INSIDE THE WORLD OF LUCKY DUCK

Lucky Duck is an emerging artist from Ardsley, New York, whose music combines emotional honesty, fearless experimentation, and an eclectic mix of genres. Drawing inspiration from artists such as Boygenius, Clairo, and beabadoobee, Lucky Duck has developed a sound that is deeply personal yet refreshingly unpredictable.

His debut album, SANITY, released on September 18, 2026, is a six-year labour of love. Recorded in Queens, New York, alongside producers Denise Barbarita, Steve Jabas, and Benhú, the album moves seamlessly between trip-hop, country hip-hop, and industrial rock, exploring themes of burnout, faith, toxic relationships, self-discovery, and empowerment.

You're from Queens. What's the best part about being a native New Yorker?

As a wise man once wrote, New York is the greatest city in the world. So I think just being a native New Yorker is pretty great. No matter where you go, people know something about New York. There aren't that many other places in the US that people around the world know so much about. Texas, maybe Chicago, LA for sure, but New York is on another level. It feels good to be from such an iconic place.

We have so many amazing people and cultures, incredible Thai food, Dominican food, Puerto Rican food... anything you can imagine. We're just a really cool city, and I feel like that breeds a lot of cool people, myself included [laughs]. I think growing up here gave me this ingrained confidence, this very much "I'm the shit" attitude. And a lot of that comes from the city I'm from.

Who first inspired you musically?

Before I became Lucky Duck, I started out as a SoundCloud rapper named Empath. 2014 Forest Hills Drive by J. Cole and Illmatic by Nas were the albums that really got me into rap.

Were your parents musical?

I'm definitely the most musical person in my family. As far as I know, I'm the only one pursuing music as a career. It's my dream job. My dad actually has a pretty good voice, though. I've got to give him credit for that!

Even though my parents aren't musicians, they introduced me to a lot of amazing music. My mum was a club kid, so through her I discovered a lot of 80s music, including Kylie Minogue. She's Australian, you see. She also loves art rock and indie and alternative music, like Gorillaz, Spoon, and Phoenix.

My dad is more of a classic rock guy. He loves The Police and U2, but he's also a big fan of strong female singers like Joan Jett and Alanis Morissette.

So, yeah, they have great taste, and they're still keeping up with what's happening in music.

What was your childhood like?

I feel like I had a pretty interesting childhood. My little brother is autistic, so that was a big part of my upbringing. During my adolescence, I also went through my own share of personal and psychological struggles, which definitely had an impact on me.

I've always been a bit of an outsider. Music was the first thing I really felt passionate about.

I was born in New York City, then moved to Queens, and eventually moved up to the suburbs. So I guess you could say I'm partly a suburban kid, but I also feel very much like a New Yorker, especially having spent the past few years back in Queens.

Your debut album, SANITY, came out in September. Can you tell us about the making of it?

This album has been a work in progress, on and off, for the past six years. I wrote the first song, "Moonlight", in February 2020, and finished recording the last song, "Tell Me", in April 2026. So it's essentially a supercut of my life from 19 to 25. I'm 26 now.

It's been a huge evolution for me, both in terms of finding myself and finding my place and my team within the music industry. I definitely had to pay my dues and take my time to find the right people to work with.

Thankfully, I started working with Denise at Monolisa Studios. She's amazing, and she introduced me to Steve, Rich, Ray, and all these incredible producers and engineers.

We eventually became something of a band and made most of the album together. I started working with Denise in 2024. Before that, I'd been playing around with the songs, but I was also busy experiencing life and actually having something to write about. Then there was the pandemic, and for a while I wasn't in a particularly good place mentally, which slowed everything down.

At one point, I thought I was just going to become an agent or something. I knew I wanted to work in music; that was always clear to me. But somewhere along the way, I found my confidence again and realised, no, no, no, I genuinely want to be an artist. I want to be the face, the brand, all of it. It took me a while to get there.

Once things got going, a lot of the process was about experimenting in the studio. I already had plenty of songs written, so we picked the strongest ones and developed the best ideas. There was also a lot of trial and error.

I think the key to making this album was the people I worked with. They're all incredibly talented and creative, and they really helped bring everything together. Somehow, it all ended up flowing naturally, even though every song explores a different genre.

Why did you call the album SANITY? Is there a story behind the title?

I called it SANITY because music, creating, and collaborating with other people are my sanity. I need to make art and work on something. It's an essential part of who I am.

