Darkly cinematic, deliciously dramatic, and rhythmically seductive. That’s how I’d describe the soundscape of Mote, the postpunk/indie solo project of Joe Schneider. Think Nine Inch Nails meets The Cure, with David Bowie watching it all unfold from the corner of a Berlin basement. Or perhaps the 8mm bar, where the Vampires EP release show took place last July.
“Return”: Mote x Blake Harley
On January 22nd Mote will release a new co-single with the goth pop artist Blake Harley (London/Berlin) on Duchessbox. The two were floated the idea to work together via a contact at their record label because of their similar musical interests and general gothic proclivities. Upon meeting they realized that they do indeed have a lot in common and get along quite well. According to Mote, “Return” resulted from trying to exemplify the idea that we are never alone, founded on the shared (and oh so human) experience of getting through heartbreak. Though united by common influences, Mote and Blake Harley have distinctly diverging musical styles. This created an environment where both felt free to not necessarily sound like themselves, opening up space for experimentation and artistic freedom. “Return” is a song of hope; an anthem if you will, and quite the departure from Mote’s typical dramatic storytelling style.
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“‘Return’ is an anthem, at least the way we see it.”
-MOTE
While the upcoming single marks fresh collaborative territory for Mote, it’s important to understand the foundation that makes this release so interesting. Schneider, originally from Nashville but now based in Berlin (Yes, one of the locals), creates music driven by entrancing vocal melodies and distinctly intimate lyrics that spiral into an isolated world of their own. The Vampires EP showcases his multifaceted nature by bringing listeners on a narrative journey from longing, to desperation, to pure frustration, to paradoxical acceptance in only 5 tracks.
“Vampires”: Setting The Stage
“I was looking for an explanation/You were looking for the next salvation”
“Vampires,” the title track, sounds like something you could see in an edit cut from scenes of the most recent Nosferatu movie (Robert Eggers, 2025), obvious name connection aside. Sharp, distorted, shuffling guitars set the stage, accompanied by a massive rhythm session. A punchy, groovy bassline contrasts against atmospheric electronic components, carving a way for the rich, sharp, semi-rounded vocals of Schneider. His vocals add depth to the percussive elements of the opening, bouncing off each other, and steadily leading to an outcry of emotion and release of building tension in the chorus. The vibe? Gothic longing personified, setting the tone for the rest of the EP. Lyrically, the track is founded on contradictions. “I will love you until the end” repeats akin to a mantra throughout, while verses are laden with noncommittal statements “Let’s just say I will/Let’s just say I won’t”…”Let’s just say I live/Let’s just say I die.” This creates a foundation of confusion and shifting emotional landscapes that repeats throughout. It’s the kind of song I’d want to sway to in a dark room.
“When Doves Cry”: Prince Reimagined
“Touch if you will my stomach/Feel how it trembles inside/You’ve got the butterflies all tied up.”
“When Doves Cry,” a Prince cover, occupies the next space on the track list. It delivers what an extraordinary cover really should; a whisper of the original track completely overhauled by artistic reinterpretation. Inspired, yet reimagined. Pulsing electronic beats cradle the vocals, which have a languid, intimate quality not quite present in the original Prince track. The lyrics about abandonment and inherited dysfunction fit seamlessly into the EP’s developing emotional arc, while allowing Mote to pay homage to an artist that inspires him.
“Dark Granite”: Failing Love
“You left me out, you left me alone/You left me unknown, I keep falling again”
“Dark Granite” bittersweetly captures that moment when you realize a relationship is breaking down. That profound distance between lovers slowly cutting the ribbon that ties them together, yet one reaches out in the dark hoping to hang on to some remnants. A soul-crushing push-pull dynamic results from unsteadiness and feelings of being left out in the cold. The focal point of the chorus states this unequivocally. Granite, what could seem like a poetic term for a strong relationship foundation, actually acts as a barrier. Despite the cold, bleak, semi-impenetrable imagery of stone, love seeps through, though it probably shouldn’t. The most devastating juxtaposition in perhaps the entire EP lies in the chorus itself. Despite all the distance and isolation, the lyrical “I” can’t help “falling again” throughout (or into) the cyclical phases of feeling cold abandonment and desperate reconnection. Love doesn’t only persist despite insecure attachment. It floods, it “rushes” in, overwhelming, seemingly unavoidable, unstoppable.
