French-born, Australia-based multi-instrumentalist and composer Sebastien Laloue returns with Old School Garage, the third album from his progressive/alternative rock project Brainsqueezed. Independently released on February 7, 2025, the album is a kaleidoscope of influences spanning four decades—from the classic rock sounds of Pink Floyd and Led Zeppelin to the grunge energy of Soundgarden and the atmospheric textures of trip-hop pioneers like Massive Attack. Old School Garage blends nostalgia with reflections on modern struggles, showcasing Laloue’s evolution as a musician and storyteller. In this interview, he shares the inspiration behind the album, the creative process of fusing different genres, and his thoughts on the ever-changing landscape of rock music.
Old School Garage is described as a nostalgic journey through the music that has influenced you over the past 40 years. What was the main spark that led to this album’s creation?
I was a teenager in the early ’90s, and my musical tastes were shaped during that time. I am a classic rock fan who grew up listening to bands like Pink Floyd, Led Zeppelin, Queen, The Beatles, Peter Gabriel, Aerosmith, and Guns’n’Roses.
The ’90s brought great new sounds in alternative rock with artists such as Radiohead, the Smashing Pumpkins, Tool, and grunge with Soundgarden, Pearl Jam, and Nirvana. I was also drawn to trip-hop artists like Massive Attack, Tricky and Morcheeba. I loved how these genres built upon classic rock roots while integrating new elements.
In the early 2000s, I shifted towards modern progressive and alternative music with bands like Porcupine Tree, Transatlantic, Anathema, Muse and A Perfect Circle. This evolution in my musical journey ultimately inspired me to create Old School Garage. I wanted to produce the music I would love to listen to.
The album blends classic rock, trip-hop, progressive rock, grunge, and alternative. How did you approach merging these diverse influences into a cohesive sound?
Thank you! Writing an album presents a unique challenge when you aim to create cohesion. If the tracks sound too similar, they can become boring; if they are too diverse, it might be hard for listeners to stay engaged. Fortunately, the sound developed naturally during the songwriting process. The tone of each track emerged organically.
I enjoy songs that blend different elements and sounds, and the final mix and mastering help maintain a sense of cohesion throughout the album. I used the same drum sound for nearly every track (except Something Very 80s) and featured the same singers across the album.
Also, it is my third studio album, so I pride myself on having developed and improved that “Brainsqueezed touch” over time that would make it cohesive enough but with a few surprises.
The cover art features a garage against an erupting backdrop. Can you talk about the symbolism behind it and how it connects to the album’s themes?
The garage truly exists; it is located in New Zealand. I loved what it represented in the heart of the country: the remnants of a different way to service car owners and interact with people.
I used the garage as a metaphor for rock music and musicians, an endangered species. The way we create and listen to music has changed dramatically over the years, and it will continue to evolve with the rise of AI tools that can produce music without human musicians. This prospect makes me fearful and sad because I believe art originates from the human soul and creativity.
So, you can picture the garage as rock music, and the blast represents change. Change is not always negative, of course. Will and how will the garage survive this upheaval? Only time will tell.
You’ve mentioned that this album leans more into progressive rock with longer pieces and intricate instrumental sections. What drew you toward that direction?
Writing songs comes naturally to me, and I don’t have boundaries or plan their length. The song guides me where it wants me to go.
I love long, thoughtfully developed songs. A song can take you on a great journey, featuring instrumental breaks and incorporating different genres all within the same piece. When it works, it’s incredible. This is what I managed to achieve with songs like Haunted Mind, For You, and The New World. I also condensed this approach in The Boy, which is very “progressive” but under three minutes!
Bands like Pink Floyd are part of my musical identity and DNA, naturally leading me in that direction.
There’s a strong contrast in Old School Garage between nostalgia and modern struggles like climate change, war, and emotional insecurity. How do these themes shape the album’s storytelling?
First, this is not a concept album. I write songs based on my emotions and values. I live in today’s world, and these themes are prevalent everywhere. While the music has a vintage vibe, the lyrics reflect how I see today’s world.
The use of both male and female vocals is a unique aspect of this album. How did you decide which voice would suit each song, and how did that influence the final sound?
I have worked with Marcello (male vocals) and Audrey (female vocals) since Scarred. We know each other well by now. When I write songs, I don’t initially think about whether a male or female voice should sing them; that consideration comes later when I determine what would blend best with the tune and the production. Most of the time, these decisions come naturally. Occasionally, I challenge myself to think outside the box.
