Message To Bears, the musical alias of Bristol-based composer Jerome Alexander, crafts emotive soundscapes blending ambient, folk, post-rock, and electronic influences, earning over 200 million streams worldwide. Renowned for his lush Folktronica and Modern Classical style, he has supported Nils Frahm at Holywell Music Room and Ólafur Arnalds at Queen Elizabeth Hall, and performed at Green Man Festival alongside Mumford and Sons and Flaming Lips. His latest single, ‘Disquiet’, released May 9, 2025, via Lost Birds Records, premiered on KEXP and features stirring orchestral layers with Hamilton Belk’s pedal steel guitar. With music featured in Life is Strange, Netflix series like Virgin River, and acclaimed albums like Folding Leaves and Constants, Message To Bears continues to captivate global audiences.
We take a moment to have an interview with Message to Bears to get the answers to some questions we have been dying to know the answers to.
Tell us about you — how long have you been making music? What inspired you to start?
I’ve been creating music under the name Message To Bears since around 2007, but music has been a presence in my life for as long as I can remember. When I was about seven, I had some relaxed music lessons with a family friend where I was allowed to just explore – playing with old samplers and vintage synths rather than sticking to a curriculum. That sense of freedom stuck with me. Later, I started teaching myself guitar and discovered early music software. I was fascinated by the ability to layer sounds and create something that felt emotionally transportive – something with its own internal world.
The music industry is super competitive these days. Was there a moment in your life when you wanted to give up on music? How did you manage to stay focused and achieve what you want?
There have definitely been moments of uncertainty – times where the pressure to keep going or to “succeed” in a traditional sense felt overwhelming. But ultimately, I try to focus on the reason I began making music in the first place, which is to explore and express something emotional and authentic. It helps to remind myself that the act of creating has value in itself. Even if nobody heard the music, I’d still be making it – it’s how I process things.
How would you describe your creative process?
It’s quite intuitive and textural. I don’t usually start with a full concept in mind – often it begins with a small idea: a guitar motif, a field recording, or a drone. From there, I build outward in layers, sculpting the atmosphere as I go. I’m not interested in perfect structures; I’m more drawn to what feels emotionally resonant. A lot of the time, I’m just following where the piece wants to go. It’s less about control and more about letting something reveal itself.
Where did the inspiration come from?
Inspiration usually comes from quiet moments, from nature, memory, and sometimes from the weight of something unresolved. I’m interested in the in-between spaces – emotions we don’t always have words for.
What’s next for you?
I’ve just released a new single called ‘Disquiet’, which is part of a broader body of work – my sixth full-length album, ‘Tired Eyes, Waking Hearts’, which I’ll be releasing later this year. It’s been a very personal project and I’m excited to share it. I’ve also been working on music for a feature film and composing for an audiobook, both of which have offered new perspectives and challenges. And I’ve recently built a dedicated studio space, so I’m looking forward to diving deeper into new sonic directions from there.
