FOREVER ENDS SOMEDAY
There’s something about the way Wesley Joseph moves through introspection and experimentation it’s always in a way that feels entirely his own. He creates a world that draws you in through his music, visuals and direction. Since the release of Ultramarine, He has continued to evolve both sonically and personally, creating work that feels increasingly introspective while still holding onto escapism and possibility.
His debut album, Forever Ends Someday, explores love, loss, growth and identity while sitting in the tension between chaos and clarity, vulnerability and confidence a duality that exits throughout the entire project. Whether through his visuals, direction or collaborations, every part of Wesley Joseph’s creative world feels intentional and deeply connected.
“Forever Ends Someday” is such a striking album title. Is there something from your childhood you once thought would last forever, but your perspective on has changed over time? And do you ever find yourself wanting to reclaim that feeling?
When I was a kid, I thought life lasted forever, and as I’ve gotten older I realised it doesn’t. I feel like the music is me reclaiming that feeling because it will last beyond me.
How would you describe Forever Ends Someday in relation to where you are now, both as an artist and as a person?
It’s like the most introspective and pure part of who I am and how I see the world. I romanticise everything and can be fairly delusional at times, but it’s worth it for those moments of escapism. I also had to look in the mirror a lot throughout the process of making the record, which is why there’s a lot of growth in it too. I definitely understand loss, pain, joy, sadness and love better now.
If Forever Ends Someday existed as a piece of clothing, What would the design look like? What would be the concept behind it?
It'd probably be an Issey Miyake trench coat with a crazy hood that has wiring in it. It’d probably be two tones, the outside would be a darker tone, while the inside would be way brighter, more electric colour. And it would be both. You could flip it inside out and it would still work, but with completely different vibes. It’d be like this crazy archival Issey Miyake trench coat with pleats, mad pockets, and buttons, with pins all over it.
From Ultramarine to this project, what feels like the most significant way you've evolved creatively?
I think my voice has developed the most, and not just sonically speaking. Ultramarine came from a more experimental place, me being such a fan of so many different types of music and wanting to make my mark on it, not really knowing whether it would be the last project I ever did. I just wanted to leave my mark, and that was my idea of what music would sound like if I made it. From that point, it became less about experimenting and attempting, and more about understanding and expressing myself from a place that feels more grounded and owned by me.
One thing people are starting to appreciate now, is artists who are creating their own sound with influences from different genres. Your sound has always felt fluid. Going from avant, R&B, and soulful future pop, without being confined to one lane. How do you stay true to your identity, while still allowing your sound to evolve?
I'd say there are two sides to that coin. The first is to never become comfortable and never stop trying to grow and expand. The second is to be completely honest about what you love and what you like at the same time. Speak from a place that feels fully yours and uncompromised, while still allowing yourself to evolve.
What did the creative process behind Forever Ends Someday look like from start to finish?
It looks like a lot of conversations, a lot of late nights, a lot of contemplation, and a lot of heart.
Your writing feels incredibly intimate. You touch on things like mental health and your journey. What were some of the key inspirations that shape the stories on this album?
Community, childhood, relationships, loss, love and growing as a person.
When you're creating, do the visuals come to you alongside the music, or do they take shape later?
Both. If it's something I'm sure needs a video, then the visuals usually comes with it at the same time. If it’s something we decide on later, I'll normally already have some ideas, but then I'll then reframe how I see it and come up with more from there.
Your visual work feels like an extension of the music, almost like a living diary. I don't know if that's true, but your visual work phone's not an extent to the music, almost like a living diary. But you step into the role of director, how do you approach building out a concept and collaborating with your team?
Multiple in-depth treatments. Creatively, they allow me to source my collaborators and inform the different pockets of what the film should feel like, from the DOP to styling to colour. It all starts with getting every idea into one place so that anyone that reads it can understand the vision. It’s also important for me to meet the people I work with ahead of time and make sure there’s a connection on a personal level first.
You've worked with a range of artists from Loyle Carner and Jorja Smith to Danny Brown. What do you look for in a collaborator? And how do you know when a partnership feels right?
I look for people who give a fuck. I never really think of the person first, I normally let the music lead, and then I hear the person afterwards. It’s never really a thing where I think about someone before I start.
Peace Of Mind feels almost haunted. There's a sense of chaos in the warped layered production. Well, the vocals cut through in a really focussed and motive way. Like trying to find stillness in the middle of the noise. What was it like working with Danny Brown on a track that holds that kind of tension and vulnerability?
I knew he was meant for the song when I heard his voice in my head over the empty verse. I could hear his cadence completely matching my energy on it, but in an inverse way. Doing exactly what the song needed. We never actually met in person though. I called him about the song, and he said he fucked with it straight away. He locked in, understood exactly what the song was, and the next day delivered something that was even more than I could’ve dreamed of.
So looking ahead, who would be a dream collaborator for you both in music and fashion?
Bon Iver and Martine Rose.
Thinking back on making this album, Is there a particular moment or memory that stands out to you?
Dave Okumu got stranded at the airport on the way to Switzerland, and then the car that went to pick him up broke down on the way back. He still managed to make it to the top of the mountain we were working from and walked through the door just as the sun was rising. I was playing “Quicksand”, turned around, and he was standing there with the sun peaking through the mountains behind him. It was a great moment.
What do you hope people feel or take away when they listen to forever and someday?
I hope it opens minds, and becomes a safe space for people to feel like they can express who they are.
What is one song you could listen to on repeat forever?
BEAUTY AND THE BEAST by Kanye West.
Who are 3 underrated artists, you think people should be paying attention to right now?
Dame Dame, Elijah Waters and Jeshi.
Is there a quote that you turn to and you need a little encouragement?
“It's not about where you're at, it's about where you're going.”
What would you say to artists who feel pressured to stick to one lane despite having multiple creative talents?
I would say be clear on what you want the most, and if it's doing more than one thing, don't listen to anyone and do it anyway. But more importantly, know what you want first.
Finish this sentence. “I feel most myself when….”
I feel most myself when I'm riding a wave in the studio and there's this exciting thing happening that I feel deeply connected to. It feels like a door has opened and who I really am has walked straight through it. And I also feel most myself when I'm around people I love and nothing serious is happening, it’s just jokes.
Words by Angelique Opadiya. See more from Wesley Joseph here
