Montreal-based artist, producer, and filmmaker SUUNCAAT returns with “Signs”, an experimental pop odyssey that blurs the boundaries between ritual, tragedy, and electronic ecstasy. Known for fusing hyperpop’s emotional chaos with classical precision and cinematic storytelling, SUUNCAAT continues to redefine what pop can feel like.
The production of “Signs” is incredibly detailed — can you walk us through a moment in the mix that almost broke you (in the best way)?
The song didn’t break me but I did break the initial song. It started as this little file called edmluv that sat in my computer for months. No structure, just a vocal loop over a generic, playlist-bait EDM progression that meant nothing. So I destroyed it to make it honest. We’re constantly force-fed rules like “grab them in 3 seconds,” “follow this structure.” So I did the opposite. I made the longest intro I could. But it’s a heavy choice because you sacrifice the mainstream listener for a smaller, more attentive, more heartfelt audience. I’m fine with that.
You co-directed the video with Alexia “Rebie” Lecours-Cormier. What’s your creative chemistry like, and how did that partnership shape the story?
Rebie and I share the same taste map. We met when I hired her as a makeup artist on a film, and quickly realized she wasn’t “just” a makeup artist — she’s a true artist. So we stripped away the cosmetic ornaments entirely and built the video from concept to execution together. We wanted immersion, action, and meaning. Just the world we wanted to inhabit.
The imagery feels like a blend of Jodorowsky, early-internet surrealism, and performance art. What visual or cinematic worlds influence you most right now?
Jodorowsky is a recurring anchor. I’m also drawn to German and Russian symbolism, both in art and cinema. Occultism, pre-Raphaelitism, expressionism, and a bit of surrealism — anything that feels mythic, esoteric, or psychologically charged is very attractive to me right now.
The idea of the “shadow self” is powerful in your work. How do you keep that exploration from consuming you personally?
It doesn’t consume you, it builds you. You look inward to understand the world. The real problem is how fragmented people have become. We’re raised to look outward, to perform extroversion, to avoid confronting our own biases and denials. Facing your shadow is terrifying for many, but the other side offers joy, authenticity and artistic coherence.
There’s a tension between classical precision and digital chaos in your music. Is that contrast deliberate, or does it happen naturally when you create?
It’s just what the world sounds like in my head. Nothing I do is fully deliberate, but everything is intentional. I’m not chasing a style I’m just replicating my internal soundscape.
How did your experiences as a “gifted” child influence how you think about success, perfection, or creativity today?
Hyper-creative kids are targeted early, implicitly, explicitly. In a culture that rewards mediocrity and punishes outliers, the gifted child becomes the enemy. The more I grow, the more I realize: the more talented you are, the less you should trust people.
“Signs” sounds both futuristic and ancient. Were you consciously trying to collapse time and style into one sound?
I love contrasts, but none of it is calculated. It’s more like riding a wave. Style is just the accidental residue of being sincere.
What’s one sound or texture in “Signs” that listeners might miss on the first listen, but that means a lot to you?
The lyrics are full of easter eggs, curses, blessings, prayers. My vocals are fast and processed, and people always say they’re impossible to understand, so I hide spells in plain sight. It’s a bit of a troll.
As someone deeply involved in both sound and image, do you begin a project visually or sonically?
I don’t separate them. Sound and image come from the same place, it’s just the data I bring back when I tap into a specific world.
PR: Decent Music PR
