Nothing is Real: An Interview with the Band Meltway

Meltway builds songs that blur the line between chaos and calm. On their album Nothing Is Real, they weave together heavy distortion, shy vocals, and unexpected hope into something raw, loud, and strangely beautiful.

I caught up with the band to talk about how they shape their sound, what touring taught them, and why sometimes the best creative move is making mistakes on purpose or stepping away from the noise entirely.

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Hey, thanks so much for doing this, guys! Really appreciate you taking the time. Let’s jump right in: What’s the usual starting point when you write a song, and does it shift depending on who kicks it off?

Mathias: I’m Mathias, lead singer and guitarist in Meltway. I usually kick things off with a programmed drum beat, followed by a chord progression, a guitar melody, or a riff. When something - whether it’s the atmosphere or a specific guitar sound - catches my attention, I usually slip into a flow state, letting sensations guide me as I explore more guitar parts, bass lines, or vocals. It’s not about structure at first; it’s a bit messy, really. To me, ít’s all about getting lost in a feeling that’s worth following and exploring.

That whole idea of letting sensation lead is really powerful, especially for the kind of atmosphere you guys create. On that note—why did Nothing Is Real feel like the right album title? What does it reflect about the music or mindset behind it?

Mathias: “Nothing Is Real” felt right because it captures the album's duality - nihilistic yet liberating - while still feeling open to interpretation. That contrast mirrors what we’re doing musically: a synergy between the euphoric, noisy and blasting guitars and the more introspective, shy, and disillusioned lyrics - and vocal work. While it wasn’t intentional, the result ended up feeling generally hopeful and freeing. The in-your-face instrumentals outshine the darker lyrics, making the songs feel more embracing than bleak. The way I see it, these two counterpoints find release in each other - like when you’re embracing “negative space” and a blooming soothing space appears out of it. 

Love that contrast you’re talking about—how something heavy can actually open up into something freeing. Speaking of unexpected turns, how have surprises or mistakes during writing or recording shaped your songs? Can you share an example?

Mikkel: I’m Mikkel and I play bass and sing backing-vocals. A clear cut example of this is when I wrote/recorded the demo for “Dream Punk”. I was still kind of new to recording by myself, and I somehow lost the time-grid a little bit, which caused some weird rhythmic “stutters” in some of the changes between song-sections. When I played the demo for the guys I told them that those were recording mistakes, and that the music was supposed to be in regular time, however, they thought it sounded cool and we ended up using these stutters in the final arrangement of the song. 

That’s awesome—you turned an accident into a signature move. That kind of makes me wonder: your vocals sit inside the mix instead of riding on top, which is unusual. Why go that direction, and how does it change the emotional feel of a track?

Mathias: Even though we push the genre here and there, with elements of grunge, punk and metal f.i. - ‘Nothing Is Real’ is very much a shoegaze record, in my opinion. Noise is an interesting musical expression tool that can either camouflage or amplify, depending on what it’s paired with. That contrast between shy vocals and heavy, distorted guitars felt fitting for the album’s emotional palette. Letting the vocals sit within the mix brings out the warmth and intensity of the guitars. They wrap around the melodies like a warm blanket, burying hidden truths and echoing the abstract lyrics.

Totally makes sense—like hiding meaning inside the noise instead of spelling it out. Speaking of someone who understands that dynamic perfectly—how did the Simon Scott mastering collaboration happen, and what did it change about the record?

Mathias: I had worked with Simon before under my electronic pseudonym 'Amphior' when he mastered my ambient record 'Another Presence,' and it was a great experience. So, when it was time to master our debut, it was a no-brainer to bring the shoegaze-legend on board. Simon worked his magic with some refreshing EQ tweaks, gave it a more direct sound with solid compression, and generally made everything feel more accessible and hi-fi, while still keeping the raw energy we wanted.

That sounds like the best-case scenario—bringing someone in who just gets it without sanding down the edges. Is there a sound or feeling you’ve been chasing but haven’t fully captured yet?

Mikkel: Actually, not really. I feel that with “Nothing Is Real” we really achieved the vision we had for the sound and feeling of the record. The vision was partly shaped by working on our first release, the EP “Everytime”, where we chased the sound of dreamy, shoegazy indie-rock. We fully realized this vision on “Nothing Is Real” in a way that we are all satisfied with. We are currently working on material for a new EP, which is very much inspired by our experiences from touring with “Nothing Is Real”. The process is shaped by what we learned about elements of our band that work well on stage, and also simply what we think is fun to play. The sound is more aggressive and outgoing. We explore more playful arrangements and some darker atmospheres on occasion. We don’t currently have a release date, but we hope people will tune in to this next chapter of Meltway, when the music is ready.

That’s exciting—you can already hear the evolution brewing. After playing shows across Denmark, Germany, Poland, and beyond—how has the expanded lineup changed your live show, and the way you connect with the crowd?

Mikkel: The experience we gained from touring with “Nothing Is Real” mostly revolves around being more outgoing and trying to invite the crowd into our world. We’ve definitely fallen into the stereotypical “shy, introverted shoegaze performance” in the past, which we are now trying to break out from. It is also reflected in the sound of our new material, as mentioned above.

