Crafted during a period of deep introspection, Maya Unagi’s Pieces weaves years of emotional and aesthetic evolution into a rich, soul-saturated collection. Each song feels self-contained yet connected by timbre and tone, born without a plan but gathered into something quietly cohesive. There’s a gentle arc that surfaces in hindsight: illusion, doubt, reclamation, forgiveness, and finally, expansion.
Her reflections reveal an artist navigating the real mechanics of creative life—technical puzzles in the studio, the vulnerability of live performance, and the logistics of independent production. Pieces is both a sonic offering and a study in persistence, built through friendships, intuition, and the slow clarity of learning to trust oneself.
“Pieces” is your debut EP, described as a slow-burning, soul-saturated project. What was the first song you wrote for the project, and did it set the tone for the rest?
“Balloon” was the song that sprouted first but fruited/was harvested last. I’d say sonically it laid some kind of foundation. It inspired me to play bass clarinet on other tracks for sure. But honestly, this project is a collage of songs that I created over the past half decade or so—each song bloomed on its own timeline, without the intention of belonging to a project. Each track has its own feel and story, united by a shared timbre.
Was there a particular track on “Pieces” that challenged you the most, either technically or emotionally?
I’d say “Mirage” was probably the most technically challenging. The song structure is a little unconventional—figuring out the B section and the modulations was kind of a puzzle in the studio, but it was so gratifying when we cracked it.
“Fool’s Gold” was the first single and also earned a contest win. What inspired that track, and why did it feel like the right introduction to the project?
I like to keep the details of the personal experience behind the writing vague to leave room for the listener to relate in their own way. But initially it stemmed from a feeling of deception in a romantic involvement—someone wasn’t really who they appeared to be. And then I realized that illusion bled into Platonic contexts, too.
In retrospect, a loose story arc emerged within the project. The deception in “Fool’s Gold” fosters overthinking and self-doubt, chronicled in “Mirage.” And “Home” is a grounding reclamation…the re-centering after a spiral. “Stumbling” offers gentle self-forgiveness to remedy lingering shame about succumbing to delusion and distorted self-perception. And “Balloon” is an expansive ode to the vast possibilities the future holds—it’s an invitation to dream, to imagine a better reality.
You recently had the chance to perform alongside June Marieezy, aka ((( O ))), a fellow boundary-pusher. What did that experience teach you about live connection and presence?
That show was the first show I had done in almost two years, so for it to be on such a big stage opening for an artist I’d admired since I was a teenager was crazy. Naturally, I prepared profusely for it, alone and with the band. But there are some things you just can’t anticipate—you just have to surrender to the moment. It was a relief to learn that people don’t care that much about technical perfection. It’s the storytelling, energy, and groove that really speak to an audience.
You worked with a powerful roster of collaborators on “Pieces.” How did those relationships come about, and how did each of them influence the final sound?
Many of my collaborators on the project are personal friends, so those came about quite organically. Some came about through the live music scene. And many were born on the internet! Social media (despite its many ills) offers so many touchpoints for connection. Itai (Biako) is incredible—he is a master of making timeless, soulful music. First of all, recording at Revival was magical. He brought me on and introduced me to Mano, who laid down such a fresh and unprecedented groove. Working with Itai solidified my self-belief because he made space for me to lead and shine. He would guide, but never impose.
Sara is so versatile—she’s a shapeshifter. On “Stumbling,” her harp lent a sweet, ethereal energy. On “Home,” it added something almost haunting. And her production contributions on “Home” made it hit via edge and texture.
The story behind working with Curran is kind of funny. We played together in an honors band our senior year of high school. We stayed in contact for a bit, but then lost touch for almost a decade. A few years ago, I was on the guest list for a jazz show at The Baked Potato, and there was only one other name on the list—“Curran Sinha”, which is not a common name. So after the show, I scope out the only South Asian guy at the venue…and the rest is history. Working with Curran was such a treat—he’s so chill, but meticulous to a fault when it comes to the music. We went through so many iterations and revisions on “Stumbling,” and I’m so happy with how it turned out.
My manager knew I was a fan of Bubby’s and just cold DMed him without my knowledge—I was fangirling when he agreed to play on the track, let alone showed love for my music.
I met Moki when he was touring with Mndsgn at their San Jose show, and we stayed in touch over the years. I started working on “Balloon” in 2019 with my friend and long-time collaborator JDAWA, and he ended up taking a long hiatus from music. I knew I wanted “Balloon” on the EP, and I thought Moki’s sound would be perfect to round out the track. I just shot my shot, and he kindly tracked heavenly background vocals without me even asking.
From a purely technical or practical standpoint, what was your biggest takeaway from the process of crafting this EP?
It requires a lot of project (and people) management, intention, and perseverance to bring a body of work to life. Especially when you’re doing it independently as a two-person team…there’s a lot of “unsexy” work, and you have to be resilient and resourceful. You *have to* trust yourself.
What’s one piece of yourself you’re still discovering, musically or personally?
I still have so much to learn musically—I think it’s a lifelong journey. I want to unlock more of my voice and explore different genres. I want to learn a lot more about analog gear and sound design. I’m still kind of figuring out who Maya Unagi is, and something tells me I always will be. Personally, I’m learning how to be more discerning about letting people in without closing myself off to connection.
What’s next for you creatively? Are you already working on new material, or are you letting this moment breathe?
I’ve had a few ideas simmering on the back burner for a minute, which I plan to get cooking on soon. But I definitely want to let ‘Pieces’ breathe and have its moment. Most of my energy in the foreseeable future will be allocated to perfecting the live experience, promo, and designing some really special merch.
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