An intensively personal and cathartic offering, ‘DAMN GENESIS’ is our point of entry into BRIEL the Artist’s meaningful and challenging artistic universe. Hailing from the Bronx, New York, the visionary creative enjoys a rather holistic outlook on music, blending a wide number of references into a striking, boundary-pushing package. This is valid both from an aural and lyrical perspective.
Take ‘DAMN GENESIS’: a stream of R&B, hip-hop and vaporoius indie elements, the mixtape carries listeners through a groovy and soulful sonic experience, one that’s rather light, hazy and playful. Yet, BRIEL the Artist’s songwriting focus is way deeper than it might appear. Drenched in personal reckoning and fearless introspection, ‘DAMN GENESIS’ deconstructs his own consciusness, eventually reaching a newly-found sense of self, one that allows for purer artistic expression.
Intrigued by the project, we caught up with the American creative to learn more about his artistry and future goals… Interview below!
Hey BRIEL the Artist, thanks for chatting with us! I appreciate how personal ‘DAMN GENESIS’ is for you, and if I understood correctly, it’s quite a cathartic mixtape, following your transformation into who you are today. Was there a particular event that inspired it all?
My relationship with Jesus was the foundation for DAMN GENESIS. After years of running from God and wrestling with religious trauma, I eventually gave my life to Christ, and that changed everything. It wasn’t just a spiritual decision; it was a turning point in how I saw myself. My transpersonal relationship with Him helped me confront the parts of myself I once rejected and find grace in both the brokenness and the blessings. This mixtape is a reflection of that journey: raw, redemptive, and real.
You have been active in music since your teenage years. I often wonder if it takes a special kind of vulnerability and kindness to appreciate artistic beauty. Were you that kind of teenager? Was music a meaningful escape from everyday life?
As a teenager, I didn’t embrace vulnerability; rather, I avoided it. It was easier to take in other artists’ emotions than to face my own, especially while battling depression. I found comfort in their music and sometimes even tried to live vicariously through the lives they portrayed online. It felt like they were expressing the exact pain I couldn’t name for myself. Music was everything to me; it could either save my day or sink it. Over time, I realised music isn’t just emotional, it’s also spiritual. I learned to be mindful of what I consumed and even more intentional about the truths I share as an artist. Now, every record I create has a purpose.
If you had the opportunity to pick any artists in the world for a collaboration, who would be your first choice? (and second choice, perhaps?)
As someone who calls themselves ‘the Artist’, I approach collaboration with a lot of intention. I don’t just work with someone because they’re talented; I want our sounds to align in a way that feels necessary, even unexpected. I’m drawn to those collaborations that no one saw coming, but once they happen, they just make sense.
One artist I deeply admire is Victor Internet. I’ve been a fan since 2019 when I stumbled across his song “+ (PLUS)” on Spotify. That one song felt like a gateway; it introduced me to a whole world of indie and bedroom pop, which has since become a huge influence on my own artistry. Victor’s music is raw and grounded, and he carries this quiet genius that speaks to me. We’ve connected before, and he’s open to collaborating, so I’m hoping to get him on a future mixtape—or better yet, my debut album. He deserves that moment.
Another dream collaborator is my dear friend Vernon Maxwell. Watching him grow from Overgrown Bedroom to Pieces of a Pisces has been a journey of its own. His music is a constant in my life, it stays on repeat. If we ever create something together, it has to be Heaven-sent. Otherwise, I don’t think it should be released. That’s how much I believe in the magic we could make. I hold his artistry in such high regard, I’d never want to create anything that doesn’t honour it.
Jumping back into ‘DAMN GENESIS’: I love its eclectic character, constantly oscillating between old-school hip-hop beats and more modern R&B flair, even with a touch of avant-garde goodness from time to time. Can you guide us through the creative process behind the record? Was there a team around you? How long did it take for the mixtape to come together?
Making DAMN GENESIS felt like hell disguised as a dove. It was chaotic, unplanned, and completely all over the place. At the time, I was juggling college classes for a degree I already knew deep down I wasn’t going to use. On the days I didn’t have class, I’d retreat into my little creative world—writing, recording, just trying to stay sane.
