While most artists carefully tease one album every couple of years, Longboat is out here casually composing string quartets, producing three records in a month, and planning an 11-album year. Yes—eleven.

I think my music speaks for itself. It always has. For anyone stumbling onto it, I say, “Welcome! There’s something for you here. Stay as long as you want.”

Longboat

The pop experimentalist’s latest release Word Gets Around is a masterclass in doing things your own way. With narratives packed into tight timeframes and melodies built to carry meaning (not just vibes), Longboat delivers music that challenges listeners, all while staying wildly entertaining. If there’s a guiding rule in his creative process, it’s this: rules are meant to be broken.

“There’s been a lot of rule-breaking,” he tells us. “That’s the only way things get done.” Each song has to hold a lyric. No empty hooks here—just stories that twist and morph in unpredictable ways.

And somehow, he still finds ways to surprise himself. “Euro vs. Disco,” a standout track, took on a life of its own, morphing into something both danceable and disturbingly cinematic. It’s that unexpected fusion—between kitsch and chaos—that defines Longboat’s magic.

At a time when the industry prizes predictability, Longboat is rewriting the playbook. From self-scoring orchestral passages to composing albums that sound like lost languages played forward, he’s keeping us on our toes—and that’s exactly how he likes it.

With Word Gets Around as his first album this year, and live UK recordings, string sessions, and minimalist piano records already lined up, one thing’s clear: Longboat makes movement.