Q&A: Boslen Talks New EP ‘GONZO,’ Creative Inspirations, Process & More
AMIDST THE SEARCH FOR SOMETHING — greater than oneself and its consequential ambiguity, the continual iteration of music as perhaps the greatest mode of self and broader understanding proves more than just its significance but its necessity as well. For 23-year-old Canadian artist Boslen, there is an attunement to this notion, where his personal re-discovery of self through his music ripples its effect beyond a single mind and soul and grasps a world of listeners piecing fragments of themselves through sound, language, and thought. It’s music as an opportunity — opportunity in its truest definition of “freedom” that grounds the artist’s music, opportunity to lift the steel bars that stand as barricades around a voice wanting to be heard, a heart wanting to be held. Sonically, lyrically, and conceptually, Boslen embraces an undefinable artistry, treading the path step by step of disparity and paradox. And as the ground absorbs the weight of each step, Boslen secures the very essence of his craft as one that simultaneously acknowledges just how small yet significant we are.
Boslen’s EP GONZO falls in a space where discomfort is embraced — each track unrestrained and raw, crafting a body of work that holds the feat of existing in all its complications and simplicities. Visceral and honest, emotional and experimental, in the EP, Boslen sustains a coinciding attribution to great artists before him while grasping a process of intuition and introspection. The artist lives in his own world but does not neglect observation of what’s around him — of the continual hum of conversation, of human interaction, of memories, of hardships, and the challenge of finding gratitude, where he exists within this world.
Working with the likes of Zack Djurich, Anthony Kilhoffer, Y2K, Johan Lenox, and more, Boslen’s command over his music is heightened, his vocals and sense of cohesion throughout the project revealing a careful craftsmanship. The EP is dark, each track a catharsis for the giver and receiver. Boslen manifests an ambient world where his literary and artistic intelligence and three-dimensional sound jolt the boundaries of genre. Capturing moments in which voices dull to a whisper, where memories govern the lens through which time and space are perceived, and where light is tainted with dark, GONZO explores the vastness of the human condition and the shadowy mazes of the unknown, traversing through distant specks of hope, depths of hurt, and where these sinews of experience tie themselves together for the sake of our own growth — Boslen lets us know that we should embrace it.
Read on as Boslen opens up about his story, inspirations, and the conception of GONZO.
LUNA: Hey Boslen, how are you?
BOSLEN: I’m really good, thank you.
LUNA: Your new EP is out now — congratulations! How has this release been for you? How do you feel?
BOSLEN: Very grateful. Anytime I drop music, I think it's just another chapter closed in my life. Yeah, it feels really great.
LUNA: That’s so wonderful, I can understand that feeling — the buildup and then the alleviation of it all when it’s done. I guess, then, the crux of music for you is its process, is that right? If the release feels like an end to something, rather than the start of a new?
BOSLEN: Oh yeah, I’d say so. Very big question (laughs).
LUNA: (Laughs) What was that like for you? The process, I mean, and within that, the conceptual development, the roots of its thematic premise — how did it come about practically?
BOSLEN: The process started probably a year and a bit ago. It started in Vancouver specifically, right when I dropped the DUSK to DAWN project. It was probably a year overdue. At the time I was thinking to myself, “I want to just start to create new music right away.” I just felt so inspired. And it just started with me, honestly. I was working with the people from that side but not my executive producer. I went back to Turkey with my executive producer at the time, so I was left there with Kisseo and another producer called Max who did a lot of hands-on working on the last project. We were just working as much as possible. And then I had an idea. Well, the three of us actually had an idea of doing a writing camp. I've never done one before but I felt like when it comes to writing camp, you obviously have to be very director-oriented, in a sense, if that makes any sense.
LUNA: Do you mean in the way it required you to secure a sense of direction, be more intentional with the work you were creating — that sort of thing?
BOSLEN: Yeah, definitely. We invited eight producers over to a three-room studio, and when they came over, it was my first time meeting them. They all came from Toronto, and they go by two, five, four. Some of their names are Adriano and Bodie, and they work with Lil Nas X. They work with a bunch of guys and it was a big learning experience because that in itself… We probably made over 17 songs but we only took two to go on GONZO.
