Stefano Ark dives into the dark side with "The Villain," a genre-bending track blending punk, rap, and horror influences. Here, he unpacks the themes, inspirations, and creative process behind his intense, cinematic alter ego.
1. Could
you introduce us to "The Villain"? What themes or personal
experiences drove you to create this alter ego, and what message do you hope to
convey through him?
The track is inspired by the way people are often perceived as
"villains" when they start setting boundaries and putting themselves
first. I noticed a TikTok trend around the time I wrote the track, where people
were embracing their so-called "Villain Era." I found it interesting
because nothing they were doing seemed villainous—they were simply prioritising
themselves over others. However, this behaviour appeared antagonistic to those
who were used to the "villains'" previous, overly compliant personas.
At the time, I could relate to this concept personally, as I was going through
a period of isolation, preparing myself for the next chapter of my life. I’ve
observed through analysing experiences of others, my own and pattern
recognition that in order to thrive as an individual, find peace within
yourself and your own company is to be your authentic self, which will always
include disagreements. This may get you shunned by others who are afraid to
express their own thoughts by not learning to disappoint others from time to
time, you are constantly disappointing with a background in counselling and
psychology, my music often focuses on real-world, person-centred issues.
2. How did you approach blending the genres of punk, rap, and horror in
"The Villain"? Were there any challenges in merging these styles
while staying true to each?
“The Villain!” went through several demos and was originally influenced by
hip-hop and horror soundtracks. After recording the track, I experimented with
a variety of compositions—at one point, it even sounded like an Elder Scrolls
loading screen, which I actually used in an unreleased song, but back to the
main point. Since I recorded the song a cappella and built the instrumental
around my vocals, creating a sound wasn’t difficult once I found the right
direction. Rap instrumentals weren’t working at all, so when I returned to
finish "The Villain," I decided to go with a punk instrumental that
reflected the genre I loved most as a child: pop punk. It fit the track
perfectly. Chef’s kiss!
3. Alfred Hitchcock's influence is a unique touch. Can you share how his
work inspired the soundscapes and atmosphere of the track?
Hitchcock's work has profoundly influenced everything I create. His
understanding of the psychology of fear—how it’s invoked in viewers through
specific frames, scenes, the anticipation of the unknown, and exploration of
the darker sides of human nature—has shaped my approach. He played with
audience expectations through plot twists, and you can hear that influence in
my productions, like the unexpected electronic instrumental break after the
first verse. When writing a song, I constantly think about how a particular
lyric or verse would look as a film scene. What would the scene be? Who would
the characters be? I see music as an audiovisual experience.
4. You mentioned Linkin Park and Jay-Z’s "Encore" and Limp
Bizkit’s "Break Stuff" as inspirations. How did these songs shape the
energy and production style of "The Villain"?
Limp Bizkit's instrumentals are bold and distinctive, blending heavy rhythms
with gothic elements. Punk and rap have always complemented each other, with
striking similarities in their historical context and what they represent. When
I listen to punk and nu-metal performances, like those by Limp Bizkit, I hear a
cadence that resembles rap and spoken poetry, so it’s no surprise to see the
rise of the emo-rap genre—it’s exciting, too. These songs served as reference
points for my own performance, showing me how to merge a punk composition with
hip-hop-style rap effectively. I’ve learnt that reference tracks, whether from
your own work or from favourite artists, are a valuable guide to shaping a
project. Every form of art has its core influences; there’s really no such
thing as a truly unique idea. Recognizing this has helped me embrace seeking
out influence from my favourite mediums of art in my creative process.
5. Your recording approach for "The Villain" was unconventional,
with vocals guiding the instrumental. How did this method impact the track's
final sound and emotional intensity?
This gave me so much creative freedom. It was my third time working this way, but by
then, I had developed the skills and tacit knowledge gained from years of
listening to and understanding music, allowing me to execute it properly. I had
come to realise the voice’s capability as an instrument and how crucial vocal
performance is to a song. Recording the song a cappella meant I could fully
control my flow and cadence and even use my voice to create parts of the
instrumental. I’m an experimental artist at heart.
6. Could you tell us more about your creative process at Pirate Studios? Did
the environment there contribute to the tone or energy of the recording?
Pirate Studios has a gritty, laid-back atmosphere, which I love. I’m not a big
fan of sleek, polished spaces—I prefer places with character, I need to feel
comfortable in a studio to perform at my best. Pirate was the perfect spot to
record a punk song like The Villain!. The creative process there was incredibly
quick. I recorded the entire song—layers, ad-libs, and a few extra takes of the
whole track—in just 30 minutes. We were late to the session, and Curtis Smith,
the recording engineer, had another commitment, so my mind was in full go-mode.
The track didn’t yet have a complete instrumental, just the electronic EDM
break in the middle, but I’d already experimented at home with different
structures and had settled on the one I wanted. I knew the tempo, rhythm, and
flow, so I recorded the whole song a cappella. I later released The Villain!
(Nightmare Editions EP), which includes the original a cappella take used in
the official version.
7. There’s a strong sense of nostalgia for 2000s punk in this song. What aspects of that era did you want to capture, and how did you add your own modern twist?
