An Interview with Rishi of Mothlights
Mothlights has been steadily carving out its place in the slowcore and post-folk music scenes, delivering melancholic yet beautiful soundscapes that resonate deeply with their listeners. At the heart of Mothlights is their primary writer and guitarist, whose intricate fingerpicking style and thoughtful lyricism bring an ethereal quality to the band’s work. We sat down to talk with Rishi about their inspirations, creative process, and what fans can expect from Mothlights.
Hey, thanks for chatting with us. Tell us a little about yourself.
I’m an American singer-songwriter and guitarist who has been involved in punk and post-hardcore groups since my early teens. In recent years, I’ve shifted toward a more folk and slowcore direction, and I’m currently the primary writer and guitarist for Mothlights, which is the project I’m most proud of. I’m primarily an electric guitarist with a style of fingerpicking that draws from a wide array of influences: the blues of Skip James, the ragtime of Dave Van Ronk, the pop-folk of Elliott Smith, the raga of Robbie Basho, and the psychedelia of David Gilmour.
Who or what inspired you to start making music? And when did you start?
I grew up immersed in music and started playing guitar around the age of 9. By 11, I was playing in cover bands with friends, working through the rock canon. That feeling of being part of something creative and alive has stuck with me ever since.
A huge inspiration for me is my grandfather, who was a trained Bengali classical and folk singer in the 1960s. In his home state of West Bengal, there was a folk revival at the time, paralleling the one happening in the U.S., though with a more transgressive context as India was still shedding the weight of British imperialism. What’s fascinating is that his awakening and mine were both sparked by similar American rock and roll artists: Little Richard, The Everly Brothers, Chuck Berry, Elvis Presley, and The Hollies.
Learning about the context of that music—its ethos and aesthetics—was liberating for me. It shaped my identity and made me want to speak that musical language myself.
What is your biggest challenge as an artist?
As a writer who gravitates toward socially motivated storytelling, I often struggle with staying on the “art” side of the line versus slipping into pure propaganda. I really don’t want to come across as preachy. There’s a tradition of left-wing music—whether it’s anarcho-punk, RABM, or explicitly political folk—that is very message-driven, and while I admire it, I think art has more power when it retains some ambiguity. I want my songs to reflect my values without feeling one-dimensional or dated.
Also, I bring way too many pedals to live shows. Not only do my bandmates make fun of me, but I’m sure other people do, too.
What is your favorite project or single you’ve released with Mothlights?
Our debut record, Walking the World With a Leaky Umbrella, is easily my proudest musical accomplishment so far. It was born from a tense and creatively charged period in downtown Washington, D.C., during the George Floyd uprisings, COVID lockdowns, and the January 6th insurrection. The record gave me a space to explore themes like decolonization, antifascism, and climate anxiety, as well as personal struggles with mental health, melancholy, and remembrance. Musically, I drew on influences ranging from Bulgarian choir music to jazz and noise, weaving them into something distinct that I’d never made before.
Who are your inspirations? What artists or bands are you listening to?
Mothlights draws heavily from slowcore pioneers like Low, Bluetile Lounge, and Carissa’s Wierd, as well as singer-songwriters like Jackson C. Frank, Julien Baker, and Elliott Smith. Instrumentally, we pull from American primitivist guitar traditions inspired by artists like John Fahey, Tashi Dorji, and Leo Kottke.
For the new record, I’ve been diving into 1970s singer-songwriter material—think Gordon Lightfoot, Jackson Browne, Judee Sill, and Bob Frank—along with more recent releases from artists like Arooj Aftab, Susanne Sundfør, and Ethel Cain. This year has also been a big hip-hop year for me, so I’m sure I’m unconsciously pulling ideas from artists like Ka, Little Simz, and Serengeti.
What’s the process like when working on a song?
It usually starts with a guitar riff. I’ll pick an open tuning and just noodle around until something sticks. From there, I try to think intentionally about the project as a whole—for instance, whether I’ve leaned too heavily into a particular genre or sound. To diversify, I set little exercises for myself: “Write a bluegrass song but with atonal elements,” or “Write something inspired by Joni Mitchell, but slower.” Often, a kernel of a good idea will emerge and develop into a full song.
The lyrics always come after the instrumental is written. Once I have the words, I go back and tweak the instrumentals to better support the emotional weight of the lyrics. And then, of course, I add endless layers of chimes, harmonies, and unnecessary guitar parts—until my bandmates tell me to stop.
Tell me about your upcoming music and what inspired you to create it.
I’m currently working on Mothlights’ second LP, which consists entirely of story songs. This time, I wanted to take a starkly different production approach: it’s much sparser, and the writing is far more direct. I wanted it to sound cold and sad, with a strong 1970s singer-songwriter influence.
The album will include songs about bears, Germans, pre-birth memories, historical anecdotes, union hymns, a waltz, a ragtime raga, and a few straightforward love songs for the romantics out there. It’s a bit all over the place, thematically, but it’s cohesive in tone.
What are your plans for 2025?
We’re aiming to release the second LP, make everybody sad, maybe do a tour, drop some new videos, and develop a more fun live show. And, of course, destroy capitalism.
With Walking the World With a Leaky Umbrella already under their belt and a second LP on the way, Mothlights continues to push creative boundaries in slowcore and post-folk music. Their ability to blend intricate storytelling with carefully crafted soundscapes sets them apart as one of the genre’s most compelling acts. Keep an ear out for their upcoming music—it’s sure to leave an impression. Tune in on Spotify.