Mansionair is the Sydney-based electronic trio who are expertly creating emotive, introspective electronic soundscapes. The band have built a reputation for crafting music that feels both deeply personal and universally resonant. On their latest album Some kind Of Alchemy, their electronic, ambient, and melodic techno influences can be heard through the immersive, atmospheric production, and is translated into the dynamic energy of their live shows. We spoke with the trio about creating this new project and the music that’s been inspiring them along the way:

I’ve been adding your singles to my weekly playlists. Every single one has gone straight in because they’re so good. It’s danceable, but also deep and emotional, very introspective. It feels personal.

“Cry dancing” gets thrown around a lot in our band.‍

Cry dancing! I like that. I read that you started writing after coming off tour. Tell me about that and when you knew you were working on an album.‍

It came off the back of a tour. The last part of our set had this 20-minute section that was more electronic and the songs flowed into each other. After finishing in LA, we stayed a couple of weeks even though we were exhausted because we wanted to capture that energy. We didn’t talk about it as an album yet, but we’ve always been more of an album band than a singles band. We knew we were building something larger, trying to bottle that live energy into a record.

How have you evolved as a band, and how has your sound evolved on this album?‍

We’ve all done solo projects and side work, which let us come back to the band more focused. We wanted to do what only the three of us can do together. We had a phrase: “elevated, not evolution.” It’s about using what we’ve learned collectively and individually to move forward without overcomplicating things. We also tried not to internalize other people’s expectations. This record was about trusting our instincts and asking ourselves, “Do we like this? Does it hold up?” The songs that made it through all passed that test.

Do you let yourselves listen to other music while making an album?‍

Personally, not much. When you’re deep in writing, you want to protect the ideas — they feel fragile. Hearing new stuff can shift your taste too quickly.

I’m similar. I have intake periods where I listen to a lot, then create from that. It’s hard to know your own taste if you’re constantly influenced.

I’m the opposite. I make playlists and flood my head with noise until the ideas that really connect stand out. It helps me find what I actually feel.

Is there a song you’re most proud of or excited for people to hear?‍

Honestly, the album as a whole. It works best as a full listen — it’s only 35 minutes, but the sequence really matters. We nailed the order. It’s meant to be heard that way.

I love the album artwork, it's one of my favourites of the year. What inspired it and who did you work with?‍

Our creative director, João from The Royal Studio was the mastermind. We made a mood board with ideas about creating a space that felt real but also otherworldly -tangible yet distorted. We were inspired by artists like Bicep and labels like Innervisions. We wanted that “real world but electronically altered” aesthetic, human but computer-y. The artwork reflects that duality.... from an orbital, outer-space feel to something grounded and emotional. It mirrors the record’s abstract moods and emotions. There’s also the idea of everything fanning out from a single point, micro to macro, like a heartbeat expanding into existence.

Which artists have you been listening to or inspired by lately?‍

A band called Weevil was a big reference. They balance human and electronic sounds really well. Jon Hopkins too. We love artists who make electronic music with heart.
That melodic techno world - introspective but simple - was a huge influence. You want something emotionally rich but still accessible on a dance floor or in your headphones.

How has your live show changed with this new music?‍

It’s been an easy transition because so much of it was written with live performance in mind. The instrumentation is quite minimal, so we can play most of it live — not relying on backing tracks. It feels more alive than the recordings.

What’s next after the album release?‍

We have a lot of leftover songs we might revisit. Mostly, we’ll be playing shows. We’ve been doing rooftop DJ sets around the city, crashing friends’ rooftops. We want to do more of that, maybe some warehouse raves too.

Do you enjoy being in Australia?‍

Yeah, it’s home. Creatively it’s a great base, but we also love traveling to write. Instead of booking studios, we’ll go to Bali, rent a house, and set up there. It’s more relaxed and inspiring. The album was written all over - LA, Bali, on tour in the U.S., and even a stint in Berlin. That travel gave it perspective and space. Writing in one place can make the well run dry; new environments keep things fresh.‍

You can definitely hear that. It doesn’t feel insular; it feels well-traveled. Thank you so much for your time. The album is brilliant, and the artwork ties it all together beautifully.‍

Thank you!

Listen to Mansionair HERE.

@mansionair