An Interview About Identity Crisis and Authenticity as an Artist

Introduction

The sibling duo Regen (they/she/he) and Ian (he/him) hail from Colorado Springs, Colorado. Together, they make Rriokee.

They are endlessly passionate about many things: music being the most prominent.

Their project, Rriokee, formerly known as Ray and the Red Giants, is an experimental indie-rock band inspired by the evolving subgenres within local music scenes everywhere.

From their family home, they experiment with new tunes using a low-budget setup, drawing on their DIY sound.

Regen, a free-flowing yet focused singer and guitarist, and Ian, a drummer with immaculate attention to detail, are in tune with their internal rhythms. Together, they form an iconic duo.

Interview

When did you realize you wanted to take your relationship with music more seriously?

Ian: That is a very good question. I start to think of when I initially enjoyed music — and with the way Regen and I are, we were instantaneously born with the intrigue for music.

You can find videos of us 10 or 15 years ago, where I’m just hitting a pot cause that is all I had but I still wanted to make music. As far as being a producer, I don’t remember when that started to kick in.

Regen: Yeah, I felt I was bestowed a fate; at a young age I decided, ‘You’re gonna make music.’ When I got my guitar for Christmas, I think I was seven years old, I sobbed and would not let my dad take it away from me.

That was before I had any actual innate, skill. Like, I never played a guitar before. I just kind of accepted, ‘Okay, this is your life now’.

Ian: Yeah, I think hearing gradual — you know, comments and compliments from friends and family progressed it into something we felt we could pursue? I cannot put a time stamp on it because it has increased throughout the years.

Regen: We would have been producing for ourselves, so why not share that with everybody else?

Ian: Yeah, that too.

When it comes to identity, how has that helped you explore your connection to the world and yourself [in short]?

Ian: That’s another interesting one for me because I don’t feel like I represent the music I am interested in. That’s a problem I have had in the past, feeling I don’t belong with my particular interests.

So identifying in that sense– I don’t know. It does make you kind of existential when you think of all the different facets… I don’t know.

Regen: It’s sort of like when Syd was reading me all these minimalism books. If you have nothing to show other people you are interested in that thing, how will they know? If you cannot replicate the music you listen to, sometimes it is a weird ‘out of circle’ feeling, maybe.

[I interject with a comment] I feel like imposter syndrome kicks in a lot. Not just with music but with writing as well. It is like, ‘Do I belong in this? Do I even have what it takes if all I have is the desire to do so?’

Regen and Ian nod in agreement.

Regen: And being mentally ill and having an outlet to ground yourself… Have a stream of consciousness, whether it is physical for Ian like wizzes of white light going this way…

[There’s always a lot of laughter shared between us]

Ian: And even if there is some embedded imposter syndrome, there still is just this deep realization that you enjoy doing it; it is something you are good at–

Regen: And it is something ancient that everyone has ever done in some form. It’s so human.

Ian: I feel it is the most primal connection to the world; when you are in the pocket you can feel it.

[I leave another comment] A lot of people suffer from that imposter syndrome situation, but the way we all navigate it is personal. So I am curious how you fight yourself to become yourself, through that internal conflict that is saying, ‘Oh, I’m not good enough for this’ or ‘This does not align with my tastes’, despite knowing it is still what I do and what I know is me.

Regen: I think you need to stop comparing yourself to others because no matter how much someone else is trying, they’re not going to replicate something you can create, even if you are comparing it and are like ‘Well, my favorite band could write something so much better’.

Ian: There is just an element of soul to it. Everyone is an individual, so someone could play the same type of music or even the same score, whatever, but it can have a completely different intention or feel behind it.

That comes down to you and it is something no one can take from you. Regardless of what your aspirations are or how much time you have put into it, you have your way of doing it, just naturally, whether you’re thinking of it or not.

So that cannot be taken away. Try not to have imposter syndrome over that, at least.

Regen: And then when you get as good as me, you go “Everyone has to hear this”. But yeah, the need to share and be known in the unknown.

Identity isn’t just central to art — it’s a fundamental aspect of being human. Creativity thrives on the discovery, connection, and long-term pursuit of learning.

Finding Deeper Connections

At this point, we go down silly rabbit holes, discussing parallel universes and how despite there being infinite versions of ourselves, the person we are now, in the timeline of this exact existence and universe, remains uniquely distinct from the other probable carbon copies of ourselves.

This alone can likely inspire creatives to define their place in the world as theirs and theirs alone. “Be thankful for what you got,” Ian says in contribution to this point. It can fuel creatives to change their role and how they manipulate space in time.

