Interview with Project:Heavensent
"I Didn't Want To Write One of Those Generic 'Breakup Albums'"
Back in May, I sat down with Adam from Project:Heavensent for an interview, where he told me, "This album was necessary to keep me sane through a rather tumultuous time", and we dove deep into how his ethics—especially veganism and animal rights—shape his creative world. Now, with "4940 Days" fully finished, I've caught up with him again to see where he's at: What's changed, what he's learned, and how the stories in the new record reflect everything he shared before.
Anne:: Last time we spoke, you told me, writing the songs on your new album, "4940 days", has been necessary "in keeping you sane through a rather tumultuous time." Now that the album is finished—looking back, do you feel it brought you the catharsis you were hoping for?
Adam: It's a bit difficult for me to say, actually. Did it provide some catharsis? Yes, I think it did. It helped keep me grounded—it offered me something to focus on, somewhere to channel my thoughts and emotions while in a particularly dark place. That said, I'm not sure it was what I'd hoped for. When I started writing, I was not even sure I had any particular hopes at all—I just felt compelled to make something. There are many days when I'm still struggling, and I don't think making a record was ever going to fix me. Nevertheless, I'm so glad I made it. It was a big step in the right direction, and I'm definitely in a better place than where I started.
Anne: You said the album was a kind of "lifeline" for you. When you listen to it now, does it sound more like a farewell or a new beginning to you?
"Making '4940 Days' helped keep me grounded"
Adam: It's definitely a farewell. The whole time I was writing, I was looking back into our history, the mistakes we made, the hurt we caused. The whole record is steeped in nostalgia, which is a vibe I often both enjoy and try to capture. In and of itself, there's nothing particularly optimistic or "forward-looking" on the album, but I think in making it and getting it out into the world, I can start looking to something new.
Anne: The record comes out exactly one year after your breakup. Was that date a conscious ritual for you—a way of closing the chapter—or more of a coincidence?
Adam: Serendipity, mostly. I couldn't make a conscious effort to release it on any particular date because I had no idea when it would be finished. If I'm honest, I'm surprised I managed to get it done as quickly as I did. My typical turnaround for projects of this scope is much longer. But, I was applying the finishing touches around June/July, I sent it out to a few friends, and they said it was sounding good. So it was around that time that I realised I could release it exactly a year to the day. It would give me enough time to put together the artwork, upload the masters to distribution platforms, and do marketing things (like this interview). But more than anything else, it just seemed appropriate. The record is so much about remembering, catching small moments and committing them "to tape", so to speak, and to me it's become greater than the sum of its parts. So having it forever connected to October 10th is another little piece that contributes to the story.
Anne: You said to me you think you told a really unique and valuable story. Do you want to tell my readers a bit more about this story
Adam: I'd like to keep it mysterious, I think (smiles).
But no, I can provide some insight here. It's unique in the sense that I'm the only person who could've told this story. I have a unique set of skills, and I applied all of that to the fullest extent I could, not only in the writing itself, but also in the feel and aesthetic of the record. I went to great lengths to make the physical space a part of the sound; all of the photos for the artwork were captured in or around the house at the time of recording, and the lyrics are incredibly specific, to the point where there are certain lines I worry won't make sense to anyone (laughs).
Obviously, I'm not the first person to go through a breakup, and the last thing I wanted to do was write a generic "breakup album"—it was something I was quite conscious of, actually. But then it never really was just about a breakup, I suppose. I was open, honest, vulnerable, and did everything I could to capture the entire story. It's me in every sense. And I think that's where its value lies. It's raw, real, and deeply emotional. I feel better for having made it, and I hope anybody who takes the time to listen to it will have an emotional experience of their own.
Anne: In songs like "(A Lesson In) The Value Of Things" and "Home (sic)" there are strong themes of memory, loss, and home. Did you consciously work with these motifs, or did they come out more intuitively?
Adam: A bit of both, maybe. The record was always going to be about these things, given the circumstances. I couldn't have written about anything else if I tried (laughs). These are two interesting examples, actually. "(A Lesson In)
"The Value Of Things" was originally a poem. The realtors came around and put the "For Sale" sign up in front of the house, which I apparently found emotionally confronting. So I went for a run, ruminated on these emotions, and then wrote about 90% of what would become the lyrics in under an hour. It was the most "stream of consciousness" writing experience I've ever had, and before I knew it, I had this piece of work I was incredibly proud of. I wasn't even sure if I would find a way to put it to music, but I had this little idea tucked away that I thought might work (the initial chord progression you hear at the start of the track). I'm really pleased with how it turned out.
