Bloodgrass — The Freedom to Make Some Noise | Creator Spotlight

Why Bloodgrass exists

Jannick describes both Bloodgrass and Manson Geaves as projects he made for himself first. Music was something to enjoy, and perhaps share with friends. An audience or business model was not the original plan.

Bloodgrass gave him a place to explore music with more force and energy. He loves the blues, but he also wanted something with more punch: a setting where he could turn up the intensity without asking whether it matched a narrow genre label. The project grew out of that freedom rather than a predetermined sound.

That freedom does not mean the music has no identity. What connects Bloodgrass is Jannick’s feeling that a recording belongs in its world, even when the songs differ in tempo, vocal expression or arrangement.

Viking imagery—and more than one kind of darkness

One influence Jannick describes is a fascination with Viking history and the stories he has read about that world. He is careful not to call Bloodgrass a Viking band. The imagery is one strand in a much wider mix of interests.

He points to Iron Veins as an example. In his imagination, it evokes warriors entering battle, the fight to survive and what remains afterward. The project’s name has an unsettling image behind it: blood making the grass grow. It is not a literal mission statement, but the sort of brutal atmosphere he sometimes wants a song to hold.

Other songs come from different questions. A Vow To What Is Real brings his thoughts about nature, the old gods and humanity’s relationship with the planet into the music. The Lighthouse Keeper’s Daughter imagines how people can be led or manipulated by political power, advertising and commercial influence.

These are Jannick’s explanations of where the songs began, not instructions for what every listener must hear in them. He says he would rather leave room for someone to find a different meaning.

The same idea can wear two musical faces

One of the clearest examples of his approach is Let Them Eat There Fucking Cake, a pointed song about the way political leaders handle a planet Jannick cares about. Its title is direct; its musical treatment is not fixed.

Jannick confirms two released versions under Bloodgrass: Let Them Eat There Fucking Cake and Let Them Eat There Fucking Cake. Metal Ed. One uses a crooner-style arrangement; the other takes a heavier approach. The thought behind the words remains, but the musical treatment changes. He likes both approaches.

For him, that contrast is a feature rather than an inconsistency. He does not want every Bloodgrass recording to sound like speed metal, or every chorus to solve its tension the same way. He describes We are nothing, nothing at all as a softer and more melodic side of the project—one that can still belong beside the heavier material.

Even the subject changes. We are nothing, nothing at all began partly with his concern that relationships and intimacy can start to feel temporary or disposable. He offers the origin of that idea without insisting on a single correct interpretation.

What makes a Bloodgrass recording belong?

Jannick says he pays particular attention to recognizable vocal character across Bloodgrass releases. That continuity matters even when the instrumentation, tempo and emotional intensity change.

As described in the existing First Look, he writes and directs the music while Suno generates instrumental and vocal performances. That distinction matters: the voice heard in a recording is not being presented as a live vocal by Jannick, and his creative work is not being reduced to pressing a single button.

There is no single perfect introductory track in his view. Iron Veins represents one part of the world; We are nothing, nothing at all shows another; the overtly political songs add a further dimension. His preference is for the listener to hear those differences and decide what stays with them.

An album as a possibility, not a promise

Jannick has considered arranging existing Bloodgrass releases into an album. He has not described a completed concept, release date or final tracklist. The question that interests him is whether songs that began separately could form a small narrative when heard in a deliberate order.

An album could change what a listener notices: a heavier song might change the meaning of a quieter one placed beside it. For now, this is an idea he wants to explore, not an announced release.

That is a fitting place to leave the Bloodgrass story. It is an outlet for a creator who wants room to follow his instincts while keeping enough continuity for the work to feel connected. The purpose has stayed close to its beginning: make music he wants to hear, and see what it means to the people who find it.

Already know the two projects?

For Jannick's introduction and a side-by-side first listen to Bloodgrass and Manson Geaves, start with the original Skynetproduktions Creator Spotlight First Look. This individual feature follows the creative decisions behind Bloodgrass rather than repeating that introduction.