Photo by Maud AnyWays
The musical journey of My Raining Stars began in 1998 as a solo project for French musician Thierry Haliniak. His formative years in the early 90s band Nothing To Be Done instilled in him a deep appreciation for the sounds of the time, particularly the C86 movement and the iconic labels Creation Records and Sarah Records. This early exposure shaped his inherent ability to write classic pop songs. For the subsequent decade, Haliniak honed his craft through 4-track demos. A turning point arrived when Didier Frahier (an ex-bandmate from Nothing To Be Done) offered his expertise in re-recording and rearranging, leading to the 2008 release of My Raining Stars’ debut album, From St Saviour To Quickwell (initially on CDR and later digitally with Believe). A digital EP, Obvious Reasons (featuring lyrics by Gilles Ramey), followed in November 2020.
This period also saw the formation of Meyverlin, a side-project with Ramey and Philippe Lavergne (formerly of Freluquets), exploring classic guitar indie pop on their 2021 debut, Daily Events, and a more 80s/90s electropop sound on 2023’s Therefore, both released by Brest, France label_Too Good To Be True_. Returning to My Raining Stars in 2022, Momentum is the second album fleshed out with the contributions of Casper Iskov, who has brought live drums and a more detailed sonic palette to My Raining Stars. Despite the prominent effects, the band’s indie pop foundations remain solid, ensuring the songs never get lost in the haze. “For Good” has a nostalgic pre-late ’90s indie rock vibe, while “Better Life” evokes the baggy sounds of early-‘90s Britpop. “Special Place” offers a moment of romantic sincerity, a sentiment that surprisingly persists even through the shoegaze layers of “Stop the Time.” The bright, jangly “The Cost Within” provides a summery contrast to the album’s darker emotional depths, most notably the harrowing lyrics of “Void,” which delve into depression. “Momentum” ultimately succeeds in weaving its shoegaze inclinations with its indie pop sensibility to create a collection of heartfelt songs.
Much appreciation to Thierry for answering my questions.
James Broscheid: My Raining Stars began as a solo project in 1998. What prompted you to start this project after your time with Nothing To Be Done? What creative urges were you looking to fulfill?
Thierry Haliniak: I was naturally invited to leave Nothing To Be Done around 1994 or 1995 because I wasn’t progressing at the same pace as my friend Didier Frahier (now heading up E-grand) who co-composed with me, it’s true that I had other interests at the time like tennis, my other passion alongside indie music. I let some time pass, but I quickly realized that I missed composing, which is why I got back into it in the late ’90s by investing in a Tascam cassette recorder and a Boss DR-5 drum machine. I then moved forward at my own pace, with no pressure, letting my inspiration flow freely. It was exactly what I needed, because in Nothing To Be Done, I was falling behind, Didier had a much greater artistic maturity than I did, I was slowing him down, and I eventually fell out of sync with him. In terms of creative direction, compared to what I was bringing to Nothing To Be Done, I refined my style, composing songs that were probably more indie pop and less shoegaze.
JB: Nothing To Be Done shared the stage with some personal favorite bands in The Boo Radleys, Adorable, and Moose. How did that experience shape your musical aspirations and the direction of My Raining Stars?
