Spanish-born, UK-based singer/songwriter Gizmo Varillas shares how he came to see ‘The World in Colour’ in a candid conversation about his sweetly sun-kissed fourth studio album – an intimate and cinematic celebration of life’s beauty, resilience, and connection.

‘The World in Colour’ – Gizmo Varillas

There’s a magnetic, almost weightless beauty to the music of Gizmo Varillas.

His songs shimmer with warmth, emotion, and texture – the kind that wraps around you like a summer breeze, that lingers long after the final note. Whether singing in English or Spanish, Varillas has long crafted music that transcends borders and language, music that speaks directly to the heart. Across four studio albums, the Spanish-born, UK-based artist has cultivated a sound rich in rhythm and radiance: A fusion of folk, pop, world, and cinematic elements that invites listeners not just to hear, but to feel.

His latest album, The World in Colour, is perhaps his most vivid work yet. Written and recorded over several years marked by seismic life changes – a move from London to Brighton, marriage, and the passing of his father – the record is both a sonic and spiritual renewal. But even as it charts deeply personal terrain, The World in Colour is not an album mired in grief. Instead, it’s alive with light, gratitude, and hope. It’s a celebration of life’s full spectrum – its highs and lows, its joys and heartbreaks, its dazzling flashes of beauty amidst sorrow.

“In many ways, this album is about me reconnecting with myself, finding my identity again. It’s almost a declaration of who I am,” Varillas says. “It’s about finding those little moments every day to pause and appreciate what you have. That’s what I wanted this album to communicate – to remind people of the beauty in life, to inspire them to take a moment and soak it in.”

From the radiant trumpet opening of “Follow the Sun” to the swelling, euphoric close of “Hijo Del Mar,” Varillas crafts each moment with care, layering acoustic guitars, delicate percussion, Latin rhythms, and unexpected flourishes into lush, organic arrangements. Songs like “Desde El Otro Lado” and “Ojos Nuevos” channel grief into catharsis, weaving personal loss into universal connection. Even when his lyrics are rooted in vulnerability, the music soars – inviting listeners to dance, reflect, and embrace their own emotional landscapes.

“I really wanted the album to feel cinematic, like something you’d put on during a holiday or a road trip,” he beams. “I wanted it to be a companion, to literally go on the journey with the listener.”

What makes Varillas’ music so resonant is its timeless, borderless quality. It’s the reason his songs have connected with audiences across Europe, why his recent tours have sold out venues throughout Europe, why strangers who don’t speak Spanish find themselves swept up in the pulse of his Spanish-language tracks. His work is less about genre or convention and more about emotional transmission: the textures of percussion, the color of a trumpet line, the hypnotic pull of a groove. As Varillas himself says, music is a language of feeling – and he’s fluent in it.

“That’s the kind of music I want to make: Something that’s there for you in both the good times and the bad times,” he reflects. “Music has always been that for me. It’s helped me process life, and I just hope my music can help others process their own lives, find peace, and find calm. That’s become really important to me because I know firsthand the power of music – how much it’s transformed my own life and impacted my well-being. I wouldn’t know myself the way I do if it weren’t for music; I wouldn’t have discovered so many things about myself. It’s beautiful to be able to share that and give other people the chance to do the same through these songs.”

At its heart, The World in Colour is both a homecoming and a declaration.

It’s Varillas standing confidently at the crossroads of who he was and who he’s becoming, embracing the full spectrum of his artistry. It’s a reminder that music can be both personal and communal, a space for both introspection and joy. And it’s an invitation: To slow down, to listen, to touch the earth, to follow the sun, and above all, to dance – always, to dance.

In our intimate interview, Gizmo Varillas opens up about the making of The World in Colour, the grief, growth, and love behind his latest songs, his use of unconventional instrumentation, and the unexpected ways music continues to guide his life.

