Seth Schaeffer Breaks Free with Bold New Single "I Found A Monster" and Reveals His Creative Vision in an Exclusive Interview
- STAFF
- Aug 25
- 13 min read
By: Staff
“I Found A Monster” is a powerful anthem of self-realization, blending cinematic depth with raw emotion.
Seth Schaeffer’s debut single, "I Found A Monster," is a raw and cinematic journey that transcends genres and expectations. This track is more than just music; it’s a primal scream against inner oppression, an anthem of self-empowerment, and a rallying cry for those ready to break free from societal molds. Schaeffer, a composer and filmmaker, crafts a sound that feels like a haunting film score come to life, with deeply emotional textures woven from broken instruments and imperfect sounds.
We spoke with Schaeffer about this bold release, delving into the story behind "I Found A Monster" and the personal transformation it represents. From his struggle with self-judgment to his bold creative decisions in the studio, the track is an exploration of embracing one’s truest self before it’s too late.
With a team of collaborators including Emily Hatch’s ethereal vocals, Judah Schaeffer’s intricate production insights, and string sections brought to life by Marco Pescosolido and Nikos Mavridis, "I Found A Monster" is both a reflection of Schaeffer’s past and a call to action for listeners. It’s a powerful reminder of the importance of living authentically and the courage it takes to face your inner truth.
Dive into our conversation and discover the man behind the music.
Here’s how it went:
Begin Interview:
Hello Seth Schaeffer, 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 were absolutely captivated by the performance, especially the opening, it felt cinematic, almost like a movie unfolding right before our eyes. The sense of fear and anxiety was palpable, and it truly deserves to be experienced on the big screen. Would you say this kind of cinematic style has always been your go-to, or is this track the beginning of a broader exploration that spans multiple genres?
A. Thank you so much for the kind words! As a musician and filmmaker, I’ve always been drawn to building worlds, then going on a journey to explore them. So in that sense, cinematic storytelling has always moved me. I also love a restrained sound before going into big sections. I love to explore edgier orchestral sounds and dark synth elements when it fits, but the heart of my process is always to create a world I can explore.
I don’t really function in genres per se, but I love acoustic instruments, orchestral sounds, driving synths, and repeated motifs that evolve over time.
This track is the first of many that will paint a broader picture of who I am as an artist at this point in my life. I know it will change over time, but I will always be dedicated to buidling trust with listeners and offering an emotional and sonic experience that I’d want to have.
Q. The title “I Found A Monster” suggests a profound personal transformation. Could you share the emotional and creative journey behind this song? What does "finding the monster" symbolize for you on a deeper level?
A. A few years ago, I realized I had spent decades living behind a mask I created to “survive” in this often confusing social world. I was muting my expression, especially creatively. It made me sick to my stomach to think I might live my whole life “playing it safe” and not risking judgment. “Finding the monster” is a symbol of me championing myself.
This song, and its release, mark the moment I started learning to celebrate my creative existence and personal expression. It’s an evolving process that motivates me to keep creating and expressing myself.
Q. You've spoken about overcoming the fear of judgment, both from others and from within. How did that internal struggle shape the sound and themes of this track?
A. For me, there’s tension and discomfort in honest expression, especially when I think I might be judged for it. Although I realize people can and will be judgmental, the fear I have of others judging me is actually my own judgment of myself, projected onto them as figments of my imagination. In short, it’s not them judging me, it’s me.
The intro section is all recorded ridiculously quietely. The preamps were cranked, and you can almost feel that if I spoke at a normal volume or strummed the guitar a little too loud, it might blow your speakers. There’s a vulnerability in bringing people that close, for both me and the listener. I wanted to ask the listener to hear my secret.
The first big section, right after I sing “no need to run,” is the moment the secret’s out.
The struggle between needing to let myself be free and still feeling the fears of judgment I’m projecting onto myself through others shaped the sonic profile, lyrics, and every note in the song.
Q. As both a filmmaker and composer, how do you approach music differently compared to traditional film composition? Do the two disciplines complement each other when it comes to storytelling?
A. I absolutely use the same emotional muscles for films and music.
I need movement.
I need change.
I need wonder, curiosity, and answers.
While I don’t think there are any rules, I prefer for all of this to happen with some level of cohesion and familiarity. I want unexpected sections that make people lean in, all while feeling safe enough to trust we’re still exploring the same world.
I can only speak with authority about how I work. I have my own creative itches I need to scratch. If I feel bored when watching or listening, I know I need to travel a little farther, move sideways, or cut to another scene that gives new meaning to where we’ve just been.
Q. You’ve described this track as a “bold declaration of self-realization.” What do you hope listeners will take away from it in terms of personal empowerment and growth?
A. I know I’m not alone in living behind a mask. I know so many beautifully expressive humans who don’t create, share, speak up, or live fully all because they’re afraid of being judged. I don’t want to “should” all over anyone, so I say this next part with more grace than I know how to communicate with words.
