Matare Connects with Us to Unveil New Single "I Could Kill You But I Love You" and Share His Creative Vision
- STAFF
- Aug 2
- 7 min read
Updated: Aug 4
By: Staff
An electrifying blend of darkness and melody, "I Could Kill You But I Love You" is a bold, haunting masterpiece from Matare.
Prepare yourselves for something raw, electrifying, and unexpectedly haunting: the latest single "I Could Kill You But I Love You" from the enigmatic artist Matare. We recently spoke with Matare to unravel the stories behind this track, one that combines the eerie pull of a dark emotional core with a melody that’ll have you dancing even as the lyrics cut deep.
In our conversation, Matare shared insights into his creative process, his journey through personal and political turmoil, and how living by the beach shapes his music. What’s even more fascinating is the unexpected evolution of "I Could Kill You But I Love You", from its initial conception to its final form, thanks to an unlikely blend of inspiration and collaboration. Whether it’s the vibrant influence of the ocean or the unexpected twist of reimagined drum tracks, this track embodies the beauty of spontaneity.
Curious about the story behind the song and the artist? Dive into our full interview below for a deeper look into Matare’s creative world and the heart behind his new release.
Here’s how it went:
Begin Interview:
Hello Matare, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more intrigued to get a deeper look into both your brand and your personal and professional inspirations.
Q. For the fans meeting you for the first time, is Matare your given name or a stage name? What inspired you to choose that for your artist persona?
A. It is a play on my real name. Like if you were to use the linking verb instead of the letter R. Also, it means "I will kill" in Spanish. Life and death are constant themes in my songs even though they usually come across as laid back tunes or something.
Q. The lyrics of this song seem to speak to a very intense feeling—“I could kill you” toward those you dislike, followed by “I love you” for those you cherish. Is this a personal reflection of the current social or political climate, or something else?
A. Most of my songs have two meanings. One meaning, like in this song is the literal one. I know people all have said something like "I could kill him for saying that...." or something similar. But the the second meaning is the trick one. This album i'm working on is all about dealing emotionally with what is going on in the US and especially the people who support and allowed it. This song is more about directing my anger at them and doing it unapologetically. But I do think I would snap and realize my stage name if it weren't for those that I care about. Thats what this song is about to me.
Q. You mentioned that many of the takes on this track were completed in one go without obsessing over perfection. How does that spontaneity influence the final product, and do you think it’s something you’ll continue in your future recordings?
A. It's magic really. Sometimes is happens fast and naturally like it did in "I Could Kill You But I Love You". It wasn't just the music either, the words and everything just flowed out of me in, I think, it was 1-2 days. To put it in context though, I worked on 6 songs that were not good enough before I got to this song that feels right.
Q. You mention that the phrase "Let’s Dance" is ironic for you because you don’t actually dance. Can you tell us more about how that phrase ended up in the song, and what it symbolizes beyond the irony?
A. It's just me giving up and saying, let's live. Dancing is a metaphor for living in my song world. Living is the opposite of dying. I think I was out for blood in the song, initially.
Q. Let's Dance also nods to your son, a David Bowie fan. How has your son’s influence shaped your music, and are there other personal or family connections that you weave into your songs?
A. Yes a lot of connections actually, although, most are hidden and vague. I wrote a song called Forever Light and it did really well last year. I imagine a young person growing old and looking back on their life and thinking about the things that helped them be happy and what was really important. That felt more special when I made it about my son and not myself.
Q. Recording at your home studio in Sarasota seems to offer a unique perspective depending on where you’re living. How do your surroundings influence the creative process, and do you think being in different environments impacts the sound of your music?
A. When I go to the beach and skimboard every evening and watch the sunset over the ocean, I can't help but be inspired. I think that is where the jangly surf rock guitar with loads of creamy reverb and delay comes from in my music. I just picture the waves and foam trailing behind my Fender Jaguar sound. But also, each place I live also looks and feels different. I lived in downtown Jacksonville and I could see the football stadium and fireworks a lot of nights as well as I-10 traffic backing up. It felt like I was part of the city and as I'm working on music its right there seeping in.
Q. You’ve mentioned that some of the best moments in this song came from an unfiltered flow of inspiration. Do you ever feel that chasing perfection stifles creativity? How do you balance spontaneity with your vision for the track?
A. Maybe knowing where to allow the unfiltered inspired bits to be the final product and knowing when to redo something is the real and true skill. I do think its best to get something out there, sleep on it and then listen to it and see how you feel the next day. If you cringe at it then there is your answer. If you still love it then thats all that matters in the end.
Q. I Could Kill You But I Love You has a catchy, upbeat melody, but with dark emotional undertones. What’s the importance of creating a juxtaposition like this, and why do you feel it resonates with listeners?
A. It tricks the listener into getting it caught in their head but also makes makes them think about what the song really means. Its kind of like those Quentin Taratino scenes where something awful is happening but they have some silly song playing in the background going ooh ga chucka ooh ga chucka.
Q. Gabe Wolf's work on Bottle It In by Kurt Vile definitely stands out. How has collaborating with Gabe, and having him mix and master this track, influenced the final sound of I Could Kill You But I Love You? Did his approach add anything unexpected to the song?
A. Yeah its hard because I work with someone like him because I know he's going to hear things that I don't hear and maybe even change something that needs to be changed. I have to trust but also make sure the things that I "really feel strong about" happen. He makes my vision the priority and I really appreciate that.
Q. It’s fascinating that Francesca Pratt’s drum tracks originally belonged to a different song that was eventually scrapped. How did those leftover tracks evolve into the backbone of this song, and do you think that unexpected beginnings often lead to stronger creative outcomes?
A. At this point I can't understand how it worked out so well. Ive got to believe that her drums literally led the creation of my song. You're right that unexpected beginings and surprises are the catalyst to a lot of great things in life, not just art but science, love, making friends. I'm thankful this song has that story also.
Q. You’re preparing to perform the new songs from Extinction Burst. What can fans expect from your live shows in terms of performance style and energy?
A. I am going to start livestreaming the songs when it releases and then playing out some around the southeast. I'd like to get to meet fans and make that connection in person.
Q. With influences like the 2000s garage rock revival, The Cure, and Interpol, do you ever feel you want to cover a specific song from these artists and give it your own creative twist?
A. I already have a few interesting covers from different eras of music. I always play The Church, REM the one i love, Love My Way by the Psychadelic Furs, Coldplay (early stuff), DM of course, and since you ask about the Cure I think my favorite era is the Pornography album. I love when bands commit to an album and its all dark and all dirty and evil sounding. I cover A Strange Day which is about the end of the world. Many of my songs are inspired by this theme.
Q. What are your wish list top 3 venues to perform at?
A. Red Rocks Ampitheater in Denver, Primavera Sound in Barcelona, and the Fox in downtown Atlanta (where I live when im not in Sarasota, Fl).
Q. Outside of music, who or what has had the biggest influence on your personal growth or artistic perspective?
A. People who are fighting for human rights, people of color who are fighting for equal rights, people who are kind to animals and further animal rights. These kind of people inspire me.
Q. We can't thank you enough for sharing these intimate details! So, what's next? Can you give us the inside scoop on your upcoming projects and what fans should be excited about? We'd love to be the first to share the news!
A. I am releasing my first album, Patternicity, on vinyl. It will be available within a few weeks and I havent announced that yet until now. I also have some exciting collabs coming up as well. Thank you for sharing me with your audience. I'm grateful to the Cage for this!
Matare, thank you so much! We appreciate you taking the time to talk to us.
End Interview
We’re happy to have shared Matare’s exciting journey with you and uncovered such inspiring insights about their creative process.