“I’ve felt a big change with this album,” Varillas shares. “Now I can sit comfortably in my own skin and express who I am, without seeking approval – just saying, ‘This is me, and this is my story.’ I think that’s really what I’m trying to express on this album: It’s a declaration of self, of owning my identity.

Dive into our full interview below, and if you’re lucky enough to have Gizmo Varillas coming to a venue near you this year, take the opportunity to hear his sweet music live and in person – and you, too will see the world in color.

— —

:: stream/purchase The World in Colour here ::

:: connect with Gizmo Varillas here ::

— —

‘The World in Colour’ – Gizmo Varillas

A CONVERSATION WITH GIZMO VARILLAS

Gizmo Varillas: It’s amazing, honestly. I actually wrote it a few years ago, so by the time you start releasing that first single, it all starts to snowball. We really made sure to treat each song with care, giving every track its own space to breathe and letting fans live with it – really enjoy it and sit with it. We’ve been steadily releasing music for the past year, like you said, and it’s been incredible to allow everything that time.

I think music is best appreciated when you give it space – when you let people spend time with it and make it part of their lives. They go on a trip, they listen to a song, and that track becomes part of their memories. That’s what makes music special. That’s why people come back to it – because it’s woven into their life story. Time is such an important part of that.

So yeah, it’s incredibly exciting to finally be able to say, “The album is out now!” I put my heart and soul into this over the past few years. It’s eleven tracks, all carefully chosen – a few songs didn’t make the final cut. Sometimes when people listen to an album, they don’t realize how much work and dedication has gone into making it. But I’m just so excited for everyone to experience it from beginning to end, the way it was meant to be heard.

Up until now, people only had snippets – pieces of the puzzle. Now they can finally see the whole picture. I wanted this album to feel like a journey, and I’m thrilled that people can finally take that journey – to experience how the album flows, how it moves between the songs. It’s a really exciting time.

Gizmo Varillas: Yeah, it’s interesting. When I listen back to them, I realize how much I’ve changed as a person since those albums. I also know so much more now about production and sound – it would be impossible for me to replicate those albums today because they’d end up sounding completely different. It’s fascinating to hear that old material because while it’s obviously me, it feels like a completely different era of myself.

I feel like I’m constantly evolving and changing, but at the same time, those first albums were such a key part of my self-discovery process. That’s how I view making albums – like peeling back the layers of an onion, uncovering a little bit more about myself with each one. Every album I’ve made has helped me discover something new, a side of myself I didn’t know before. It’s all part of the experimentation – trying different sounds, different genres, different rhythms, and different lyrical topics. Every time I write a song, I try to keep it true to my own experience.

Sometimes I’ll write something, and it won’t be until years later that I fully understand what that song was about. I’ll look back and realize, oh, of course – it was staring me in the face all along. But because the way I write is usually very subconscious, I don’t always realize the full meaning until I’ve lived with the song for a while. That’s what we were talking about earlier – you need a bit of time and space to really let the songs settle. That happens for me as the writer too; I’m discovering things about myself I wasn’t even aware of at the time.

Looking back at my early work helps me see not just the journey I’ve been on, but also the road ahead. All the choices I made reflect my personality and my musical taste, and because I’ve stayed true to myself from the start – I’ve never swayed from that – I think there’s a coherence you can hear across the body of work. You can hear my progression as an artist. I really enjoy listening back, even to the lesser-known tracks, because they were all part of that process and that journey. It’s a reminder of where I’m going and who I am. I try to stay true to everything I’ve done and carry it with me as I keep moving forward on this journey.

Gizmo Varillas: Oh yeah, definitely. Some of my favorite moments on tour are the singalongs with fans – it becomes really communal. The older songs are often the ones people know best because we’ve played them live so many times, and honestly, it’s my favorite part of the set: going completely acoustic, unplugged, stepping into the middle of the crowd, and just singing together.

Songs like “No War,” for example, are essential. I feel like my set wouldn’t be complete without that one. And the crazy thing about “No War” is that every time I go on tour, it feels relevant for a different reason or a different conflict. It’s really wild. I actually told the crowd a few days ago, “As long as you’re willing to sing along with me, I’ll always sing this song.”