Also, a one-word album title is so chic! And SANITY sounds pretty rock 'n' roll to me, which ties in nicely with the album's aesthetic and the different genres explored throughout it.

Two of my favourite tracks on the album are "Fadin'" and "Mama Disco". Can you tell us a little about those songs?

Thank you! I love those songs!

"Fadin'", according to my producer Denise, who produced the track, is basically girl-rock sung by a man. It's indie pop-rock, and it's a really special song to me.

One thing that always stands out is the tracking session when we recorded all the instruments. We had Ray on bass, Rich on drums, Steve on guitar, and Denise running the room.

We just jammed for seven hours and recorded everything. I think it was during the first half of 2024, because I released the song in the second half of that year. It was one of my first post-pandemic sessions where I actually got to be in a room with everyone and make music together. It was so much fun.

The song is about being in a relationship that's coming to an end but being too afraid to actually talk about it with your partner. Instead, you just let things fade away. It's a sad, melancholic, but ultimately hopeful song. I love it so much. It's definitely one of the coolest songs I've ever written, and it's always received great press. I'd say it's my first hit.

And then there's "Mama Disco", which is obviously my newest hit! That one's really been resonating with people, and it's such a fun track. It was produced by Benhú, who's also my first-ever featured artist.

He's my Taiwanese primo! We met in Portugal when I was studying abroad in Madrid. I went to Lisbon for the weekend, and we just happened to be staying at the same hostel. The hostel organised a bar crawl, so we ended up going together.

We really hit it off. We were both making music, and then he reached out in the spring of 2025 and suggested we collaborate. I was like, "Dope, let's do it!"

We just started trading ideas. He was in Taiwan, and I was in Queens, but the distance didn't matter. He ended up producing "Romanticize", "Tell Me", and "Mama Disco".

The album blends so many different genres. Was that a deliberate approach, or did it happen organically?

It happened organically. I usually try to go into a session with a vision. For example, with "2Strong", I was imagining something really heavy, almost metal, like a mosh-pit-ready rock song. I generally have an idea of what I want each track to sound like.

Of course, some songs evolve along the way. "Only 1 Me", for instance, was originally a song called "All I Want Is Everything". I initially imagined it as something more along the lines of Jack Johnson or Jason Mraz, like "Banana Pancakes" — a sunny, guitar-driven sing-rap ballad.

Ultimately, the album is a combination of different genres, different collaborators, and all their creative ideas. That's also why I describe it as a little mixtape-y. It's a bit of everything, and it's a little all over the place.

But that's also a reflection of me. I want the album to represent who I am as a person. It's an authentic portrayal of myself.

What's your main instrument?

My beautiful baritone voice!

What's your philosophy on life?

I try to live by a few key words and basic values: movement, keeping it moving, keeping it pushing, surrounding myself with good people, being a good person, and continuing to create.

And, most importantly, having fun! I prioritise joy.

What's one song by another artist that you could listen to a hundred times without ever getting tired of it?

I want to give you a deep cut here and put you onto something you might not know. I love "Don't Turn Back" by Colby O'Donis. He sang on "Just Dance" by Lady Gaga and "Beautiful" by Akon. I just love the beat and the rhythm of that song.

What's something about your creative process that might surprise people?

I'll take something from my most recent session. The producer, Craig, told me I'm basically an encyclopedia of music.

I'll reference anything from British garage music to Ryan Leslie to Jack Johnson. Honestly, everything is inspiration!

If listeners could take away just one thing about you from SANITY, what would you want it to be?

That I'm a multilayered, complex individual with lots of different sides to me.

Each song gives you a glimpse into who I am, not just through its lyrics and themes, but also through its genre and aesthetic. The different sounds reveal my musical taste and the elements of music I naturally gravitate towards.

I want people to understand that there's a lot more to me than meets the eye, and I think SANITY captures that pretty well.