TH: To really understand my musical journey, you need to know that I grew up in a tiny village in the Yonne region, Saint-Sauveur-en-Puisaye — a place very far removed from the world of indie pop. Musically, I listened to whatever was playing on the radio, mostly commercial stuff, so when I arrived in Lyon in 1989 to finish my studies, it was a real shock. That’s truly where I discovered indie music, which would go on to change my life, thanks to access to magazines like NME and Melody Maker — publications I hadn’t even known existed — even though in France, things were starting to move too, with the indie magazine Les Inrockuptibles and Bernard Lenoir’s radio show, the French equivalent of John Peel. Most importantly, there was a small indie club called the TOY where the DJs only played the very best indie/shoegaze/baggy/brit pop. They were right at the cutting edge of new music, regularly traveling to England to stock up and return with tons of vinyl EPs. Access to that music came both suddenly and relatively late for me — I was already 23 years old. Between 1990 and 1995, I completely threw myself into it; I bought almost everything new that came out. It was also during this period that I made my first trips to England to see my favorite bands live, like Adorable and Oasis (my first two real indie musical crushes), both of whom I saw live more than ten times each in England. At the same time, in 1990, I started my first band, Nothing To Be Done with my friend Didier. We had met at the TOY — we were both wearing Stone Roses t-shirts, which naturally brought us together! We were lucky enough to open for some of the bands you mention (including our first gig opening for Adorable in Zurich — a band I already knew well — thanks to their kindness and trust). I soaked up all these new experiences. I think the songs I was contributing to Nothing To Be Done at the time were pure imitations of what I had just discovered. Didier had been listening to The Smiths since 1983, whereas in ’83, I was into Depeche Mode, The Cure, but also — and especially — Madonna, Tears for Fears, and Nick Kershaw (laughs). From an indie perspective, Didier was way ahead of me, and I had a lot of catching up to do. His songwriting was much better, more refined. So, it took me a long time — a good ten years — to really absorb this new music, digest it, and eventually start composing more personal songs, rather than just simple, clumsy, pale imitations of the bands I worshipped.
JB: With you being raised by much of the music of, particularly, the C86 era and bands from Creation and Sarah Records. What specific artists or sounds from that period had the most profound impact on your songwriting?
TH: About C86, the first song that comes to mind is the famous “Velocity Girl” by Primal Scream. I fell in love with that track the very first time I heard it. Their album Sonic Flower Groove (Elevation/WEA, 1987), is a real reference point for me; I still clearly remember the day I bought the cassette of that album in London. As for Creation Records, I think I loved about 99% of the bands they signed. First and foremost, Adorable and Oasis, of course, but also Teenage Fanclub with Bandwagonesque (1991) — to me, that’s the perfect record: ultra-melodic, with that slightly “gritty” sound I love. I think some of my songs are influenced by them, like “Sit and Stare” on the previous album. Naturally, Noel Gallagher’s songwriting on Definitely Maybe (1994) and (What’s the Story) Morning Glory? (1995) had a massive influence on me; those are the two albums I’ve listened to the most in my life (I still have a ritual of listening to one or the other before playing a tennis tournament to get into the right mindset!). I think you can hear that influence, for example, in the verse of “For Good” and the bridge of “Manhattan”. Over the years, I’ve more or less consciously absorbed everything these bands released — Ride (a band that some My Raining Stars fans sometimes mention), The Boo Radleys, Slowdive (which you can apparently hear in “Stop The Time”), The Jesus and Mary Chain (maybe in “Special Place”), My Bloody Valentine, and even Swervedriver. Regarding Sarah Records, a lot of people have told me that my songs remind them of what came out on that label. I was a big fan of Sarah Records in the ’90s — I pretty much bought everything they released. I loved The Field Mice, Secret Shine, Another Sunny Day or The Sweetest Ache and that probably also had an influence on my own music.
JB: You’re described as having a “knack of writing classic pop songs.” What are the key elements that you believe make a pop song “classic,” and how do you strive to incorporate those into your music?
TH: You’d probably be better off asking Ed Mazzucco, the head of Shelflife, because it’s hard to judge yourself. Let’s just say that while I’m very aware of my limits as a musician and singer, I do think that, over time, I’ve learned to recognize when a song is decent — or even good — including when it’s one of mine. That’s really important when you’re selecting tracks for an album because for a musician like me who’s been writing for 35 years, there’s a huge stock of demos to sort through, and you have to make the right choices.That said, if there were a magic formula, everyone would know it by now! I believe most of all in fluidity when composing; when the chorus comes quickly after finding the verse (and the bridge, if there is one), that’s usually a good sign. There are exceptions — it took me a long time to finalize “Manhattan” and “Special Place” — but I do have memories of a few songs where everything came together very quickly, and those ended up becoming singles, like “For Good”, “Stop The Time” or “The Cost Within”, and also “If You” and “The Way Things Turn” from the previous album (89 Memories, 2022), both written in one go. But the truth is, there’s no miracle recipe! I’m quite attached to the classic intro-verse-verse-chorus-verse-verse-chorus-outro (or intro-verse-bridge-chorus) structure. However, I do have one particular quirk: I never repeat a chorus more than twice, unlike many others. I always tell myself that if the listener is left wanting more, that’s a good thing — they’ll want to hit play again immediately (laughs).