I don’t have that thing where I get tired of performing old songs or the so-called classics. I genuinely enjoy sharing that moment with the audience. So yes, we’ll definitely include some older tracks in the set – I think it’s important. People look forward to hearing those songs, and honestly, it brings me joy to share them and to experience that connection together. It would be a shame for me as well, for the crowd to not experience the songs that they’ve enjoyed for a few years.

Gizmo Varillas: I think the first one I’d choose is “Freedom for a Change.” That’s a track that’s stayed with me throughout my career – it would be hard to ignore if I were picking songs to represent my journey. It’s got that same communal feel, and it’s a real feel-good track. I love the message behind it.

Especially live, it just puts people in a good mood. I’d say it really helped define the beginning of my career and played a part in getting me to where I am today. Of course, “No War” is another one, and then there are tracks from the new album too.

For those who haven’t listened to my first album, I’d recommend checking out one of the instrumentals, because that’s always been a big part of my sound. Lately, I’ve been leaning more into meditative music – sounds you can connect to on a different wavelength. It’s not just about the song itself, but about the vibe, the atmosphere, and how it affects your body and mood.

There’s a track called “Paraiso” – it’s the first song on my debut album, El Dorado – and in a way, it opened up my career, because it sets the tone right from the start. There’s a certain vibe to it that people really connect with; it’s vibey, meditative, and peaceful. That’s probably my most natural way of writing, honestly – that kind of music just flows out of me. And while I’m always experimenting and trying new things, I keep finding myself drawn back to that meditative space.

Gizmo Varillas: Yeah, so The World in Colour came about during a time of big changes in my life. Just before I started writing it, I was living in London, and I started feeling a bit stuck and tired of the city. I’d been there for ten years, and this was right after surviving the pandemic. I felt like I needed a change, a new setting. And for your readers who might not know, I was born on the north coast of Spain. Being by the sea, going to the beach – that was such a big part of my childhood. I’d spend time with my family eating tortilla sandwiches, diving into the waves. It was my favorite place to be as a kid.

Living in London for so long, pursuing music and working hard, I felt like I’d lost a big part of my identity, of who I was as a person. So, my partner – who’s now my wife – and I decided to move to Brighton, to reconnect with the sea and with nature, which has always been really important to me. In many ways, this album is about me reconnecting with myself, finding my identity again. It’s almost a declaration of who I am, especially with songs like “Hijo del Mar,” which means “Son of the Sea” – that’s a big personal statement for me.

Another huge shift happened halfway through writing the album: I got married, which was a beautiful moment, but then I also lost my father. He had cancer, and we knew he didn’t have much time left, so I spent a lot of time with him before he passed. I was processing so many emotions over that year, and writing music became a way for me to work through my grief. It helped me process everything and find some healing too.

So, to me, The World in Colour is about seeing the world in color again. Watching my dad slowly drift away changed my perspective on life; it made me value my own life so much more, and it gave me a whole new sense of gratitude – for my friends, my family, my music, and for having made it to this point in my career. This album is about inspiring other people to see the world that way too. It’s about sharing my story, everything I’ve been through, and also being honest that I didn’t always see the world this way.

When I was younger, in my teens and early twenties, I didn’t have this outlook. So, compared to my earlier albums, this one feels much more personal and deeply tied to my own life story. That’s where I think it really differs.

Gizmo Varillas: For the first half of the album, the theme I had in mind was change. That was the main thread I was thinking about as I was writing. But when my dad passed, that became the central message: seeing The World in Colour. That’s when the album really came into focus for me. It’s funny because it can take years to find something meaningful to write about, but then something life-changing happens, and suddenly it’s so obvious: this is what the album is about. Before that moment, I was writing songs with some vague ideas of what I wanted to express, but the title and the theme – The World in Colour – only came about because of my father’s passing. Without that experience, I don’t think I would have even seen things this way.

