Pigeon Opinion Featuring an Interview with Joshua Scurfield

Tour of the Universe by Bryan Hill & the Layabouts is an ambitious and atmospheric release that blends alternative rock energy with synth-driven expansiveness. Anchored by an unforgettable bass line, the track immediately locks into a hypnotic groove before unfolding into a cinematic, cosmic soundscape.

Interview with Bryan Hill & the Layabouts

Tour of the Universe” is described as a cosmic adventure. What inspired the theme and sound of this single?

The sound developed organically. At first it was just a kind of rock/funk fusion. Then we added one synth, then arpeggiators, then psychedelic vocal parts. Just trying different sounds until it was filled out. I am a fan of Depeche Mode and Eno, so adding synths was fun.

The theme is kind of two fold. The first is the title. I saw the term ‘tour of the universe’ on a library poster and thought it fit the layering of the song. It’s like we took a tour of the musical universe with all of the instruments and styles we incorporated (minus maybe the ‘horn section galaxy’ : ).

The lyrical theme is a take on existence so far. A tour of the inner universe. Like, there’s one of me/you and simultaneously different versions of who we are in given moments, or the versions of us at all the ages we’ve been. Accept what has made us who we are and let go of any memory or weight that no longer serves us.

(^)> The bass line is unforgettable. How do you approach creating a groove that sticks in people’s heads?

Thanks! Honestly, I just play a lot. If something feels good and sticks in my head, chances are other people will also enjoy it.

(^)> The song mixes haunting synths with vibrant guitar parts. How do you balance experimentation with keeping a song accessible?

Theoretically, there is a ‘correct’ balance in art between space and form, light and dark, etc. I guess that’s what makes something good or, as you call it, accessible. So, when experimenting, we try to feel out when things are balanced…then maybe push it a little further and see if the mix is interesting.

(^)> Are there any lyrics in TOTU that have a particularly personal or meaningful story behind them?

Probably the second part of the second verse. The lyrics are sung in the 2nd person, as I think they can apply to the listener, but they feel very personal. I think a person’s nadir can define or accentuate their apex. And someone’s ‘twisted way’, i.e. their often confusing or non-linear path can make them greater (or more interesting, or more grateful) in the long run.

(^)> When you write music, do you imagine your audience going on this “tour of the universe” with you?

Sure. I hope the audience is pulled in and takes a ride through all of the twists and turns, the introspection and the exultation, so to speak. I hope people can personalize the story of a song.

(^)> Your influences range from the New York Dolls to Glitz Biarritz. How do those diverse inspirations shape your sound?

Well, those two bands are actually quite similar. They are both glammy punk. Punk can be so raw and immediate, serious but playful. I like that energy in music.

(^)> How do the members of the Layabouts collaborate to bring experimental ideas to life in the studio?

Whenever I play with someone, they have their own perspective and contribute, even if its just in the way they play their instrument. Sometimes they have a suggestion on arrangement that seems obvious once they put it out there, but I was not seeing.

(^)> “Baby Zombies” , was released last November (2025). How did you decide to blend hard rock elements with a Bansuri flute?

I felt like there was room for something experimental in the Intro and the Bridge/Instrumental section. At first I thought it would be an organ or maybe even a bagpipe, but those were not clicking, so I tried the flute and thought it sat nicely in the space after the break.

This isn’t the first question I’ve gotten about that choice, which is cool, but it makes me wonder if we’ve all accepted extremely hardened definitions of this thing called ‘genre’. I wasn’t around for the ‘70s, but I like that music seemed more fluid and wide open at the time. Rock and funk and folk and R&B all seemed capable of cross pollinating freely. At least that’s how it seems to me.

(^)> Albuquerque isn’t usually known as a music hub. How does your hometown influence your sound or creativity?

I grew up in Santa Fe, but came to Albuquerque for shows quite often. Albuquerque is not a hub like L.A. or London or Nashville, but there are a lot of creative people and a lot of enthusiasm for live music. People show up for touring and local acts here and the vibe is usually great.

I grew up seeing tons of live music in Albuquerque and Santa Fe, from metal to opera to jazz, etc. I think I went to see Megadeth and Wynton Marsalis in the same month. The diversity of exposure certainly made me feel like the creative options were infinite.

(^)> What’s the most unexpected or playful element you’ve ever added to a track during recording?

So far, it’s a three way tie between:

1). The bansuri flute in ‘Baby Zombies’.

2). The arpeggiator breakdown in ‘Tour of the Universe’, and

3). Some of the vocal parts in our next single, ‘Snake Oil’, out June 12, 2026.

(^)> Do you have a favorite “cosmic” moment or theme in your music that fans might not immediately notice?

I don’t think there is anything too hidden in the songs. Baby Zombies definitely has some moments of vast sound design, in the intro and the break. Liberation and empowerment seem to be recurring themes in many of the songs.

(^)> If TOTU had a visual companion—like album art or a music video—what would it look like?

The Album art is pretty cool, in my opinion. It is literally inviting one to take a tour of the cosmos.

A video…..good question. Something blending cosmic vistas and inner visions.

(^)> What do you hope listeners feel or experience when they go on this musical “tour”?

I hope they are hooked by the groove like I was, that they enjoy the unexpected twists and find something or things to come back for. Maybe they can feel validation that their dark moments are not wasted.

(^)> Any dream collaborations or artists you’d love to experiment with in the future?

I just want to work with people who get where I’m coming from, what I’m trying to create, and can add something to the project, either in performance or production or whatever.

(^)> If you could describe Bryan Hill & the Layabouts’ mission in one sentence, what would it be?

Engaging in continuous creative adventure and connecting with like-minded souls.

(•)> That's all, Folks! Check out Bryan Hill & the Layabouts - Tour of the Universe on the Pigeon Opinion Playlist