JB: You recorded demos on a 4-track for about ten years before the debut album in 2008. What was that decade of creative exploration like? How did those early recordings inform the songs that eventually appeared on From St Saviour To Quickwell?
TH: In the beginning, since I lacked technical skills, experience, and also confidence, the songs were very naive, especially the arrangements. But I think I gradually improved over time, even though I still don’t consider myself a good musician. Between 1998 and 2008, I wrote the equivalent of an album a year. I still have the CDRs, which were made in 4 or 5 copies (laughs). It was a bit all over the place — some tracks were shoegaze, others had a psychedelic vibe like The Brian Jonestown Massacre (whom I love), and others were very indie pop. One day around 2007, my friend Didier — with whom I’d always stayed on good terms after my departure from Nothing To Be Done — kindly suggested selecting 11 of my best tracks and re-recording them properly, with a real sound. The deal was simple. He said, “I’ll pick 11 songs from your 80 or 90 demos, keep your song structures and vocal melodies, but I’ll redo all the arrangements.” I said, “Go for it, let’s do it! That’s how the first My Raining Stars record was born. I’ll always be grateful to him, because he helped me get back into making music.
JB: He obviously played a significant role in re-recording and arranging your early tracks. How did his involvement shape the sound of the debut album? What did he bring to the songs that you might not have achieved on your own?
TH: At that time, as I mentioned earlier, Didier was much more artistically mature than I was, he had this ability to come up with guitar arrangements that I would instantly love most of the time. On top of that, he was a very talented songwriter — in my opinion, he wrote some of the most beautiful pop songs of the ’90s with “Happiness” and “Run Baby Run” (Nothing To Be Done), and of the 2000s (E-grand) with “Secret Place” (Secret Place EP, 2011) and “Hate and Love” (Tonight Forever EP, 2012). So it was an incredible opportunity for me when he offered me that deal, knowing full well what he was capable of. I still vividly remember the first time he played me his version of “Head Over Heels”, the first test track — the delicacy of the arpeggios still gives me goosebumps to this day. We shared a lot of the same musical influences, and he had never once disappointed me with what he had brought to my songs in Nothing To Be Done, so I knew that I wouldn’t be disappointed for My Raining Stars either.
Photo by Thierry Haliniak
JB: “From St Saviour To Quickwell” was initially self-released on CDR. What was the motivation behind that, and how did the digital release with Believe (music recording company) come about?
TH: It wasn’t a deliberate choice to release it on CDR — I had actually looked for a label for a physical release but couldn’t find one, so it was the only option available. However, fairly quickly, I got an offer from Believe for a digital release, which was great, I was sure to be on all the platforms — it made up for not having found a physical label.
JB: In 2020, you released the “Obvious Reasons” EP with lyrics by Gilles Ramey. How did that collaboration come about, and what was it like working with a lyricist for My Raining Stars?
TH: It was pure coincidence. Gilles, a friend I met through Facebook, once sent me a few lyrics, and I thought it would be fun to try putting them to music. It was a nice change from my usual process, which involves singing made-up sounds over a chord progression until I find a vocal melody I like, and then writing lyrics afterwards to fit the melody and the number of syllables. This time, it was the other way around — I had to adapt my vocal melody to lyrics that were already written. I really enjoyed the exercise, and I think it worked out well — I’m super proud of a song like “Mirror”, for example. And honestly, it’s good to step out of your comfort zone sometimes. Plus, writing lyrics isn’t my favorite part of the process — I much prefer spending my time and energy on the music itself so it was really cool!
