Lakaff has been carving out a world of his own since 2023, blending genres with a fearless charm he calls “heart music.” Quirky, playful and groovy, his sound sidesteps labels, drawing from influences as varied as Oasis, Disclosure, Shania Twain, The Prodigy, Kasabian and 50 Cent.
His latest singles, “may.Be” and “Jambles,” spotlight the full range of his evolving artistry. “may.Be” marks his first dive into immersive audio, featuring Grammy-winning saxophonist Johnny Butler and Dolby Atmos mastering by Emmy-winning engineer Cheryl Ottenritter. The result is a lush electro groove where silky woodwinds, shimmering guitar and soulful vocals form an expansive yet intimate soundscape.
In contrast, “Jambles” is sharper and more immediate. Built around live, kit-driven percussion rather than standard drum machines, the track fuses wiry indie-rock guitars with trap-informed rhythms, creating a hybrid that feels both nostalgic and forward-looking. Lyrically, it captures fragments of Lakaff’s daily life and musical obsessions, offering a candid glimpse into his creative world.
Together, these singles capture an artist in motion, shaping a genre-fluid identity that prioritizes feeling over formula. Lakaff’s “heart music” is not about fitting into a scene, but about creating one entirely his own.
Listen in here:
Interview below.
You’ve coined the term “heart music” to describe your sound. What does that mean to you on a deeper level—emotionally, spiritually, or even physically when you create?
At a deeper level, it expresses who I am. Who I am is a byproduct of being here now. I love rock music, but it’s dead. Nor is it the only genre I listen to. It’s inevitable and only natural to embrace the music I’ve come across and create based on that.
The music came before I coined the term. I was making tunes that stuck in my head, and eventually recorded them. At a deeper level, emotionally, spiritually, and physically, I must define how I express myself, through music. Otherwise, who else can make sense of it.
“may.Be” feels like both a sonic and personal milestone for you. How did the collaboration with Johnny Butler and Cheryl Ottenritter help shape that moment?
Thank you, it is a milestone. First time I heard Johnny perform, it awed me. I felt if I can create a track good enough, he might spare his time & hop on to give a 30-second sax solo. I was wrong; he filled up the whole song and added flutes! He shaped the song to the point where he’s playing when I’m not.
Cheryl shaped the sound by making it 360°, an entirely new experience! Sound is inherently 3D, but creating the sound into a fully 3D, coming from all directions takes talent & expertise. Especially when the 12-speaker tracks need to be compatible with a binaural, headphone experience. All I do is follow her guidance & suggestions, it’s easy for me haha.
The textures in your music—especially the balance between synthetic and organic sounds—feel deliberate. How do you decide when a track needs a live horn versus a programmed beat?
For drum programming, you’re right it’s deliberate to choose a drum kit-based sound over a drum machine-based sound. I will say prior to 2023, none of my peers were in music or audio so I took it upon myself to compose the percussion. Though I firmly believe a true, great drummer can enhance a song.
About horns, I’ve heard Aerosmith having horns from their first record, and even in songs like “Cryin’,” which is very country. It doesn’t feel strange nor unfamiliar to have horns. On the other hand, my desire to collaborate with Johnny was deliberate. He’s brilliant at what he does, and I’m looking forward to the next collaborations with him.
You’ve mentioned wanting your songs to resonate with “the high school kid who didn’t make the baseball team.” What kind of listener do you picture when you’re writing?
That’s an example of people who are aspiring to do things and struggling to make their goals. So in a sense, a universal theme. I could’ve also said folks in their 30’s saving up for a home mortgage too. Like I don’t have to be a girl to resonate with the song “Wide Open Spaces,” a song I love (album too). Oh, and I enjoy watching “Tread Athletics” haha.
Dolby Atmos is still new territory for many artists. What drew you to immersive audio, and how did it change your approach to mixing and production?
It appealed to me from the first time I read/heard about it. The convincing explanation came from a YouTube video, by Colt Capperune. He addressed various arguments from skeptics. Most people won’t buy 12 speakers & listen to music on their headphones so what’s the point? His responses were pragmatic, detailing how Atmos encodes so it’s about sharing the immersive experience to listeners in formats they can access. The accessibility and flexibility of Atmos drew me in deeply.
Since “may.Be,” I’ve done sessions with Cheryl for upcoming releases. She’s both a sound designer & an immersive engineer. I go with the flow and entrust her expertise. My approach to mixing & production remains the same; let Cheryl cook it. I can’t replicate what Cheryl does. It’s phenomenal how she makes sound an interactive experience.
Your path started with French horn and euphonium—definitely not the typical gateway instruments for a genre-blending artist. Do you think that classical background still influences the way you think about arrangement and structure?
No, I think the music that’s influenced me has more direct classical influences such as Pink Floyd and others. Rather than a symphony, I’ve drawn inspiration from how Chemical Brothers and the Prodigy would arrange eclectic samples to create those iconic tunes! The complexity in what those guys did was awesome.
“may.Be” has this subtle duality—melancholy yet hopeful, intimate yet cinematic. Was that contrast intentional?
Maybe, haha. I wanted to try out having percussion at the start, then reintroducing them to create impact. Johnny’s sax & flutes enveloping the tracks I laid down contributes to the cinematic sound. Melodically & lyrically, I wrote about moments of uncertainties, and then reaffirming my aspirations. To answer your question, yes it was intentional as I created the song but I didn’t plan it out to have a contrast/duality.
What did you learn from seeing artists like Bruno Mars, Lady Gaga, and Chris Stapleton perform at the Grammys that you brought into your own craft?
I think a big part of music is hearing it performed live. I messed up by trying to film Sabrina Carpenter’s performance on my phone, so the artists you mentioned are the ones I got to listen to transparently. There’s just something to a great performance! Have I brought any lesson from the Grammys into my own music? Not yet, hope to do so surely. I mean, I’d like to gradually reach that type of vocal prowess.
The visuals for your releases are consistently strong. How do you and Masato Okano approach translating the music’s energy into imagery?
So far, I’ve sent Masato a few images relevant to the song and asked him to incorporate them into the artwork. Masato crafts the artwork by listening to the tracks. He’ll find a way to incorporate the image into how he’s vibing.
“may.Be”, I sent him an image and the artwork he sent me did not incorporate whatever I sent. I loved what he did, and I don’t recall the image I sent, so he did one heck of a job! I trust Masato’s instincts and he’s got an amazing style to his craftsmanship.
As your sound continues to evolve, what do you hope “heart music” represents five years from now—not just for you, but for your listeners?
At least a great catalog. I try my best to make music I can be proud of, and not lament. To my listeners, whomever are, I hope “heart music” brings them joy. At a deeper level, it’s up to the listeners themselves to see what it represents for them.