Sometimes songs are just a reaction to what’s happening in your life. Maybe someone says something to you that upsets you, or something happens that you need to process, and that’s how the song comes about. For this album, it wasn’t until halfway through that I realized: okay, this is the direction, this is the message I want to share. But it was all very natural, not planned. I didn’t have some grand blueprint. It was really just me working through my life and everything that had happened.

I knew early on that I wanted to dedicate a song to my dad, and over time, the whole album became dedicated to him. One of the biggest lessons he gave me was to appreciate life, to keep moving forward, and to not hold back. That experience gave me so much more energy to keep going, to be more decisive about my career, to have more confidence – to stop waiting around and really go for it. In a way, it was like a wake-up call. You can go through life feeling like, oh, everything’s good, I’m just here making songs, it’s fun. And then something like that happens, and you realize: wow. He was only 60. And it’s not just about age – it’s about how sudden the change can be. You’re always making plans: I’ll do this in five years, or next year I’ll do that. But one of the biggest lessons I learned is that if you have the chance to do something now – to enjoy time with loved ones, to have a special moment – you should do it while you can. Don’t put it off because of work or other things that can wait. It’s about reprioritizing life.

That’s what was flowing through my mind while writing this album. I think that’s the heart of it.

Gizmo Varillas: Absolutely – and it’s not even something you just learn once. I think we constantly need to remind ourselves. It’s not like you appreciate life once and you’re done; it’s about finding those little moments every day to pause and appreciate what you have. That’s what I wanted this album to communicate – to remind people of the beauty in life, to inspire them to take a moment and soak it in. And it’s not about putting pressure on anyone. It’s not saying, “You have to appreciate life every second!” We all have work and responsibilities, and that’s okay. But if you can, when you can, find a moment to appreciate what’s around you. I like thinking of this album as a gentle reminder to do that.

Gizmo Varillas: For me, life is made up of all kinds of colors – the highs, the lows, the bright days, the gray ones. And it’s the contrast between them that makes life beautiful. If everything were always bright and sunny, you wouldn’t appreciate it; it would just be normal. But when you’ve gone through hard times, you value the bright days so much more. So when I talk about “The World in Colour,” it’s about recognizing the full spectrum of life – all the shades, all the experiences, even the difficult moments, because they shape who you are.

I’m the person I am today because of everything I’ve been through – the challenges, the changes, moving between countries, navigating family issues. I’ve often felt like an outsider, caught between Spain and the UK, never fully belonging to one culture or the other. I was always adapting. So when I talk about seeing the world in color, it’s not just about the good times; it’s about appreciating the hard times too, because they made me who I am. And today, I’m proud of who I am. That sense of acceptance is a big part of this album.

Of course, it’s hard to ignore all the horrible things happening in the world – they’ve always been there, and they’re still here now. But I think it’s so important to remember that despite all that, there’s still so much beauty, so many good people, so many beautiful moments happening all the time. It’s easy to forget that when you tune into the news, but I see it at my live shows – people from all walks of life, all backgrounds and cultures, coming together, sharing a moment through music. That’s a reminder that there’s still goodness and connection in the world. The sun is shining today; it’s a beautiful day. And yes, while I’m devastated by what’s happening in the world, I still want to remind myself – and others – of the beauty that exists. That’s what this album is about: appreciating that.

Gizmo Varillas: A big part of it has been reconnecting with nature – that was really the main thing. When I was living in London, especially during lockdown, I was in this huge city for 10 years, just working to pay the bills and doing music on the side. Over time, I completely detached from nature, and that had a big impact on my mental health. I really lost myself.

So moving to Brighton was, I guess, me reconnecting with nature again. Being by the sea was a huge part of that, but it wasn’t just the ocean – there are beautiful forests and rolling hills nearby. Plus, we got two little dogs, and they’ve honestly been life-changing. Thanks to them, we go out into nature so much more, and it’s wild how you don’t even realize what’s been missing until you get back out there and experience it again.