JB: Just after the “Obvious Reasons” EP, you formed Meyverlin with Gilles Ramey and Philippe Lavergne. How did this side project come to fruition? What was the initial vision for Meyverlin’s sound compared to My Raining Stars?
TH: Philippe Lavergne is a real reference when it comes to indie pop in France — with his band Les Freluquets, he was one of the first, if not the first, to make indie pop music in France at the end of the ’80s. I met him through Facebook as well, and when he suggested the idea of starting a band together — given how many musical tastes we shared — I was honored and thrilled to give it a try. On Gilles’s lyrics, of course, which were sometimes impossible to pronounce and sing (laughs)! Philippe was still living in the USA when we first started exchanging files; it all happened very quickly and spontaneously, and we both loved working that way. I mixed the first Meyverlin album on my Tascam DP32, with his help. It’s a very guitar-driven indie pop record, so the sound is definitely DIY. As for the tracks I brought to the project, there wasn’t a real intention to sound different from My Raining Stars, but I had a lot of fun finding vocal melodies and guitar arrangements over Philippe’s instrumentals.
JB: Meyverlin’s debut album, Daily Events (Too Good To Be True, 2021), had a classic guitar indie pop sound, while the second, Therefore, (Too Good To Be True, 2024) leaned towards 80s/90s electropop. What inspired this sonic shift between the two albums? How do you differentiate the creative spaces of My Raining Stars and Meyverlin?
TH: We all loved New Order — well, especially Gilles — so to avoid making the same kind of album again, we decided to try something different for Therefore, partly to please Gilles, but also because he had declared himself the new artistic director (laughs). On top of that, the producer Rodolphe Vassails, a friend of Philippe’s, wanted to remove almost all the guitars from the demos. The result was a bit strange — the sound was excellent, but I have to admit I was a bit thrown off by such a radical change, just like some of our early fans who didn’t really follow us on this second album. When you’re used to composing, structuring, and arranging everything on your own, it can sometimes feel a bit heavy, so the Meyverlin experience really did me good in that sense — it was refreshing not to have everything resting on my shoulders. The Meyverlin adventure is really a fun and light-hearted experience.
JB: Your second My Raining Stars album, 89 Memories, is described as “pure pop but also cathartic,” following the loss of family members. How did those personal experiences influence the songwriting and overall tone of that album?
TH: I lost my father and my younger sister within the span of four weeks at the end of 2010 — two of the three most important people in my life. Anyone who hasn’t experienced something like that can’t really imagine or understand the emotional chaos and the terrible shock it brings. In such circumstances, you have two options: either you collapse, or you fight and try to turn something negative into something positive. My nature led me to choose the second option: just four days later, I wrote a song called “Silent Girl”, which will be on the next My Raining Stars album, and a few days after that, “The Way Things Turn” and “If You” which ended up on 89 Memories. I had a vital need to spontaneously express what I was feeling, to exorcise all the emotions rushing through me — sadness, anger, confusion, misunderstanding, guilt, fatalism, nostalgia for good times spent together, I didn’t really think about a concept album about the loss of loved ones, it was spontaneous. Almost all the songs on 89 Memories deal with these mixed emotions following that double loss. That’s why this album is truly cathartic. And the overall melancholy that comes through most of the songs is deeply connected to that.
JB: Casper Iskov played a crucial role on 89 Memories with drums and bass. How did this collaboration come about, and what did he bring to the sound of My Raining Stars?
TH: Casper is now the frontman of a band called Ethics — and they’re really great. I was a big fan of his amazing acoustic covers of MBV, Ride, Slowdive, and others. I used to chat with him a bit, and one day I sent him the video for “Archangel” from the first Meyverlin album to ask what he thought of it. He replied saying it was a good song, but that it was a shame there wasn’t real drumming on it. He told me he could record real drums for my future demos. I didn’t think twice and said, ‘Okay, let’s try it with “Behind A Lovely Smile”, which I had just composed. I sent him the tracks on a Sunday, and by Tuesday he sent me back a first mix, after having re-recorded the drums and redone the bass (mine was synthetic). There wasn’t even a second mix — it’s the version you can hear on 89 Memories. I was thrilled, so I decided to have him re-record all the drums and bass for the songs I was planning for 89 Memories. And that’s how it all started.
