peejmudd Unveils “Nobody is Coming to Save Us” and Opens Up About the Powerful Journey Behind the Track
- STAFF
- Aug 30
- 8 min read
By: Staff
“Nobody is Coming to Save Us” is an electrifying, emotionally raw anthem that defies genre and expectation.
On the edge of sonic discovery, "Nobody is Coming to Save Us" emerges as a stirring new track from an artist whose journey has long defied expectations. As this elusive figure continues to weave complex, cinematic electronica with raw emotional depth, the track becomes an unfiltered reflection of both struggle and resilience. We've had the privilege of speaking with the artist behind this haunting single, whose music has captivated listeners since the early 2010s.
In this candid conversation, we dive deep into the artist's creative process, exploring the moment their music shifted from personal therapy to a universal tool for storytelling. How did "Nobody is Coming to Save Us" evolve from an intimate idea into a piece of music that feels like an urgent message? What drives the unique fusion of minimalist strings and glitchy beats that gives the song its otherworldly pulse? And what’s the emotional journey behind the track’s raw vulnerability, reflecting not just a creative force, but a year marked by personal hardships?
This interview also uncovers the story behind the name that has become synonymous with a sound that both thrills and challenges: peejmudd. From its mysterious origins to its deeper significance, we get to the heart of what this name truly represents.
Ready to get an inside look at the mind behind the music? Read on as we explore the evolution, passion, and drive that power the artist’s latest release, while offering a glimpse of what’s to come in the exciting months ahead.
Here’s how it went:
Begin Interview:
Hello peejmudd, 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. We loved “Nobody is Coming to Save Us”. The slow burn opening had us on the edge of our seats. The escalation of intensity felt like the music was soaking into our skin, with the synths wrapping around our senses. When did you first realize the power of your creativity, and what moment transformed it from a personal, hobby expression to a tool for sharing your story with the world, ultimately laying the foundation for the impactful career we see today?
A. Thank you so much! I spent forever on the textures of that opening, not even the notes at first, just the way the sounds rubbed against each other. The big shift for me came in 2010, when I developed Panic Disorder. Every single day since, a panic attack hits out of nowhere, and I feel like I’m dying. The doctors tell me it’s all in my head, and maybe it is, but that doesn’t stop my mind from screaming. Sometimes it lasts twenty minutes, sometimes three hours. Living like that forces you to build up a storm of emotions, and music became one of the only safe ways to let any of that out. Without writing and recording, I honestly don’t know where I’d be today.
Q. What message do you want to express with “Nobody is Coming to Save Us”?
A. The core idea is right in the title: nobody is coming to save us, we have to save ourselves. No amount of wishing or hoping is going to change things. We only move forward by putting in the work, even if it’s just tiny baby steps. I need to remind myself of that every single day, so if it echoes in someone else’s head too, then the song has already done its job twice over.
Q. Can you tell us how you landed on the title “Nobody is Coming to Save Us”? Was it your first choice, or did it evolve over time? What does this title mean to you?
A. This time the title came before the song. Usually it’s the other way around, but I had just finished a full album in March and had a few leftover titles I loved but never used. “Nobody is Coming to Save Us” stuck in my head, and I felt like I had to give it a piece of music that lived up to it. In a way, the title challenged me before I even touched the piano.
Q. What sparked the creative fire behind "Nobody is Coming to Save Us"? How did the concept come together?
A. For years I kept telling myself, “This is the year I finally play live again.” And then I’d chicken out. This summer a local festival came along that was open to artists outside the usual box, so I took the plunge. When they said yes, I panicked in a different way… what the hell was I actually going to play? My sound has wandered from heavy guitars to delicate piano, so there were a hundred directions I could take it. I landed on this Cinematic-Electronic hybrid, building loops and beats, then layering piano and strings over it. As I rehearsed, I started writing new songs to fill in the gaps, and this one just stood out. It captured what I wanted my live set to sound like, so I’m releasing it the same day as the festival as a sort of statement piece.
Q. Looking back on your musical journey, how has your evolution led you to this moment with this single?
A. Honestly, one foot in front of the other. I’m a very DIY musician, I handle almost everything myself except live drums, and I’ve had to figure things out as I go. Sometimes I look back at my old recordings and laugh, because only eight years ago I was still making everything on a little portable four-track recorder, bouncing files across tiny memory cards. It feels like I’ve been doing this forever, but when you trace it back, it’s just a thousand tiny steps adding up. That’s comforting to me, because it means there’s always room to take the next one.
