. It’s in my classical playlist. I first heard it during the Covid pandemic. It’s strange and haunting, and always brings back a wave of isolation and nostalgia.
Which song, album or playlist do you never get sick of no matter how many times you listen to it?
‘Love You Like I Do’ by Vancouver Sleep Clinic. The buildup and drop always hit hard. It reminds me of Linkin Park, with an indie twist.
Are there any unexpected hobbies or projects you’re exploring outside of your main work?
Skydiving. I’m a certified solo skydiver with over 50 jumps. It’s an adrenaline rush, but costly and hard to access from where I live.
If your life and career were an album, what would its title be, and what’s the hidden track only your fans would know?
The album would be called To Build Things We Believe In. The hidden track: ‘Am I Magic?’
Give us a glimpse into the future – what surprises or milestones are coming up for you this year?
In a few days, my wife and I are expecting our daughter, Florence. I know it’s going to change my life, and I feel like it will ignite a new creative fire.
Famous last words?
“Never take advice from someone you wouldn’t swap places with…”
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