JB: What was it like working with a multi-instrumentalist like Casper Iskov on 89 Memories, and how did that differ from the earlier, more solo-oriented phase of My Raining Stars?
TH: Super easy. He has an outstanding musical intelligence — he picks up on everything very quickly, never asks unnecessary questions, and I trust him completely. Even though we’re not from the same generation, he knows and likes all those ‘90s indie bands that I’m crazy about and he immediately understood what I was aiming for. What he suggested worked perfectly for me 99% of the time (we only struggled once, on a track from The Life We Planned EP (2022), but that was because I myself was unsure about the song’s structure). I feel incredibly lucky and privileged to have been able — and to still be able — to work with him. Thanks to his skills, his musical talent, and his natural instinct for sound, by re-recording drums and bass (he kept all my rhythm and lead guitars on 89 Memories) and by mixing the tracks, he gave my music a proper, professional sound — much less rough and so much more credible than what I could achieve on my own. When I send him the stems of a good song, I know he’ll turn it into a very good song — and that’s just amazing!
JB: How has your working relationship with Casper evolved since 89 Memories?
TH: On Momentum, I wanted to take things further. I was aiming for a ‘bigger’ sound, something heavier, more massive, and somehow more ‘rock’. To achieve that, I asked him to re-record all my rhythm guitars, on top of the bass, drums, and usual acoustic rhythm tracks. I wanted to really step up the sonic impact, and I’m very happy with the final result. In terms of changes, I was probably a bit more demanding with him on certain details. My ear has become more refined. There were actually more mixes per song than there were on 89 Memories, simply because I had a much clearer idea of what I really wanted this time.
JB: How has Casper’s contribution specifically shaped the heavier, noisier direction evident on Momentum?
TH: As I was saying, Casper quickly understands where I want to go without me having to explain everything in detail. I had simply told him that for this new album, I wanted a heavier, more massive rhythm sound compared to 89 Memories, where my original electric rhythm guitars had been kept. For example, the first track we re-recorded for Momentum was “For Good” — since the verse had a bit of an Oasis vibe, I told him, ‘I want a kind of wall of sound,’ and he immediately set up a rhythm electric guitar on the left and one on the right. It was perfect, and we ended up keeping that setup for almost the entire album. He’s an incredibly talented musician, has great gear, and an exceptional ear, so working with him guarantees that the final songs will have excellent sound quality.
JB: Following up on Momentum and its noisy sound on certain tracks. What inspired this shift in sonic direction for My Raining Stars? How does this new element complement your established pop sensibilities?
TH: Since I wanted a more impactful sound for this new album, I guess, consciously or not, I felt like moving a little away from the Sarah Records/Twee sound I had often been associated with and getting closer to the Creation Records sound. I don’t deny that incredible label, I might return to that sound in future projects, but for this one, I wanted to move away from it because these last few years, it became clear that I was listening far more to artists from Creation Records than from Sarah Records and so was feeling closer to the Creation sound than to the Sarah sound. I sometimes joke when I hear a song by a new band that sounds really Twee/Sarah by saying, ‘It smells much more like soap than sweat’, do you know what I mean? So I guess I just wanted to “smell more sweat and less soap” on Momentum (laughs).
JB: The album features both old and new songs. How did you decide which tracks to revisit and re-record for Momentum? What new perspectives did you bring to the older material?