Explore further:

Lucky Duck Facebook

Lucky Duck Spotify

Lucky Duck Soundcloud

Lucky Duck YouTube

Lucky Duck Instagram

Interview by staff at MBTM

 

SPINORS: THE POWER OF INTROSPECTIVE ROCK

Emerging from London’s alternative rock scene, Spinors are forging a distinctive identity with a sound that fuses powerful instrumentation, introspective songwriting, and a striking steampunk aesthetic. Founded by Argentine-born singer and guitarist Sergie Code, the band represents the next chapter in a musical journey that began in Argentina and has since expanded onto the international stage. Joined by bassist Gabe and drummer Cristina, Spinors are gearing up for a 2026/2027 UK tour featuring more than 30 confirmed live dates, bringing their music to audiences across the country. Their three tracks reveal a band unafraid to tackle complex themes: “Walk Alone” explores the courage it takes to step beyond familiar boundaries and chase your dreams; “Choose to Believe” confronts manipulation and the relentless noise of a post-truth world; while “You Loved the Cage” unravels the emotional aftermath of heartbreak, offering two contrasting perspectives through its song and accompanying video. Balancing intricate arrangements with anthemic, sing-along choruses, Spinors deliver alternative rock that is as thought-provoking as it is visceral. With new music set to unfold over the coming years, the band is building momentum on its own terms. We sat down with Spinors to talk influences, identity

Sergie, you began your musical journey in Argentina before moving to the UK to pursue an international career. How has this journey shaped your music, and your perspective as an artist?

Enormously. Back in Argentina, I had a band that was going really well, but the pandemic lockdowns took a heavy toll on the project, and I knew I wanted a fresh start somewhere with a real future for music. The UK was the natural choice. Art is valued differently here, there are far more opportunities, and there’s a whole circuit that makes it possible to actually make a living from music. Moving meant leaving behind my friends, my city, my culture and even my language, and that experience runs through our songs. Our first single, “Walk Alone”, is about exactly that: giving up everything familiar to chase a dream. It’s also changed how I see my role as an artist. Even with years of experience behind me, I’m now studying for a Master’s in Music Business, because I want to understand the industry inside out and use every tool available. We’re living through a unique moment in music history. There’s more music being released than ever, and AI is adding even more noise to the mix, so standing out is harder than it’s ever been. Talent isn’t enough any more; you need to understand the game you’re playing, too.

Do you ever get homesick?

Not really, to be honest! This isn’t the first time I’ve made a giant leap. At 23, I moved from Córdoba to Buenos Aires, the capital, far away from all my family, so I’ve lived at a distance from them for a long time and I’ve learnt how to handle it. I’m still very proud of my roots, of course, and you can’t help comparing things here with how they are back home. But I’m a dreamer, and my life is about moving forward. I love stepping out of my comfort zone and testing my own limits, and I’ve never found it hard to meet new people. My friends always tease me that wherever I go, people just start talking to me. Apparently I’m a bit of a people magnet!

 

If you had to name three albums that had the biggest influence on you growing up, which ones would they be?

That’s such a hard question! I’ll give you three, but I have to cheat with a few honourable mentions, because I can’t leave them out. My three would be “Facelift” by Alice in Chains, “The Doors” by The Doors and “Appetite for Destruction” by Guns N’ Roses. But I also have to mention “Pretty on the Inside” by Hole, “Coral Fang” by The Distillers, “...Like Clockwork” by Queens of the Stone Age, “Vulgar Display of Power” by Pantera and “The Dark Side of the Moon” by Pink Floyd, among many, many others!

Your music combines intricate instrumental textures with memorable, singable choruses and introspective lyrics. How do you strike a balance between musical complexity and writing songs that people can immediately connect with?

For me, it all comes from the same place: a feeling. Before I write anything, I decide what emotion, idea or situation I want the song to express, and then I gather every element that makes me feel it, whatever its origin. That’s how you end up with heavy 70s-style riffs, Arabic scales in a guitar solo and a big 90s-style chorus in the same song. The complexity is never there to show off. It’s there because each piece adds something to the emotion. And the music has to make me feel it before the lyrics even exist. The catchy chorus is the part that opens the door for people. It’s what lets anyone sing along on the first listen. Then, if they want to go deeper, all those layers and the introspective lyrics are waiting for them. I think a song should work on both levels: something that hits hard, with a chorus you can sing at the top of your lungs, and a story underneath that rewards you for paying attention.

Your latest release, “You Loved the Cage,” tells a story of heartbreak, with the song and music video presenting two different versions of the same events. Why was it important for you to explore these two perspectives, and what do you think this reveals about how we interpret relationships?