"The whole record is steeped in nostalgia"
"Home (sic)" was almost the opposite. I had the basic idea for the lyrics prior to writing the album, and most of them were finished before I'd even recorded the instrumentals. But as soon as I had the first line ("Do you remember the old place?"), I knew it was going to be about that sense of home, of belonging, of safe spaces. You might have noticed that it plays out in a sort of reverse chronological order. It wasn't intentional at first, but I think it worked out really well. It gives the end of the record an almost overwhelming emotional weight and a sense of closure.
But to come back to the initial question, a lot of it was intuitive. I didn't mean for any of the songs to be about anything specific. As ideas would come, I'd write them down, expand on them, and then see where they'd fit. Anne: Your pre-released track "Torch (On)", which we already talked about in our first interview, is still a centrepiece of the album. Has its meaning shifted for you now that the rest of the record is complete?
Adam: I don't think its meaning has shifted, but I think it does get contextualised by being heard as a part of the complete record. To me, there's almost a kind of naivety to the track, both musically and thematically. It's the first one I wrote, and so I think I was still searching for direction. Though I think that works to its advantage, especially being the first whole track on the record. I was still trying to make sense of everything, and I think that it really draws you in as you get into the heavier stuff later on.
Anne: In "(My Love) You Are A Bridge Burner", you describe relationships like a movie. Do you see yourself now more as the narrator, the viewer, or still part of the scene? Phew, we're really getting into the weeds here, eh? (Laughs again)
The short answer is: it's complicated. I don't want to give too much away, but I'm definitely not a part of the movie. It's this idea of bearing witness to something wonderful, something that moves you on a fundamental level, but something where you have no control. I tried to capture this sense of helplessness, of wanting so badly to matter, to be relevant, to have influence. Try as you might, the movie plays out the same way every time. It's a tough one to fully articulate, I think. The meaning is pretty layered (as it is with most of the record). I'm more curious to know how listeners might interpret it (smiles.)
Anne: In our last conversation, you said veganism and animal rights are very important to you, but that this record was "intensely personal." Do we still hear traces of your ethical values on 4940 Days, even if subtly?
"I wanted to be completely honest and vulnerable"
Adam: I think so, yeah. I might have mentioned last time that I always try to live and act with intention, staying as close to my ethical core as I can. I don't know that any of it is particularly overt on this record, but some of the events described are rooted in choices made on the basis of core values. Perhaps most obviously, making the difficult decision to bring something to an end when you know deep down that things have run their course and that you'd rather see someone happy and fulfilled, even if the relationship needs to end.
Anne: You once told me you love using instruments in ways you're not supposed to, chasing carefully curated chaos. Where exactly do we hear that chaos on the new record, and which track benefits the most from this approach?
Adam: In general, you hear it just about everywhere. I'm doing everything on my own, recorded straight to a hard drive, which I think can have the tendency to sound flat and forgettable if you're not careful. I'm very conscious of working against that "bedroom producer" stereotype; I want my work to sound like a band capturing moments in a room. To that end, a lot of the recording was done in long takes (to the best of my ability), trying to avoid "punching in" as much as possible. There are little mistakes and idiosyncrasies everywhere; guitars might push slightly ahead, drum hits are a little off, vocal layers aren't perfectly matched, and there's extraneous string noise and amp hiss everywhere. It's imperfect, but it's human, which I think makes it relatable (and sounds way better). The most obvious "chaos" is found in the quieter sections, particularly the Interludes. None of those parts was recorded to a metronome, or even to each other. There are separate layers all doing their own thing, and yet they have this way of drifting through each other in really pleasant ways. I love playing with texture and space in this way, and I think it's a really nice listening experience as well. It can let your mind drift and relax, which I think works particularly well as little breaks between the much heavier tracks.
Anne: Songs like "A Crooked Shelf (Built For You)" or "The Last Line (Author Unknown)" feel very vulnerable. Were there moments when you hesitated about revealing so much of yourself?
Adam: No, actually. I never really hesitated at all. Quite the opposite, I was pleased to find myself being completely real and vulnerable during the writing process. I think it's something I've been striving for since I started making music, getting a little closer every time I make a record. I think maybe it's come with age, spending a lot of time being introspective, coming to terms with myself and the difficult times I've been through, and slowly becoming comfortable with who I am and how I'd like to participate in the world. I'm at this point where I want to be able to be myself without any fear of judgment or shame or embarrassment. I think that's extended to my work as well; I would much rather show my most authentic self than offer an insincere, compromised version.
Anne: In our first interview, you emphasised how important DIY culture and self-sufficiency are to you. Have you come closer to your plan of living off-grid since then?
Adam: Not in any practical sense, no. As we speak, I'm still in the same old house, waiting for an offer to come through. The plans are all still there, and I'm slowly getting a clearer sense of what I'd like to do. But it's unfortunately all on hold until we can get this place sold.
Anne: You're also releasing a one-hour behind-the-scenes documentary. What side of you or your art do we get to see there that doesn't come across on the album itself?