LUNA: Seventeen? Wow, that must’ve been such a substantiating experience. Would you say these collaborations aligned with where you wanted your music to be? What did you learn?
BOSLEN: The whole experience really opened me up to recording in front of more people because before that, it was just me and my executive producer in the room. So that kind of gave me the confidence as I went into LA.
LUNA: It must’ve — a change of pace [and] the shift in environments would’ve been quite significant in your artistry. How was LA?
BOSLEN: So I went to LA for three months by myself, and that's kind of when the roof just popped off, where it was in sessions every day, like three sessions a day, making as much music as possible. That's when I made “LEVELS” with a guy named Zack Djurich. He did three records on the project.
LUNA: He’s done engineering for Kanye, yeah?
BOSLEN: Yes, that’s the one. He's executive engineered probably three to four Kanye West projects, produced on two Kikati projects, so he's very knowledgeable. He's been around a lot of great people. He's close with Mike Dean.
LUNA: That’s incredible. Could you describe his role in this point of your career?
BOSLEN: It wasn't even about the music. Just picking his brain was so amazing.
LUNA: I can imagine. I think even being in the vicinity of such profoundly talented people becomes an experience grander than the technicalities of the craft itself. It’s interesting — would you say it contributed to some kind of growth?
BOSLEN: I definitely think that process really helped me just mature quickly. And then alongside that, I was at the time talking to Anthony Kilhoffer, and … I give a lot of credit to him. I think he was pivotal in creating Travis Scott's career. So for me, along my journey in music, and him being very cutthroat with me and being honest instead of saying things like … well, I'm sure you know — there are a lot of “Yes” men in this industry.
LUNA: Yeah, I think it's easy to be surrounded by people that are more fixated on the idea of tangible growth. I would definitely appreciate the honesty too, being confronted with that kind of energy is refreshing.
BOSLEN: Yes, that’s it. I think having that at this age is, once again, very maturing for me, and I think that's honestly what it was — just trial and error and trying to push myself out of my comfort zone.
LUNA: I like your sound — there’s less emphasis placed on fitting into an idea of what’s “good,” [and] I think the greatest music is the stuff that can't be placed so rigidly.
BOSLEN: Yeah, I’d say a lot of this music is not really digestible right off the bat. If you hear GONZO, it's not “Oh okay, I can put this in this box. It sounds like Polo G and it sounds like Juice WRLD.” No, it doesn't at all, actually. It sounds like something that a person is trying to … and my best way of explaining it [is] trying to just push through the normal realm of what modern music sounds like.
LUNA: You do that well — transcend the boundaries of popular sound. I’m understanding now that your process is also very intricate and pushes these thresholds of comfort too. Super cool. Music is an art, and one of the greatest ones; I think being open within your artistry and paying attention to the reasons why you make the art and its resonance for you is so important.
BOSLEN: Exactly. I'm trying to just find a new sound, and beyond that, find my own sound throughout that process of something that I enjoy. I think that’s what it is. And yeah, I was just very grateful for the process. I felt like it was a very big learning opportunity for me and then outside of the whole music world, to find my own sanity by just creating so much music.
LUNA: Your music seems heavily informed by more than just other music — I know a lot of your practice is research and allowing yourself to be inspired by whatever you feel a natural inclination to. What specific inspiration contributed to this project?
BOSLEN: I think I was researching a lot of Salvador Delhi, getting into Picasso, some philosophers like Aristotle, and my fascination with them came from my creative director, Matia. Yeah, I think Matia and Natasha, both my creative directors, really helped to inspire me to just trust myself and just find something that I can attach to instead of just having knowledge come in from outside sources. Because everybody can be like, “Oh, you should do this, you should do that.” But until that actually comes from you and you care about it — then you can see the potential of the growth.
LUNA: Hmm, yeah. All art forms intersect more prominently than people think. You know, literally right before, I was listening to “Mona Lisa” by Nat King Cole and I had that exact thought: art and music forms the basis of more art and more music, and that generates more and more — it all comes down to exploring something human, right? I think it’s very cool you actively seek this knowledge.
BOSLEN: It’s funny that you say that. I think a lot of the interviews that I've had, a lot of people [find] it intriguing that an artist is looking outside of music to find inspiration. And I was thinking about that to myself, actually. I was like, “Why is that, that people find that interesting?”