Affirming to ourselves, For once, I am going to practice today, can bring us out from what makes us feel stagnant and unmotivated.

Finding the means to discipline yourself takes time and is not a common linear path.

Motivation comes and goes but discipline keeps us grounded in reality; it is what allows us to get the work done, rather than imagining the work as done, which gets artists caught up in a laundry list of hypotheticals and what-ifs.

Things are ever-changing. Even when we have goals — especially long-term ones — they may change.

During this part of our conversation, we discuss aligning ourselves with the creative influence and inspiration of other artists but also reflect on the intricacies of identifying as an artist in one’s own right.

Regen and Ian share their insights into how writing music that is different from the music that they listen to sparks imposter syndrome.

Despite feeling a disconnect towards this ideal influence in sound, Regen and Ian recognize and impart the idea that the “soul” that is connected to a creative act allows individuals to hold onto their unique creative expression. There is also wisdom in acknowledging a dominant position for one’s self in creative discipline.

The key takeaway here is balancing individual strengths and maintaining the discipline to keep working despite internal conflicts. Most of the time, a creative’s biggest enemy is themselves. Identity changes with experience and age.

At the end of the day, identity and creative expression evolve as we navigate self-doubt. It is important to stay true to your authentic voice, growing as a person and within one’s craft.

What role does silence or space play in your music and how do you decide when to use it?

Ian: I feel like Regen and I only recently got into this, honestly. We never really had those moments of, I guess with complete stops and silences. Up until recently, we have always just done too much.

Regen: Yeah, we’re compensating for not having an eight-man band.

Ian: And even for just random synth projects, it’s like they’re all– they need to be edited. Kind of realizing that we’re trying make something out of this makes you a little more aware of what you’re doing. It’s like, ‘Okay, I can’t just slap everything together.’ Like, you do have to have intent with this stuff.

Regen: It’s like doing homework versus writing the essay, you know? Right? We’re playing with all of these synth projects and trying to concoct the most– frankly unlistenable thing we can.

We’re trying something new, you know? But then we get down to it, it is like the breathing of the music.

Ian: And now that we’re more comfortable in this state of mind, we are starting to find more value in those moments of silence.

Actually, in some of the new songs that we do, you know, there’s a lotta start and stop moments. That kind of stuff is important.

Regen: I think we appreciate it a lot when we are listening to that type of music.

I mean, Ian listens to freaking Elden Ring, Dark Souls theme songs. And a lot of it is orchestral, so of course there’s gonna be a space relation to all the musical instruments that are playing.

Ian: Yeah. There’s a lot to dig through with that kind of music. It’s gonna have its moments that are more aggressive, slower, and not there but implied.

Regen: Pretty much you can create a story with your space, your sound, your “not” sound and silence.

Ian: Pretty much. I wish there was a more specific answer because it does come down to the individual intent of what you want to use that silence for.

Regen: And then also you can use it for recording purposes, however, like if I played the gnarliest harmonic with the fan blowing in the room I’m recording in, then we could get something crazy, but yeah.

Analysis

There are many open interpretations of silence in the songwriting process. Some things are met with intention without question.

Here, Regen and Ian describe their experience with dynamics, dramatic effects, and buildups. Take their song “99” under the name Ray and the Red Giants, for example. Regen creates these undertones with gradual crescendos on the guitar, building on sound, rising to loud volumes, starting from a softer place.

Conclusion

It is clear that no two ideas are the same, but as creatives, we are uniquely bound by the challenges of imposter syndrome and perfectionism.

Regen and Ian are passionate, talented musicians who want to offer an authentic experience to their listeners — and enjoy themselves in the process.

Call to Action

Keep an eye out for part two of our conversation. In the meantime, connect with these artists by following their social media accounts below:

Band Instagram: https://www.instagram.com/rayandtheredgiants/

Regen’s Instagram: https://www.instagram.com/reggae_russell/

My name is Maximillien. I am a musician, music teacher, and writer.

It’s been a while since I published my last article. I’ve gone through many transformations and look forward to sharing my evolving perspective with you.

Even though I’ve been writing my entire life and hold degrees in philosophy and creative writing, I’ve learned that the answers to life’s biggest questions — like finding fulfilling work or building a daily writing habit — lie in staying true to what makes you tick, what brings you joy.

In recent years, I’ve discovered what drives me: playing guitar, writing and producing songs, performing with and without my band, and embracing a growth mindset.

I’ve collaborated with many creative people during this journey but never fully landed with a band until now.

Production, performance, and band dynamics have become a central part of my life. Working in an ensemble feels natural, as I’ve spent years singing in choirs. Music is in my bones (Bones is also the name of my cat).

