The Sonic Alchemist: A Conversation With Maheux

Shrouded in mystery and obscured by anonymity emerges an artist blending 21st-century technology with ethereal echoes and haunting hymns of ancestral magistri. With a runtime of only 16 minutes, the debut EP Amyloid is on its way to becoming legendary in its own right. The album blends hip-hop beats with spacey vocals and elements of an electronic groove that lives in the realm of trip-hop, akin to the likes of Portishead, Gorillaz, UNKLE and Tricky. If you look under the “about” section on the musician’s Spotify page, you will find a strange and ominous description of the artist simply known as Maheux. It reads as follows:

“Born under the sprawling shadow of Shiprock, New Mexico — where the wind hums in strange keys and the desert whispers secrets — Maheux was not merely raised but formed. Legend has it, he emerged from his mother’s womb clutching a theremin, emitting a sound that caused nearby coyotes to pause in reverence.

A self-described “sonic alchemist,” Maheux weaves the archaic with the futuristic, combining centuries-old Gregorian chants with the erratic pulse of rogue AI. His live performances are part séance, part science experiment, often leaving audiences questioning if they’ve experienced art – or a rupture in the fabric of reality.

Few know his true identity, but rumors abound: one story tells of a hermit in the Chihuahuan Desert crafting symphonies with the wind; another, of a figure seen in the Louvre at midnight, soldering circuits into the Mona Lisa’s frame.

Is Maheux an artist? A scientist? A prophet? Or merely the sound of Shiprock itself, echoing through time? Listen closely, and perhaps you’ll uncover the answer — or maybe just more questions.” (Excerpt edited for length)

Shiprock, New Mexico has its own lore, and is sacred land to the Navajo people. It is said to be a place of major importance for pilgrimages, especially for young men on solitary vision quests. 

While on my own vision quest with the six-song EP, I failed to uncover any truths, and as forewarned, was undoubtedly left with more questions than answers. 

In response to my curiosity, I decided to reach out to Maheux for an interview. Although reluctant at first, the reclusive multi-instrumentalist agreed to grant an exclusive snapshot into what is, what has been, and what is to come from the artist. 

UPTIGHT: Your new EP Amyloid was just released this January, but it seems like these songs have been well cultivated. How long have you been writing songs, and what made you decide to release this album all of a sudden?

MAHEUX: The songs on Amyloid have been with me in some form or another for over two decades – some as fragments, others as fully formed ideas that kept resurfacing. I’ve always treated music like a kind of archive, something I could revisit, deconstruct and reshape over time. Most of it’s been locked away, unheard by anyone else, almost like it was waiting for the right moment.

That moment came after a recent trip that shifted something in me. It made me see things differently, more urgently. I realized I couldn’t keep holding onto everything indefinitely. So, Amyloid felt like the right place to start – something to finally let out into the world.

UPTIGHT: It feels like there is a shift happening with the whole world right now as well, and music can always be an inspirational outlet. Where does your inspiration come from and what is your creative process like? 

MAHEUX: Experimentation is at the core of everything I create – taking something apart, flipping it, stretching it and seeing what emerges from the chaos. Sometimes it’s deliberate, other times it’s accidental, but the process always starts with that question, “What if?” From there, it’s about following the sound wherever it wants to go.

UPTIGHT: Spontaneity and accidental mishaps that strike gold seem to be a recurring theme among artists and musicians. Do you have a favorite musician or band? What kind of music do you enjoy listening to? 

MAHEUX: I’m drawn to the unusual, the unclassifiable. Bands like Vorticity Index, who blend tachyonic rhythms with dissonant gravity-wave harmonics, or The Red Sun Collapse Ensemble, whose music feels like it’s being transmitted from a dying star. Lately, I’ve been revisiting the early recordings of Zellvoid, the obscure collective that pioneered “quantum drone” in the ‘70s – music that only truly exists when you’re not paying attention to it.

I’m most inspired by artists who take risks and who build worlds with their sound. It’s less about the genre and more about the sense of exploration, the willingness to push beyond what feels safe or familiar.

UPTIGHT: Do you think being a solo artist gives you an advantage over other musicians carving their way through the industry?

MAHEUX: Being a solo artist feels less like an advantage and more like a necessity for me. I’ve spent so much time trying to collaborate over the years, but it’s rare to find someone on the same wavelength, someone who hears the static in the same way. Working solo lets me move at my own pace, follow ideas without compromise and let the process unfold naturally. There’s freedom in that, but also solitude. It’s less about competition and more about staying true to the work itself.

UPTIGHT: Solitude and freedom have spawned some of the greatest music and art throughout history. As a multi-instrumentalist, do you have a favorite instrument to play?

MAHEUX: I grew up with classical guitar – it’s where I first learned how to make sound feel like it had weight like it could hold a story. But honestly, I’ll play anything that can produce a sound. Instruments, objects, machines – it doesn’t matter. Anything that hums, echoes or resonates has potential. The guitar might be my first language, but I’ve learned to speak through whatever’s in front of me.

UPTIGHT: Artificial Intelligence is a controversial subject when it comes to artists of all types. How much do computers and AI contribute to your sound, if any?

MAHEUX: Like anything else, it’s a tool – something to shape, distort or combine with everything else to see what emerges. I’m interested in exploring its potential, pushing its limits and seeing what happens when it interacts with more human, imperfect elements. It’s less about reliance and more about curiosity.

UPTIGHT: Your bio speaks about the sound of Shiprock. What is your relationship with the sacred land and how has it shaped your music?

MAHEUX: I was born in Shiprock and raised in New Mexico, so the land has always been part of who I am. There’s something about the stillness there, the way it feels alive in its own way, that shaped how I see the world. It taught me to look closer, to find patterns in the quiet and stories in the shapes of things. I think all of my art comes from that – the feeling of being rooted in a place that’s vast, ancient and full of mystery.

UPTIGHT: Outside of music, is there anything you do to express your creativity, and does that influence your music in any way?

MAHEUX: I’m into film, art, gaming and VR – anything that lets me mess around with ideas and create something people can connect with. It all ties back into the music in one way or another. Whether it’s the mood of a scene in a film or the atmosphere of a game, those things always sneak their way into how I think about sound and storytelling. It’s just different ways of tapping into the same creative energy.

UPTIGHT: Speaking of connecting with people. Do you have any plans to perform live?

MAHEUX: I’d love to perform live at some point, but it would take a lot to make it happen. These songs are so layered, and figuring out how to recreate them in a live setting would be a big challenge. It’s definitely something I think about, though – it’d be amazing to share the music that way someday.

UPTIGHT: How has the response to Amyloid been, and do you have plans to release more music in the future?

MAHEUX: I’ve got a lot more music in the works and am already deep into another album. The response to Amyloid has been amazing. This new album is shaping up to be more eclectic – exploring different genres and not sticking to just one style or tone. I love to experiment and see where it all leads. There’s definitely more to come, and I can’t wait to share it.

UPTIGHT: I truly appreciate you taking the time to answer a few questions and providing a little more clarity. As we wrap this conversation up, is there anything about Maheux that you would like people to know?

MAHEUX: Maheux isn’t really something to explain. It’s more like... a weird signal you stumble onto late at night. If people take anything away, it’s that not everything needs to make sense – sometimes it’s just about feeling it.

The “Amyloid” E.P. was released in January 2025 and can be found streaming on Spotify. Maheux is active on social media.