TH: When you’ve reached my age and have been playing more or less regularly for 35 years, you end up with a lot of demos. When it comes to choosing which songs you’re going to re-record, it’s a crucial moment — and it took me some time, because it meant putting some songs in the spotlight while leaving others in the shadows, maybe forever. You have to make sure you have no regrets. The selection process wasn’t always easy, but I tried to trust my instincts. Some songs, like “Special Place”, were older but I was naturally attached to them, so that part was fairly straightforward. But it wasn’t as easy for tracks like “Better Life” or “Lovers”, which I didn’t immediately feel belonged on the new album. In the end, I’m glad I included them, because the Spotify streams show that they really resonated with listeners. There’s also the fact that it took me a long time to finish some older songs I was attached to. For example, it took about ten years for me to complete “Manhattan” in a version I was fully happy with. I still have a few old tracks I love, and I’d like to give them a chance on future releases.
Photo by Thierry Haliniak
JB: Momentum is being released jointly by Shelflife (US) and Too Good To Be True (France). How did these partnerships come about, and what does it mean to you to have this international collaboration for the release?
TH: On a friend’s advice, I sent the reworked Casper’s version of “Behind Her Lovely Smile” (from 89 Memories) to Ed from Shelflife. My friend thought he might like it. Honestly, I didn’t believe it would lead to anything, because I tend to lack self-confidence, even if I’m slowly getting better with time. But to my amazement, Ed was really enthusiastic — he asked if I had more tracks to send him and said he’d love for us to work together! I literally had to pinch myself to make sure I wasn’t dreaming. If I remember correctly, I then sent him “Emptiness” (another 89 Memories track), and he said, “OK, let’s do an album together!” At the time, he was working with a Spanish label to handle the European side of things. As for Too Good To Be True, it happened thanks to the first Meyverlin album. Emmanuel Foricher really liked the demos and signed us quickly. When we later needed a new European partner, it made perfect sense for me to reach out to Emmanuel, who kindly and quickly agreed. Ed had already worked with him before, so it all came together naturally. Being chosen by Shelflife, considering the amazing bands they’ve released in the past, is an immense source of pride for me — I would have never imagined being signed to such a label. It just goes to show you should always keep believing and never lose hope! Of course, Ed has brought a lot of visibility, especially in the USA where, according to Spotify stats, most of my listeners are based. It’s incredible, because without him, they probably would never have discovered My Raining Stars. And To Good To Be True is also starting to build a nice international reputation. Emmanuel gives 100% and it’s beginning to pay off, so that’s really great!
JB: ”For Good” is described as sounding like it was written in the period before Britpop dissolved. Could you talk about the influences or mindset behind this track? Does it consciously evoke that specific era?
TH: The story behind “For Good” is a bit unusual: I had originally composed a track called “The Crossing” based on a lyric by Gilles for the second Meyverlin album, but much to my disappointment (and Gilles’ as well), it was rejected by the producer, who found it a bit too Oasis-sounding despite its electronic foundation. I really liked that chord progression, which was inspired by Morning Glory, so I decided to rework “The Crossing” into an electric version, with a different vocal melody, a completely new chorus, and my own lyrics — kind of my way of ‘getting revenge’ for the injustice (laughs). It ended up being the first track we recorded with Casper, and Ed immediately loved it and chose it as the first single! People who know me are well aware of how much I love the first two Oasis albums (and I’d add the B-sides album, which I think is actually their real third-best record!), so I guess I subconsciously or consciously regurgitate the music from those records, which I’ve probably listened to over a hundred times. Beyond Oasis, I love the entire Britpop era, so yes, it definitely has had — and still has — an impact on how I write songs and the kind of guitar sound I love. I fully embrace and proudly claim that Britpop heritage.
JB: ”Better Life” garners comparisons to bands following the first Stone Roses album. Were bands from that era a direct influence on this track’s rhythm and groove?
TH: Absolutely! You’re mentioning The Stone Roses, whom I obviously love — I rank them very high in my personal pantheon but for this track, I actually had more in mind bands like The Charlatans or Northside. I had already experimented with a baggy rhythm on “Universe” from the previous album. I wouldn’t do an entire record with just that kind of beat, but from time to time, I really love it. That whole baggy scene is definitely part of my musical DNA too. If you only knew how much I abused my neck dancing to those bands’ tracks between 1989 and 1994 at the TOY, that small club in Lyon I mentioned earlier.
