José Gonzáles makes quiet music full of loud ideas. I sat down with him in person to trace his journey from playing in hardcore punk bands to the intimate arpeggios that turned Veneer and Heartbeats into global touchstones. Jose opens up about writing “humble accusations,” using minimal sound to deliver maximal ideas, and how a scientist’s method—shaped by his biochemistry background—helps him build tension, release, and meaning inside quiet music.

It all gets a bit Dawkins: Jose unpacks meme complexes, the cultural building blocks that replicate from brain to brain, and shows how his work recombines influences from Latin America, Sweden, and shelves of philosophy and science audiobooks. We explore the thread that runs from early relationship sketches to pointed critiques of dogma, moral relativism, and “doomsday dudes,” all while keeping the songs spacious enough to live at dinner tables and in headphones after midnight.

We talk about how on his new album –  Against the Dying Light, José connects Enlightenment values—reason, empiricism, individual liberty—to today’s urgent questions around AI, engineered risks, and human flourishing. He celebrates breakthroughs like AlphaFold while calling for alignment, transparency, and calm public reasoning. The result is a rare balance: optimism without naivety, warning without hysteria, and art that invites you to think without telling you what to think.

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José Gonzáles on Instagram:

www.instagram.com/jose.gonz.music

José Gonzáles on Bandcamp:

https://josgonzlez.bandcamp.com/album/against-the-dying-of-the-light

Huge thanks to Audio-Technica – makers of beautifully engineered audio gear and sponsors of Lost and Sound. Check them out here: Audio-Technica

My book Coming To Berlin is a journey through the city’s creative underground, and is available via Velocity Press.

You can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up.