We live once.
You are worthy of love.
Don’t let bullies make you hide.
Don’t be the bully to others or yourself.
Do it in your own time, but don’t wait long. Wake up your inner monster
Q. The song draws inspiration from a broken 3-string acoustic bass. How did that unique, imperfect instrument influence the overall sonic character of the track? And what does its imperfection say about your approach to music-making?
A. While I was in the dark corner of a gas station parking lot testing out a bass I found online, a string broke. The action was unusably high, and it buzzed from inside. Still, I connected with it for some reason.
When I got home, I tuned down the oversized strings to release tension on the neck and waited. When I came back to it days later, I started playing with the low tuning, and it felt like the intro riff to this song was waiting for me to find it. The fact that it buzzed so much if I played with any real volume gave way to the super quiet playing and recording with cranked preamps.
I’m surrounded by ridiculously nice instruments and gear, but there’s something palpably honest about giving voice to broken things. The song is really about giving voice to broken things, whether it be a three-stringed bass guitar or me.
Q. You collaborated with a diverse group of musicians on this track. How did Emily Hatch’s haunting vocals, Judah Schaeffer’s textural insights, the string sections from Marco Pescosolido and Nikos Mavridis, Vigilance Brandon’s trumpet lines, and Sam Moses’ mixing and mastering contribute to bringing your vision to life?
A. On the surface, everyone involved was better than I am at doing something I wanted. On a deeper level, they brought beautiful and unique fingerprints to the final song.
I have incredible virtual instruments and plugins to pull off almost anything. What I can’t replicate is other artists’ creative genius and expression.
Every one of the collaborators brought their expertise while also trusting my vision and taking risks. There are a lot of notes in this song that “shouldn’t” be in there. We’re sliding through and around notes, building clusters of tension before releasing it. It brings a tactile honesty I don’t think is possible without using real instruments top-tier talent behind them. Sam Moses uses a lot of analog gear to master, and in the same way, he’s an artist, bringing his talent in knowing how to get just the right tone with just enough imperfection to bring the song fully to life.
Q. You’ve referred to your home studio as a “spaceship” built specifically to bring your music to life. Could you give us a glimpse into that creative space? How does it help you channel your artistic vision into sound?
A. For years, I had studio spaces in my home and offices that were beautiful. I had plenty of gear to produce great music, but I lacked the production workflow and mixing skills to get results I was happy with. When my family and I moved to Nashville, I set out to build a “real” studio.
I set as much time aside as needed to thoroughly complete and learn each step. We tuned the room with treatment. We built a custom desk and racks to match my desired black walnut aesthetic. We added lighting with Phillips Hue bulbs that change the mood with the click of a button. We made sure every instrument and amp was no more than a minute or two away from being tracked and made sure the whole signal flow had all the gain it needed with the right preamps.
The result is a creative space that’s ready to create as soon as an idea shows up. The monitoring is about as perfect as it gets, and the workflow is smooth and fast.
So, ultimately, I have a space that’s better than I am. If something doesn’t sound right, I know the improvement will be in improving my skills.
I learn new production tricks every day, and my “spaceship” is truly ready to take me wherever my creative curiosity points. Needless to say, I couldn’t be happier with the results, and I’m beyond grateful for this time I get in this space.
Q. The cinematic quality of this track really stands out. Was there a specific moment during the recording process when you realized you had created something truly unique and different from your past work?
A. Thank you so much for saying so. I think when I first sang the line for that first big drop, I knew I had something. It took a ton of time. I shared so many versions with friends to make sure it had the impact it needed. This is the first song I’ve fully completed while ignoring what I perceived as the shoulds and should-nots. I’m trusting myself more, and enjoying the risk.
I want to make music that I want to hear. Like most musicians and producers, I’m technically capable of doing what other people want, but on my own projects, I get to let the stops out.
I’ve been able to score and co-write on some films recently with directors who really trust me to bring it. It’s the most fun I’ve had in a long time, and I really think it’s healing something in me that has needed to be heard for a couple of decades.
Q. This release marks your debut in the public music scene after 20 years of composing for film. How did it feel to step into the music world on your own terms, and what do you hope to accomplish with this first release?
A. I feel free, like a wet blanket just got ripped off my creative stagnation.
My biggest goal with this first release is to find listeners who trust me to take them on a journey. I know that trust will take time. The hardest part of the coming weeks, months, and years is to try to make sure people who love this song hear about the next releases.
I’m starting fresh in a highly-saturated music world, and I don’t take for granted all of the follows, likes, and shares.
I’m committed to following through with more creatively-unresricted tracks that resonate with me. I know some others will join the journey, and I hope to find them earlier than later!
Q. The song’s message calls for listeners to “wake up” and break free from societal expectations. How do you see the role of music in rebellion and self-expression, and why do you think this message resonates more than ever today?
