Earlier this year, I had the pleasure of sitting down with Message To Bears, the musical alias of English composer and multi-instrumentalist Jerome Alexander. It was his single “Open Lungs” that brought us together, and I truly enjoyed our conversation.
A few months later, I received a message from Protect the Citizen, an experimental ambient electronic artist. We hit it off right away, and he agreed to an interview. His sound is whimsical and captivating. I am obsessed with tracks like “Close the Gap,” “Woodcutter,” and his latest single, “Downtripper.” His music is intoxicating, something you can have playing in the background or close your eyes and drift off to another dimension.
When he agreed to the interview, I spent time researching his work and learning more about his journey. This conversation was special for me, and I feel blessed to have access to artists like him. I love it when an artist puts as much time and care into the interview as I do. That is how friendships are formed and how meaningful conversations begin.
I encourage you to listen to his music while reading this interview, and I hope you enjoy it as much as I did writing it. It is my absolute pleasure to introduce you to Protect the Citizen.
Create because you have to.
Hey there! You reached out to me this summer after reading my feature and interview with Message To Bears. Thanks for the support, and I’m glad that you did. We’ve got a lot to talk about!
Where did the name Protect the Citizen come from? I’m always curious where an artist comes up with his or her name.
I’d really love to say the name has a cool meaning or huge significance, but it isn’t that deep. When I started making music at that stage of my life I intended to make a post-rock band. I was heavily into bands like Lights Out Asia, and they had quite an ominous sound with lots of vocal samples which sounded like people speaking over radios. I guess I was thinking a lot about fictional conflicts, and Protect the Citizen is kind focused on me saying “protect yourself” it’s kind of a reminder to look after myself. Which is ironic now, having returned to making music after a few quieter years and remembering that I really need to make music for my own sanity.
After we connected, you shared that you’re working on your next release titled “Chasing Waves.” Do you normally have a name for a record before you start releasing singles?
I have a hard time coming up with names of anything. Band names, song names… it’s something I struggle with. When starting work on this release the name just came to me for “Chasing Waves,” often that’s what’ll happen and I’ll stick with it. In most cases though, no, I usually name things last.
You’ve expressed strong opinions about using AI as a tool for creating music. AI isn’t new, but it sure feels that way. Why do you have these thoughts, and can you explain how important the human connection is to what you’re creating?
Definitely. I am passionately anti-AI. I believe AI is one of the biggest threats to our future existence that we have today. I feel like we are sleepwalking into a very bleak future and we are trading away our chances to be creative for a giddy excitement for a technology we don’t fully understand the consequences of engaging with. There have been so many reports of photographers and artists losing their jobs to AI, reports that it’s making us dumber and that it uses up vasts amounts of energy harming the planet. I have heard of a few scenarios where it seems useful, but for creating music? It solves no problem there. Human connection is everything with art, the struggle, the storytelling, the healing it provides and the connection that it gives to people. We should not give that away to machines for nothing. It’s too valuable to us.
It was just announced that you’ve joined the roster at Sun Sea Sky Productions. Can you tell me more about that, how you got involved, and what this partnership means for you and your next release?
Yes. I’m thrilled to be joining Sun Sea Sky. I’d been a fan of their work for years, and always been following them. I managed to get in touch with a couple of the artists on the label and create a remix or two for them. I think the first was a remix of a Melorman or could have been Sineriders track “Blockstop.” I’m a bit hazy with the order everything happened. The remix “Away” I did for Melorman made it on to the release Somewhere, Someday which was awesome as I’ve loved everything that he has put out. Sometime later I got involved in producing a few music videos them but always hoped to get a release of mine out too. Being on the label just means everything to me, it’s such a great collection of artists on there, it’s rare to find so much music you love in one place and everyone is so down to earth and encouraging, it’s just the ideal place to be involved with.
You’re based in the UK. What’s the music scene like where you live, and where do you like to go to see a show?
I don’t tend to go to a lot of gigs these days, since a lot of the music I like is from American or European artists who don’t seem to tour the UK often. It varies could be a large arena or a small bar.
