Inside the Mind of mxguinness: Crafting Emotion Through Structure, Not Spectacle
Punk Head: You’ve described “Viventis” as “simple beauty in sound.” What does simplicity mean to you as a producer — especially in a genre that often thrives on complexity and maximalism?
mxguinness: For me, simplicity is honesty I think. Electronic music can get crazy real fast, but I’ve learned that not every idea needs ten layers to be meaningful. Vivientis has ups and downs and an arp that stays true to the track, the backing chords are meant to give it an identity. Also, simplicity is about clarity of emotion: no clutter, no ego, just sounds that breathe and tell a story. When I strip things back, I feel like the listener actually hears the heart of the track instead of getting lost in fireworks.
Punk Head: You’ve returned to producing under your own label, with full creative control. Was there a moment that made you decide, “I’m doing this entirely on my own terms”?
mxguinness: I think every artist eventually hits a point where they stop chasing approval and start protecting their joy. For me, it was realizing that the moments I felt most connected to my music were never the ones where I was trying to impress anyone or fit into a scene. They were the quiet late nights, the experiments, the tracks I made just because the idea excited me. There was this shift where I stopped asking, “Will people get this?” and started asking, “Does this feel true to me?” That’s when everything clicked. When I create from that space, I feel grounded, playful, and curious again. And those are the qualities that made me fall in love with making music in the first place. So building my own label and doing things on my own terms wasn’t some big dramatic rebellion. It was more like coming home to my own taste. Trusting my instincts, being okay not chasing trends, and giving myself space to explore without permission. If people connect with what I’m building, that’s amazing, but the mission now is authenticity before approval. The art leads, everything else follows is my thoughts on this.
Punk Head: You mention using multi-layered synths and basslines — can you walk us through your approach to building atmosphere? Are you chasing emotion, groove, or a specific mental image when you start layering?
mxguinness: Honestly, for me it’s not some mystical “close your eyes thing” or any mental image or anything. It’s more like: get the foundation right, or the rest is useless and atmosphere comes from structure. I like the challenge, the process... I usually start with harmony or a drones that sets the key space and I love using Ab or E,F ands Gs, minors of course, then I’ll build bass architecture underneath it, the sub is the thing. The bass isn’t just “low end,” it’s the scaffolding. Once that’s solid, you can stack textures without everything turning into a mess. Synth layers aren’t about quantity, they’re about function. I’ll take a single patch or midi made or something, duplicate it, detune and modulate a few parameters, maybe split voices across layers so each layer has its own job in the stereo field. LFO tool here of course...Then subtle phase play, envelope shaping, filtering that evolves over time. That’s what gives atmosphere movement, not just slapping reverb on everything and calling it cinematic. Emotion shows up naturally when the engineering is right. If a pad is breathing and the bassline has weight and movement, your brain fills the emotional gap by itself. And yeah, I nerd out about it and I love it. Building worlds is cool like I did in video game dev time, but building sound systems inside those worlds is even better, to me.
Punk Head: Your return feels like both a rebirth and a continuation. How has your relationship with electronic music changed since your early production years?
mxguinness: Back then I was trying to prove I could do everything at once, I also didn't focus on the biz side of things either, which was both good and bad. Good because allowed great expression, bad because I did not excel in protecting what I made, but that is all ok, I hope some ppl have used my tracks or work and I love that actually. Also back then was faster drums, more layers, more clever whatever. It was basically a “look what I can do” era. Fun, but chaotic. Alot of DJ time was doing things on the fly and that was great too. Now I’m interested in control and intention hopefully with business acumen thrown in. Instead of stacking 40 things, I’d rather have four things that actually matter and interact properly. Good sound design, proper gain staging, space that breathes… that stuff hits harder than just throwing complexity at the wall. I don’t feel the need to impress a scene or chase whatever subgenre is trending for five minutes. There’s no scoreboard. I just like building systems, refining ideas, making things that feel architected instead of overcaffeinated. The love for the craft never changed, I just got better at not wasting time on noise for noise’s sake. Less sprinting, more precision. When you stop trying to show off, the music gets better almost by accident.
5. Punk Head: Glasgow has such a rich underground electronic scene — from industrial techno to melodic house. How has the city shaped your creative outlook?
mxguinness: Glasgow is amazing. There’s grit, warmth, history, humour sharp enough to cut glass, and a community that really feels music. It isn’t just nightlife here, it’s culture and it's creativity, curiosity, stubborn passion, and heart. People will wreck you with banter then make sure you’re fed and get home safe. That honesty seeps into your soul. I’ve lived many places in my life, and have seen different scenes and cultures, and those experiences mattered… but nothing felt as natural or as real as this place. This became home not because I started here, but because it just fit who I am. And there’s a legacy here too. So many huge artists came out of Glasgow by being unapologetically themselves. That energy still lives in tiny venues, late-night studios above corner shops, and the conversations you overhear on Sauchiehall at 2am. You can’t fake anything here. Glasgow sees through it instantly. The city pushes me to stay authentic sonically, personally and creatively. To let the rough edges breathe, trust emotion over polish, and build music that actually means something. Glasgow really is the best, and whether I intend it or not, there’s always a piece of this place pulsing in whatever I make.
