In June, Sunshine Coast producer STØNEWÅX unveiled his debut single ‘The Great Harmonic Convergence’, the first of a batch of creativity that has the artist set to release a new offering every month. Earlier the month, he was back at it again, this time re-imagining his initial work into a warped blast of hip-hop with guest vocalist Roman MC lending his rhymes to the track.

As a taster of where the STØNEWÅX project is headed, these two tracks serve as a gloriously disorientating entry point into his vast sonic world. Built with an array of criss-crossing grooves, pulsating synths and a rich tangle of eclectic sounds of the peripheries, the original version of ‘The Great Harmonic Convergence’ played like a psychedelic dance track, equally confusing and compelling. And on the other hand, with the help of Roman MC, the tune turns into something else completely, not indistinguishable from its former self but instantly more forceful, and all the more visceral for it.

It’s no surprise that STØNEWÅX explains he’s the kind of artist who “seeks sonic worlds separate from the ordinary”. We caught up with him for a chat to dig in a little further.

TJ: Hey STØNEWÅX, how’s it going? For the unacquainted, want to tell us a bit about yourself?

S: Hi James, it's going well, thanks! A bit about myself... I'm a huge music and art nerd who needs to create shit constantly to stay sane. Haha. Professionally though, I'm a record producer/engineer and linger in the local arts scene on the Sunshine Coast.

You’ve just shared a brand new track ‘The Great Harmonic Convergence’ - what’s the story behind the song?

This is the first of many experimental tapestries being showcased under the STØNEWÅX umbrella. There's no story to this song in particular, other than it came about purely by flow. It's a convergence of sound, time and a place, and an extension of letting go.

There’s also two unique versions of the track - one instrumental and one featuring Roman MC. Could you talk us through your songwriting process for the original track, and how that extended into the collaboration with Roman MC?

I love collaborating with other artists. I connected with Roman and showed him the tune. He loved it and gave it his all. Massive legend! I asked him what he wrote about and he said, "I wrote about the beat... the 'sway', between good and evil, ying and yang, dark and light”. He's a genius!

You don’t have to pick favourites… but how do you see the two versions in comparison? How do they follow or differ from your first vision of the track?

They're different feelings entirely… well to me anyway. The focus is steered with each track. It's like a 'choose your own destiny' kind of thing.

It’s a pretty eclectic sound. Tell us about some key influences on the project?

In regards to this particular production? You'll hear video game noises and analogue tape being destroyed. You'll hear world-rhythms most likely inspired by Ebo Taylor, Fela Kuti or Mulatu Astatke. Drum machine sounds inspired by producers like Pharrell Williams, Kaytranda, or Flying Lotus. And visuals inspired by film-noir, and comic book horror such as Brand New Cherry Flavour, Tank Girl, Love Death & Robots, Rick & Morty, anything Tarantino. The list goes on... I'm a huge nerd.

What’s up next for Stonewax?

An invasion.

And finally, a classic TJ question, what’s your perfect Sunday?

Everyday is my perfect Sunday if I’m creating.