Writing, however, is my outlet — an invitation to connect readers with the experiences and stories I uncover. It’s an ebb and flow, much like music itself.

I also have a deep love for animals, wildlife, and travel — exploring new cultures and discovering the natural wonders of our world. While most of my work will dive into musical narratives, I invite you to stick around for the everyday moments too. After all, it’s within our ordinary lives that the real magic lives.

As a society, we are adjusted to taking things at face value. And why wouldn’t we be? Spending money on things we often desire is a common practice. And if it costs less, we consider the purchase a better option.

Consume, consume, consume. Materialism runs in our society, coursing through our veins. It is the lifeblood of economic growth, especially in the capital market of the United States.

But how often does the average consumer consider the impact of their choices?

Life Cycle Assessment (LCA) is a common sustainability technique used to analyze the amount of environmental strain occurring for an item to be produced. It entails every step of a good’s production, from the extraction of natural resources, to assembly line, to consumer use, and finally making its way down the cycle as waste.

It is a strategy that considers the entire timeline, therefore its life. For industry leaders, producers, production managers, and consumers, there is a need for everyone to contribute down the chain to better the environment. It, of course, starts with those in charge of production.

The point is that human activity impacts the environment and as a result, presses us to come up with solutions that are attainable. Life Cycle Assessment is part of that bigger solution and should be a lifestyle and business practice.

Three Life Cycle Assessments

Life Cycle Assessment can take three different shapes: Cradle-to-Grave, Cradle-to-Cradle, and Cradle-to-Gate.

Cradle-to-Grave is the entire assessment of a product’s lifespan. It is the most used and known assessment. It is also the most thorough because it is looking at a product’s usage from both the beginning and end of a timeline.

Cradle-to-Cradle, not known commonly by name, is the reuse of a product. Examples of this would be plastic, paper, or metal recycled for new materials. Composition notebooks, plastic water bottles, clothes, and more are made through this process.

It lengthens the life cycle of a product so it can make up for a taxing production process. This is important because most products are not used to their fullest extent and therefore not offset by the energy used to produce them.

Cradle-to-Gate is the assembly of materials for a product from manufacturing to the factory gate (Muralikrishna and Manickam 59). This looks at the energy consumption in the assembly and building process. It evaluates everything that happens prior to consumer use. It is more focused on the early stages of the Life Cycle Assessment.

Each of these assessments makes it easier to observe each stage of a product. It is not an exact science and it can be difficult and exhausting to fully measure each component, but it is possible to get an estimate.

So Why Should I Care and What Next

It is important to hold businesses accountable for their impact by pressing them to use low-impact strategies and fully consider the life cycle of a product before it is mass-produced.

It is ideal to research and contact companies that are rooted in society’s consumer market, asking them to evaluate their carbon footprint.

For those who are in control of production, no matter the size of your business, integrate a Life Cycle Assessment model and build a plan. Lay it out by stages. Break each component down.

Sustainability goals matter for the future of society and the world. The more we as humans can take responsibility for our actions and lower impact, the better the future looks for humans, animals, and the planet.

Environmental sustainability is a growing goal for social thinking, understanding cause, and effect. It helps in guiding changes to the industry and consumer habits, and to conserve resources wherever readily available. Green solutions can take a variety of shapes.

*There are many valuable pieces of literature on LCA available online or for purchase to understand low-impact approaches.

Keywords: sustainability; solutions; methodology; critical thinking; analytical thinking; industry standards; environmental impact, life cycle assessment (LCA); sustainable practices

Source

Iyyanki V. Muralikrishna, Valli Manickam,

Chapter Five — Life Cycle Assessment,

Editor(s): Iyyanki V. Muralikrishna, Valli Manickam,

Environmental Management, Butterworth-Heinemann, 2017, Pages 57–75,

ISBN 9780128119891,

https://doi.org/10.1016/B978-0-12-811989-1.00005-1.

(https://www.sciencedirect.com/science/article/pii/B9780128119891000051)

Abstract: Life cycle assessment is a cradle-to-grave or cradle-to-cradle analysis technique to assess environmental impacts associated with all the stages of a product’s life, which is from raw material extraction through materials processing, manufacture, distribution, and use. In this chapter, the methodology for conducting a life cycle assessment to international standards (ISO) 14040 is elaborated. In addition, how to conduct a streamlined life cycle assessments is also discussed.

Keywords: Cradle-to-cradle; Cradle-to-grave; Life cycle impact assessment; Life cycle inventory; Process life cycles; Streamlined life cycle assessment