Middle Part, the musical project of Andy Selkōw, recently released his album, Disruptor, which blends elements of distorted maximalism with undertones of heartfelt sincerity, i.e., fusing post-grunge and new millennium tones with innovative twists.
Selkōw describes the album as “a depiction of insanity,” alluding to the persistent theme of the Sisyphean struggle against corporate-level productivity and the pervasive emotional deprivation we often face.
Much of Disruptor was written and recorded between New York and a friend’s cabin in Maine near Sebago Lake, with Middle Part collaborating alongside long-time friend and producer Brian Zaremba, as well as producer Michael Andrews, Frank Corr of The Drums and Morning Silk as well as James McDermott. XS Noize spoke with Middle Part to find out more about his move in a new sonic direction, the provenance of the name Middle Part, and his use of traditional song structure.
How would you describe your music?
At Its core, my music is nostalgic, sounds of what I grew up listening to, wrapped around introspective lyrics that often reflect deeper often darker realities.
I love the art of contrast in music, and what I aim for is to create songs that prompt a double take from the listener. It’s that moment of surprise—when the raucous soundscape is juxtaposed with melancholy lyrics—that truly defines the experience of my music.
Tell us more about Disruptor. What was your experience of making it? What did you want to try and achieve with this record?
Creating ‘Disruptor’ was a cathartic process for me. It was about confronting my emotions head-on and channelling them into my music. At the outset, I was grappling with a torrent of anger and a lack of inspiration. I wanted this record to be a mirror reflecting my journey towards self-acceptance and clarity, a sort of musical testimony and depiction of insanity.
The lyrics are forthright, almost raw, as I’ve tried to capture the chaos of my thoughts and transform them into a coherent narrative that others could connect with.
Disruptor is a bit of a departure from your prior work; what was your main focus in making this record?
This album represents a pivotal shift, not just in the sounds I explore, but in how I see myself as an artist. Musically, I was eager to step away from the pop sensibilities that characterized my last EP. I felt confined by the expectations that genre imposed on me, and I wanted ‘Disruptor’ to break free from that mould.
What is the story behind your stage name?
I got drunk one day and went into a salon and asked for a middle part. ‘Middle Part’ emerged not just as my hairstyle but as my stage persona. I’ve always seen it as a vessel that allows me to navigate the music world as Andy, while also enjoying the veil of anonymity that a band name provides. It’s funny because the name itself doesn’t hold any profound meaning.
Disruptor encompasses 10 tracks. Is there one track that’s more personal to you, that carries more meaning, than the others?
‘Spin 4 U’ holds a particularly deep and personal significance for me, making it perhaps the most poignant track on ‘Disruptor.’ The song was born out of a very challenging period when a close friend of mine was battling cancer. The raw emotions and the uncertainty of that time were channelled directly into the music. I was receiving updates about his condition, often while I was in the studio writing and recording.
Thankfully, my friend has since beaten the cancer, but the intensity of those moments remains encapsulated in that song. To this day, I find it difficult to listen to ‘Spin 4 U.’ It transports me back to those days, filled with fear and hope in equal measure.
Now, I do want to ask as well, what’s been the highlight of your career so far?
It’s always a bit daunting to answer this question when you feel like every new day brings me further along in my journey and the momentum keeps growing. However, if I have to choose, crafting the album ‘Disruptor’ has been an incredibly rewarding milestone. This project wasn’t just about making music; it was about storytelling, healing, and pushing my creative boundaries. The process of bringing ‘Disruptor’ to life will always hold a special place with me forever. As a symbol of where I’ve been and where I’m headed. It felt like a turning point, and from here, the only way is up.
In my for what it’s worth opinion, much of contemporary music doesn’t follow the traditional song structure: intro, verse — chorus — verse — chorus —bridge — chorus — outro. Yet your songs do. How do you explain that? Is that the way you were taught, or did it just come naturally?
Song structure is something that was ingrained in me from the early days of my musical journey. I had a mentor who was adamant about the importance of traditional structures—intro, verse, chorus, bridge, outro. He drilled it into me until it became second nature. This foundational training has given me a versatile toolkit that allows my music to straddle various genres while maintaining a strong pop sensibility.
I only began seriously writing songs a few years ago, but the discipline of song structure was something I embraced from the start. It’s like a muscle that you continually exercise. By consuming a vast array of music, I’ve been able to refine this skill further, absorbing different styles and influences. This structured approach doesn’t just come naturally; it’s a cultivated skill that I’ve honed over time, allowing me to express my musical ideas clearly and effectively while still experimenting within and sometimes beyond those boundaries.
Which do you enjoy the most: writing, recording, practising, or playing live?
Recording all the way – It’s where I feel most alive. There’s something magical about stepping into the studio. It’s a realm of pure freedom where I can experiment, tweak, and refine to my heart’s content. It’s the best feeling in the entire world, it creates so much freedom to do whatever you want and experiment. It’s not just about capturing sounds; it’s about capturing a feeling, an emotion, and that’s what makes it so thrilling for me.
What’s next for you?
Right now, I’m putting the finishing touches on a cover of Michelle Branch’s ‘Everywhere,’ which has been a blast to rework in my own style. Alongside this, I’m in the thick of writing new material every week and collaborating with other songwriters and producers who bring new perspectives and energy to my music. The aim is to make a new album, with hopes to release it next year.
But that’s not all—I’m also gearing up for more touring. Performing live is such a thrilling aspect of what I do, and I can’t wait for the opportunity to connect with fans and share the energy of my new music in a live setting, which always brings a whole new dimension to my songs.
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