You can feel that hunger to connect, even just reading about it. Beyond the music, what does each band member bring to Meltway—personality, energy, or mindset-wise?

Mikkel: If I were to give my quick 2 cents for non-musical contributions from each of us it would probably be:

Mathias has a lot of crazy quirks and is a very funny (sometimes unintentionally) person to be around.

Thomas (guitar) is very good at seeing the big picture and has a great overview in practical matters.

Kristoffer (guitar) is studying journalism and has great craftsmanship in writing, which is a huge asset when writing PR-material or applying for funding.

Magnus (drums) has taken a music management course, and is currently working part time at a management agency, which gives him insight into the “bureaucratic” aspects of having a band. 

And I am the physically strongest member of the band, which comes in handy when hauling gear. My affinity for exercise also means that I rarely drink alcohol and gladly resumes the responsibility of designated driver.

Haha, hey—those practical skills are half the battle sometimes. With three guitars in the mix, how do you keep them from stepping on each other? Is it a system, or something you just feel out?

Mikkel: There’s definitely a system in terms of arrangement-awareness; like being mindful of where in the overall register each guitar is playing. How each guitar is utilized is also a big consideration. There’s a pattern of one guitar playing noisy-chords, another one playing an arpeggiated part and a third playing something melodic, which we use a lot on the album. Another tool can be to have multiple guitars playing different voicings of the same chord(s), or having them just playing the same part in unison for a grander sound. Sometimes an arrangement-idea works on the writing process, but doesn’t translate well to actually playing it, and then we find the solution together in rehearsal. Also, another important factor is to not  be using all three guitars at all times.

That “knowing when not to play” wisdom is underrated. How do you personally balance chasing perfection with trusting that something’s already good enough?

Mathias: As I’ve gotten older, I lean more toward precision instead of endlessly chasing possibilities—especially with mixing and production. I’ve learned that when something feels satisfying, that’s usually a good place to stop.

I also step away from a mix for a couple of days; if I still feel good about it when I come back, then I know I’ve probably landed in the right spot. If not, I’ll tweak it a little.

Having the whole band involved in mixing helped a lot too—it wasn’t just me stuck in my own head.

In the end, I think balancing that chase is just part of being human—trusting yourself without overthinking everything.

Just for fun—what’s one non-music thing you’re obsessed with right now?

Mathias: I’m kind of obsessed with peace and quiet right now, haha. A bit ironic for a noise rock singer screaming into megaphones - but honestly, I think silence is sacred. Just sitting still and letting whatever sensations come up do their thing, while you observe without judgment. something is healing about that. Blissful peace for a little while.

Also - spareribs! I’m obsessed. My girlfriend introduced me to the restaurant ‘Bones’, and now I feel like I’ve discovered spare ribs for the first time in my life. It’s beautiful.

Mikkel: I’m big into PC-gaming and the new Doom-game is right around the corner. I expect it will be dominating my spare time the following weeks, if not months.

Love it—balance out the peace with some full-blown chaos. When you hit a creative wall, what’s your go-to move to get unstuck?

Mathias: Sometimes I check out new bands my friends have suggested or that I’ve discovered on my own. Sometimes I do nothing. Try not to force it.

Mikkel: I try to get some kind of breakaway from my usual routine. Going out, meeting some friends I haven’t seen in a while or maybe even going to a new place or social gathering by myself. I’ve been getting into nordic folk dancing lately and it's a great way to do something music related that’s totally different from how I usually engage in music. 

That’s amazing—moving your body to spark new ideas. What’s something totally unexpected that’s shaped the way you play or write music today?

Mathias: I think there’s something hidden deep down in me that wants to come out on stage. The unexpected part is how I’ve started leaning into a more outward, unfiltered kind of expression when I perform - which totally clashes with my usually introverted nature. But it’s great! There’s something really powerful about feeling yourself evolve through expression. It’s part of what makes music so special.

Mikkel: I used to write music and demos by writing everything down in a music-notation software, and have it play the music for me. Now I’ve learned to use the basics of Ableton, so I can actually record/program instruments and work with a more accurate approximation of where I would like the music to end up. It’s a much more efficient, inspiring and fun process.

That’s a great lead in to our last question. How do you personally balance chasing perfection with trusting that something’s already good enough?

Mathias: As I’ve gotten older, I’ve started leaning more toward precision than chasing endless possibilities - especially when it comes to mixing and production. I’ve kind of learned that when something feels satisfying, that’s usually a good place to stop. Trust that it’s good enough, and move on.

Because of the whole “deafening” phenomenon - where your ears just get too used to a sound - I’ve made it a habit to step away from a mix for a couple of days. If I come back and still feel good about it, that’s a sign I’ve probably landed in the right spot. If not, I’ll tweak things a bit to see if I can fall in love with it again, haha. Having the whole band involved in the mixing process helped a lot too. I wasn’t stuck in my own head with every decision - there was a shared trust in each other’s ears, and that made all the difference.

In the end, I think that balancing act is just part of being human - learning to trust yourself without getting in your own way.

Such a human thing—to know when to get out of your own way. Well, awesome! Thanks again for taking the time to dive into all of this with me. Really appreciate how thoughtful and open you guys were with your answers. Can’t wait to hear what’s next for Meltway and to catch a live show when the new songs hit the stage!