One of the things I've enjoyed most about reviewing music and doing interviews is discovering artists who I probably wouldn't have encountered otherwise - especially artists from other countries. One of those is Matias Bacoñsky, a pianist/composer from Argentina that I started reviewing back in 2016 when he was just twenty-one. Over the course of nine years, five albums and eight singles, I've watched Matias grow from a very promising artist to an amazing one! His latest project is New World, the third album in a series that began with When the World Ends in 2018 followed by Epochal in 2021. In doing this interview, it was great to learn more about the series as well as Matias' plans for future projects. To learn more about his background, be sure to read the interview we did the end of 2021 as well as this new one!

KP: Happy New Year, Matias! How are things in Argentina?

MB: Happy New Year to you too! Things here in Argentina are going well, although there’s a lot of uncertainty, especially politically, as we’ve recently had a change in president. As expected, not everyone is happy with the new leadership, and this has led to a lot of discussions and debates. It’s a time of adjustment for everyone, and it can feel a bit chaotic at times. However, I personally believe that change, even if difficult, often leads to growth and improvement in the long run. I’m optimistic for the future and hopeful that we can all move forward in a positive direction.

KP: Oh boy! The US is going through some of the same things right now, but let's talk about your music instead!

Your new album, New World, just dropped a short time ago and is the third installment in the trilogy that started with When The World Ends (2018) and Epochal (2021). When The World Ends is solo piano. What led you to orchestrate the other two albums in the series?

MB: I’ve always had a vision of creating a style of music that combines piano with a full orchestra and choir. However, back when I started, I didn’t have the means to hire orchestral arrangers, so I began by releasing piano-only music. I think Life and Death, my first official album, was a great starting point because it allowed me to express myself in a more minimalistic way, focusing on the emotion that can be conveyed through just a piano. But my love for orchestral music never faded, and with Epochal, I truly felt I had found my musical identity. The possibility of blending my piano work with orchestral and choral elements felt right at that moment, and I’m so happy to have brought that vision to life.

KP: It has been an amazing progression to see and hear! Do you plan to re-record When the World Ends with orchestra and choir or just keep that part of the story solo piano?

MB: Yes, definitely! I’m really excited about the idea of re-recording and reimagining the songs from When the World Ends. And not just that album, but also my first other two solo piano albums! I’ve always felt that there was more to explore with those tracks, and the orchestral version would bring out an entirely new dimension. On top of that, next year marks the 10th anniversary of Life and Death, so I’ve been thinking of reworking it as well. I’ve already made some progress with the piano parts, and I’m really happy with how it’s coming together. Some songs are being altered slightly, removing or replacing certain sections, but the core essence of each song will remain intact. While it’s still a couple of years down the road, this reimagining is definitely something I’m focusing on for the future. It’s exciting to think about how these pieces will evolve over time, since now I have a complete vision and more experience as a pianist.

KP: That's going to be a fascinating progression, too! We did our first interview shortly after you released Epochal in 2021. That album received an impressive number of awards. Tell us about that.

MB: It’s truly incredible! I never expected the album to be so well received, and I’m beyond grateful for the recognition. To have received multiple nominations and awards was a big surprise and a huge honor. What’s even more special is knowing that people connected with the music in such a meaningful way.

While awards and recognition aren’t the primary reason I make music, they do provide a sense of validation and encouragement. It’s like a big boost for the soul, a reminder that the work you’re doing matters to others. It also motivates me to keep pushing forward, to keep evolving as an artist.

KP: Before we get more specific about New World, how would you explain the storyline of the three albums?

MB: The storyline is actually quite detailed and is designed to feel like a movie or a series. Each song represents a chapter in the story, and I’ve always been inspired by post-apocalyptic films and video games, which is why that theme is so central to this trilogy. Even though I’ve never made music videos, I try to visually represent parts of the story through the album artwork and visualizers, so the music and visuals go hand in hand. To give you a quick summary: When the World Ends tells the story of a family in the final moments before the world ends. The next album, Epochal, represents the man of the family as he searches for his loved ones, and in this new album, it’s about the reunion of the family—although perhaps it’s not the ending our protagonist hoped for. It’s a very emotional journey with its ups and downs, and I hope it resonates with listeners as they dive deeper into the narrative.

KP: I was stunned by some of the twists and turns in the story, and the music just makes them all-the-more vivid! The end of the digital booklet that comes with the New World album shows "The End?" with a question mark. Are you planning a fourth installment in the series?

MB: Possibly! I didn’t want to close the door completely on a continuation, so I left the ending open-ended with that question mark. While I don’t have the full story mapped out just yet, I do have a few ideas for at least one more album to complete the series. It might take some time before I figure out how exactly the story will unfold, but there’s definitely room for more. I also mentioned earlier that I’m planning on releasing reimagined versions of Life and Death and the other albums in the near future. So, if there is a continuation of the story, it might be a few years before it sees the light of day. But the idea is definitely in my mind!

KP: New World features five female singers who are known more in the heavy metal genres. How did you get them interested in the project?

MB: I’m so happy about these collaborations because it honestly surprised me how interested they were in joining the project. I reached out to a few of them via email, and to my surprise, I received positive responses from all of them. I even had to choose between a couple of amazing singers! For me, it’s such an honor, because these are artists I listen to every day. I’ve always been a fan of symphonic metal and its various sub-genres, and it was a dream of mine to combine my love for soundtracks with their incredible talent. Even though these artists primarily work in the metal world, they are all incredibly versatile, and I’m so grateful to them for believing in this project. It’s been an amazing experience working with them, and they’ve truly added something special to New World.

