Q&A: The Technicolors Strip It Back and Trust Their Instincts on ‘Heavy Pulp’
INTERVIEW
INTERVIEW
☆ BY SHEVON GREENE ☆
Photo by Lupe Bustos
THE TECHNICOLORS HAVE NEVER BEEN AFRAID — to chase a feeling, but with their latest chapter, they’re letting instinct take the lead. Their latest single, “First Class to Nowhere,” is a sonic shift from their usual maximalist rock sound, stripped down and more vulnerable than normal. While the band has always thrived on dreamy textures and bold energy, this era peels back a few layers, with lyrics that lean into self-reflection and evolution. One of the track’s standout moments is a feature from Madison Cunningham, a close friend whose harmonies add emotional depth and highlight the magic of creative collaboration.
Their upcoming album, Heavy Pulp, out on August 29, is their first full-length project since Cinema Sublimina in 2021, a record shaped by the haze of the pandemic. This time, they’ve embraced instinct, immediacy, and sonic risk, choosing to trust their first impulses instead of over-polishing. The result led to a body of work that showcases multiple sounds while still feeling cohesive.
The Luna Collective chatted with Brennan Smiley from the band about trusting your gut and the stories behind Heavy Pulp. Read below to learn more.
Photo by Eric Halvorsen
LUNA: “First Class to Nowhere” feels more stripped back than your recent singles. What inspired the vulnerability in the sound and lyrics?
SMILEY: That one was tricky at first because it felt so exposed. It started as a demo with just guitar, a beat, and my voice. When I brought it to the band, I wasn’t sure it fit, but everyone encouraged me to follow through. We tried adding effects to make it feel more in line with the others, but it just didn’t work. Eventually, we leaned into its rawness. I love that it pulls the curtain back a little.
LUNA: It definitely feels different, but in a way that works really beautifully.
SMILEY: Yeah, this album was about taking chances, and oddly enough, doing something stripped back was our version of that. It ended up adding something special to the whole project.
LUNA: You’ve said the track started as something written for someone else but ended up being a get-well-soon card to yourself. What was that emotional writing process like?
SMILEY: Lately, a lot of songs begin when I feel compelled to write for someone else. There are songs on this album about friends, and in writing them, I realize those themes apply to me too. This one started with someone close to me in mind; it’s about life lessons I’ve learned. At some point, I recognized I was also talking to myself. It became a “don’t be so hard on yourself” kind of message. Funny enough, one friend thought the song was snarky until I explained the context.
LUNA: I love hearing those layers and how people interpret songs differently than the original intent.
SMILEY: Totally. Some of my favorite songs, I avoided reading the lyrics for years because I liked what they meant to me. Later I’d find out the actual story behind them was totally different. For “First Class,” I was going through a phase where I felt like I was chasing things that didn’t really fit me. I was surrounded by people shifting into more success-driven lives, and I felt like I was losing part of myself trying to keep up. That song became a reminder that it’s okay to be the dreamer in the group—to not always see things as practically as others.
LUNA: That makes so much sense. So how did the collaboration with Madison Cunningham come together, and what did her voice bring to the song?
SMILEY: Madi’s been a close friend for about four years. We met at something called Band Camp during the pandemic—a bunch of musicians recording on each other’s music. We hit it off. She’d helped me finish a song a few years back, and her harmonies transformed it. And honestly, it’s just fun having your friends on your songs.
LUNA: I think it worked out perfectly. Her vocals really complement the track.
SMILEY: I’m glad you think so. It was kind of a last-minute addition, we saved that song for the end of our recording sessions. She came in and nailed it on the first take. Her voice lifts the song, gives it this foggy, soaring feeling. It reminds me of that song “There She Goes,” how the melody and words just float upward. It wasn’t a conscious reference, but it gives me that same vibe.
LUNA: I never thought of it that way, but now I totally hear it. That’s such a cool way to describe it.
SMILEY: That’s the magic of songs; you catch those little things that make it all click.
Photo by Lupe Bustos
LUNA: This is your first full-length album since Cinema Sublimina in 2021. What did you want to express with Heavy Pulp that you hadn’t before?
SMILEY: Honestly, we wanted to say less. Cinema Sublimina was made during the pandemic and it got pretty conceptual and heavy. We’d record a part and rework it endlessly. This time, we trusted our instincts more. If something felt good, we left it. The name Heavy Pulp came from an inside joke; I use “pulp” when something has that special something, like “there’s a lot of pulp in that juice.” Life feels heavy and noisy lately, and this album reflects that, but without overthinking it.
LUNA: That leads into my next question. The album spans so many sonic worlds. How did you approach cohesion while exploring those different directions?
SMILEY: We’ve always loved jumping between genres, but used to see it as a challenge. This time, we embraced it. Our producer Robert [Adam Stevenson] really helped, he was a great outside voice. We came in with 20 songs, and he helped narrow it down. We also recorded everything in two weeks with the same person, so even though we explored different directions, it naturally held together. It freed us up to be as whimsical as we wanted.
LUNA: It’s cool to hear how that structure gave you freedom.
SMILEY: Yeah, it was refreshing. All the producers we’ve worked with have been great, but this time we were locked in together and felt more free than ever.
LUNA: What’s one lyric or moment from the album that you’re most proud of?
SMILEY: There’s a song called “Aphantasia” that I forget about until it comes on, and I love it. I wrote it during a time when I felt disconnected from my own imagination. The word means “no imagination,” and it reflects that feeling. There’s a lyric in the bridge, “You can’t imagine what you can’t imagine,” that loops on itself. It was a way of comforting myself, accepting that it’s okay to step back. Then the strings swell, and the chorus returns in this huge wash of color. I get chills thinking about it.
LUNA: That’s one of my favorites too. The bridge really stood out to me.
SMILEY: I’m glad you liked it.
Photo by Lupe Bustos
LUNA: You mentioned needing to step back after touring for so long. What shifted creatively during that dormant period?
SMILEY: Some of the songs actually started years ago. So, it didn’t feel like a clear shift until later. But looking back, I think we were simplifying. We weren’t trying to make a big change, it just kind of happened. Once we got into the studio with Robert, that’s when it became more intentional.
LUNA: Your listenership kept growing even during your quiet spell. Did that surprise you? And how did it impact your approach to this chapter?
SMILEY: Totally surprised us. After we had to cancel a tour post-Cinema Sublimina, we were burnt out and didn’t touch social media for a long time. But during that silence, the numbers grew. It was a reminder that people were still listening. That meant a lot after such a rough patch. Sean [Silverman] and I would talk about it—like, maybe we should write more. It wasn’t the sole reason, but it definitely helped spark something. It reminded us there’s still an audience, and that encouragement helped fuel this whole record.
LUNA: For sure. That must’ve been a powerful reminder.
SMILEY: Absolutely. It helped us lock back in.
LUNA: Your album release shows are happening in Phoenix, LA, and NYC. What can fans expect from this new live era of The Technicolors?
SMILEY: You’ll have to come see. Every time we revisit the live show, it’s exciting because it always evolves. We’re nervous—in a good way—about playing the new songs. These shows are more intimate; not too much production, just us in a room with everyone. We want it to feel communal and direct. It’ll definitely be loud.
LUNA: I’m sure it’ll be great to be back on stage after that break.
SMILEY: Totally. We’re not aiming for perfection—we want it to feel alive. That’s when it’s the most fun.
