UK-based producer Rogue VHS has solidified his status as one of synthwave’s most innovative architects, blending nostalgic, tape-warped electronic soundscapes inspired by classic video game soundtracks with forward-thinking production that bridges retro warmth and modern edge, amassing over 200,000 monthly listeners and millions of streams since the breakout success of his 2021 debut album I am: Rogue VHS. Fresh off a string of acclaimed collaborations—including the ethereal ‘Skybeam’ with Lucy In Disguise in 2024, the cyberpunk-fueled ‘Sojourn’ alongside Out Runner this October, and joint efforts with Neologisticism and Francois Smith*—he returns with his most recent cinematic single, ‘Schism’, a midtempo odyssey composed entirely in FL Studio that explores duality and creation through lush analog textures and introspective energy, reaffirming his role in evolving the genre’s boundaries as it closes out 2025 on a high note.
In the following interview, Rogue VHS opens up about the inspirations behind ‘Schism’, his hands-on creative process, and what lies ahead for this boundary-pushing force in electronic music.
What first drew you into the world of synthwave, and how has your love for classic video game soundtracks shaped your sound from the very beginning?
I discovered Synthwave randomly on Spotify, I think I must have landed on the RETROWAVE // OUTRUN playlist. Specifically the Carpenter Brut remix of Gunship’s Tech Noir. I loved the warmth and depth that synths can create. In university I listened to a LOT of Flume and all kinds of electronic music, the former really fostered my love for the sound of analog synths. Video game soundtracks have really moulded my taste in compositions- I often steer towards the melody-heavy, emotive and highly expressive styles. I also love a good catchy earworm, I feel it’s such an underrated part of composing songs. It’s where formula meets art and I love the logic behind it.
Looking back on creating your debut album I am: Rogue VHS during lockdown, what was the most unexpected lesson you learned about yourself as an artist?
I learned a lot about myself during that time and the songs each reflect a sort of chapter of my time while living in Brighton. Living in a new area, meeting new people, life events etc. I feel really lucky to have been able to express those few years in the form of an album. I’ll always be super proud of those compositions- especially ‘Souls Depart‘. The album really cemented my feelings about music production, it gave me the confidence to say “Yep, this is what I want to do for the rest of my life”. Took me 10 years up to that point to gain that confidence!
With over 200,000 monthly listeners now, how has building this global fanbase changed the way you approach writing and sharing your music?
I feel a lot of artists end up writing what they think they should write, or cater to a specific ideal demographic… Fortunately, I don’t feel that way (yet). This is really what I’m trying to avoid at all costs. To constantly re-invent or think slightly differently to the last set of songs… it’s kind of exhausting, especially when there are proven formulae right in front of you (previous releases). The key for me I think is to always be looking for new influences and inspirations, both within and outside of music. I also learn a lot from other producers- both through collaborations and with people I teach music production to.
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Can you walk us through the initial spark that led to composing ‘Schism’ entirely in FL Studio—did it start with a melody, a mood, or something else entirely?
Like a lot of my music, the synth artist Tonebox continues to both push the envelope and inspire me sonically. I just can’t get enough of his work. His latest release Shadows was a massive inspiration, so I combined some of the strokes he explores in that song with some ideas of my own, and with more of a cyberpunk edge. It was fun to write a more punchy and gritty sounding synth track, as my solo work usually steers towards the more chill and nostalgic sounds. The initial seed for the song was the arp melody, however- which can be heard in slightly different versions throughout the song. A catchy lead usually means the song has a future, when it comes to my writing process.
‘Schism’ explores themes of conflict and duality so vividly; what personal experiences or influences helped you capture that tension between darkness and light in the track?
I have this internal struggle with my music taste where I want to make aggressive or darker music, but just don’t seem to be able to write consistently in that style. I jump at the chance to work with artists who right naturally in this style, notably Lazerpunk and Extra Terra. Life over the past two years has been quite tough outside of music, so being able to take refuge in the space has been a real help. That’s partly what the song is about.
Your hands-on approach to drawing every note into the piano roll creates such an organic feel—how does that meticulous process make ‘Schism’ feel more personal to you than a traditional live instrument setup might?
Writing music today is about crafting a performance. Midi, automation, and all sort of cool techniques can all be used to create something that sounds like the most expressive live performance you’ve ever heard- that’s an angle I try to push as much as I can. I would say that writing with the piano roll and quantisation makes things more robotic, so it’s even more important for me to humanise my sound as much as possible. I wouldn’t mind being able to record piano into software, but I’ve always had 0 interest in learning an instrument, it was only ever composition that drove me to where I am now.
As someone pushing synthwave into new territory with lush analog textures, what excites you most about where the genre is headed next, and how does ‘Schism’ fit into that evolution?
There are so many sub genres surrounding synthwave now and its largely thanks to Tiktok. I’m not talking about the old ones (retrowave, vaporwave, outrun) etc. By and large I feel those terms are losing both popularity and any sense of meaning. I see lots of modern synthwave drawing inspiration from Phonk, Drift Phonk, Angelcore, Witch House, etc. I fear this is going to create even more sub-genres (on top of the twenty or so we already have). I think the sound of analog synths is already perfect, so sound-design wise I don’t feel I need anything else, but I’m excited to hear how artists continue to innovate the melodic and structural components of songs
You’ve talked about blending nostalgia with modern production in your work—what’s one retro synth or technique you revisited for ‘Schism’ that surprised you with its contemporary relevance?
Since the early days of arpeggiators the arpeggiated bassline has always sounded great, I use them in a lot of my music and it adds so much rhythm and weight to the low end that otherwise just wouldn’t be possible- it’s hard to imagine a bassist being able to pluck 8ths or 16ths consistently along an entire song! It kinda forms the backbone of Synthwave.
In a scene full of nostalgic revivals, what’s the biggest creative risk you’ve taken lately that you’re most proud of, and did it pay off in unexpected ways?
As mentioned previously I really try to keep things as organic as possible, and just let my creativity be steered by what I like and what I think sounds good- just as I’ve always done. The biggest deviation from my original sound was probably ‘Virus and Fantasy‘ (with Kareful and Pale Fortress). I’d call those Electroclash – octave jumping arp saw basses with elements of Punk and Pop. Really lovely genre actually, and one I’d love to revisit again sometime. (Think Pastel Ghost or Crystal Castles).
If you could soundtrack any everyday moment with a track from your catalog—like a quiet coffee run or a late-night drive—which one would it be and why?
That’s a great question. I’ve always loved those quite reprieves in a daily routine. One I used to enjoy a lot when living away from light pollution was going outside and just looking up at the stars, sometimes for a good few minutes. To be true to my original inspirations as Rogue VHS, I’d have to say moments like those- quiet appreciations of nature.
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