JB: ”Special Place” takes on a more romantic tone with heart-on-sleeve lyrics and early rock-inspired harmonies. What was the inspiration for this more direct and sentimental approach?
TH: I have a pretty straightforward approach to lyrics, generally speaking. I also like the idea of expressing things in a direct, maybe even sometimes naïve way, but always honestly and sincerely. On this track, with a little nod to Glasvegas’ “Daddy’s Gone” (2008) in the intro. I just wanted to simply describe those bucolic walks I loved taking with my little American Cocker Spaniel back in the 2000s, in that special place in the middle of nowhere we used to go to regularly. It could have been a romantic song about my walks in the forest with my girlfriend at the time — but no, it was with my dog (laughs)!
JB: Even with the shoegaze guitars, “Stop the Time” maintains a heartfelt sentiment. How do you reconcile the potentially contrasting elements of noisy instrumentation and sincere lyrical content?
TH: It wasn’t really premeditated, actually. It’s just the path the song took by itself. And it’s both interesting and sometimes unsettling how a song can naturally head off in a certain direction. This one came together very quickly — the chords, the vocal melody, the lyrics. At first, on my demo, it sounded a bit like the ballads from Embrace’s first album The Good Will Out (Virgin/DGC, 1998), which I love. But as I started arranging it, I realized it was leaning more towards a Slowdive kind of vibe. When I sent it to Casper, it immediately made sense to him to build a wall of sound with four rhythm electric guitars, given the crystalline arrangements I had in mind. I didn’t really choose to make it sound that way; it honestly feels like the song decided for itself. It’s actually the track on the album that’s been the most successful so far.
JB: Can you discuss the emotional arc of the album and how the sonic landscape shifts to reflect these different states?
TH: The emotions that come through on this album are more varied than on the previous one. On 89 Memories, I was completely consumed by the loss of my little sister and my father, and by all the emotional states I was going through. On this one, I express a broader range of feelings — like the passage of time and how it wears us down (“Stop The Time”), the idea that we should make the most of the present because the future is uncertain (“For Good”), a love story that never materialized (“Lovers”), the story of Christopher McCandless that deeply moved me (“Lost In The Wild”), wishing a better life for a friend stuck in her own struggles (“Better Life”), the fading dreams of adolescence (“Disappeared”), and so on. Sonically speaking, each song has its own identity. I didn’t overthink things from an overarching conceptual perspective, except for wanting consistency in the sound of the rhythm guitars. What mattered most to me was selecting songs with varied tempos and rhythmic feels, so the listener wouldn’t get bored over the course of the album. The sonic diversity of the atmospheres stems mainly from the distinct character of each individual song.”
JB: With Momentum being released, what are your hopes and expectations for this new chapter of My Raining Stars? How do you see the project evolving in the future?
TH: My goal is to try to maintain the quality of both my songwriting and production. I’m currently recording another album with my old friend Didier, following the same deal we had for From St Saviour To Quickwell. He’s re-arranging, mixing, and producing nine of my songs — a mix of old and new tracks he selected himself. Casper is once again handling the drums and bass as usual, but Didier is taking care of everything else. From what I’ve heard in the early mix, I’m really hopeful about the final result. Since I still have a few older songs that I’d like to give a proper re-recording, it’s also likely that I’ll work with Casper again next winter, if he’s available. Time is flying and I don’t have any to waste anymore. I’m aiming to release the new album produced with Didier in 2026. I also have an album’s worth of electro-pop demos that Emmanuel from To Good To Be True would like to release at some point. Sometimes, I get a bit tired of guitars (even if it never lasts very long). (Laughs) Anyway, it looks like I’ll be keeping very busy!
To have a listen or to purchase, please visit Bandcamp, Shelflife or Too Good To Be True (Europe). For My Raining Stars social activity, follow here: Facebook