A. I want people to be rebelliously authentic. Music unites people, resonating with each individual’s personal story while aligning the masses behind an idea or a feeling.
We’re in a time where people are pressured to fit neatly into religious, political, and identity boxes that are created for the masses. No societal box reflects the truths of any individual. The beauty of social groups lies within the differences we have, not in the sameness. Our strength lies in our differences and the tolerance of those differences.
I want people to feel permission to wake up, find the monster within them, and bring it to life. The world and its people will be stronger with less uniformity and more spice, less divisiveness and more kindness, and less judgment and more acceptance.
Q. You’ve described “I Found A Monster” as a rallying cry against silencing our truest selves. How do you think music can serve as a platform for vulnerability, especially in a world that often values conformity?
A. The act of listening to music is both communal and private. It reaches us when we’re in our most vulnerable places. Sharing your favorite music with someone is a courageous act that requires vulnerability, especially if you think your taste will be judged.
The music that resonates with us is a window into the most honest parts of our being. I think it touches that hidden “monster” within, and the act of sharing the music you like with others can be the first step in welcoming others in to know a part of you that you haven’t yet given them an opportity to know.
Q. You’ve mentioned that music is your first language, before even speaking. How does this deep connection to music shape the way you approach storytelling, and how do you translate your emotions and experiences into sound?
A. When I pick up a guitar, sing a melody in the shower, or find a sound on a synth, it opens a portal deep inside me. It often takes me weeks to discover words that help describe the emotion it brings.
At any given moment, I can communicate deeply how I feel by sitting down and playing the piano. I can shape a story arc and tell you specific details with the melody and chords. I’ll even sing along with mumbled word sounds.
The benefit is that I know the music is already saying exactly I want it to say. I just have to work ridiculously hard to find the words to match the story I’m telling.
Q. You’ve mentioned that your creative process is about keeping the music dynamic and fresh, much like a film that never repeats itself. How do you maintain this fluidity and avoid falling into predictable patterns or formulas?
A. In the way we all have expressions or clichés we use to communicate familiar feelings, I fall into the same “tricks” or repetition when writing. My biggest skill I’ve taken from directing and editing films is to not be too in love with the demo. Once I have a song outlined and roughly recorded, I like to give myself some space. I try to come back with fresh ears and go with my gut. If something feels boring to me, I change it or cut it. If something too familiar or like a cliche I’ve said too many times, I try to change it.
That said, familiarity gives comfort. If you’re pushing to new places, it’s important to return to ideas the listener knows to keep their confidence.
For me, it’s a balancing act between unapologetic creative exploration and not losing sight of why we’re on this journey in the first place.
Q. Creating this song was tied to real, personal experiences. How does the act of making music help you process emotions, does it offer a form of release, or does it sometimes bring those feelings back to the surface?
A. Music is like therapy to me. On one end, I feel known. On the other, I feel exposed. Once I finish a song, I feel a sense of relief, but the process of writing it can be painful. It’s a necessary pain that stimulates growth.
My next song, titled “I Can’t Breathe the Water,” is especially vulnerable and triggering. It’s processing the feelings of grief, particularly that of unexpected death. I miss my dad and my brother who both died unexpectedly. Writing music and words that communicate the pain of grief in a way that’s honest, confusing, and still enlightening has been a challenge. As much as I’d like to just scream and slam my arms and hands down on all the keys of a piano, I needed to learn something. I want to be heard by my pain and struggles, and I hope others who have gone through the process feel heard as well.
Q. Finally, after hearing your music and reading this interview, what do you want people to remember most about you and your art?
A. I want people to know that I care about them. I’m writing songs I want to listen to. I’m not going to share something I feel is mediocre. My genre variety is huge, but I truly every world I create is worth visiting. As I move on from this song and into the next singles, I want to be trusted and known as an artist and composer that honors the precious time listeners spend with my music.
Q. And lastly, we can't thank you enough for sharing these intimate details about your journey! So, what's next? Can you give us an exclusive peek into any upcoming projects or what fans should be excited about? We’d love to be the first to share the news!
A. I can’t thank you enough for taking the time to write such thoughtful questions. I’m honored to be featured on CageRiot.
My very next song is called “I Can’t Breathe the Water,” and it will be out by the end of September.
After that, a driving track will drop 4-6 weeks later. It doesn’t have a final name, but it’s… awesome. Really. I’m so stoked.
I just finished composing with Sean Hagwell on the first episode of his series “Firm Nine.” That just launched and can be viewed at nomadcouture.club/
The best way to keep in touch beyond instagram and wherever you listen to music is through my website at www.sethschaeffe...r.com/
I love hearing from new fans, so please don’t hesitate to reach out!
Seth Schaeffer, thank you so much, we appreciate you taking the time to talk to us!
End Interview
We’re happy to have shared Seth Schaeffer’s exciting journey with you and uncovered such inspiring insights about their creative process.
