D3LTA Talks Latest Single, His Hometown And More
Words by Glenn Sargeant
Feature Image Photo Credit: Supplied By Dawbell PR
D3LTA’s single ‘Mad About It’ is out now and with more new music being released in May and June 2026, it seemed like the perfect time for a chat:
What is your earliest musical memory?
One of my earliest memories was sitting next to my father while he was playing the piano, and he particularly loved jazz. I remember thinking at the time that the sounds were quite beautifully odd and was fascinated by how unpredictable it felt. That sense of surprise has stayed with me ever since and I still chase that feeling in my own music.
When did you begin songwriting?
I started writing songs when I was around 13. I was going through some personal things at the time, and music became a way of expressing what I couldn’t fully understand or articulate. It was both an outlet and a way of figuring myself out.
I was listening to a lot of punk bands like Green Day and I was really drawn to that sense of rebellion and honesty. From early on, songwriting felt like a very natural way to channel that and through that expression understand myself a bit better. It’s one of the few things in my life I’ve never had to force.
You have released your latest single ‘Mad About It’ out now. What was the story/inspiration behind the track?
“Mad About It” is about the obsessive nature of being at the beginning of a relationship when everything feels intense, confusing, and slightly out of control. It’s that push and pull between wanting to fully give in to something and holding yourself back at the same time.
It came from a very real situation I was in, and I remember feeling that emotional chaos very vividly. There’s something both exciting and unsettling about that stage of love, and that’s what I wanted to capture.
Where did you record the track and who produced it?
The track was written in Lisbon at a friend’s living room, and many of the elements that were used in the demo were kept for the record such as the Moog synthesizer, the vocals and a few guitars. Later on, we re-recorded parts of it in London and worked on the rhythm section to give it more weight and depth.
Do you have any interesting, funny or memorable stories from the recording sessions?
I have too many stories and what’s funny is that in making mistakes usually we end up creating the most beautiful elements in songs. The main synth riff on Mad About It actually came from a mistake. I wasn’t very familiar with analogue synths, and I was trying to create an arpeggiator effect by manually shifting octaves on the knob. But the way it stepped between notes sounded so unique that I immediately hit record and that became the core of the track.
Another moment was with the guitar after the first chorus. I remember hearing it in my head and telling the producer how much I loved that part… and he just looked at me and said, “There’s no guitar there what are you talking about.” So we ended up recording exactly what I thought I’d heard. I believe it’s really important to be able to feel completely at ease with the people you’re working with as you need to express anything that you’re feeling or thinking and not be afraid of being judged is also a big part of creating something that goes beneath the surface.
Did you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?
There wasn’t anything overly technical or intentional in that sense. We recorded the vocals with an SM7B because that’s what we had available and sounded great when the vocals were very compressed in that register. Our main focus however was on capturing a contrast – keeping the vocal very soft and intimate while everything else around it builds with intensity.
That dynamic between vulnerability and energy felt more important than any specific piece of gear.
Which of your tracks hear you at your a) happiest, b) angriest and c) most reflective?
My happiest track is probably “Happy Out of Love.” Sonically and melodically it feels uplifting, but lyrically it’s quite brutal – it came from the realization after a breakup that I was actually better off. There’s a real sense of freedom in that.
“Animals” is probably the angriest track I’ve written, not in an explosive way but in something more primal and underlying. It explores the feeling of being trapped in a system that pushes you into survival mode, where instinct starts to take over and you begin to lose parts of your humanity. The title reflects that idea that when pushed far enough, we all have that side in us, and the song is about confronting it.
My most reflective track is “Blabbermouth.” That one is very inward-looking. It’s about recognizing my own faults in a relationship – especially my inability to communicate properly – and how that can slowly lead to things falling apart.
Who were the musicians who were on the song with you?
I played guitars on the track alongside Angelos Serras, who I’ve been working with since 2018 and who’s been a big part of my sound across multiple records. The drums were played by George McDonald, formerly of Kid Kapichi, which brought a grittier edge to the rhythm section, and the bass was shared between Anthony Mack, who I wrote the track with, and Chris Hill, who I’ve collaborated with on many recordings and is an incredible bass player. The backing vocals were also supported by Harry Koisser from Peace, which helped add another layer of texture to the track.
Was it a difficult song to write?
Not really, it actually came together very quickly. The song started with the synth riff, and we wrote the rest in about an hour or two. The difficult bit was the recording, where we had to balance between keeping the rhythm section and guitars powerful while still feeling laid back, which was crucial to the overall vibe of the track.
Where is your hometown and could you please describe it in five words?
I grew up in Athens, Greece.
If I had to describe it in five words:
sunny, traditional, historic, kind, chaotic.
How do you look after your voice?
I don’t really have a routine to be honest. But I do train regularly, I have vocal sessions almost every week and I do try to warm up before I sing. However for me the vocal sessions are less about maintenance and more about exploration. I’m always interested in pushing my voice into new territories so I can use it more creatively in my music.
Do you have any live dates planned in the UK/Europe in 2026?
Yes we’re supporting Marmozets in June, which I’m really excited about. Beyond that, we’re planning a UK and European tour later in the year around the album release. A big focus for me over the next year is building a stronger connection with fans in the UK and in Europe and to perform as much as possible.
What two things do you hope to have achieved once you have left the stage?
I want people to walk away feeling inspired, like they were completely present in that moment.
There’s something powerful about losing yourself in a live show both as a performer and as the audience even if it’s just for an hour and feeling something real. That’s what I want to give people.
Do you have any favoured stage instruments, effects, pedals, microphones etc?
I usually perform with a Taylor acoustic guitar that I found second-hand in Greece. I originally borrowed it for a gig when my own guitar wasn’t working and instantly fell in love with its sound so it’s been with me ever since. For my electric, I use a Gibson ES335 with a Quad Cortex, mainly because a lot of the tones on the record are difficult to recreate with traditional analogue pedals, so it gives me the flexibility I need live. In terms of microphones, I tend to go with a Shure SM58 – I’ve always loved how reliable and natural it feels on stage.
You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?
My favourite novel growing up was Charlie and the Chocolate Factory. I remember watching the recent adaptation Wonka and thinking how well the surreal, slightly chaotic world of those characters would fit with my music. There’s something about the contrast between darkness and playfulness in that story that really resonates with how I approach songwriting.
Who are some of your musical influences? Do you have any recommendations?
A lot of my core influences come from the late ’60s and ’70s – from Syd Barrett and early Pink Floyd to David Bowie and Queen. At the same time, I’m equally drawn to modern artists like Noah Kahan, Declan McKenna, Sam Fender and Olivia Dean, who all bring a strong sense of identity and storytelling into their music.
A band that’s had a particularly big influence on my sound is HMLTD – they’re incredibly creative both sonically and visually, and they’re not afraid to experiment or push boundaries.
Do you have any further new music releases planned for this year?
Yes – there’s a new single coming out in May called Daydream, and my debut album is set for release in June.
What makes D3LTA happy and what makes you unhappy?
I’m happiest when I’m creating or moving whether that’s writing music, being in the studio, or out on the road. I’m quite restless by nature, so I feel most fulfilled when I’m fully immersed in something.
What I struggle with more is stillness, periods where I’m waiting between projects or tours. I tend to feel a bit lost when I’m not actively building or creating.
Feature Image Photo Credit: Supplied By Dawbell PR
The single ‘Mad About It’ is out now.
Listen: https://d3lta.ffm.to/mad-about-it
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