I look back now and can’t believe how I used to live, how little exposure I had to nature, and I fully understand why I’m so much happier now. It’s just so important – and I think modern life in general really pulls us away from that. It distracts us from something so essential, yet so simple. Life and nature are already beautiful; we don’t need much more. But we’re constantly trying to overcomplicate things.

Moving to Brighton wasn’t just a physical shift, it was a shift in my mindset and my values. What’s truly important to me has changed. Nature has become almost like my spiritual guide – it’s what grounds me, what gives me peace, and what keeps me connected to who I am. That’s how I stay centered, how I stay comfortable in my own skin and my place in the world. It’s a big part of who I am now.

Gizmo Varillas: All over, really. We started out in Bethnal Green, in East London. But then, like so many others, we got priced out, so we moved south – classic story. We ended up near Canada Water, New Cross Gate, and eventually in a place called Crafton Park. So yeah, mostly East and South London.

But even when we were technically living in London, it never quite felt like we were fully in it, because we were always on the outskirts. You always have this thought in the back of your mind – “Oh, I can go to all these gigs, I can go to the museums, I can experience everything.” But the reality is, you’re so drained from just trying to survive, from going to work and coming home tired, that you don’t have the energy to actually enjoy those things.

It was also tough to see friends – it would take an hour just to meet up, so you’d end up spending two hours commuting back and forth. It was that feeling of, “I’m here because of the potential, but I’m not really making the most of the potential… so why am I even here?” That’s the thinking that eventually pushed us to leave.

Now, in Brighton, we have friends who live 15 minutes away. We can literally just message someone and meet up the same day, without planning it a week or two in advance. It’s more spontaneous. Or if you’re feeling unwell, a friend can just stop by with some medicine. It’s much more in tune with community, with life outside of just work.

Gizmo Varillas: Yeah, I definitely recommend it. It has such great energy – it’s very creative, with lots of artistic people. There’s a really nice vibe here. It feels quite different from the rest of the UK – in a good way – and it has a youthful, open approach to things.

Gizmo Varillas: I think it’s because when I write in Spanish, it tends to come from a deeply personal place. I had something really personal I wanted to say, and I wanted to say it in my native language.

No matter how long I’ve lived in the UK – it’s been nearly 29 years – at the end of the day, deep down in my heart and soul, I know I’m Spanish. All my family is Spanish, and I carry that background and history with me. I wanted to reconnect with that part of myself, because even though I’ve spent most of my life in the UK, there’s so much of my Spanish side that I wanted to bring forward again. Releasing those first singles in Spanish was a way of saying, “Hey, I’m back – and this message, this story, is in Spanish.”

Those songs came directly out of the story of my father, and they’re rooted in Spain, in him, in our shared experience. It would have felt wrong to translate them into English, because the meaning was so closely tied to that language. In a way, these songs were me speaking directly to him – saying the things I couldn’t say while he was alive, expressing what was hard to put into words. Releasing them was a way of processing my grief, especially because it was still so fresh at that point.

Gizmo Varillas: Oh, definitely. First of all, the trumpet intro on “Follow the Sun” was really hard to beat! I was so excited about it, because I’d never used trumpet on any of my albums before. Alfredo Pino, the Mexican trumpet player who played on it, just nailed it – he elevated the entire album for me.

Up until that moment, I had all the arrangements finished, but I felt like I was still missing one last ingredient. That trumpet was like the icing on the cake – it really transformed the song. And the vibe of “Follow the Sun” is so ethereal, so dreamy, that I thought it made for a perfect opener to set the mood.

I really wanted the album to feel cinematic, like something you’d put on during a holiday or a road trip. I wanted it to be a companion, to literally go on the journey with the listener. So starting with “Follow the Sun” felt right – it kicks off the trip, sets the tone, and says: let’s let everything go and go on this journey together.