I always try to look at an idea from as many angles as possible, because real life is never as simple as one side of the story. The song is told by someone whose heart has been broken. The cage is a metaphor for addiction, toxic behaviour and hard circumstances, and the narrator feels betrayed because, once the other person broke free, the love disappeared. But you can’t completely trust that version, because it comes from pain and resentment. The video shows what the narrator leaves out. Both of them were trapped in addiction. He decided to change his life, while she fell back into it. So suddenly there’s no clear victim, and a final twist, when he ends up with his therapist, makes you question whether he’s really free at all. I think it shows how we tend to tell our relationships with ourselves at the centre. When something ends, we write the story that hurts least, and the other person is rarely the villain we make them out to be. The name Spinors is about exactly this: something stays undefined until it’s observed. I want each viewer to look at the story and decide for themselves where they stand.

 

And the story doesn’t end with the video. We filmed far more than fits into four minutes, so we’ve started releasing vertical reels that tell the extended love story in several parts. They make the whole plot much easier to follow, and they give the actors who took part the spotlight they truly deserve. Once the extended story is complete, we’ll be sharing the bloopers too, so there’s plenty of vertical content on its way to bring the video even more to life!

Gabe on bass and Cristina on drums have joined Spinors for the 2026/2027 UK tour, which features more than 30 confirmed live dates. How has bringing the band together as a live unit changed the music, and what can audiences expect from a Spinors concert?

Gabe and Cristina are close friends and fantastic musicians. We already play together in a Britney Spears metal tribute project that has us touring all over, so we had plenty of road miles together before Spinors even started. I wrote all the music myself, but because we’ve shared so much, they instinctively understand what these songs need and add their own colour to them. Live, the songs become a bit more aggressive than on record. I love adding arrangements and little flourishes on the spot, watching how the crowd reacts and changing the structure if the moment calls for it. We’re even open to improvised sections. We’ve already played more than 20 shows, and no two have been quite the same. As for what to expect: the show is short but brutal! We open with “You Loved the Cage”, and between those heavy riffs and the headbanging, it’s a declaration of intent from the very first second. You’ll see me jumping and thrashing my head from start to finish, climbing on and off whatever the stage has to offer. The energy rises and drops constantly, but we never let the intensity get in the way of playing well. Add the Victorian outfits and my steampunk guitar, and you get a band you come to see to jump into the mosh pit and forget about everything happening outside the venue.

What is your philosophy on life?

I’m a very ambitious person and an adventurer at heart. I love travelling, stepping out of my comfort zone and seeing how far I can push myself. I also enjoy solitude. I’m not someone who clings to people; what I hold on to are my projects and goals. I’m a proper nerd too. I love reading about science, astronomy, physics, history and sociology, because I want to understand how things work. That’s why I studied electronic engineering first and then software engineering. Above all, I’m a problem-solver. I like finding solutions and moving on, so I don’t tend to dwell on the past. If something goes wrong, you keep going with your head held high.

As a band formed in London, with roots in Argentina and ambitions that extend beyond national borders, where do you see Spinors in the next few years?

Reaching as many people as possible, wherever they are. Online, our music is already travelling much further than we can, and we keep finding listeners in new places. On the road, we’re touring the UK right now and will keep playing its major cities. Next year we’re heading to Canada and parts of Europe, and we’re starting to plan Japan, Australia and South America for 2028. South America is still a distant possibility, but the idea really excites me, because the crowds there are some of the most explosive in the world. Artists like Dave Mustaine of Megadeth and AC/DC have praised Argentina for having the best audience on the planet, while other bands would say Brazil or Chile. Either way, I can’t wait to find out for ourselves! Alongside all that, we’ll keep releasing new singles and videos to keep expanding the world of Spinors.

What would you most like people to remember or feel after discovering your music?

I’d love for them to keep thinking about it long after the song has ended. If you really pay attention, our music and videos aren’t always easy to listen to or watch. I’d even say they can be uncomfortable, and that’s deliberate. I like taking deep subjects and treating them with ambiguity, so the listener can complete the story and give it their own direction. Sometimes I’m pointing at things I believe are wrong and that we should change as individuals or as a society, but I never say it directly. I use metaphors and images that make you contribute your own piece to complete the meaning. That’s the spirit behind the name Spinors: a song only truly takes shape when someone listens to it. So if people walk away feeling a little unsettled, asking themselves questions and seeing a bit of their own story in ours, I’ll be very happy.

Listen here: "You Loved the Cage"

Explore further:

Sergie Code webpage

Spinors Facebook

Sergie Code  X

Spinors Spotify

Spinors Soundcloud

Spinors Bandcamp

Sergie Code YouTube

Spinors Instagram

Spinors Songkick

Sergie Code TikTok

Interview by staff at MBTM