I wanted to capture that raw energy and rebellious attitude of pop punk and blend it with my favourite aspects of rap from over the past 5 decades to create something that highlights my favourite elements of the genre. My use of dynamic flows, animated cadences, and horror techniques inspired by film bring an innovative edge to the concept. I also incorporate my personal interests, like gothic art and sci-fi, to craft a soundscape. This fusion allows listeners to relive the past while also embracing the present. By combining these elements, I aimed to bring a refreshing, current touch to the pop punk genre, letting listeners experience both the nostalgia of the 2000s and the innovation of today.
8. The song features notorious villains like Michael Myers, Thanos, and Darth Vader. What inspired you to bring these characters into your lyrics, and how do they tie into your concept of "The Villain"?
I’m a huge fan of horror and sci-fi, so I often end up naming or referencing horror elements in my tracks, even unintentionally. John Carpenter's Halloween theme is, to me, the greatest horror composition ever, and I'm a big fan of the Halloween franchise—so naturally, I had to include a nod to Michael Myers. Adding references when songwriting, especially in rap, can really elevate relatability and create a sense of nostalgia for the listener. I’ve always been drawn to villains and how they often gain more cultural popularity than heroes; we tend to find their stories more intriguing than the protagonist’s. Seeing characters turn into villains because of a difficult past or mistreatment ties into the theme of “the villain.” Plus, I love a good pop culture reference, like adding a famous surname after my own, "Stefano." For example, in one of my unreleased tracks, I say:
"Make ’em panic when they hear my name—Stefano Wick, you hear the clock on their heads go tick? They tryna leech onto the Martian like a tick—tell ’em they’re the quarterbacks, Mike Vick."
9. Do you feel that embodying an anti-hero alter ego has affected your live performances? How has your audience responded to this darker, cinematic side of your music?
Alter egos help me immensely on stage, allowing me to relax, ease my nerves, and get into character mode. With a background in acting and musical theatre, embodying characters while performing is essential for me—it brings out the true essence and meaning of the songs. I especially love performing The Villain!—it taps into my inner anti-hero and brings an intense energy to the stage. I can see the crowd’s energy light up when I perform the darker, more cinematic side of my tracks; they seem more engaged and attentive. Releasing The Villain! has been pivotal in my musical journey, helping me recognize that the cinematic and darker aspects of my music are where I’m most comfortable. I feel confident now in embracing that side of my artistry.
10. Your recent quote, “I’ve seen the Moon, but they lie and say the sky’s the limit,” reflects a theme of transcending limits. Can you expand on this idea and how it relates to your evolution as an artist?
Walking on the Moon holds deep meaning for me—not just for who I am now but for my inner child, too. At 19, I went through a life-altering experience that left me disabled and feeling like a shell of my former self for years. But my childhood temperament of dreaming big and believing I'd one day reach the Moon helped me stay optimistic through it all. Since I’ve now recovered from that experience, I know I can achieve anything, overcome any obstacle, and use any negativity or doubt thrown my way as fuel to propel me forward.
I've learned that when you strive to progress, improve yourself, and aim for the stars, there will be people who’d rather see you stay unhappy, feeling the same way they feel about themselves. Instead of celebrating your efforts to fly, they may hold you back. To reach the Moon, you sometimes have to leave them behind- which I’ve had to do on my journey to self discovery and exploration so far. I have so much I want to create, record, and share with the world during my journey here on Earth. My hope is to show people that when you truly embrace yourself, think for yourself, and realise that your reality is shaped, in part, by you—you can one day surf the Moon.
I also want to fulfil my childhood dream of branching into space technology and, maybe, even one day see the Moon firsthand.
11. What do you hope listeners will take away from the journey of "The Martian: Years 2013-2023"? How does "The Villain" fit into the larger narrative of this album?
The album follows a timeline from 2013 to 2023, with tracks on the album unintentionally linking with each other. I hope listeners will hear the journey of ups and downs, and the shifts in perspective that occur over a 10-year period. You can hear how my perception of myself and the world has evolved—mostly for the better, but also staying true to my current thoughts, whether positive or negative. One of my released singles, "Cruel World!" is also on the album and appears earlier on. Both tracks are heavily linked; their choruses are similar, their outros are connected, and they share a similar structure. I wrote both songs in the same month, and I was in disbelief when I heard them placed next to each other.
The Villain acts as a sequel. It’s about someone becoming content with being the villain in their story, in order to protect themselves from the evil they encounter in the world.
For example, in Cruel World! I say: "I looked man in the eye and I said, 'Let’s duel, and I’ll show you the meaning of cruel. It’s a cruel world, it’s a cruel, but I’m here, what do I do?'" And in The Villain! I say: "He’s cruel, yada yada, whatever! I told y’all I’ve been in my villain era. Oh? So you, the protagonist, go against me, and I’ll be your antagonist." The connection is pretty cool, aha. Now that I’m aware of this, I’ve realised that many of my songs reflect things happening that I wasn’t consciously aware of at the time, or they link together in some shape or form.
12. Looking forward, what can fans expect next? Are there new themes or
collaborations on the horizon as you continue to develop "The
Villain" persona?
The Villain will most definitely be making a lot more appearances in songs, he
will be appearing on “Guess Who’s Gone?!” And “Halloween!” Which will be out
within the next few weeks. He will also get his own full length project or EP,
when the time is right. I love storytelling and cinema, so I already have music
videos, fashion and character development concepts for him. Fans can expect a
lot of villainous content in 2025 and throughout & of course, a music video
for ‘The Villain!’ I can see The Villain Having his own universe within my
music. I love the concept of cinematic universes.
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