Gizmo Varillas: Having played a few of the tracks live already, I think the one that’s sticking with me most right now is “Desde El Otro Lado.” Even people who don’t speak Spanish have told me that it connects with them on such a deep level. When I explain the story behind it – that it’s about my father’s passing – they’re like, “Oh, that makes so much sense, I could feel that.” They could sense the emotion, they could feel something resonating through the song.

That’s the beauty of music – even without understanding the words, sometimes it just speaks to you. It’s not about showing off how many scales you can play or demonstrating your technical skills; music is about emotion, about transmitting that feeling. When you transmit emotion and people actually feel it, that’s when you truly connect. And I feel like that song really connects. Because it’s such a personal piece for me, it makes me happy that others can relate to it – and even that it helps them, that it supports them through their own grief. I’ve had people tell me it’s helped them, and that means a lot, because it helped me too.

Another favorite is “Hijo Del Mar,” another Spanish song. That one’s a big moment because we usually play it as the last song in the set. What I love about it is how it builds – it starts off quite chill, but halfway through, we really kick it up a gear. On the album it transforms, but live it takes on a whole new life. It’s a really special moment because I encourage people to just go for it – to dance, jump, and let loose. It has this epic, almost feverish feel, and I love that musically it’s not just one thing; it morphs and evolves from start to finish, going on its own journey.

Gizmo Varillas: Actually, you’re spot on! It’s funny because “Hijo Del Mar” was one of the last songs I wrote for the album, and there’s definitely a certain confidence that comes through on that track. I really enjoy that about it – it’s like you said, it’s a way of me saying, “Here I am, I’ve arrived.”

Some of the songs on the album are softer and explore a more vulnerable side of me, like “End of the Line.” But then you get to “Hijo Del Mar,” and it’s like, “Okay, let’s go! Let’s do this!” It takes you on this metaphorical highway at sunset, and because it’s the final track – and one of the last I wrote – I feel like my whole mindset had shifted by then. I had reached a point where I was confident enough to stand up and tell the world who I am.

That wasn’t always the case. Even with my earlier albums, I used to get nervous before interviews; I was still figuring myself out. But I’ve felt a big change with this album. Now I can sit comfortably in my own skin and express who I am, without seeking approval – just saying, “This is me, and this is my story.” I think that’s really what I’m trying to express on this album: It’s a declaration of self, of owning my identity;

Gizmo Varillas: Yeah, the first one that comes to mind is “No War,” just because of its significance. We sing it every night at shows, and having that kind of communal singalong almost etches the lyrics and melodies into eternity. We share that moment together, and for me, that’s what makes it special. It’s not just that I wrote the song; it’s the fact that we share it live, in real time, that makes it beautiful.

From the newer songs, I’d say “End of the Line” is an interesting one. I actually wrote it quite a few years ago, even before my album El Dorado, back when I was playing in bands in London. Originally, it was about a breakup with a friend – very tied to that specific moment. But when my dad passed away and I listened to the song again, it took on a whole new meaning I didn’t expect. That’s what’s fascinating: songs can evolve and change, even without changing, because your own perception of them shifts depending on what you’re going through. Suddenly, a song can feel newly significant because of your own life circumstances.

That’s why “End of the Line” resonates so deeply with me. It has this universal quality that lets people give it their own meaning, and I really love when lyrics allow for that – when they’re open enough for listeners to find themselves in the words. That song has been with me for quite a few years now, and I feel like it’s stood the test of time.

Another one from the new album is “Where Is the Love.” I wrote an early demo for it and played it for my wife, and she said, “I think this is the darkest song you’ve ever written.” I was surprised – I didn’t see it as dark. I looked at the lyrics and realized, oh, I was just listing all the terrible things happening in the world. I told her, “This is me making an outcry about all the injustices we’re facing, why does it feel dark?”