For example, Do You Really Dream was initially written for Audrey to sing, but it ultimately ended up being performed by Marcello as the lead, and I love how it blends with the female backing vocals. I took a gamble with Fix the Play, which has a more rock-oriented sound, and chose Audrey to sing it. And it works great. There are also other songs that I wrote explicitly with their voices in mind.
Looking back on your journey from Emotions to Scarred to I Am Not a Robot, how do you feel Brainsqueezed has evolved musically and lyrically?
I’ve found a good balance between my rock and blues roots and electronic or cinematic sounds. I also feel more entitled and confident when creating songs that stray from the typical pop-rock format, allowing for more instrumental development and complexity. As I get older, my experience and expectations are more reflected in my lyrics.
The production is also much better album after album. I had the chance to work on Old School Garage with very talented and experienced sound engineers. One of them got a Grammy and has “golden ears”.
This album marks your second full-length release since moving to Australia. How has that relocation influenced your songwriting and creative process?
I Am Not a Robot was influenced by my move to Australia. I wrote and produced it during the pandemic amidst several tough lockdowns. The need to escape was significant for me and is reflected in the lyrics. Musically, two songs are dedicated to Australia: Down Under, which captures the excitement of discovering a new country, and Black Summer 2019-2020, which relates to the dramatic bushfire season that occurred during that time.
While Australia is now my home, it did not directly influence Old School Garage. Common themes are present, but it isn’t connected directly to Australia.
Some of the tracks on Old School Garage feel immediate and raw, while others are more atmospheric and intricate. Did you find one style more challenging to write and record?
I enjoy both music styles and feel comfortable writing songs in both areas. As I mentioned earlier, songs come to me naturally.
The production and mixing process comes quickly, as working on the song’s colour and production is part of my songwriting process. The challenge lies in creating something different from what has been done before. I have many influences and strive to integrate them into my work.
The difference is more during the production and the mix when rock songs focus more on groove and energy. At the same time, others take you on a different journey with many layers, instruments, and intrications.
Brainsqueezed started as a solo project, but you’ve collaborated with studio musicians over the years. What was the recording process like for this album?
I use online platforms where musicians offer their services. I submitted my files and requested that they perform and send me the tracks. For Old School Garage, I sang on the demos and asked Audrey and Marcello to provide vocals and add backing harmonies. We iterated on the tracks, and when we were happy with the results, we considered it finished. Having recorded three albums together, we know each other well, making the process easier. I love it when they come up with suggestions and surprises.
I sent Hugo the tracks for the saxophone parts and gave him a few guidelines about what I was looking for. From there, it was up to him, and he never disappointed.
I also worked with two fabulous engineers for the mix and the mastering. This is when you need to be in the studio. The process was easy as we were on the same page, and they made great suggestions that took the album to another level.
Was there a specific song on Old School Garage that took you by surprise in terms of how it evolved from concept to final recording?
The New World has evolved significantly, taking me to places I have never been or expected. It was built piece by piece and has now become what it is. It incorporates electro, ambient and post-rock elements, and making these genres work together was challenging. It all comes together wonderfully!
I faced challenges with Breaking Down These Walls. I began with many layers and instruments, which did not work well. I restarted with just the piano and vocals, gradually adding a few elements here and there.
What’s one key message or emotion you hope listeners take away from this album?
That’s a cool album! I want to listen to it again and share it with my friends!
If you could play Old School Garage in its entirety in any dream venue, where would it be and why?
Not in a garage!
I live in a beautiful country close to the sea. I love to walk and listen to music on the coastal walk. But this is not a dream venue because I can do this daily.
A dream venue with high volume and a top-quality sound system could be in the desert. The desert doesn’t create echo or reverb you don’t want, which could alter your sound. It is quiet, so it would be somewhat disruptive. If you listen to Old School Garage with good gear, you can enjoy the different layers and instruments better.
Now that this album is out, what’s next for Brainsqueezed? Any upcoming live performances or future projects in mind?
Let’s see how the album performs and where it lands. It has started well and is being received positively. I am working on other songs, but my progress is slow, so don’t expect anything too soon.
Listen to Old School Garage on Bandcamp. Follow Brainsqueezed on Facebook, and for more info visit their website.
