A Vintage Microphone, Mountain Ghosts, and the Cathartic Rise of RIOT SON
Punk Head: My Love Is A Promise That I Can’t Keep is framed as both personal and universal. How did the mountains themselves shape the emotional landscape of the EP, and do you think Boone will always be a part of your sonic identity?
RIOT SON: While writing this EP, I mapped out my personal story in chronological order, with each song acting as its own chapter. It’s almost like the listener is receiving a personal diary from me to them. I find solace and reflection in the mountains and their ancient energy; they give me a continuous sense of grounding when things are heavy. I always find myself revisiting my favorite spots, whether it’s by the water's dreamy edges or on the flower-riddled cliffs of the Blue Ridge.
My writing process always looks the same: I sit, reflect, and surrender. Then, the music comes to me naturally, just like autumn coming to the mountains.
Boone is a place built for students and tourists, so I’ve always felt a sense of alienation claiming it as my hometown. But it is my foundation. The sonic architecture I build on top of it will keep changing as I travel, grow, and experience new dimensions of myself. My sound is naturally shifting into a progressive, ahead-of-its-time space—taking a much more rock ’n’ roll, cathartic direction."
Punk Head: You used a dual-microphone “pyramid” technique to create a wall-of-sound effect. How does this technical choice mirror your personal journey, and does it feel like the recording itself is telling a story separate from the lyrics?
RIOT SON: The vintage 1974 Shure Sphere-O-Dyne mic that I used plays a major part in “Slowly Without You.” I love a microphone with character in it, and I wanted to specifically use it as a part of the “Slowly Without You Recipe” for good reason. My ex-girlfriend and I found the mic on Facebook Marketplace, and we bought it off some super old, sad dude we met in a parking lot. So, the mic's purpose was fated, strangely enough.
I chose to use it right when the bridge starts at: “You fell just like a shooting star, burning bright the way you are from a galaxy lost a way off so far.” To me, the microphone channels an emotion that directly belongs to those lyrics. It gives it an intimate yet longing feeling, almost like you’re listening to someone transmitting from a spaceship out in another galaxy.
This added mic, paired with my AKG C214 condenser, creates an overwhelming sense of warm melancholy carefully layered throughout the song. I strategically placed it towards the end of each chorus for an emotional buildup. For the emotional crescendo at the end of the song, I decided to use both mics, gradually increasing each vocal layer. Right before that buildup peaks, the song immediately falls into an isolated bassline before a haunting whisper—which happens to be the EP's name: 'My Love Is A Promise That I Can’t Keep.'"
Punk Head: There’s a tension between the rawness of isolation and the polish of global production. How do you maintain authenticity while navigating such high-fidelity collaboration across continents?
RIOT SON: The foundation of this EP was birthed by Manget$u, who is based out of Germany and works extensively with Ekkstacy [1]. Then, the mixing and mastering were handled by VE Beats in Canada. Working across continents, I stitched my own story onto that global foundation, sonically weaving the web to give it that final touch. The raw microphones I choose and the vocal structures I build at home are how I keep the track anchored in my own reality.
My signature sound and image are evolving into a staple that people can recognize. To maintain authenticity amidst all that high-fidelity polish, I just focus on what is emotionally right and ideal for the song. The global production gives it scale, but the core is always etched directly from my own emotional catharsis
Punk Head: You mix post-punk intensity with dream-pop textures—how do you decide when a song should feel jagged versus ethereal?
RIOT SON: It’s an internal fluctuation of emotion that has evolved into a core musical identity. I blend distinct stylistic approaches to mirror my storytelling—which is directly inspired by Appalachia—so as the narrative shifts, the tone and atmosphere naturally evolve.
My secret to this track, 'Slowly Without You,' was using a 1974 vintage Sphere-O-Dyne microphone. It adds a haunting, analog warmth that grounds the Beach House 'Space Song' style chamber effects, creating an environment that feels both nostalgic and otherworldly. To achieve that sense of 'chamber' isolation, I drew direct inspiration from Cigarettes After Sex—specifically their use of expansive reverbs and precise delays to program a deeply intimate atmosphere.
Punk Head: You’ve hinted at a cinematic visual approach for upcoming releases. How do you see the intersection of visual storytelling and Appalachian Gloom sound evolving in live shows?
RIOT SON: The completion of this EP marks a new chapter where my music is naturally evolving into a progressive, cathartic, and highly theatrical take on art-rock. I am translating my moody, intimate bedroom-indie roots into expansive rock 'n' roll radio anthems built for a grand, physical stage.
My next project—which I’m currently cutting with London producer Philip Spalding, a protégé of the legendary Martin Rushent (Joy Division, Buzzcocks, The Human League)—is by far my most daring, bold, and forward-thinking work to date.
For the live shows, the mystery and cinematic shadows of 'Appalachian Gloom' are metamorphosing into a larger-than-life, visual spectacle. We are taking this grand sonic identity to our next shows. This is a triumphant, theatrical evolution that will be impossible to ignore.
