Q&A: Late Again is Crafting a Hypnotic Soundtrack for a Restless Journey
EMERGING AS A REFRESHING VOICE — Late Again fuses indie pop, electronica, and lo-fi into a sound that's both eclectic and undeniably catchy. In an ever-evolving music scene where genres frequently blend and boundaries blur, his music stands out.
The project’s latest single, “Caterpillars,” exemplifies this fusion, delivering a melancholic yet immersive experience that lingers in the listener’s mind long after the final note fades. This track not only showcases Late Again’s unique musical style but also reveals a deeply personal narrative inspired by the artist’s own experiences.
The accompanying music video for “Caterpillars” is a testament to collaborative creativity, bringing together renowned production companies and talented emerging directors Gui Bohn and Nina Torres. Produced by Landia, with audio by Evil Twin, color grading by Marla, and VFX by Globetrotters, the video encapsulates the collective vision and artistry of its creators, perfectly complementing the song’s emotive journey.
The story behind the track is as compelling as its sound. It was born out of a real-life event: the demolition of a block next to the artist’s Brooklyn apartment to make way for a towering skyscraper. This disruptive environment, where construction noise became a constant companion, profoundly influenced the song's creation. In a unique twist, recorded sounds of pile drivers were woven into the fabric of the track, forming its core beat and reflecting the complex emotions tied to the gentrification process.
Musically, “Caterpillars” blends a hypnotic beat with psychedelic trip-hop elements, juxtaposing the harshness of construction with a melodic, mesmerizing arrangement. This sonic tapestry mirrors the diverse influences that shape Late Again’s music, drawing from the likes of Mac Demarco, Gorillaz, and Ryuichi Sakamoto, while also infusing textures from the artist’s Brazilian heritage.
As Late Again gears up to release a second EP, Absolutely Almost Sure, the project continues to push the boundaries of genre, weaving together indie, electronic, and dream pop rhythms with a multicultural narrative. The music speaks to restless souls searching for a sense of belonging, much like Rafael, the artist behind Late Again, whose own journey from Brazil to Brooklyn is intricately woven into the fabric of his work. Through sincere yet ironic lyrics and a refusal to settle, Late Again’s songs capture the essence of a modern search for identity, home, and creative expression.
Continue reading below to find out more about Late Again, his musical influences, the importance of songwriting, and upcoming projects he has in the works.
LUNA: Can you walk us through the inspiration behind “Caterpillars”? How did the construction noises outside your apartment become the heartbeat of this track?
LATE AGAIN: After a few months of hearing pile drivers 16 hours a day, I eventually got used to the construction noises and started making melodies with the different sounds in my head to fall asleep. So, selfishly, I guess “Caterpillars” was ultimately me trying to get something out of the experience.
LUNA: Gentrification is a central theme in “Caterpillars.” How does this theme resonate with your personal experiences, and how did you translate those feelings into music?
LATE AGAIN: Being an artist and frequently moving to emerging neighborhoods, I guess I'm basically the problem. And there's a lot of guilt in that. The beat is angry, but the melody is trying to keep the listener calm, which is how I personally feel about all of it. I tried to write the song as a spectator, but as you can see in the music video, there are no heroes in the story.
LUNA: The title “Caterpillars” suggests transformation. How does this concept of transformation play out in the narrative of the song?
LATE AGAIN: The song's title is pretty ironic. You know, the ambiguity of a caterpillar being the symbol of natural transformation and, at the same time... it's also the name of the biggest demolition machinery company in the world. I wanted the song to sound just as ambiguous. What is truly natural, anyway? The aggressive destructive beat juxtaposed with the melodic, meditative arrangement explores this uneasy feeling, as the pace transforms drastically throughout the song.
LUNA: The music video for “Caterpillars” is a collaborative effort with several production teams. How did the process of creating the video complement the song’s themes and atmosphere?
LATE AGAIN: We always imagined “Caterpillars” as a cinematic piece. This is probably the only song I've released so far that feels incomplete without images. Gui and Nina from Landia played a major role in shaping the song itself. I feel they helped me find a very unique way to explore this topic we're all aware of but really should not stop talking about.
LUNA: Your music often blurs the lines between genres. How does “Caterpillars” fit into your broader musical style, and what new elements does it introduce?
LATE AGAIN: “Caterpillars” definitely introduces a rougher side to Late Again. It's not an evolution, it's just another line I wanted to draw within the spectrum. Sometimes we'll sound a little more pop, sometimes we'll need the freedom to explore new experimental textures. I feel that the first 10 songs I put out will be important to get this point across.
LUNA: You’ve mentioned that “Caterpillars” reflects a struggle with being part of the gentrification problem. How do you reconcile these conflicting feelings, both as an artist and as an individual?
LATE AGAIN: I'm not sure there's ever true reconciliation. I can write as many songs as I want, and though it helps me sleep at night, I'm not sure it'll ever change the reality of things. Conflict is usually the main fuel that pushes people to create something new, and in a self-indulgent way, I try to see beauty in that. I do think brutal self-awareness can make us feel a little less crappy about it all, though.
LUNA: How did your diverse experiences living in multiple cities and collaborating with various artists influence the sound and production of “Caterpillars”?
LATE AGAIN: On a practical level, I got to meet a lot of amazing people who helped me put this project together. On a conceptual level, I realized that the tensions I watched unfold in my hometown are almost the same everywhere in the world.
LUNA: You’ve cited influences like Mac Demarco, Gorillaz, and Caetano Veloso. How do these artists influence your work, and can we hear their impact in “Caterpillars”?
LATE AGAIN: My musical background is a huge limbo. Though I grew up in Brazil, my first real immersion in music was actually around indie rock. It took me years to truly discover the amazing things that were right in my backyard. I think I was around 18 when I first listened to "Transa" by Caetano Veloso and it really just... clicked. 40 years late, but still. In songs like Caterpillars, I try to blend those two sides of the limbo. The beat is a rougher, British, Indietronica exploration. The melody is softer and inspired by Bossa Nova chords. In other songs like People Pleasers, for example, I had the honor to partner up with Arthur Verocai, one of the musicians I admire the most on this planet.
LUNA: With the upcoming release of your second EP, Absolutely Almost Sure, how does “Caterpillars” set the tone for what listeners can expect from the rest of the project?
LATE AGAIN: I see “Caterpillars” as a standalone experiment within Late Again's universe. This is something that I want to keep doing in between EPs/albums, as working on multimedia projects is something I really love. Absolutely Almost Sure is actually a more optimistic EP. I hate the idea of sounding cloying, but I’ve been trying to make peace with my past lately. This new EP is me trying to figure it out. To your point, maybe Absolutely Almost Sure is another stab at reconciliation.