Q. This will be your first live performance at the Fringe Festival, what’s that moment going to feel like for you, and why is it such a big deal?
A. Terrifying. Exciting. Necessary. This isn’t just my first time at Fringe Festival, it’s my first time performing live as peejmudd, and my first live set in over 25 years. I used to play more frequently, but anxiety and panic attacks pulled me off the stage. It’s taken me this long to even believe I might be able to do it again. It feels like stepping into the unknown after hiding for decades. That’s terrifying, but it’s also the reason I need to do it. Either it works and I keep going, or I retreat back to the studio for a while. Either way, it’s a big personal test, and I want to see what happens.
Q. Recording at Pichikin Recordings must be special. How does that space shape the creative process and the overall vibe of the music?
A. Pichikin Recordings is my little sanctuary. It’s just a home studio, but it’s where all the pieces of my sound come together. I upgraded my computer, audio interface, and libraries last year, and I feel like it leveled me up across the board. We’re in the middle of relocating, and I’m already dreaming about how I’ll rebuild and expand it over the next six months. That process of shaping the space keeps me inspired too.
Q. Do you find that working from home gives you a different level of freedom or connection to your music? How does it impact the way you work?
A. It gives me too much freedom, honestly. Without collaborators or deadlines, I’ll tweak sounds for years. It’s the reason a single EP can take me five years to finish. At the same time, it’s comforting. I always have my dogs in the room with me, usually two or three at once, and they’re better company than any studio assistant I could ever hire.
Q. You’re using a lot of loops and keyboards on this track. How do those elements shape the emotions and intensity of the song?
A. Part of it is necessity. I’m starting to get arthritis in my hands, and piano is a little more forgiving to play than guitar. It’s my first instrument anyway, my safety zone. I’ve played in orchestras, jazz bands, even as a church organist. The piano is like home base, something I can always return to when everything else feels unstable. The loops, on the other hand, are like throwing sparks into the mix. Loops have shown up in my work before, but I usually tried to disguise them as organic. This time I leaned into the difference. I wanted the contrast between the natural instruments and the stuttering mechanical percussion to make the song feel like it’s caught between two worlds.
Q. 2025 has been an incredibly tough year for you, how did you channel those personal challenges into the heart of this song?
A. This year has been brutal. We’ve lost close family, longtime pets, and had to navigate health issues on top of it all. And that’s not even talking about the state of the world. I think all that uncertainty seeps into the song. The dissonance, the unease, it’s not meant to be comforting or club-friendly. It’s meant to leave you slightly unsettled, because that’s the reality it came from.
Q. What do you want listeners to feel when they hear this track? What kind of emotional journey are you hoping to take them on?
A. Hope. Despair. Longing. Ideally all three at once. I keep my music instrumental because I want people to write their own stories on top of it. The track might start in despair and end in hope, but how you travel through it is entirely up to you.
Q. You mentioned the track feels a bit different live. What makes the live performance of "Nobody is Coming to Save Us" hit harder than the studio version?
A. Live, I use slower attack times on the string samples, which pulls the timing a little off balance. It almost feels like the whole thing is about to topple over but somehow holds together. That instability gives it more tension, like the track is a train just barely staying on the rails.
Q. We’d love to dive deeper into the story behind your artist name, peejmudd. Now that we’ve had a chance to experience your music, your fans are bound to be just as curious about the meaning behind the name that accompanies your sound. How does peejmudd connect to the music you create, what significance does it hold for you personally, and what’s the origin or backstory behind the name?
A. Thank you for asking, because no one ever does. In high school some friends called me “peej” (pronounced like peach), and it stuck for a while. Later I came across the story of Samuel Mudd, the doctor who treated John Wilkes Booth, and I borrowed his last name for poetry under “Peej Mudd.” When I started releasing music in 2010, I was looking for a unique name to use and combined the two into “peejmudd.” It’s pronounced ‘peach mud,’ which sounds gross but at least makes people remember it. I’d rather be mispronounced than forgotten.
Q. And finally, peejmudd, 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. First things first, let’s see how the live shows go this Labor Day weekend. If it clicks, I’d love to keep playing across the Pacific Northwest. Behind the scenes I’ve already been sketching songs that lean deeper into this Cinematic-Electronic sound, bigger arcs, sharper contrasts, more tension. So even if the live thing crashes, I’ll be back in the studio pushing the boundaries harder.
peejmudd, thank you so much, we appreciate you taking the time to talk to us!
End Interview
We’re happy to have shared peejmudd’s exciting journey with you and uncovered such inspiring insights about their creative process.