Adam: I've described it to a couple of friends as something like recorded therapy sessions. At the outset, I had every intention of making a proper studio documentary where you see all the gear and my writing process and all that sort of stuff. There's some of that in there, but it's not the main focus.
My interest and motivation in making it waxed and waned. I actually mention this in the documentary that I went through a period where I figured I would never finish it. I didn't think I was capturing any good footage and surmised that it would end up being a bit boring. Only in reviewing an in-progress edit and seeing the potential value and insight that it offered did I decide to try to get it done.
Another issue was simply logistics; I found it hard to focus on setting up the camera while making the record at the same time. So instead I preferred to just... talk to the camera once in a while, describing what I'd been working on and how I was feeling. It's less about the making of the record in the practical sense and more of a view inside my head and my life as I was making it, which I think is actually quite appropriate.
Anne: The heavy music scene often carries a countercultural spirit. Do you feel that veganism and animal rights still fit into that ethos today – and would you like Project:Heavensent to take a more visible role in that movement?
"I always try to live and act as close to my ethical core as I can"
Adam: For sure they do, yeah. We might have touched on this when we last spoke too. I've known a lot of vegan friends in the heavy music scene, and I don't think it's a coincidence we see a lot of overlap with the heavy/alt music scenes. As for P:H, I honestly have no idea where it all fits, either in the scene or the grand scheme of things. It's the space I turn to when I need to make art, and there are no specific rules or agenda. I haven't made a record since 2018, and I have no plan or intentions of making anything else (which isn't to say I won't, of course!). I think right now it's just too hard to say. Making the record took a lot out of me, and I'm feeling an artist's hangover, for lack of a better term. I'll let 4940 Days enter the world, let myself decompress, and then see what comes next.
Anne: I remember you saying, "Connection through art is everything." Have you already received feedback from listeners about the new songs that particularly moved you?
Adam: As of right now, nothing yet—but that's because it's not actually out yet (laugh). But I've shared it with a few of my friends, and I think it really resonated with them. Despite the story being really specific at times, I think they all still connected with the emotional intent and understood where I was coming from.
I sent it to my mum, who I absolutely adore and has always been supportive of my work and interest in music. It was too much for her, though, I think. Not that it was too heavy or that she was put off by the screaming, but the emotional content was a bit overwhelming. She's been there for me through a lot of these really difficult challenges, and so probably has a bit too much insight into the emotional turmoil I'm letting loose in the songs.
Anne: Your path took you from On Wings Of Wax to Project:Heavensent to here. What did you learn about yourself while writing 4940 Days?
Adam: Jeez, that's a lot to think about… (laughs) I think the most obvious thing is that I still have the ability to make cool music. Like I said earlier, I haven't really made anything for six or seven years. So putting together a record like this was immensely gratifying. I think it's written really well, it has artistic value, and it just sounds really good too. If you go back and listen to the early OWOW stuff up until now, my mixing is so much better. It's by far the best thing I've made, and that fills me with pride.
In the broader sense, I guess that means I still have a place in the world. Going through this really rough breakup and everything that came along with it, my sense of self-worth completely abandoned me, and I felt like I'd never really belong anywhere again. Being able to make a record like this, to bring art into the world that I feel is pretty damn good… I guess it goes to show that I have skills and insights that are of value. Even while making it, I reconnected with old friends, had healthy ways of trying to untangle my emotions, and in doing so, started to find myself again. I'm definitely not out of the woods yet, but I'm finding "me" again.
Anne: What's up next for you? Any plans for after the release? Last time you said: "Not only is animal rights important to me, but I find it a fascinating thing to think and write about." Do you see yourself returning more explicitly to these themes in future releases, once this very personal chapter is behind you?
Adam: I wish I could tell you! You probably have about as clear a picture as I do (laughs). I do have some other projects in the works with a few friends that I'd really love to get back to—perhaps we can talk again once they're ready to be heard. Other than that, I couldn't really say. I'm glad to be making art again, and suffice it to say I won't wait another seven years to release something else (probably). I've rediscovered my love for making things and have come to remember how important that is. But I tend to follow my intuition with these things. An idea will strike and I'll pursue it—it'll be a surprise to me as much as anyone else!
That aside, I really do need to focus on my personal life for a little while. I'll need to move out before long, settle down somewhere new, and start writing the next chapter. It doesn't feel anywhere near as overwhelming compared to the last time we spoke—I'm excited to move forward (smiles).
Anne: Thanks so much for your time and for answering my questions. Wishing you all the best for your plans!
Adam: Thank you! These were some proper questions! I love getting deep like this. I really appreciate your time!
"4940 Days" by Project:Heavensent was released on October 10th, 2025. I conducted the interview beforehand.