KP: I agree! By just listening to the music, I would have guessed that the singers were more operatic than rock/heavy metal. Do the musicians in South America cross into more diverse genres than they usually do here in the US?

MB: All of the singers from New World are from Europe, except for Marcela Bovio, who is from Mexico but lives in Europe. These artists are incredibly versatile, and they can sing everything from classical and opera to pop and even black metal, with growls and gutturals. I’ve always admired their vocal range and skill. While these genres aren’t very popular here in South America, I can see a growing appreciation for the blending of classical and metal elements, and there are talented artists experimenting with crossing genres. It’s not as mainstream here, but there’s a small but passionate community of listeners who are open to this fusion. There’s a lot of talent in South America, and I think this kind of music can continue to grow here as well.

KP: Very interesting! The sound quality of New World is spectacular! Do you use a real orchestra? It sure sounds like it!

MB: Thank you so much! It means a lot to me that you noticed the quality of the sound. However, everything was created with virtual instruments and this was one of the things I was worried about. I’m a bit of a perfectionist when it comes to sound, so I spent a lot of time working on the details of the mix to make the virtual instruments sound as realistic as possible. There were days when I thought the mix sounded great, and other days when I wasn’t so sure. It’s a constant back-and-forth process to get everything just right. One of my dreams is to work with a real orchestra someday, and that’s definitely something I’m working toward. But for now, I’m happy with how the virtual instruments and overall sound turned out. For this, I have to highlight the incredible work of my orchestrator, Diqurox.

KP: The cover artwork for all of your albums has been amazing, too. Who does them?

MB: Thank you so much! I’ve worked with different designers for each album, and I’m really happy with the results. For New World, I collaborated with a designer from Colombia named John Tierradentro. He created the initial concept, and then I edited it for the singles. The original cover for New World was actually used for Daydreamer.

While I was working on Daydreamer, I really liked this new edit and felt it was a perfect fit for New World. So, I made a few adjustments and switched the designs. The cover is incredibly important to me because it represents the theme and atmosphere of the music. I love working with talented artists who help bring these visions to life.

KP: I didn't notice it right away, but the butterflies and the street sign that says "Hope" are really nice touches!

MB: Great observation! The butterflies weren’t part of the original design, but I thought they would be a meaningful addition. I wanted to incorporate a piece of Epochal into this album, and since butterflies played such a prominent role in the previous artwork, it made sense to bring them back. It felt like a nice way to bridge the two albums. As for the street sign with "Hope" on it, that’s a more subtle addition. The sign is a bit hidden, but I wanted to include a message of hope in this new world being built after the end of everything. Hope is still something we can always hold on to! It was a hidden message meant to resonate with anyone who listens to the album and takes the time to explore the details.

KP: How did you decide which tracks to release as singles ahead of the full album?

MB: When choosing singles, I try to put myself in the shoes of someone who is unfamiliar with my music and might be hearing a song for the first time. I want to choose tracks that are accessible to a wider audience, so I avoid picking the most intense or orchestral-heavy pieces right away. I aim for a balance; songs that are engaging but not too overwhelming, something that’s approachable yet still retains my style. It’s about finding the right balance of melody and atmosphere that can intrigue both existing fans and new listeners.

KP: Do you have any plans try to release this story as a sci-fi movie? It's a compelling story with some big plot twists as well as a fantastic soundtrack!

MB: Thank you for that amazing compliment! Even though I thought of the story as a movie/series, I never really considered doing it that way, but it could be an incredible idea. The whole trilogy has so many references to iconic post-apocalyptic films and video games, and I can definitely see it being translated into a visual format. It’s such a cinematic narrative, and the twists and turns would definitely keep audiences engaged. If anyone out there is interested in collaborating on something like that, I’m all ears!

KP: You mentioned in our last interview that you also work as a software developer. Do you want to talk about that a bit? What kind of software do you work on?

MB: Yes, back in the day, I worked as an ABAP developer with SAP ERP software. Now, I’m still involved in the SAP ecosystem, but my role has shifted a bit. These days, I work as a systems analyst. My job involves identifying areas for improvement, troubleshooting errors, and providing support to users. It’s a great balance for me: working on music is my passion, but working in tech also allows me to apply my problem-solving skills and focus on different challenges.

KP: That's an impressive combination!

What is the music scene like in Argentina? Have you been able to get more people in your country interested in your music?

MB: The music scene here is very different from my style. Pop, cumbia, trap, and folklore are by far the most popular genres in Argentina. The audience for classical or orchestral music is much smaller. There are definitely listeners who are drawn to this style, even though it’s not mainstream. I’ve been fortunate to connect with some people here who really enjoy what I do, and I’m grateful for their support. It’s always exciting to hear from fans in Argentina (or anywhere) who resonate with my music!

KP: Here's my usual question! If you could have any three wishes, what would they be?

MB: My wishes would center around well-being and peace. First and foremost, I’d wish for good health, for myself, my loved ones, and everyone around the world. My second wish would be for peace. The world could definitely use more peace, understanding, and compassion. Finally, I’d wish for success for all independent musicians who are walking this challenging path with me. I know how tough it can be, and it’s important to support one another.

KP: Amen! Is there anything else you'd like to "talk" about?

MB: I think we’ve covered a lot of ground! I just want to take a moment to express my gratitude to you for taking the time to do this interview and for all the support you’ve shown me over the years. It means so much to me to know that people are out there listening, connecting with my music, and following my journey. I’m deeply thankful for the support of my listeners, and I’m excited to see where this musical journey takes us next.