Interview with Pol Sembrano

• Your musical journey encompasses a shift from classical piano training to embracing synth pop and electronic genres. How has this evolution allowed you to incorporate diverse influences, such as vintage synthesizers from the 1980s and 1990s, into a signature sound that defies categorization?

When I was growing up playing classical music was an integral part of my musical journey.  It allowed me to become disciplined when playing the notes right in front of me.  In reality, however, I was interpreting what the composer intended and my interpretation of the music took center stage instead of allowing me to have any sort of creative input.  Basically, the music existed and I was playing what was already there.  I speak of no disrespect regarding my musical origin and I am thankful to have the ability to play classical piano.  I, on the other hand, wanted to express myself though my own compositions so I started writing my own music.  It is liberating to create melodies and lyrics that were entirely mine.  Writing on my own also allowed me to experiment with different sounds  and the sky was the limit.  The songs, in itself, is wholeheartedly melodic despite the use of technology and electronics.

• As a multifaceted artist handling vocals, keyboards, guitars, and programming on your recordings, what strategies have you employed to maintain artistic independence while navigating the challenges of self-production in your debut phase?

During the creative process, I had 100% freedom.  I usually begin with constructing the melody which is the most important element for me as a composer.  The bass line, keyboard riff and lyrics are added afterwards.  When the overall structure is finalized I focus on percussion, for example, the drum introduction, fills, crash cymbals and other percussive elements.  I try to not apply too many sounds that would overwhelm the backing track.  There are plenty to choose from and what is challenging for me would be when to stop selecting the sounds.  I sometimes wonder if I made a correct choice (s) regarding a certain keyboard patch or arpegiatted loop but so far I am satisfied with the end results.

• “Open Mind” draws from personal experiences of overcoming hardship to advocate for acceptance and support amid persecution. In what ways did your real-life encounters, including survival of the 2004 Southeast Asian tsunami and extensive travels to 57 countries, shape the song’s lyrical and orchestral layers?

“Open Mind” for me is auto-biographical since I was taunted as a child for being overweight.  Children were somewhat cruel during my childhood so music was my escape.  Most classmates knew I played the piano and those individuals treated me with respect without being judgemental about my physical appearance.  As well, the song is about accepting people the way they are.  The song may be applied, without being specific, to racism, homophobia, sexism, ageism and other types of prejudice currently in existence today.  Having visited 57 different countries I experienced and learned various customs which were different from my own.  This mindset enabled me to embrace diversity and allowed me to accept things without judgement.  In addition, after surviving te 2004 South East Asian tsunami in Thailand, I realized that we only have one life and one should use time wisely.  For me, it’s about fulfilling my personal goals making a difference with my music.  It is also about welcoming different values and learning from them without the ridicule and maltreatment of others.

• Collaborating with producer Casey Lewis on “Open Mind” introduces a polished dimension to your work. How did this partnership influence the track’s balance of experimental elements and danceable appeal, particularly in its multi-layered orchestration?

Casey did awesome work on the entire album.  First and foremost, he knew who my musical inluences were and applied their “signature sound” to the songs.  Secondly, he gave the songs a broader dimension which was a breath of fresh air.  It’s sometimes overwhelming to write, produce and perform your own music and having another individual who understands your music is quite liberating.  He added new sounds and subtracted others and in the end I was very happy with the final mixes .  He stayed true to the nature of the songs.

• With “Open Mind” as a precursor to your self-titled album, what overarching narrative or sonic progression do you envision for the full release, and how does it build upon the critical reception of your earlier “Anywhere” EP?

For this album, I sincerely hope the listener will hear the subtle, and not so subtle nuances in each song.  At times, there are two to three melodies being heard simultaneously which makes for an interesting listen.  The “Anywhere EP” is a wonderful collection and introduced me to the music world.  With the self-titled debut album due this month (February) it is a collection of songs that will make its way to a larger audience both stateside and international.

• Beyond the February 2026 album launch, what expansions in your creative output are you contemplating, such as potential live interpretations, interdisciplinary integrations like visual media, or explorations into additional genres to further your goal of universal connection through music?

I have just completed my first music video for “Anywhere” and it is currently being edited as we speak.  It will be released along with the album so it’s a double promotion, shall we say.  I also plan on playing live this year as well as hopefully working with other artists whose music are similar to my own.  I am looking forward to the rest of 2026.  There is no turning back now.