Artist Interview: Frogsoft
The music world is being introduced to Frogsoft, the ambitious new pop project from an artist who has spent years honing their craft. Blending classic influences like Michael Jackson and Madonna with modern electropop sensibilities, Frogsoft is set to make waves with a forthcoming double-disc album, preceded by the new 'Scream Party' EP. In this interview, the artist behind Frogsoft discusses the shift to ultra-pop, the influence of the vibrant Buenos Aires music scene, working with prestigious producers, and the grand vision for a multi-part musical statement.
Q. You've worked in music since your teenage years; what was the pivotal moment or realization that led you to shift gears and launch Frogsoft as your main serious Pop project?
A. It was a project I had always had in mind — creating an ultra-pop concept. Like many people around the world, the pandemic and isolation were the final push that made me start. I began learning Ableton with a teacher (who is now one of our producers), and that’s how it all began. I’ve always been influenced by artists like Madonna, Robbie Williams, and especially Michael Jackson. Around the same time, I discovered Billie Eilish, whose fresh Pop sound really inspired me.
Q. Since 2020, you've been based in Argentina. How has the Argentine music scene, culture, or environment influenced the sonic direction and creative decisions of Frogsoft, especially the new material?
A. In Argentina, especially in Buenos Aires, there’s a huge music and art culture. From Monday to Monday you can find countless “under” shows to discover new sounds. Iconic venues like Luna Park (currently under renovation) or Movistar Arena host concerts almost every day. One of my favorite Argentine Pop acts is Miranda!, a duo I admire a lot. Also, Buenos Aires has a strong Tango culture, a native music style from this city. Its melancholy and heartfelt performances inevitably get under your skin.
Q. You're working with prestigious local producers, Baco Ferreira and Nicubus Messina (founders of "BRO"). What unique dynamic or creative synergy have they brought to the double-disc album and the 'Scream Party' EP that you might not have achieved alone?
A. Baco Ferreira and Nicubus Messina know each other like Michael Jordan and Scottie Pippen. Unlike me, they’re professional musicians with formal training, producing multiple bands. Their influences come more from Prince or David Bowie, a kind of Pop that embraces experimental methods and harmonic variations. They bring those creative solutions to every track I share with them. They also coach me on vocals and even add backing vocals. Since I’m not an expert in Ableton or full production, and because this Pop style is quite ambitious, some instruments can’t really be replaced by VSTs. They help me refine songs by recording real instruments or improving the sounds I create. They handle most musical aspects: drums, rhythm, bass, piano, guitars, and vocal guidance so they’re an essential part of the entire project.
Q. Planning a double-disc record is ambitious. Can you hint at the overarching themes, emotional journeys, or contrasting sides that necessitate a two-part release, and how the 'Scream Party' EP fits into that larger narrative?
A. As a 30-year-old “singer”, I grew up with artists who aimed to create complete pieces of art through their albums, like Pink Floyd, Michael Jackson, or Argentina’s Soda Stereo and their double albums. But now, in 2025, the Instagram-driven industry constantly demands new content; everything fades faster. So I’m trying to balance those two worlds. This project feels like a personal debt after many years in music, but also as a plan for the next few years, to keep creating, working constantly, and building a long-term vision while sharing new material regularly with our audience.
Q. The track "Ritual Times" tells a story about the serious requirement to enjoy party time. Could you elaborate on that 'serious requirement' and how the song bridges the gap between fun and focus?
A. The inspiration came from an Argentine philosopher, “Doctor Chinasky,” whose video was sent to me on Instagram by a close friend who loves parties and disco. I wanted to explore this Pop era and share a more joyful message. I’ve always been involved in protest-oriented bands, and that message is still present in our earlier songs and EPs. As a person, I still struggle to fit into the world I live in, both globally and in my daily life. For “Ritual Times,” I was inspired by a ‘70s disco sound like Off the Wall, but it’s not easy to mix protest lyrics with dance music. Still, I tried. The philosopher’s words reminded me that even party time should be taken seriously, since ancient Greece, people have gathered to celebrate and wear masks. There’s also a phrase by Gustavo Cerati that fits perfectly: “Everything deep loves a costume.” That helped me shape the concept.