So I edited some of the lines and rephrased the meaning. It took me a while, but once I landed on the line “right here, right now,” everything clicked. That was the message. The song wasn’t just the question – it was the answer. I was even tempted to rename the song “Right Here, Right Now,” but I liked the idea of not giving the answer away up front. I wanted people to listen, experience it, and discover the answer through the song itself.

When I started playing it live, that’s when it all really made sense. Those moments where people gather together – that’s where the love is, right there, right now. Some friends joked with me, saying, “Oh, you know, that’s the Black Eyed Peas title.” But honestly, I hadn’t even heard that song when I wrote this. It came from such an authentic place, and I thought it would be a shame not to release it just because another song exists with the same title. Besides, I realized they asked the question, but I provided the answer, and that felt powerful. Simple, but powerful.

I’m really proud of that one. With the right arrangement and presentation, it even carries the weight of a protest song. I think I’m most proud of the songs that stand the test of time, that remain relevant no matter how old they are, and that people keep coming back to. Those are the kinds of songs I’m drawn to.

Gizmo Varillas: Yeah, exactly! It really started back with El Dorado. I wanted to arrange the music, but I didn’t have space for a drum kit. I was living in a small room in Bethnal Green, sharing a flat with five or six people. So I had to keep the setup small, keep the instruments sparse. I recorded my first album with just a few pieces of percussion and a guitar.

I think that’s what gave that album its particular sound and vibe – because I wasn’t using a standard drum setup or the sounds you’d normally expect. It honestly happened by chance. I was still figuring myself out and experimenting. I’d buy a few percussion instruments, write the songs, record the vocals and guitar, and then I’d hear the arrangement parts in my head and try to replicate them rhythmically with the percussion I had. For example, on the 2 and 4 downbeats, I’d use a seed shaker because it had this big, satisfying sound – that became my snare. Or I’d take a cabasa for 16th-note patterns instead of a hi-hat because it has that metallic texture.

Rhythmically, the parts stayed similar to what you’d expect, but the sounds were completely different because of the instruments I was using. So I built the songs around those percussion pieces, and that’s kind of always been how I work: I create with whatever I have around me at the time. And that’s the beautiful thing about albums – they’re snapshots of where you are in life, and they reflect the instruments, equipment, and tools you had access to in that moment.

That first album was made with just a ThinkPad laptop, entry-level microphones, some percussion, and my guitar. And somehow, it worked! I didn’t have anyone guiding me or telling me what to use. I figured things out through experimentation, because I hadn’t had formal training in production or recording. In many ways, I got lucky – I mixed that album myself, even though I had no idea how to mix. I’d be scooping the lows and highs on the EQ, thinking, “I don’t know if this is the right thing to do, but it sounds good to me on my speakers, so let’s go with it.”

It wasn’t until years later that I really sat down and learned about engineering and sound – mostly during the pandemic. Before that, I was just a writer, making and arranging music. But when it came to EQing, producing, and the technical side, I really dove deep and honed my skills during the lockdown period. So yeah, I’ve always worked very intuitively.

Looking ahead, I’m actually really glad you brought up the whole idea of the standard setup. For my 10th anniversary, I’d love to do an acoustic album with my live drummer and bassist – but I don’t want to use a standard drum kit. My drummer is also a percussionist, and we share a lot of similar interests and ideas, so I’m starting to think about how we can approach this project. I’d love to cover the usual sonic ground – like having a kick sound – but using slightly different instruments to get there.

I’m quite excited to explore that because I’ve never made an album that has a truly live feel; it’s always been me recording and producing at home. So the idea of bringing in the band, but still keeping that slightly unconventional instrumentation, feels like the key to capturing the essence of these first ten years. That’s where my head is at right now, and it’s really exciting to think about.

Gizmo Varillas: I think the main thing I’d love people to take away is to feel inspired. That’s really it – I want this music to lift people up, to be something they can carry with them wherever they go. If they’re feeling down, I hope they can put on the album and find that reminder we all need sometimes. And the great thing is, you can play it as many times as you want – you can be reminded again and again.