LUNA: (Laughs) I mean, I just think some of the greatest artists’ work and some of the greatest music alludes to art, philosophy, literature, history … just the acknowledgement that you sit in an endless spectrum of time and stuff before you — I’m just interested to learn what informs your music.
BOSLEN: Yeah, that’s what I mean. My hypothesis is maybe because it's a norm for rappers, I guess, because that's what everybody is putting me into a box of right now, that rappers don't normally do that — look outside of music, or maybe they do and don’t share. They find inspiration in emotion or past stories that they have to make authentic to themselves. But I feel like being in this position, coming from a place like Vancouver that has never looked upon this angle, in this type of limelight, I feel like grabbing inspiration from Dali or even Julius Caesar, some of the greatest leaders and artists that man has ever seen, opens up this door to being articulate in a way that a lot of people haven't heard.
LUNA: Yeah, I agree with that, I appreciate that. And yeah, within the role of the rapper, there’s a broader agenda on the engager’s side to level and box the artist and their artistry in quite a bit. There’s actually some theory on this — the formation of these norms, that kind of thing. I was reading it not too long ago but it spans into more music and racial discourse.
BOSLEN: Oh yeah? Go on.
LUNA: I think the professor’s name was Rashad Shabazz. He said, “White artists have the latitude with what they can do musically, while Black artists are confined to predetermined boundaries,” and I know that spans beyond your point but I think culturally and socially that is why the norms exist in the first place, given that rap and hip-hop stems and aligns itself closely with Black culture. I guess this proves an aspect of your hypothesis too, being that there are set norms and any divergence from it is surprising to a lot of people.
BOSLEN: That was well worded. I agree, the relationship between my cultural identity and my music is really important. Music helped me learn about these aspects of myself. There are patterns where the fact that I make music and the fact that I am who I am, you know, can automatically set a path for how I am seen.
LUNA: I read your essay. I think you wrote it a while ago — “Connecting with my Identity.”
BOSLEN: Oh wow, you read that? I wrote that ages ago, in 2021. It was super important to me.
LUNA: Of course, it was very honest. With your process, would you say that that was a very rewarding one for you personally? You’ve mentioned that it has accompanied your personal growth as well outside of just learning practically applicable things.
BOSLEN: 100%, yeah, 100%. I think anytime a human puts their mind on something that they want to even have the guts to say… you want to do something and then do it, and then it goes out. That whole process alone — it doesn't even have to be music. It can be you making a gaming console. That process alone is growth, I think, because it teaches your brain to finish things and not just start it and then put it off to the side. And that's something that I, unfortunately, as a kid, would suffer from. I'd pick something up for a couple of days and then I put it down, pick it up, put it down, because I wouldn't like it. And then now I'm trying to train myself to just finish ideas and trust myself more. So it definitely grew me as a man.
LUNA: In terms of your journey as an artist, would you say this is a new era for you? I guess that suggests that your artistry is defined, or … sectioned into who you are at different stages in time. Or do you think that your music is more a documentation of a more continual, fluid growth?
BOSLEN: I think that's up to the person that's listening, whoever's watching. It's not really up to me — it’s up to you guys. I at least know where I want to take it, and I know the next footsteps that I'm going to take it to and the heights I'm going to take it to. And I think now it's just about getting people to catch up to those steps because I dropped something, but when you drop something, I'm already on the next thing. People just so happened to go to this thing that I said a year ago was going to happen, but they didn't believe it then, but now they're believing it. And it's just me. It's like you are walking a dog or something. You're like, “Okay, come on.” Ultimately, I'm trying to do it for myself. But the people that do care and that want to support me, I think that's what I'm trying to focus on. Because when it comes to chapters or new eras or anything like that, like these worlds that artists create, it's really up to the person that's interpreting it.
LUNA: Were you always conscious of the purpose of your music? What was your journey with your music like? Was there a point in your life when you realized, “Oh, I want to do music. This is what I want to do, this is it”?
BOSLEN: So at the beginning, when I was 13 or 14, I was listening to a lot of AKON at the time on my Walkman, I think, and I was listening to a lot of Mac Miller and Wiz Khalifa, and I just thought they were the coolest things ever. As a kid, you're just looking for a superhero, and I thought those were my superheroes.
