Jarel Gomes: "Don’t wait for inspiration; build a sustainable system"

Jarel Gomes is an independent artist and music producer active in contemporary electronic music. His work is characterized by immersive soundscapes and modern electronic structures that blend experimental elements with dance rhythms. Over the years, he has released several original tracks, including Presence (2022), Fluctuate (2023), Gemini’s Faces and Ship of Theseus (2024), up to the most recent Whisperer (2025). Through his productions, Gomes develops a unique musical language that combines sonic exploration, melodic sensitivity, and a creative approach focused on innovation.

How would you describe the evolution of your artistic journey—from starting out playing piano to becoming an electronic music producer?

It’s been a transition from organic precision to digital atmosphere. I started at the piano when I was 3, where everything is about the immediate tactile connection and the purity of the melody. 2 decades later, and after uploading thousands of piano videos in the electronic music scene across genres, I started craving a larger "canvas" through the ability to control the textures, the bass, and the cinematic space that only electronic production offers. Moving into production was less about leaving the piano behind and more about giving those melodies a modern and tech-noir world to breathe in.

Which musical influences have shaped you most as a DJ and producer? Are there any artists or genres that inspired you in particular?

My foundation is built on classical structure, but my current pulse is driven by a melancholic sound with a compelling narrative that gives it that extra flair. Across the covers, I find myself being taken in by all sorts of artists like Porter Robinson, Daft Punk and Tale of Us have been huge inspirations for how they blend storytelling medium with high-fidelity sound design. I’m also deeply drawn to, again, Tech-Noir aesthetics. That dark, moody, futuristic energy that feels like a scene out of Blade Runner.

Your productions span various styles and moods (like in tracks such as the Faded remix, Invertx and Enchantress). How would you define your personal "sound"?

I’d define my sound as "Melodic Noir". It’s a mix of complex, almost haunting piano-driven melodies and dark driving percussion complementing them. Even in a high-energy track like Enchantress, a record I just released this month, or Lie and Promise which is a rather mellow record I put out. There’s usually a layer of emotional vulnerability or cinematic tension that comes from my roots as a composer. It’s music that’s meant to work both in a dark club and in a pair of headphones late at night.

How have your experiences with the piano influenced your approach to electronic music and remixing?

Piano taught me essentially the DNA of a song, regardless of harmony and counterpoint. Without my first cover to hit being an EDM song, it's a Marshmello cover where you can still find it on YouTube, I don't think I'd even be part of this conversation back then, which is really such an unreal moment to recall. When I’m producing, I’m not just looking for a cool synth sound; I’m looking for how the notes interact. It gives me a massive advantage in speed and theory; I can mostly "see" the MIDI in my head before I normally touch the keys. It makes my electronic work feel more "composed" rather than just "programmed". More of an instinct and feeling rather than having to recycle a certain palette.

You’ve collaborated with artists like Dyzen and Soaky Siren. What creative and artistic challenges do you face when working on projects like the acoustic version of Tantalizing or recording live piano for "She Likes"?

The biggest challenge is finding the perfect equilibrium between the "human" and the "machine". For "She Likes" with Dyzen, we brought in a live pianist to play in real time rather than clicking notes into a grid. The challenge there is technical and emotional—you have to preserve the slight timing imperfections and the "soul" of a live performance while ensuring it still hits with the driving, rhythmic precision that a Dyzen record demands. It’s about making the organic feel electronic, and vice versa. ​With the acoustic version of "Tantalizing" with Soaky Siren, the challenge was subtraction. When you strip away the heavy production of a track, you’re left with the bare bones of the melody and the vocal. You have to ensure the arrangement is strong enough to stand on its own without the "safety net" of a kick drum or a synth lead. Finishing the second half of that record was a lesson in endurance, making sure the energy evolves naturally so the listener stays engaged in a more intimate, stripped-back setting.

Can you share a moment or event in your career that you consider a major turning point?

It has to be during childhood, I had been in a love hate relationship whenever I talk about playing the piano. However the highs like one in particular being having the honour to play the Steinway Model D Concert Grand model where there's only ever two to ever come into existence till this day, the fundamental drive of why I started YouTube, as it made me realize how special of a hobby this can be and the joy it brings to the people around me. Leading up to me now uploading over 9,000 videos to YouTube was a psychological shift for me. Then it was no longer about a single "viral" moment, but the realization that I had built a massive, disciplined library of work that symbolizes every fabric of time in life, as well as initiating conversations amongst people with common interests. That consistency gave me the confidence to pivot into electronic production, knowing I had the discipline to master the technical side just like I did the piano. 

How do you balance creative studio work with live performances or DJ sets? What do you enjoy most about both worlds?

Studio work is where I am an engineer. It’s about precision, layering, and the agents of sound design. Live sets are the payoff. Regardless of how gruelling it is in the studio, I’m building the machine; whereas on stage, I’m driving it. I love the solitary focus of production, but nothing beats the immediate feedback of a crowd reacting to a drop you spent weeks perfecting, especially when I tend to look for something unique to people's eyes. It feels like a game to figure out if people like it just because it's new,, or is it actually different enough that people remember it uniquely.

What are your artistic goals for the coming months or years? Are you working on any new projects or collaborations?

My primary goal is to continue scaling the "digital residency" I’ve built on YouTube. I have no plans to stop the daily piano covers; that connection with my audience is the heartbeat of my creative process and keeps my technical skills sharp.Beyond the daily content, I’m leaning heavily into bridging the gap between the electronic world and the acoustic world. Following from where I left off last year , I’m focusing on creating official acoustic renditions with other international artists in the darker grooving and electronic space. There’s something powerful about taking a track designed for a massive festival system and reimagining it through the lens of a solo piano. I’m also currently in the middle of writing and finishing projects for a few more big names in the industry that are scheduled for the summer of 2026. It's a busy season of high-level collaborations that I can’t wait to share soon.

How important is your presence on social media and streaming platforms in building your career?

It’s everything. YouTube is where I "grew up" artistically. It’s not just a promotional tool; it’s a living archive. Being "the electronic music piano guy" on YouTube allowed me to build a community that has followed me into the electronic space. In today's scene, if you aren't documenting your process, you're invisible. Consistency outclasses talent every single day, it will make sense at the end.

What advice would you give to young producers and DJs trying to break into such a competitive music scene?

Don’t wait for inspiration; build a sustainable system. The reason I was able to put out so much content is discipline, not luck. Master your "instrument" whether that’s a piano or a DAW, until it’s an extension of your body. Most importantly, don’t be afraid to pivot. Your "brand" can evolve as long as your quality remains consistent, because nobody knows yourself more than you. Passion is the source for everything we do to keep going.

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