Mark William Lewis begins his day in his high-rise in London, guitar in hand, experimenting without any specific expectations. He has been part of bands since he was thirteen, attended art school to integrate his appreciation for the arts in all forms, and has produced writing that navigates the line between personal expression and caricature. His rich voice resonates as he reflects on his current creative journey.
“At this point, I realize I used to put a lot of pressure on myself. I tend to feel uneasy if I don’t create something each day. But it’s about balance; understanding that about myself while also allowing myself not to feel pressured to produce. I don’t believe that’s the best way to create quality music or art. So, I try to just set myself up in the living room and play guitar without a specific goal in mind.” From his window, the city unfolds beneath him. “It offers a broader perspective. You can simply look out and observe life occurring. It definitely complements music; whether it’s listening to or creating music. It serves as a wonderful backdrop. It’s somewhat epic.”
When I inquire about how he’s been recently, he chuckles softly and asks, “Wait, are we recording this now? I like to know. I’m in a strange space—reflecting on the past, which also includes the work I’m releasing next month, while simultaneously contemplating the future. So, there’s this odd relationship with the present. Adjusting to it is interesting.”
Earlier this year, Mark released ‘Sparkles 22-24’, a collection of instrumental tracks made available on Bandcamp. This project aligns with his philosophy: creating daily and sharing what feels right with the audience. Although he’s linked with a group of musicians emerging from the South London Underground post-pandemic, his journey has been consistent and intentional. In previous years, he worked at an art magazine. “I was fortunate because I believed in the magazine's values, and it didn’t drain me on a personal level. It was part-time, so I was broke, but I had time.”
Having written from a young age, Mark gradually saved to buy guitars and pedals, collaborating with other artists along the way, and picked up the harmonica in 2021—integrating every new instrument into his artistic identity. His music reflects a sense of patience; it features pauses that breathe, lyrics that evoke vivid imagery, and instrumental breaks that invite listeners to meander.
“I’ve learned to embrace the term: daydreamer,” he says. “I often find myself drifting into various places in my imagination. The past is significant to me for self-understanding—but it also plays a role in daydreaming. The song ‘Seventeen’ is essentially a coming-of-age piece, but it’s also just an impression of that experience. It’s not about being trapped in the past; it’s me looking at my story and my friends' pasts in an impressionistic way. The past, present, and future—it’s akin to a garden. The flowers bloom now from seeds planted last year. Yet, I also need to contemplate renewal. At the same time, it’s important to enjoy the garden while it’s in bloom, or else, what’s the point?”
When Mark discusses his debut album, which is released today, his tone slows, as if allowing the questions and memories to wash over him. He pauses, rubs his hand across his head, and replies, “I don’t know.” However, the depth of his responses implies otherwise—that he possesses insight that transcends to a profound self-assurance.
You mentioned spending a few years working at an art magazine while saving up to gather your instruments and develop your working style. What was that journey like for you in building your toolkit?
I spent those years saving up, gradually acquiring a new guitar pedal or an affordable mixing desk. I was making music, learning the craft, and figuring out how to sustain my own method. I didn’t want to depend on anyone. It took a few years to understand how to finish my music and put it out there. Then the pandemic hit, which became like a residency for me—an opportunity for deeper learning.
As you noted, coming out of it, there were suddenly many bands performing again. Being in front of an audience was incredible. I’m not the first to say this, but it was an unforgettable feeling. That’s when things truly aligned.
How did the artistic community you formed through band performances influence your individual work?
There was a sense of momentum and interest from others. Creatively, it reinforced the idea of not overthinking. It reminded me that things don’t have to be perfect to be compelling. Sometimes, being around others is essential; even just an hour in a room making music together. When I was drumming with bands, it reminded me that the music experience is inherent within me. It’s straightforward; I don’t need to complic
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Mark Milliam Lewis begins his day in his London high-rise, guitar in hand, experimenting without any particular goals in mind. He has been involved in bands since he was thirteen.