[Exclusive Interview] Polychrome: The Making of “Someday” — On Time, Music, and the Art of Progression

Following the release of their second self-released album, “Someday” (January 23, 2026), Polychrome has reaffirmed their position as one of the most compelling voices in contemporary Progressive Rock. The project, led by brothers Simon and Maxime Senizergues, combines classical training, Jazz sophistication, and a deep understanding of Progressive traditions, now fully realized with a complete band lineup. “Someday” traces a cyclical journey from sunrise to the following morning, exploring time, musical interplay, and stylistic evolution. In this interview, we delve into the band’s formation, creative process, the making of “Someday,” and their perspective on the modern Progressive scene.

Can you describe the genesis of Polychrome? How did you and Simon start the project, and what were the initial goals?

Maxime: We are brothers and grew up in an artistic environment, with a father who was a music teacher and a mother who was a drama teacher. We started playing together regu-larly in high school in a band we formed with friends. At the time, we weren’t writing the songs, so very quickly we felt the need to create our own music. We began composing our first tracks as a duo, strongly influenced by Pink Floyd, a band we listened to a great deal back then. Over time, through constant writing and discovering new music, we developed our own musical language. What makes us fortunate is that we are truly on the same musical wa-velength. We grew up listening to the same albums, so what appeals to one of us inevita-bly appeals to the other, which makes writing together much easier. Over the years, we started recording our songs together at a friend’s home studio and this led to our first al-bum, Equilibrium, which marked the founding act of Polychrome. Recording this album was a way of giving concrete form to the music we had in mind.“

How did expanding from a duo into a full band change your approach to composition and performance?

Simon: “In terms of composition, our approach hasn’t fundamentally changed. We still write the core of the songs as a duo. That’s really the creative foundation of the band, and that dynamic remains very important to us. What has evolved, though, is the way the music comes to life. In the past, Maxime used to write and perform the drum and bass parts. Now, each member of the band is responsible for their own parts. We still give direction and shape the overall vision, but we’ve made space for everyone to bring their own personality into the music. It was essential for us that Omar, Sergio, and Loïck feel free in their interpretations and able to fully express themselves artistically. That shift brought a new energy and depth to both the compositions and the live performances, the songs breathe differently now, and there’s a stronger sense of collective identity.“

Growing up in an artistic environment, what early experiences most shaped your musical direction?

Maxime: “I would say there are two main aspects. On the one hand, our musical training, and on the other, the musical environment in which we grew up. We began studying music with our father when we were very young, and then continued at the conservatory in the city where we lived. Studying classical music shaped the way we play and conceive music. When we compose, our approach is very much rooted in writing — nothing is left to chance. This training developed our appreciation for analysis, harmony, melody, phrasing, prosody, and also for detailed work. As for me, I continued my classical guitar studies up to the Conservatoire National Supérieur de Musique de Paris, while Simon turned to jazz after studying classical piano. Classical music is something that unites all five members of the band, as I met Omar (guitar) and Sergio (bass) at the Paris conservatory, both of whom are also classical guitarists. Loïck (drums) likewise began studying drums at the conservatory. Beyond that, we grew up listening to our parents’ favorite records, especially those by The Beatles, which had a profound impact on our musical sensibilities.“

Polychrome’s music blends Classical, Jazz, and Progressive Rock. How do you balance these elements while maintaining a distinct identity?

Simon: “The music we write is really a reflection of everything we’ve listened to and studied over the years. Classical, jazz, progressive rock … those influences are part of us, so they naturally find their way into the music. We don’t think in terms of labels, and we don’t try to confine ourselves to a specific genre. When we compose, we’re not asking, “Is this more jazz or more progressive?” We try to preserve a sense of spontaneity in the creative process and let the music evolve organically, without overthinking where it fits stylistically. In the end, that freedom is what shapes our identity. Our signature sound comes precisely from that blend, from allowing all those influences to coexist naturally rather than forcing them into a predefined category.“

Are there specific artists, albums, or periods that have had a formative impact on your harmonic and rhythmic choices?

Maxime: “It will be hard to keep this answer short, but we’ll try! When we started composing, we were constantly listening to the great progressive rock bands of the 1970s: Pink Floyd, Genesis, King Crimson, and Yes. This shaped the way we build our songs, free from formal constraints. The first time I listened to The Dark Side of the Moon, it shook me so deeply that I know I’ll remember it for the rest of my life. Those tracks flowing seamlessly into one another, creating a sense of unity across the entire album, became a kind of model for us to follow. I can’t fail to mention The Beatles and The Beach Boys, who had a considerable influence on our sense of melody. We were also fascinated by the richness of Robert Wyatt’s discography and by XTC. If I had to name one album from each, I’d say Shleep for Wyatt and Skylarking for XTC. From a rhythmic standpoint, Discipline by King Crimson and the compositions of Steve Reich (such as Electric Counterpoint) encouraged us to explore polyrhythms and repetitive patterns. Harmonically, many artists inspired us: Miles Davis, Chick Corea, and Jeff Beck on the jazz side; Gustav Mahler, Gabriel Fauré, and Maurice Ravel for classical music. Harmony is an important point for us, because when we listen to a piece of music, we like to be surprised by a harmonic modulation or an unexpected chord. That is precisely the feeling we aim to convey to anyone listening to our music.”