Musically, “Dark Granite” showcases the vocals of Schneider uniquely. They shift from brooding, resigned in verses, almost similar to the low register of Brendon Urie in early Panic! At The Disco tracks, to desperate highs in the chorus with a somewhat sweet and obviously desperate tone, before breaking to a gritty, almost bluesy bridge. The emotional shades are simply astonishing, as is Schneider’s ability to build an emotional arc simply through vocal tones, lyrical content aside. The everpresent groovy basslines are crowned by electronic elements married to the guitars. They weave in and out, sounding slightly reminiscent of a darker version of 80s house music, becoming soft, almost sorrowful, aglow akin to dim fairy lights as the song progresses.
“The emotional shades are simply astonishing, as is Schneider’s ability to build an emotional arc simply through vocal tones, lyrical content aside.”
Artwork by Tara Dugger
“‘I guess I am gone but I don’t feel like I am free.’ I think we’ve all been there, or well…at least I have been (maybe more than once).”
“Sunday”: The Breaking Point
“Don’t know what’ll happen when I throw it all away/I’m a fucking mess, you always throw that in my face”
“Sunday” is a personal favorite and fan favorite, being one of the most streamed song of Mote. Low, almost groaning guitars frame the forward percussive section, before Schneider comes in fully in his chest voice, used percussively, almost spitting heavy consonants. All this is accompanied with perhaps his most intimate, frustrated, and illustrative lyrics: “All my precious things are in a basket by the door/I wish I could love you but I don’t want anymore” … “I guess I am gone but I don’t feel like I am free.” I think we’ve all been there, or well…at least I have been (maybe more than once). Frustration, resignation, and partial trepidation when leaving a situation that is no longer serving oneself (and others). Yet, this doesn’t truly lead to freedom, as emotional echoes remain. It feels like we’re watching from the sidelines as he reaches his breaking point.
As is typical with the songwriting of Mote, but even more intense, the chorus is an outcry of emotional overwhelm, partial dissociation, and a streak of self-reassurance born of resignation. The contrast is unprecedentedly stark to the emotional volatility of the verses: “On Sunday/Everything gets blurry in my mind, so unkind/It still lives in my body for some time, it’s okay/I’m away from it now/Still spinning out/Can’t wait to come down”….”All the colors die behind my eyes, it’s alright.” There’s something deeply human and relatable about this resolution. Not necessarily triumphant, but surviving, coping, yet reeling from devastating circumstances and seemingly impossible choices.
“Cities in a Circle”: The Aftermath
“Lying naked on the bed/Our looks kill/You were there/I was lost”
“Cities in a Circle” explores what lingers after “Sunday’s” breaking point. The sound of emotional turmoil finding what seems like an uneasy peace. It’s sorrowful, yet peaceful, fragmented yet circular. The lyrics are difficult to make concrete sense of, and that seems intentional. Like a mind spiraling through thoughts that shift, contradict, and conclusions that can’t quite be reached entirely. “Turning slow to your way/It’s you I want/I sober up/Letting go/You’re my world it’s you I want,” are lyrics that echo the contradictory feelings found in “Dark Granite,” and “Vampires.”
Musically this is ironically the most optimistic and bright piece on the EP, which is exactly what signals comfortability in the unknown, and unclear conclusions. The instrumentation is overall much softer, relying primarily on atmospheric elements rather than pulsing rhythms, especially in the chorus. It gently moves the listener through the journey to an undeclared truth, showing being at peace with ambiguity: “You and me/The truth is on the inside/The truth is on the outside/The truth is on the other side/The truth is only out of sight…” Perhaps this summarizes the meaning of the entire EP—being at peace with the complexities and contradictory nature of human feelings and connection.
What’s Next For Mote?
After immersing ourselves in the dark, introspective, conflicted world of Vampires, where does the project go from here? Mote was happy to share with us that there is another Mote single upcoming in March, which he describes as a “real breakthrough creatively.” We can also expect tour dates in March, with more music to follow.
That’s all a bit under wraps for now, but be sure to keep your eyes peeled!
“I could have called [Mote] like my real name, but I wanted it to be bigger than just myself. Mote is the presentation, whatever form that takes.”
-MOte
Artist links:
Mote Instagram
Mote Apple Music
Blake Harley Instagram
Blake Harley Apple Music
Featured image by Leif Dölle
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