Most electronic acts find their way in through the DJ booth. Mojave Grey arrived carrying guitars. Before Mojave Grey existed, the pair were working musicians on the Los Angeles scene, one leading with a voice, the other with instruments. They bonded over the same rock and pop records, but it was the shared ambition that sealed it. As they watched the dance community grow around them, the move into electronic music felt less like a reinvention than a natural next step. Their touchstones say plenty — Tommy and Houses of the Holy on one side, Depeche Mode, Air and Daft Punk on the other.
The name comes from the place they call home. The duo are based out in the Mojave Desert, where they shoot much of their visual work and which they see as a deeply spiritual place. The ‘grey’ stands for every colour coming together – a fair summary of a sound that won’t sit still in one genre.
Their debut album, Monument, caught the ear of Armada Music, and in early July they landed on the label with ‘Heavenly’, a track built around an infectious beat from their friend and producer Black Circle. Now comes ‘Rendezvous’, out since 2nd October and, by the band’s own account, the clearest statement yet of where they’re heading. It started life on an acoustic guitar during a sweltering East Coast summer.
With a run of releases lined up ahead of a second album in 2027 and their first South American shows on the way, we caught up with Mojave Grey to talk classic rock, desert inspiration and why the dance floor won them over.
You both had full careers as working musicians before Mojave Grey existed, one of you leading with voice and the other with instruments. Take us back to the moment you actually crossed paths. What did you hear in each other that you couldn’t get on your own?
We crossed paths as performers in the LA music scene and immediately connected over our musical influences. We both came from rock and pop backgrounds, so our tastes were aligned from the start. Musically, we complemented each other, but we also realized pretty quickly that we shared similar ambitions, both artistically and for our careers. That clicked right away.
Neither of you came up as a typical DJ or producer. You’re multi instrumentalists and lyricists first. What was the first thing that pulled you toward electronic music, and was there a moment where you decided to transition?
We were genuine fans of electronic music to begin with, but we were also noticing a shift in live music culture and how much the dance community was growing. With our backgrounds in rock and pop, moving into that world felt like a natural and exciting transition. Once we started making this music and playing shows, we felt the difference immediately. The energy and engagement from the audience was incredible. People want to go out, dance and have a good time, and it was exciting to become part of that community.
Your music treats classic rock as raw material for the dance floor rather than a nostalgia trip. Which rock records shaped you most, and which electronic artists made you believe the two worlds could actually live in one track?
We grew up on classic rock. Albums like Tommy by The Who and Houses of the Holy by Led Zeppelin had a huge impact on us. We were also drawn to artists who found ways to combine live instrumentation with electronic production, like Depeche Mode, Air and Daft Punk. Those influences showed us that the two worlds could coexist without sacrificing what makes either one powerful.
In the studio you’re both writing, playing and producing. How do you split the work and how do you navigate the creative decisions?
It really changes song by song. Sometimes one of us brings an idea into the room, and sometimes it develops completely from scratch. A song might begin with a chord progression, a guitar riff, a melody or a lyric. There isn’t a rigid formula, and we’re both capable of wearing many hats.
Everything is in service of the song, and we have a clear vision of where the project is going, so ultimately the creative decisions have to serve that vision.
Your name hints at that in between space, and your sound doesn’t sit neatly in one genre. How did you come up with it? Is there any story behind it?
The project was born in the Mojave Desert. We’re based out there, we create a lot of our visuals there, and we’ve always found the Mojave to be an incredibly spiritual place and a vortex for creativity. We wanted the identity of the project to spawn out of that. Grey represents all the colors coming together, which felt like a natural reflection of the way we blend different genres and influences in the music.
“Heavenly” landed on Armada in early July and the response has been strong. Where did the EP begin? Was there one track or idea that everything else grew from, or did it come together as a full body of work?
“Heavenly” began as a collaboration with our friend and producer Black Circle. He had this infectious beat, and we built around that. It was one of those songs where everything came together very naturally. The lyrics fit the sonic spirit of the track, and the chords and guitar fell into place around them.
Releasing on a label like Armada puts you in front of a huge audience. How did that partnership come about?
A good friend of ours was working with some artists on the label and thought we would be a good fit, so he connected us. They heard our first album, Monument, and it resonated with them. I think they were excited by the idea of working with a live hybrid act, and we were obviously excited to be working with such an iconic label.
You’re releasing another track on Armada, with a romantic title, “Rendezvous”, coming out on October 2nd. Is it a continuation of “Heavenly” or is it a completely different release? What’s the story behind it?
“Rendezvous” is a statement of where Mojave Grey is heading. In some ways it’s a departure from some of our earlier releases, but to us it leans even further into the DNA of the band and what we want the project to represent moving forward. The song was conceived during a writing session on the East Coast in the middle of a hot summer. It started on an acoustic guitar, with inspiration coming from our surroundings and a busy few months of performing.
Some artists come alive in the studio and tolerate the road, and others are the opposite. Where do you two feel most at home right now, and how does one feed the other?
We feel most at home onstage connecting with fans or in the studio working on music. We’re fortunate enough to get to do both all over the world, so in a sense we can find home anywhere. The energy we get from performing inevitably finds its way back into the music, and creating new music gives us something new to bring to the stage.
With a new single about to land and a strong summer behind you, what does the rest of 2026 look like for Mojave Grey?
A lot of new music. We’re moving into a waterfall of releases as we start gearing up for our second album in 2027. We’re also heading to South America for our first shows there. Overall, it’s about continuing to grow and elevate every aspect of the project.