How would you describe Polychrome’s signature sound to someone new to the band, focusing on instrumentation and arrangement?

Simon: “The piano usually carries the harmonic foundation of the music. It sets the framework and often drives the emotional direction of the piece. Around that, the guitars orbit and interact — they create a dialogue between textures and melodies, adding layers of color and contrast rather than simply doubling the harmony. The vocals come in with instinctive, pop-oriented melodies, enriched by colorful harmonic layers. The rhythm section — bass and drums — works as a single unit. Their role is to lock in together, to create a strong sense of groove and cohesion. They ground the music,
anchor it, and ultimately elevate the piece by giving it depth and momentum. Altogether, it’s a balance between color, structure, and movement: the harmonic richness from the piano, the expressive interplay from the guitars, the catchy and colorful vocal melodies, and a rhythmic foundation that both supports and propels the music forward.

“Someday” explores the passage of time. How did this concept influence the thematic development and track sequencing?

Maxime: “Actually, it was the songs that shaped the concept, not the other way around. Unlike our first album, Equilibrium, which was highly narrative, we wanted this time to focus more on the music itself, without being constrained by an overly dominant concept. Then, as the songs were written, connections gradually formed between the music, the lyrics, and the album’s overall atmosphere. During the creative process, nothing is set in stone: one idea feeds another, and the album is built step by step. In the case of Someday, the notion of time emerged as a recurring theme throughout all our lyrics. We soon realized that each track could represent a moment in a single day, so we decided to frame the album with three pieces that would link the songs together, creating a kind of narrative thread. Thus, L’aurore serves as the album’s introduction and symbolizes sunrise; Le crépuscule functions as an interlude representing the onset of night; and L’aube embodies eternal renewal. The melodic theme shared by these three pieces forms both a foundation and a signature for the album. Each time, it is varied harmonically and rhythmically, symbolizing the idea that in life, nothing is ever strictly identical, and everything can differ depending on how it is approached or perceived. Once a global vision of the album begins to take shape, we focus on the sequencing of the tracks, so that everything flows as naturally as possible.”

How does “Someday” build on or diverge from your debut album in terms of compositional approach and stylistic evolution?

Simon: “With Someday, our goal was to capture the sound of the full band, without relying on overdubs. That approach really contributes to the groove and energy of the album. We were composing specifically for five players, and no more, which gave the music a more immediate, live feel. While our debut was more narrative and concept-driven, Someday also has a conceptual thread, but it’s broader and less story-focused. The focus is more on the music itself, allowing it to breathe naturally. The approach is simpler and more spontaneous, it’s about energy, interaction, and the collective voice of the band coming through in every note.“

The album features intricate arrangements with layered textures. How did you decide when to emphasize improvisation versus structured composition?

Maxime: “Since we all come from a classical music background, we’ve developed a strong appreciation for composition and writing. To reach the final version of a piece, we go through a short phase of improvisation within a framework defined by the structure and harmony. We try out different ideas and gradually refine them so that each instrument’s part becomes complementary and serves the music as a whole. Actually, things come together fairly quickly, because once we get into the studio time is limited, so it’s important for us to know exactly what we’re going to play.“

Tracks like “Daydreamer” incorporate Funk and Jazz influences. What guided these stylistic decisions within a Progressive framework?

Simon: “As we mentioned earlier, we don’t like to put boundaries on ourselves — we don’t want to be confined to a single style. Polychrome is really driven by a love for harmony and a fascination with different musical colors. We enjoy exploring these colors, blending textures from funk, jazz, and other influences, to create moments that surprise and delight our listeners. Within a progressive framework, these choices allow us to play with contrast and dynamics, to add energy, depth, and unexpected turns. It’s all about keeping the music alive and unpredictable, so that every track feels like an adventure for both us and the audience.“

1The interplay between guitars and keyboards is central to the album. Could you explain your process in crafting contrapuntal lines and harmonic layering between instruments?

Maxime: “As Simon said earlier, the piano forms the backbone of the compositions, setting the harmonic framework and, most of the time, driving the groove. As guitarists, that’s very enjoyable for Omar and me, because it leaves us a great deal of freedom. Sometimes we enrich the harmony, or establish a rhythmic pattern; at other times, it’s simply about brief interventions that punctuate the musical phrases. Playing with two guitars allows us to do a lot of different things. We sometimes create rhythmically complementary riffs, to the point where the two guitars almost become one, as in the introduction of Daydreamer, for example. Alternatively, we can respond to one another and engage in a kind of dialogue. For me, the best example is in Another Day : the guitars add touches of color and ornament the foundation of the phrase defined by the piano, bass, and drums. Overall, each instrument has to find its place and serve the music, that’s all that really matters.“

Which track best exemplifies the band’s growth and why, from a technical and emotive perspective?