Q. You describe "Scream That" as a darker, deeper, and more personal track that mixes traditional Pop with experimental arrangements. What is the personal history or emotional core driving this song, and which specific experimental elements push it beyond a typical Pop structure?
A. I’m not a big fan of artists who explain their lyrics, I believe each song should be a journey where every listener creates their own personal experience. But if I had to summarize it: “Scream That” talks about change, self-discovery, and self-acceptance, processes that can be painful and lifelong. Becoming your true self often comes with a cost, especially when you live in a small town or outside the big city. That’s the emotional core behind the song, and the experimental arrangements help convey that transformation.
Q. Though your message is about letting the music speak, is there a short, engaging story or concept behind the name Frogsoft that reflects the music or the project's philosophy?
A. That’s actually a question my new community manager insisted I should answer — and even show my face in a video! But I wanted to be a singer, not an influencer. Here’s the story: I already had the songs and needed a name and visual identity. About 15 years ago, one of my brothers, who’s a systems engineer, had a software project called Frogsoft. He had a pet frog that we used to feed with crickets, that’s how the name came about. The project didn’t succeed, but now he’s very successful working in tech. When I realized that the name and the spirit behind it were just “sleeping,” I decided to revive it. It carries a very personal and spiritual meaning for me, and I hope this time Frogsoft will be the successful one.
Q. Beyond the music, what is the visual aesthetic or mood you are aiming to create for the 'Scream Party' EP's cover art, music videos, and live performances?
A. That’s something we’re still defining with our community manager and designer. His first feedback was that my proposed EP cover wasn’t at the same level as the songs. Sometimes I aim for a more standardized look, but projects like lyric art and reels require more professional and creative direction. I believe one key to any music project is building a team where everyone focuses on their area of expertise. Visually, I want an aesthetic that reflects pop elegance but still carries the Argentine spirit. I love minimalist design and have been heavily inspired by Michael Jackson’s cinematic videos and Gorillaz’s animated world. Don’t be surprised if you see Frogsoft cartoons soon! I still remember being 5 years old, watching the Clint Eastwood video by Gorillaz, I instantly fell in love with that idea. Plus, animation helps me avoid showing my face too much!
Q. "Ritual Times" has been signed for promotion with KMT Records. What about their vision or approach made them the ideal partner to help launch and promote the first single from the new project?
A. KMT Records is mostly focused on DJs, but they approved our song, which I’m really proud of. I think we can help them reach new audiences, and this could be a great opportunity to connect with musicians from similar genres. They’ll promote our song through their media channels (Instagram, SoundCloud, etc.), while we’ll invest and focus mainly on Spotify. That’s a bit new for them, since DJ tracks are usually promoted on platforms like Beatport. We’ll also reach out to playlist curators and independent radios, I love finding and sending music to review pages and small radio stations. That’s independent music life.
Q. In your view, what does it mean to be a "serious Pop project" in today's landscape, and what aspects of Frogsoft's sound or message do you believe will distinguish it from other contemporary Pop artists?
A. Our main difference might be our budget! but maybe we can see that as something positive, because it pushes us to explore creativity endlessly to find our own style. Electropop allows you to work from home and then collaborate remotely, so you don’t need a full band that agrees on everything. Even though I know it’s a tough battle, I hope to find refuge in Frogsoft. Today’s scene moves fast, every day a new project is born, and another one fades, so our goal is to make serious, well-crafted Pop songs and sustain that quality over time.
Q. You mention working with some local invited musicians. How have these guest contributions enriched or altered the final sound of the tracks on the 'Scream Party' EP?
A. Always enriching! Cristian Cáseres on trumpet and Fede from the band Terapia on drums are amazing professionals who understood the project from day one. I’m very thankful to them. If you’re reading this, please check out Terapia and Cristian Cáseres’ trumpet collaborations, they’re truly worth it.
Q. What do you hope Frogsoft achieves in the next 3-5 years?
A. Honestly, having 100 listens on Spotify would already be great — 25 per year! But more importantly, I hope to keep smiling every time we step into the studio to make music.
Comments
Post a Comment