INTERVIEW: MYNRE Shares Insight Behind Blissful, Melodic EP ‘Heal’
Fresh off a standout run that’s included appearances on Lane 8’s Winter ’23 Mixtape, a debut on This Never Happened, and a 30-show tour touching down at venues like Brooklyn Mirage and Countdown NYE, Singapore-born producer MYRNE is back with a blissful, melodic EP ‘Heal‘ that may be his best work yet.
‘Heal’ is a four-track body of work that dials into the heart of what he’s been calling “emotional dance music”—melodic, reflective, and deeply felt. The title track features Shallou and sets the tone early, wrapping gentle percussion in soft-focus synths that feel like an exhale.
From there, the project slowly unfolds. “Salve in the Mist” builds tension with atmospheric layers and subtle rhythmic shifts, while “Light Through the Leaves” lifts the mood—bright, clean, and full of space. Closer “Lily” brings the deepest pull, letting smooth basslines guide a quiet emotional build.
We had the opportunity to chat with MYRNE about the EP and what’s ahead. Check it out below!
Heal EP feels warm and calming. Were you trying to reflect a certain headspace or feeling when you created the soft, airy synths featured?
Usually a ‘sound’ as a producer comes from a lot of habits and the first things you reach for. When I’m writing music I’m usually alone in a quiet place, so softer, airy sounds are something I instinctively turn to first.
You’ve long operated between melodic and progressive house. Do you personally approach those genres differently than the average producer taking on the same genres?
I’m not sure what the average / correct way would be, if any! I listen to a lot of music exclusively in headphones, so perhaps I deal more with how intricate a song sounds, as opposed to the physical effects of a song when played over a loud system.
“Light Through The Leaves” carries a gentle, almost weightless tone yet it remains grounded, I enjoyed it alot. How do you go about achieving that balance between dreamlike textures and structural depth?
Thanks! I love that song, it all started with that meandering piano progression. It’s titled that way because I tried to structure the song like a forest. The bassline in that song is so rigid, quantized, and regular – like roots you can’t see. The chords seem like they move everywhere with no goal; but they’re like branches, so you can trace where they start and end if you look carefully. And on top of those two elements there’s just un-gridded percussion and pads and atmospheres that… sometimes touch on a weird note or strange groove, just like the insects and light that flit between the space of it all. When I listen to music it always puts me into a physical place, and it could be a helpful tool when you’re writing your own music.
When producing, do you consciously try to satisfy both sides—or do you tend to follow your instincts?
Both sides, as in a creator, and a listener? To me, art in general is meant to be perceived – art on a wall has no meaning until it is witnessed by a viewer. The viewer completes the loop, and brings it into existence in a way. And because I’m a viewer too, I think that everything I make already has that consideration built-in to whatever I write. So if I’m making something I like (based on my experiences, listening history, and sensibilities – which I share with other people), chances are someone else will like it too! So probably I tend to follow what I think sounds nice.
Do you ever feel a creative tension between delivering for the live crowd and staying true to your more delicate sound?
Yes! And out of that contradiction resynthesizes something unique and beautiful (I hope). I don’t think there’s just ‘live’ music and ‘home’ music, it is usually quite grey for me. Sometimes I am in a dancier mood and that just influences what I end up writing. I think most of the tracks I write fall into two buckets: a ‘clubby’ song that sounds good at home, and a ‘homey’ song that sounds good in a club.
As you look beyond Heal EP, what are you looking forward to in 2025?
I’m in a dancier mood! 🙂