LUNA: Someone that represents the things we want to be, yeah.
BOSLEN: Exactly. So, for Christmas, I got some money and I bought the Kai Mini and a shit SM57 mic — that's like the shittiest mic you can buy. I bought my ACER computer that I used and I cracked, streamed broody loops, and then I just started recording myself, but I hadn't hit puberty yet so my voice was really high, then I would release it. And I would get picked on at school, people said, “Oh my god, he thinks he can do this and that,” and it was crumbling as a kid. You're really thinking, “I just thought it was cool.”
LUNA: It would’ve been — did you stop?
BOSLEN: Yeah, I stopped doing that. I let all the voices around me get to my head and then that's when I played rugby for so long. I played rugby for six or seven years. When I was at university, I got injured and I tore my ACL twice and I was in my dorm by myself. I just remember specifically, I was really depressed. I didn't really know anybody at university. I didn’t have any friends, and it was 12 at night. I forgot what day it was, but it was late at night, and I was just thinking to myself, I just wanted to get stuff out of my brain because it really was crumbling. So I just started writing things down. And then one thing led to another. I started recording again and then met my friend, who's my manager now, Isaac Markinson, and I played him some of my voice. We played at this party, and the people came up to us asking who's this and that. Slowly we kept doing that, and that slowly gave me the confidence to keep making music. And then one thing led to another, and we started going to these open mics in Victoria Island. Victoria is like a ferry ride outside of Vancouver, and we just kept doing that. I remember I got one of my songs at the time, and looking back, it wasn’t really blowing up, but for me, it was blowing up. I got thousands of views, and I'm thinking, “Oh my god, I'm going to make it.”
LUNA: Amongst it all, was there a moment where it all clicked? Like a moment where the tangible shift aligned with a mental shift?
BOSLEN: Oh yeah, I had a record label reach out to me. And then that email, which is kind of a stamp of approval, being like, finally, “Okay, believe in yourself.” So we both dropped out of university, and I sat on his couch in Vancouver for seven months, not knowing how to break into the industry. I just knew that there were a lot of artists in Vancouver that I wanted to emulate or just be like one day. I put myself into position at the studio of just being a human and meeting them and talking to them, and then I just kept breaking the street. I think it became an obsession of mine, and I just took, like, an athletic mentality of being very competitive and put that towards music, and that's kind of what got me in today. But in no way can I take the credit for where I am today. I think I get a lot of credit to actually my team and the people around me that help me open the door and get to Capitol Records and the States and get to where I am now. I'm very grateful.
LUNA: In creating the project, what memories do you look back on as crucial and particularly special?
BOSLEN: Hmm, have you listened to the project?
LUNA: Of course.
BOSLEN: Which one did you like the most?
LUNA: To be honest, I liked that each track was different. It felt instinctive, which was nice. I really liked “FALLEN STAR.”
BOSLEN: Okay, so with “FALLEN STAR,” that was one of the last songs I made on the project. It was with Y2K, and it was at his studio house, where his whole basement is like a studio. He remade it. It was insane. Like, one of the nicest things I've seen, and that in itself is crazy. In LA, there's so much sunlight, there's a lot of open windows. So I went into it with a very uplifting mentality. For some reason, I just felt inspired. We went six hours for the session. I didn't make anything. I was not hitting at all that day. And then he just played those drums. Boom, boom, boom, boom, boom. Right when I was walking out the door and I turned around, I was like, “What is that?” He was just going through a bunch of things. And I came up with the idea of “FALLEN STAR” probably within a matter of seconds.
LUNA: I also really like “SCARS.” It’s reminiscent of a very real, very raw conversation I’ve had. I like how it feels like real human to human dialogue.
BOSLEN: Thank you. “SCARS” was one of my favorites. Yeah, that was just another day. I was not having it. It makes it sound like I just have awful studio sessions, but I just went into a session and I was going through a lot of personal family stuff and a lot of financial stress. And Zach Church at the time, he's like, “Even if you don't like it, just try something.” He's kind of convinced me because I didn't like the sample at first. I was like, “This is so boring,” which is a guitar. And he's told me to just try it. I agreed.
LUNA: Was that a therapeutic process? I can imagine. The lyrics sound like they come from a spot that resides like, below your core.
