Q&A with Cathedral Bells: On the New Album and its Influences

Ahead of the release of their new album, Parallel Dreams, we caught up with Cathedral Bells to discuss the project's journey since its 2020 debut in Orlando, Florida. Now based in Los Angeles, the band has evolved through various iterations, arriving at the current lineup of Matt Messore (Vocals/Guitar), Danny Deleon (Drums), and Karly Low (Bass/Vocals).

In this interview, we speak with Matt Messore about the technical and personal evolution of the project, the non-musical influences behind the new record, and how the collaboration with Yndling came to fruition.

Looking back at your debut in 2020, the Cathedral Bells sound has clearly evolved. What would you say is the biggest difference between the band then and now?

Back in 2020, Cathedral Bells was much more about capturing a feeling in the moment—very instinctual, very raw, and honestly quite lo-fi in both approach and intention. I was still figuring out what the project even was. Now, it feels a lot more intentional. The songwriting is more focused, the production is more detailed, and I have a clearer sense of identity. I still chase that same emotional core, but I now have a better understanding of how to shape it into something more fully realized.

The new album title, Parallel Dreams, feels very evocative and almost cinematic. What does that phrase mean to you in the context of this record?

Parallel Dreams is about existing in two emotional or mental spaces at once—nostalgia and forward motion, connection and distance, reality and imagination. A lot of the songs live in that in-between. It’s like different versions of your life or your thoughts running alongside each other but never fully intersecting. The title felt like a way to tie all those overlapping moods and perspectives together.

What were some of the key non-musical influences—whether environments, films, or visual aesthetics—that helped shape the mood of this album?

A lot of it came from the atmosphere of late nights: empty streets, long drives, and that feeling of being somewhere familiar but slightly detached from it. Visually, I was drawn to soft light, grainy textures, and anything that felt a little faded or dreamlike. Films that linger on quiet moments and let scenes breathe definitely had an influence, too. It was less about specific references and more about capturing a certain mood or emotional environment.

The collaboration with Yndling is a really nice surprise on the record. How did that connection come about, and what did she bring to the track?

That came together pretty naturally. We had been aware of each other’s music and really liked the atmospheres we were each creating. We both worked with the same record label, Spirit Goth, so we were connected by default. When we started working on the track, she brought a different kind of softness and perspective that elevated it in a way I wouldn’t have reached on my own. It added another layer to the song—something more conversational and immersive.

For the deep divers: could you walk us through Parallel Dreams track by track and share a brief “behind the song” story for each?

Each track captures its own moment and emotional snapshot, but they’re all blurred together across the two years when most of the record was written. It took a long time to fully shape and finalize the album. By 2025, we were touring heavily and the songs were already developed, so the record almost feels like a collage—these distinct pieces woven together into one cohesive body of work.

As the shoegaze/dream pop scene continues to expand and diversify in 2026, where do you see it heading next? And where does Cathedral Bells fit into that landscape?

With the relocation to Los Angeles, it feels like a new chapter of growth for the project. I haven’t written any new material for Cathedral Bells yet, as I’ve been focusing on writing for my other cold wave project, Midi Memory, plus a newly launched internet project called Running Empty that focuses on ambient pieces and slowcore instrumentals. I’m excited to see what will take shape for the next Cathedral Bells material and the future of the creative process.