That’s the kind of music I want to make: Something that’s there for you in both the good times and the bad times. Music has always been that for me. It’s helped me process life, and I just hope my music can help others process their own lives, find peace, and find calm. That’s become really important to me because I know firsthand the power of music – how much it’s transformed my own life and impacted my well-being. I wouldn’t know myself the way I do if it weren’t for music; I wouldn’t have discovered so many things about myself. It’s beautiful to be able to share that and give other people the chance to do the same through these songs.

Gizmo Varillas: Honestly, it’s similar. For me, this album has been a realization that these last few years have been seismic – just crazy. A lot has happened, and it’s made me reflect deeply. This album has been very reflective, and I take a lot of joy in that. I’m just really happy to be here at this moment in time.

A lot of work has gone into this album, but not just the album – really, my whole career has led up to this point. I feel like, with this record, I’ve just about found myself. I’ve found my footing, I’ve found my path. And now I’m excited to keep going. What I take away most is this sense of validation that I’m on the right journey. It’s a reminder to keep going, stay true to myself, and above all, to be grateful for the fans and the people who have supported me up to now. It’s thanks to them that I’m here, and I’m deeply appreciative. And of course, I appreciate you as well – thank you so much for all your support. It’s really been a journey.

Gizmo Varillas: Yeah, it’s amazing. I think the most exciting thing is how global that connection can go. That’s what feels most special to me. For example, going to Greece and finding people there who connect deeply to the music – that was a dream of mine, to go to Greece. And honestly, everything makes sense live. I think live performance is the special ingredient in music; that’s where the magic happens.

Especially in the past year, I’ve rediscovered this passion for live music and for the experience of life itself. My “pinch me” moments are being on stage in countries like Greece where I never thought my music would ever reach, where I never imagined I’d be able to play. It’s just a magical feeling. I love connecting with people in general, but when it’s people from different cultures, it’s even more special.

It ties back to what we were talking about earlier – me adapting as a child to the cultures I was in. I’ve always been good at appreciating other cultures, finding common ground, bridging the gaps. That’s what excites me: going around the world, playing music, connecting with people, and learning from their cultures. For me, that’s part of embracing humanity. And sometimes it’s hard to believe, when you’re standing in countries you’ve never been to, that people are so appreciative of your music. That’s the most incredible thing.

Gizmo Varillas: Oh, I’ve got a long, long list! I can actually share a playlist I’ve made – it’s called Gizmoteca, one word. It has hundreds of songs I’m listening to, depending on my mood.

One artist who’s stayed with me for many years and who I find incredibly inspiring is Gustavo Santaolalla. He’s brilliant. He plays the charango, which is a 10-string Bolivian instrument, and he writes really cinematic music. He’s worked on film scores and even video games – he did the soundtrack for The Last of Us. His music is very eerie, very atmospheric, and it works beautifully with landscapes. I find it really inspiring.

Recently, I’ve been obsessed with a British-Indian producer-artist named Nitin Sawhney. There’s one track in particular, “Sunset,” that I’ve just had on repeat. I love the beat, the chord progression – it’s super infectious.

There’s also an amazing band from Senegal called Orchestra Baobab. Their music has this slightly melancholic vibe, but you can dance to it as well. I love the groove, and I’m obsessed with them.

And of course, I love Cesária Évora from Angola. Her music is beautiful – again, a bit melancholic, but still danceable. She has a great song called “Sodade” that I highly recommend.

The Gizmoteca playlist is great because every now and then, I add new tracks to it. It’s nice to share new discoveries, and usually, whatever’s on there is what I’m listening to right at that moment – which I think is kind of cool.

— —

:: stream/purchase The World in Colour here ::

:: connect with Gizmo Varillas here ::

— —

— — — —

Connect to Gizmo Varillas on
Facebook, 𝕏, TikTok, Instagram

Discover new music on Atwood Magazine

 © courtesy of the artist

The World in Colour

an album by Gizmo Varillas