Simon: “It’s hard to choose just one, but I think that Give Me Five really showcases the band’s growth, especially in how we blend progressive and jazz/funk influences. The piano motif is the starting point and foundation of the track — the idea was to keep that motif at the core and let everything evolve around it, giving us the freedom to explore any direction. The piece moves through jazz via harmonic colors, funk through its rhythm, and even hints of electronic textures, all within a progressive structure that unfolds at its own pace. Nothing is off-limits — harmonically, rhythmically, or sonically. It’s a track that reflects our willingness to experiment and the band’s growth both technically and emotionally, showing how far we can stretch our sound while keeping it cohesive.“

Being self-released, what challenges and advantages did you encounter during production and mixing?

Maxime: “One of the advantages of being self-released is having the freedom to organize the recording process exactly the way we want. We were lucky enough to record in an idyllic setting at Mirador Sound Studio, in the south of France. We were there with Jeff Fernan-dez, our sound engineer, whom we trust completely and who does a remarkable job. For six days, we were completely cut off from the outside world, feeling right at home and thinking about nothing but music. We also benefited from strong support from our fans through the launch of an online crowdfunding campaign. The downside of self-producing is that it requires us to handle many things ourselves, which takes a lot of energy. But when we see the final result, we feel it’s absolutely worth it. There’s also the pressure of making sure everything is finished on time and of finding the necessary distance to say, “this is the final version of the track,” especially when listening to the different mix versions. Jeff was very patient with us, as we have a bit of a perfectionist streak, and we often asked him to make small adjustments!“

Can you walk us through your recording workflow, from initial sketches to final mastering?

Simon: “I remember the first sketches of Someday. They came about after our first concerts with the band in 2022. That year, as Maxime mentioned, we released our first album recorded as a duo, and we decided to form the band so we could play live and share our music. Those first concerts were a great joy, a real satisfaction. From there, songs like I Feel Good and The Dog and the Frog came naturally. The energy and mood of those moments deeply influenced the rest of the album. In 2024, once we had enough demos to present to the band, we worked on them during a residency. We were able to work on the arrangements and record new demos with the band this time around. Then, in 2025, like Maxime just said, we spent six days in the studio recording the album and once the recordings were approved, we worked closely with Jeff during the mixing process. Several versions were proposed, and as always, it was difficult to agree on just one and consider it final before mastering.“

Were there moments during recording that posed significant challenges or stood out as memorable breakthroughs?

Maxime: “What was certainly the most challenging part was maintaining focus over the six days of recording. As time went on, fatigue gradually set in, and the final day was particularly demanding. We were recording the vocals, which requires a lot of energy—energy we had far less of than on the first day. Aside from that, what we mainly remember are all the wonderful moments we shared during that week outside of time. There’s always a great sense of satisfaction in listening back after a take and feeling that we’re moving in the right direction.“

Are there live shows planned to support “Someday,” and how do you approach translating layered studio arrangements to the stage?

Simon: “Since the compositions were written for five players, there was no need for special stage arrangements — the music is already built to work live. We were able to hold our release show at Supersonic in Paris on January 28th, and it was incredible. We’re currently looking for new stages and suitable venues to bring Someday to life. We’re really eager to support this album on stage and to share the energy it carries. Recording an album is one thing, but feeling it resonate in a room with an audience is something else entirely. It’s about sharing our work — and a part of ourselves.“

Reflecting on past performances, are there particular gigs or experiences that influenced your live strategy or improvisational approach?

Maxime: “As Simon just said, our live show is carefully written and conceived to convey energy on stage. The pieces composed for the album were designed for five musicians, with the intention of being able to reproduce in the studio what we play live, and vice versa. For us, it was important that the music translate authentically to the stage, without relying on arrangements that couldn’t be recreated live, or only very sparingly. Within that framework, we also allow ourselves the freedom to improvise during the set. These moments of spontaneity help keep the music alive and let us react to the energy of the room, while still respecting the structure and identity of each piece.“

We thank Polychrome for their time and insights, offering a detailed perspective on the creation of “Someday” and the evolution of their sound. With meticulous composition, expressive performance, and a clear artistic vision, the band continues to make a meaningful contribution to contemporary Progressive Rock, both in the studio and on stage.

Purchase “Someday” on Bandcamp: https://polychromemusic.bandcamp.com/album/someday-2

Read our Review of “Someday” here: [Review] Polychrome – Someday

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