THE VELDT Interview

The Veldt have never tried to fit neatly into any box—sonically or socially. Their music exists in its own orbit, fusing shoegaze textures with soul-rooted grit in a way that feels both timeless and ahead of its time. What began as a natural extension of their Southern upbringing—gospel, juke joints, and blues records on the floor—has grown into a sound that resists definition but insists on being felt.

In conversation, they speak with raw honesty about race, rejection, and resilience, never asking for sympathy, only space to exist. There’s no gimmick here, no genre allegiance—just two brothers creating what they feel, and refusing to let the world tell them who that should be.

You’ve been called pioneers in blending shoegaze with soul—was that fusion intentional from the start or something that naturally evolved?

This was natural from the start and with the vibe of the music it only made sense, no one had the idea, plus my twin was singing in a juke joint band with older dudes, and I was currently playing in church, until I got fired for playing too loud…

How did growing up in the American South influence your sound and your perspective as artists?

The climate was ripe with much music as our mother had us rather young, we kinda grew up with her from James brown, Ike and Tina. My grandfather was an avid Blues lover who loved BB King, ironically he turned us on to Blondie, by buying us the single "Heart of Glass".

What’s a memory from touring with bands like Cocteau Twins that still makes you laugh (or cringe)?

We had a cringe worthy experience with Kevin Shields and Patty Smith I’d like to forget...we toured with Cocteautwins which was very successful. I liked getting drunk with Elizabeth Frazer as she was sweet as she could be and could handle her own, if you know what I mean. Liz was no punk, but she could be in the rock 'n roll kinda way…

The name “The Veldt” comes from a Ray Bradbury story—what other authors or works of fiction have inspired your music?

Issac Asimov, and that dude that did a clockwork orange and I robo

You’ve been ahead of your time in many ways—has that ever felt more like a curse than a blessing?

That depends on what context you put it in, much of the curse has always been attributed to racism, and the laziness of a&r people and those that had interest but did not want to contend with the difficulties of working with band that was racially challenged at the time, and to a point sometimes even now.

If you could time-travel back to your younger selves during the Afrodisiac sessions, what advice would you give?

Nothing, by that time we had a clear vision on what we wanted and ray Schulman was a delight to work with in every way. I’d probably fight not to have our photos on any of our releases.

What do you wish more people understood about being Black artists in a genre space not typically associated with Black musicians?

Well, I will put it to you this way: "ignorance is enduring and time is fleeting". It hasn’t been easy but after a while you learn how to just be. I’m just playing music not curing infectious diseases but people choose to act like they. Are scared more power to them, see me on stage.

If The Veldt could collaborate with any current artist—regardless of genre—who would be at the top of your list?

Any trap DJ or vaporwave DJ.

When you’re not making music, what keeps you creatively or spiritually energized these days?

My natural desire to share what I do with others to have the possibilities to touch people emotionally.

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By the REAL Editorial Team | May 19, 2025