BOSLEN: It was so therapeutic. And yeah, I didn't even write. I just went up to the mic and I just talked for 20 minutes. When I opened my eyes, it was kind of just all there. We try to put the pieces together. It's one of my most truthful songs. I feel like songs like that, that are just more conversational, they last longer.
LUNA: That’s lovely, your artistry is quite vulnerable — a lot of tracks that are emotionally driven. That continues what I said before about the diversity of the project: you have quite a range in the concepts that ground each track and that manifests through the sound too. Is this a very conscious decision or is it more experimental?
BOSLEN: I don’t think any of these songs, in my mind, were safe to do … I think it was all just kind of gut feeling, I think, because even with a song like “HEIST” and “FIESTA” or even starting a project with “MANIC,” you know, it's not me doing it because I'm like, “This is a risk,” and I know it's a risk and nobody else is doing it. It's not necessarily that. I think it's more like, “This is something I have to do because I feel like I am capable of doing it.” So it's like, why not tap into that potential that a lot of people are maybe fearful to try? When I know I can make a project of seven songs, seven pop songs, I can just do that. Or I can make a track list of eight Fiestas, just trap fun songs.
LUNA: Is the ultimate goal to be entirely intuitive, do what you want to do, not necessarily what you should be doing? That’s not even possible, is it?
BOSLEN: I wish I could say that, but if I did, then the ones that I trust would kill me. It's just because it is instinctual, of course. But sometimes that’s wrong, right? Not even as an artist, but as a man. I need to learn when something is wrong and acknowledge that and learn from that. And that's something that this process has taught me as well. That trusting my team and trusting the ears of other people is sometimes better than mine. And I'm not always right.
LUNA: Yeah, that’s a good awareness to have — understanding that it’s more than just you. Is there anything you hope your audience or any new listeners take from this project? What do you think they’ve taken from it?
BOSLEN: I think they'll slowly be able to put a magnifying glass over Boslen and start to dissect this artist. I feel like everybody is just truly trying to understand. For you to enjoy something, you need to understand it first. I think the more and more I drop music, more and more people will understand who I am and why I say the things I say, why I make the decisions I make, and that will thus make me and my listeners closer. That’s what I want — I want to be a voice for people that maybe think things a lot of people don’t say, so it makes them feel alone, and that’s alright. And I want to be there for people that maybe don't have the strength or the courage to say things or even chase their dreams. So I want to be an example of that, and I think that's my responsibility. That's what's really exciting about dropping music right now, is that I know that even though I'm not exactly where I want to be today, I know in a week, two months, a year, two years, I will be and by the time I'm there, people will have already dissected who I am so they'll understand what I'm trying to do and where I'm trying to take it.
LUNA: So, in terms of your purpose as an artist, you said before that it began again as an outlet. Would you say that as those receiving and perceiving your music grew, your purpose has shifted? Maybe more so as a means to connect?
BOSLEN: It's so many things. I think what's been driving me recently a lot is my legacy is that one day I'm going to be 50 years old. And for instance, we’ve dropped the vlog series for my tour. I did my first tour and I was very specific on notes, you know, I want to see more of this, that, and I wasn't trying to be a control freak. I was just explaining like, man, and it hit me at that moment. I'm going to be 50 or 60, whatever, it doesn't matter, just old. And I'm going to have a grandson and I'm going to show him and I'm going to say, “Yeah, this is what I did when I was 20, when I was in my twenties.” And I hope it just inspires him and it's just going to be cool because I'm just trying to think of future inspiration. But yes, it is very therapeutic at the same time. And I do have a responsibility and a lot of those things, but music in itself is just a blessing. To even do this is a very great opportunity that a lot of people don't even get to do. So I got to always be thankful.
LUNA: Music kind of captures the zeitgeist of the time — it’s emblematic of the culture of the time and constantly accompanies cultural shifts, social shifts. What do you want to contribute to this day and age of music from a more cultural perspective?
BOSLEN: That's a great question. That's my favorite question. I think I'm still trying to find that out. Not even culturally, but another way I was thinking about it is like everybody brought their own branch to the tree of hip-hop. Everybody brought their own branch. You can talk about Jay-Z, what he did, Kanye, what Drake did, what these greats did, what the Weeknd even did in his own world.