The process was incredibly solo. My real “team” was the Notes app, BeatStars, BandLab, and a little weed; maybe more than just four puffs on the good days. I didn’t have a big studio setup or a crew around me; it was just me trying to capture my truth with whatever I had.
The mixtape came together fast: I finished the writing and initial recording in about 3 to 4 months. What slowed things down was the engineering. I did a lot of it myself at first, which was both exhausting and rewarding. But what really brought it to life was having my good friend Kean Lane come in later and re-engineer it. That step gave the project the polish and intention it needed to feel complete.
Is songwriting a lonely endeavour for you? Or do you prefer working with others?
Songwriting has always been a lonely endeavour for me. I take deep pride in my pen—it’s personal, sacred. Asking me to co-write sometimes feels like trying to feed a newborn baby who keeps rejecting the spoon. That baby is me, and collaboration is the food. But I’ve learned that if I want to grow as an artist and create better material, I have to put my ego aside.
On DAMN GENESIS, I wrote every single lyric myself, and I’m proud of that. It was important for my debut to be purely my voice, flawed, raw, and unfiltered. But moving forward, I want to be more open to collaboration. Not to dilute my truth, but to expand it. Working with other writers and artists can bring new flavours, new perspectives. It’s like adding seasoning to a dish I’ve been cooking the same way for years.
At the end of the day, music is about storytelling, and the best stories are rarely written alone. If I want to go far, I have to let the community in.
You have just finished a concert series, The Coming of the Year Sessions. How did that go? Is the show very theatrical or more focused on the music?
The Coming of the Year Sessions is more than a concert, it’s an experience. It’s the music, the emotion, the intimacy, the chaos, the hypeness… all amplified. When I perform those songs live, it’s like they evolve into something bigger, something more raw and immediate. It’s not about flashy theatrics, it’s about being present, vulnerable, and fully immersed in the moment with the crowd.
And we’re not done yet. The sessions continue this August, and I’m really excited about what’s coming. The openers will be announced in July, and trust me: they’re not just people I admire musically. They’re people I’ve shared spiritual space with. Friends, creatives, and energies that align with what The Coming of the Year is all about. It’s gonna be special.
Artistically speaking, what challenges have the last two years presented you with?
The biggest challenge over the past two years was me, no one else. I was the one holding myself back, paralysed by fear and constantly listening to that dark, self-destructive voice on my shoulder. I let anxiety, depression, and reckless choices dictate my path, and for a while, I let those things convince me I didn’t deserve to be seen or heard. I became my own worst enemy.
The only reason I released QUESTIONS in 2023 was because my friend Thomas Torres, who was connected with the Apollo Theater’s A&R team, pitched me for a performance opportunity. By God’s grace, they accepted me. But even then, I was hesitant; I second-guessed everything, even posting my songs on Instagram so they could hear them. That moment should’ve been affirming, but I was still caught in my own head.
It wasn’t until December 2024 that I finally said, ‘enough is enough.’ I was tired of hiding. I reached out to my good friend Alex Fernandez and asked him to be my manager. Since then, we’ve been learning, growing, and building something real together. Signing that contract with him was one of the most important decisions I’ve ever made—and I wouldn’t trade that moment for anything in the world.
What are the next steps for your project? Anything exciting on the horizon?
There’s definitely more coming, in the form of interviews, appearances, performances… but right now, I really want people to sit with DAMN GENESIS. Not just stream it, but listen to it. This mixtape wasn’t made for passive background noise, it was made to be felt. To be heard in the lyrics, to be seen in the message, and hopefully, to be lived with.
Each of the ten tracks holds something personal, and I truly believe at least one of them will resonate deeply with someone out there. If it does, I want you to hold that song close. Reflect on it. Let it speak to your life in whatever way it needs to.
My hope is that this project helps people begin to heal, to confront themselves, and to embrace who they really are. Your past doesn’t define you, but owning your past, telling your story: that’s what shapes your future. That’s what DAMN GENESIS is all about.