You’ve released Transmission Singles, Memories and Motions, and Here To Be Humans. How has your sound evolved over the years, and where do you see it heading as we wrap up 2025 and move into the new year?
In the very very early days, it was a lot of aggressive and epic guitar rock stuff. That’s the stuff I always wanted to write, but I’ve never been able to do it well. After that I just found that I always made the slower moodier stuff which came more naturally to me. Being a drummer though I still need to include a beat, and I’m always looking for unique beats, I like the drums to be just as important as the melodies. I think I’m not finding a balance between smooth layers and glitched drums.
Your sound is consistent from one release to the next, but your artwork follows a similar visual theme too. Who does your cover art, and are you collaborating with them before or after the release to come up with the design?
Artwork has been a bit random to be honest. Here To Be Humans was an online commission that I just found and paid for. The others were my own attempts to make what I imagined when I was making the recordings. I like quite abstract art but also natural photography. I love good artwork though, and would prefer to work with more artists to represent their work too.
I’m sure it’s tough, like picking your favorite kid, but do you have one or two singles that are personal favorites? Maybe some that have a deeper meaning than the others?
“Curving Lines” has always been a favourite. I think for most people it’s actually not an easy listen. But I remember just trying to push things as much as I could with that track, and not sticking to formulaic writing is something it always reminds me of. Someone once told me it sounded like it should be a Salad Fingers soundtrack which was pretty cool.
Do you have a release date in mind for Chasing Waves? And once that drops, will you immediately start working on your next single, or will you let that one simmer for a bit?
The release date will be the decision of SSS. I’ll leave that to them, but it’s sounding like very early 2026. The record is all written, but we’re hoping to include some remixes from selected artists as part of it too which I’m really excited to hear.
I haven’t seen you perform live yet, but I can imagine what that experience might be like. Do you do much touring, and what can fans expect from a Protect the Citizen live show?
I have actually never played this stuff live. I have had moments where I’ve been keen too and there’s so many people who do live electronic music. And I’ve always wanted to experience performing this type of music. Maybe one day.
Let’s talk about technology. Sure, you’re using instruments, but what else helps with mixing one song into the next? What changes have you noticed in this space as technology continues to evolve so quickly?
I love Ableton. I used Logic Pro for years and that was great, and I still like it. But when I saw something of the things you can do in Ableton I just fell in love with the software. What drew me to it was the way it made me start songs in different ways and I was less likely to just repeat the last song by repeating processes. I’ve actually stopped searching for new tech at the moment and just enjoying trying to really get everything I can out of what I have at the moment.
Speaking of Sun Sea Sky, what are some other artists they’re working with? Do you see any collaboration opportunities on the horizon?
They’ve previously released material by IG88 and Signal Hill which is really cool as I love both of those artists. I honestly would love to work with any artists on the label. Most likely would be more collaborations with Melorman as we speak quite regularly.
You’ve mentioned using household objects to make music. What are some unique items you’ve used that fans might not realize? Do you just walk around the house experimenting, or is there a method to your madness?
Sometimes I’ll hear like a lid drop on a kitchen counter and love the way it sounds and think I have to record that to use somewhere. Typical favourites that are in my tracks are pen clicks, bag rustles, scraping pen pots, elastic band snaps. I once dropped a box of old kids toys which made a really nice jangly crunch sound. I mainly do it to try and create a unique sound. So when people hear a track, they know it’s one of mine.
It was nonvocal ambient music that first pulled me into electronic music. While your sound isn’t made for the dance floor, it’s something I could play on repeat all day. Not really a question, but your music takes me back to my roots, so thank you for that.
Ah thanks. It’s always nice to hear someone saying the want to put your music on, especially when there’s so much to choose from.
Where do you find inspiration for your next release? Are you inspired by other artists, or do ideas just come to you in your sleep?