LUNA: Yeah, well then I guess, what does Boslen want to contribute to hip-hop in its broader cultural definition?
BOSLEN: What is Boslen going to bring to the culture, to the branch of hip-hop?
LUNA: I don’t think it’s something you have to know — the artists you listed definitely crafted a place for themselves with time.
BOSLEN: That's something I'm still discovering and still trying to find right now. At the moment, I know my strengths are being genreless. Yeah. And having the ability to sing very well and being able to rap. But now I think I'm more, in a sense, focusing on what I'm saying and focusing really on the lyrics. And I think I did, of course, before, but more just more articulate. But even that, that's not bringing a branch. So yeah, I'm going to come back to you with that question because that's an amazing question that maybe I’ll think about a lot. So thank you for that.
LUNA: Of course, like I said, for most artists, I think time kind of allowed the depth of their contribution, and it developed naturally. Maybe it’s the development of their artistry that is the contribution. Are there any lyrical inspirations you have at the moment? Anyone throughout history?
BOSLEN: Interesting that you’re asking such relevant questions. I'm in a session actually right now with somebody I used to listen to when I was a kid. They go by Marianas Trench and they're a big inspiration of mine, so I'm going to be working with them today. Josh Ramsey too. Who else, hmm, lyrically? Just books. Lots of books — anything I read. That's where I've been trying to pull inspiration. Sorry, I'm blanking a bit. It's just I'm really trying to give you honest answers, but now that I'm stuck on that one question asked me because I want to think about what I'm going to bring to the branch of my legacy and with it.
LUNA: (Laughs) I’m glad I made you think then. What about hip-hop music — and, again, in the wider sense of it as a cultural term — draws you or people in?
BOSLEN: Because it's the truth. It's not cookie-cutter, it's not painted by a machine, and it's not filtered by so many things. I'm not saying other genres do that, but I am saying that hip-hop started with truth, and it started with stories and something that people can really resonate with and it blends in so many ways. It's like a type. It reminds me of Venom off Spider-Man because it can just transform into anything.
LUNA: Yeah, it’s a mode for storytelling, a means for having a voice, which then affirms its significance in creating or, like I said before, accompanying change. I like that — transforms like Venom. Is there anything else you’d like your audience to know?
BOSLEN: Thank you for asking that. I just want people to do just one thing, I guess … at least for me. When I was listening to Kickouti when I was younger, that was a decision that I made, right? That's a decision that I connected with that artist in a way that I felt nobody else did. When a friend comes to me and says, “Oh, that artist is whack because of this” and the other, I think that's their opinion. I find that a lot of people nowadays, they only listen to things that other people think are cool or they only listen to things that are [like] “Okay, now it's hot, so now I'm going to listen to it.” And I guess that's so cliche for an underdog or somebody that's not an A-list celebrity to say. But the only reason I say that is because even if you can take the A-list celebrities, they're listening to — at least my idols — they're not listening to other A-listers, [they’re] listening to the people they find that they are drawn to. I don't know if I'm explaining this right, but that's kind of what I look for, and I hope for more in this pocket of Boslen.
LUNA: Yeah, music should be listened to with more intention, or more freely? I think listening to things that feel more intrinsic is important, but then again, experimenting with what you consume is important too. Both I guess… yeah, you’re right, just taking autonomy over the decision of. What are you looking forward to for the rest of the year?
BOSLEN: Performing more. My US tour. Hopefully I'll be doing my Europe tour soon. We had to postpone it, but doing that tour soon — I'm really excited for that. And dropping more music and dropping music that people didn't expect. I think this type of stuff I'm working on now is completely different from what I've been releasing, and not in a sense where it's way more experimental than anything. It's minimalist. I'm very excited for people to hear that type of stuff up. So, yeah. Just breaking into the States, breaking into it faster, expanding my audience and connecting with more people. I'm very excited for that and just enjoying this. Just being happy. The process during the ride.
LUNA: That’s all so exciting, very fulfilling. Thank you so much for your time Boslen.
BOSLEN: No, that was amazing. Thank you so much. I appreciate that.
LUNA: Are you in a recording session now?
BOSLEN: Yes, I’m about to go in — it's gonna be fun. So far, so exciting.
LUNA: We’re looking forward to everything.
BOSLEN: I am too.
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