The latest artist to go under the On The Record lens is Simeon Kirkegaard, a Norwegian-Danish musician and architect based in Dublin. He’s a multi-instrumentalist and producer with a deep passion for blending orchestral pop and indie-rock. This passion is reflected in his newly released album, * (Asterisk)* – the product of a decade-long project that reflects his artistic journey and personal growth over the years. In this interview, we’ll explore the themes, challenges, and creative processes behind the album, recorded across renowned studios in Ireland and featuring contributions from over 50 musicians, including legendary composer Fiachra Trench. Join us as we dive into this artist’s reflections on love, loss, rediscovery and the timeless layers of life that shaped this stunning cinematic album. Whether you’re a long-time fan or meeting Simeon Kirkegaard for the first time, this conversation offers a rare glimpse into the core of an undeniably special project.
Welcome to Unrecorded! For those who aren’t already familiar with you, can you introduce yourself?
I’m Simeon Kirkegaard, a Norwegian-Danish musician and architect based in Dublin. I’m a multi-instrumentalist and producer, and I’ve just released my new album * (Asterisk)* — a project that blends orchestral pop with indie-rock, written and recorded over the span of a decade. I also run a small independent label called Giggermusic, which has released a lot of Norwegian music over the years.
You’ve recently released your album * (Asterisk)*, an emotional, expansive blend of orchestral pop and indie-rock. What inspired the overall theme and direction of the album?
The overall theme and direction of * (Asterisk)* evolved across different phases of my life — from recording demos in rural Norway to studios in Dublin and the Irish countryside. It started back in 2014 at Westland Studios in Dublin, a legendary space that sadly no longer exists. Working there with Alwyn Walker gave the album a strong sonic foundation. Later, a lot of it came together at Orphan Studio with Gavin Glass, and the strings and choir were recorded with Fiachra Trench at The Meadow in Wicklow.
In many ways, the album became a kind of emotional archaeology — tracing my journey from who I was at 30 to who I became by 40. It reflects themes of love, loss, rediscovery, and the layering of time. There’s a cinematic feel throughout — lush, nostalgic, yet grounded in something very personal.
You worked on this album for a decade and recorded in several renowned studios across Ireland. How did that extended journey impact the final sound of the album?
The long timeline really allowed the songs to grow and evolve. If something still felt true after all those years, I knew it deserved to be there. Working in iconic spaces like Westland — with its incredible SSL desk — left a sonic imprint, while recording later in Wicklow or Dublin gave it contrast and intimacy. It’s like a collage of emotional landscapes.
Interestingly, my first album was mostly just me, but * (Asterisk)* involved over 50 musicians. Yet, I still ended up back where I started on tracks like “Black Dog” and “Taken By You,” recording them alone. So it’s come full circle in a way — from solitude, to collaboration, and back again.
What were some of the biggest challenges you faced while creating this album, and how did you overcome them?
Around 2018, I lost momentum. I got sidetracked with a short film musical called Dead Drop Love, which I made with the Brno Philharmonic. It did well, but the process left me burned out. I didn’t think I’d finish * (Asterisk)*. Years later, I picked it up again and realized the material was too strong to leave behind.
Gavin Glass came in at that point and gave me the blunt feedback I needed — that some lyrics needed rewriting. He was right. That honesty helped reignite the process. Finally, in 2024, I started mixing it track-by-track with Benny Steele in LA, and after nearly a year of remote sessions, it was finished.
Fiachra Trench’s orchestral contributions are stunning. How did his arrangements shape the album?
Fiachra brought so much depth. His arrangements gave the songs a cinematic quality — sweeping but precise. He’s worked with legends like Paul McCartney and Hans Zimmer, and having him on board brought a kind of legacy to the project. We recorded with a full string section and choir at The Meadow, and you can really hear the weight of that on tracks like “Wave After Wave.”
Even on more minimal songs, the orchestral mindset shaped how I thought about layering and contrast. It was inspiring to watch him take a melody and turn it into something that felt like it belonged on a film score.
The lyrics touch on themes of love, loss, and hope. Were there any personal experiences or stories that deeply influenced these songs?
Definitely. The album is threaded with personal transitions — from my early 30s to my 40s. There were moments of feeling lost, disconnected from music, or unsure of who I was creatively. That struggle — and the slow process of coming back — is in the DNA of a lot of these songs.
It was almost like each song became a marker for a different season of life. “Black Dog” and “Here I Stand,” especially, reflect those moments where you’re forced to slow down, reassess, and try to find your way back to something meaningful.
Do you have a favourite song? And why that one?
It’s hard to pick, but “Here I Stand” feels like the emotional centerpiece. It was the last song I wrote and the missing piece that tied everything together. It’s stripped down — just bass, drums, and guitars — but it’s incredibly direct. The bass was played by Corey Britz (Bush), and drums by Nate Barnes — both phenomenal musicians. That track was the moment I felt fully reconnected to the album.
“Wave After Wave” is another standout for me. It has this sweeping, almost soundtrack-like quality. I’ve said before that if a proper singer performed it live with a full orchestra and choir, it could be something really special.
You also co-produced the album with Gavin Glass and Alwyn Walker. How did you approach the production process together, and what did each person bring to the table?
Alwyn Walker helped build the early foundation of the album at Westland — capturing that initial magic. Gavin Glass came in years later with fresh ears and wasn’t afraid to challenge things, especially lyrically. Both producers brought their own energy and instincts, and while we didn’t always work in the same room, there was a shared sense of purpose.
What I valued most was their honesty — their willingness to tell me when something needed more work or when it was ready to let go.
As your second album, how do you think it compares to your debut album in terms of style, themes, and your growth as an artist?
The first album had its charm — a kind of raw purity — but * (Asterisk)* is definitely more ambitious. It’s fuller, more layered, and more emotionally complex. Listening back to the original stems years later while mixing, I could hear the difference — in the writing, the arrangements, even in my voice.
This one feels like the album I always wanted to make. And even though it took a long time, it allowed me to grow into the kind of artist I needed to be to finish it.
What’s one thing that you hope that listeners will take away from this record?
Since the album took a decade to create, it’s already stood the test of time for me. I hope listeners feel that — the weight of the years, the attention to detail, the emotional honesty. I also hope they hear the craft: the lush string arrangements, the careful layering, and the subtle dynamics.
More than anything, I hope it’s an album people return to — one that grows with them.
You can also find lead single ‘Fever’ in our Indie Rockers playlist.
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