I think it can be many things, not always the same. Listening to other artists is a big inspiration. Wanting to make something as beautiful as others have but in your own way is a big inspiration. I think other than that it’s quite seasonal. In this current period, I’ve had to write as a coping strategy during a tough time. That’s been a bit of a theme with me. When my sister passed away I just wrote music, it’s a way to process your feelings and work through stuff.
Some of your videos show serene views, sitting in the woods with the wind gently breezing by. Your music gives me feels. Is that by design, or is it just a natural result of how your sound is produced?
Visuals can be really powerful with music, and I think it’s important to match them as closely as you can. I just try and make sure that both are in sync mood-wise. If the track is mostly calm and laid back the visual should make you feel a similar way.
You’ve got a newsletter on Substack. How often do you send updates, and have you had good luck with Substack for database management and distribution?
Substack is relatively new to me. I think I’ve written 3 or 4 newsletters so far. I’m still learning. I am pretty bad at everything like that, but taking a new approach to sharing information lately and expanding on the storytelling of the music. I think a lot of people i see on there are struggling to build a following it seems to be a running joke on there! But I’ll try it for a while longer and see if people enjoy it.
I saw you promoting the Somewhere, Someday + Away Remixes on social media. What’s that project, and how did you get involved with that project?
The was a Melorman large double album project. Antonis was putting out a full-length original release and matching that with a remix for every track. Such a great idea, and it came out really well. I think I just reached out and he agreed to let me be involved.
Everything I’ve heard from you is ambient and instrumental. Do you ever see a day where you’ll add vocals? If you do, please reach out. I’ve always wanted to collaborate with an artist on lyrics for a dance track.
Before PTC I was actually and acoustic folk singer/songwriter type. I was obsessed with Elliott Smith at uni! I have actually used vocals on a few tracks although you’d be hard pushed to spot them, and there are a few moments in the new record!
I love the Here To Be Humans album artwork. I know we touched on artwork earlier, but that one is special. What’s the story behind it? The more I look at it, the more I see.
That was an online commission. I just wanted something abstract, and kind of contradictory to the title, it’s a very non-human image, very digital. The album is about being human whilst also using technology to produce. It’s a reference to the electronic synth/organic drum sample mix.
We’ve covered your software and hardware, but what about headphones? I prefer Bose when I’m not wearing AirPods. What headphones do you use? With your sound, you have to pick up on subtle differences and textures.
Being neurodivergent I love my Bose QuietComfort Headphones but mainly for listening to things in noisy environments, but in the studio I use Audio Technica Headphones which are great. I used AKG Headphones for a while but found I missed stuff in the mix.
You share tutorials on your YouTube channel. I love that you’re sharing your insight and expertise with everyone. What are those tutorials about, and what are you hoping to accomplish with them?
Those tutorials use to be separate from the musicm but I figured why not include them alongside. I guess they’re almost a “how I make my music” type of video but also serve as tutorials in Ableton of some of my favourite things. I just hope to share things that I think are cool and hope others do too.
On Bandcamp, you’re selling your music. What about merchandise? Have you thought about adding hats or hoodies? I could easily see your album artwork on a shirt or hoodie.
Yes, I would love to see some other merchandise and hopefully physical releases too. Maybe posters, I love a band poster!
We’ve covered a lot today, and I’ve really enjoyed our time together. Is there anything we missed that you’d like to share with me?
I don’t think so.
Besides the newsletter and Bandcamp, what’s the best place for fans at home to stay connected with you?
I’m probably most active on Instagram but also use Facebook a little.
Again, thanks for your time. This was special for me. In all of my interviews, I always give the artist the last word. Go.
Probably just, stay off AI kids, give your attention to other human beings and each other instead because a lot of creators need that outlet and that connection with audiences. Thank you for talking to me today, Ricky, appreciate it.
For more information about Protect the Citizen:
Bandcamp | Facebook | Instagram | SoundCloud | Spotify | YouTube
About Protect the Citizen
Protect the Citizen, a.k.a Dave Voss is an experimental, ambient electronic artist combining melancholy delayed keyboards with drum machines and combinations of other electronic sounds, with organic audio samples of household objects such as wind chimes, office equipment and books.
