Hello everyone, it’s your host Oliver from DULAXI, and today I’m delighted to be joined by Guyver7x3, the Minneapolis, United States-based artist behind the original single “Slowly Ready.”
Working across emotional and psychological musical spaces rather than restricting the creative process to a single genre, Guyver7x3 presents “Slowly Ready” as an electronic pop release shaped by elements of EDM, alternative pop, electronic pop, glitch, synth-pop, and dark-pop. Released on August 1, 2026, the single explores the often overlooked space between uncertainty and progress, where a person may still have questions about who they are or where they are going while quietly realizing that they are no longer standing still.
Before we begin our conversation with Guyver7x3, here’s what you need to know about today’s featured project.
About Guyver7x3
Guyver7x3 describes his work as psychological and emotional, built around internal experiences that people may recognize but struggle to explain. Rather than allowing genre to dictate the direction of a song, his creative process begins with the behavior of an emotion itself. A feeling may resist, fracture, remember, dissociate, survive, or attempt to continue, and the production is shaped around that movement. As a result, his wider musical language can move through alternative R&B, cinematic pop, electronic textures, spoken cognition, hip-hop, and distorted rock while remaining connected by a consistent interest in emotional behavior and psychological experience.
At the center of that artistic philosophy is the belief that vulnerability does not need to be simplified in order to be understood. Guyver7x3 draws from personal experience while deliberately leaving emotional space for listeners to enter the work through their own stories. Rather than presenting pain as spectacle or reducing complex experiences to simple conclusions, his music explores themes including abandonment, self-recognition, memory, fractured relationships, emotional survival, and internal conflict through immersive sonic environments.
That approach is particularly significant on “Slowly Ready.” The song grew from a personal realization that readiness does not necessarily arrive as certainty. Growth can take place quietly, long before a person has the language to recognize it. The single reflects on hesitation, change, unfinished parts of the self, and the pressure created by external timelines, ultimately considering the possibility that progress can be real even when complete readiness still feels out of reach.
Musically, the release uses electronic movement, atmosphere, rhythm, texture, and restraint to support that emotional journey. Rather than treating uncertainty and growth as opposite states, “Slowly Ready” allows both to exist together. The movement forward does not erase the darkness or resolve every question. Instead, the song creates space for becoming itself, suggesting that a person can continue changing, choosing, and moving even while still carrying doubt.
This perspective also reflects Guyver7x3’s broader relationship with technology and experimentation. He approaches technology as a tool for emotional translation rather than a replacement for identity, placing importance on preserving vocal character, psychological intention, emotional continuity, and the imperfect human details that give a performance its sense of life. Innovation, in this context, is not simply about making music more artificial or technically complex. It is about discovering new ways to communicate experiences that ordinary language may struggle to contain.
With “Slowly Ready,” Guyver7x3 turns that philosophy toward a deeply relatable question: what if readiness is not a destination that suddenly arrives, but something that has quietly been developing all along?
Having this brief introduction to today’s featured project, I’m sure both new listeners and longtime fans are excited to hear directly from Guyver7x3. So, without further ado, let’s begin today’s interview.
INTERVIEW SESSION
Oliver:
You describe yourself as a psychological emotional artist creating music from internal experiences that people often feel but struggle to explain. Before Guyver7x3 became the artistic identity through which you express those experiences, what were some of the personal moments or stages of your life that first taught you to pay such close attention to emotions, behavior, and the things happening beneath the surface?
Guyver7x3:
I think I learned very early that what someone says and what they are actually experiencing are not always the same thing. Sometimes you can hear more in a pause, a change in somebody’s voice, or the way they suddenly stop explaining themselves than you can in the words themselves.
That made me pay attention differently. I started observing behavior, reactions, contradictions, and especially the things people could feel but could not always communicate.
Eventually I realized I was doing the same thing with myself. I would experience something internally and know it was real before I had language for it. Music became a way of staying with that feeling long enough to understand what it was doing.
Guyver7x3 really grew out of that. It became less about creating a character and more about creating somewhere those internal experiences could exist without having to be reduced first.
Oliver:
Your approach seems to begin with the emotion itself rather than with a predetermined genre, allowing a song to move through alternative R&B, cinematic pop, electronic pressure, spoken cognition, hip-hop, or distorted rock depending on what the feeling requires. How did you arrive at this way of creating, and what have you discovered about yourself by allowing the emotion to determine the musical language instead of the other way around?
Guyver7x3:
At some point I realized genre was becoming a decision I was making before the emotion had even had a chance to speak.
If I decide beforehand that something has to be an R&B song or an electronic song, I have already limited what that emotion is allowed to become. But emotions do not behave in genres. They change pressure, speed, direction, intensity. They hesitate. They explode. They disappear and come back differently.
So I started treating the music the same way.
A song might begin intimate and almost spoken because the emotion is still trying to understand itself. Then the bass becomes heavier because pressure is building. Maybe distortion enters because something is starting to fracture. Maybe everything disappears except the voice because suddenly there is nowhere left to hide.
What I discovered about myself is that I am less interested in writing songs about emotions than I am in letting the song behave like the emotion.
Oliver:
You have spoken about creating from internal places that can be difficult to explain through ordinary language. When you encounter an emotion that you cannot immediately name or fully understand, how do you begin translating that uncertainty into music, and what usually becomes the first point of connection between the feeling inside you and the sound that eventually emerges?
Guyver7x3:
Usually I do not start by trying to name it.
I pay attention to what it is doing.
Is it pulling inward? Is it resisting something? Does it feel like pressure with nowhere to go? Does it keep repeating the same thought? Does it feel distant, close, heavy, unstable?
That behavior becomes the first clue.
Sometimes the first connection is one sentence. Sometimes it is a vocal rhythm. Sometimes it is a bass movement or even just a silence that feels like it belongs there.
Once I find one thing that behaves correctly, I build around it.
I think that is why some of my music can sound like somebody thinking in real time. I am not always translating something I already understand. Sometimes the song is where I understand it.
Oliver:
There is a strong belief in your work that vulnerability should not have to be simplified in order to become accessible. How has that philosophy changed the way you share personal experiences through your writing, particularly when you want to remain emotionally honest without making the music feel like a closed autobiography?
Guyver7x3:
I used to think that making something relatable meant explaining it clearly enough that everybody could understand exactly what happened.
Now I almost believe the opposite.
The more specifically I explain the circumstances, the more I can accidentally tell the listener what they are supposed to feel. I would rather give them the emotional truth and leave some of the circumstance open.
So I might write from something extremely personal, but I am not necessarily going to tell you who it was about, where it happened, or every event that led to it.
I want to preserve the feeling without imprisoning it inside my biography.
That way somebody can hear a line that came from one experience in my life and realize it describes something completely different in theirs.
That is when vulnerability becomes communication instead of confession for confession’s sake.
Oliver:
“Slowly Ready” centers on the space between uncertainty and becoming, where someone may still be questioning themselves while realizing they are no longer standing still. What was happening internally for you when this idea began to take shape, and what made this particular emotional state important enough to become a song?
Guyver7x3:
I started realizing that I had been measuring readiness incorrectly.
I kept thinking readiness would feel like certainty. Like one day you wake up and suddenly everything makes sense and there is no hesitation left.
But when I looked at where I actually was, I had already changed a lot. I was making different decisions. I was seeing myself differently. Things that once controlled me did not have exactly the same authority over me anymore.
I still had uncertainty, but I was not standing in the same place.
That contradiction became Slowly Ready.
It was the realization that maybe readiness is not the absence of doubt. Maybe sometimes readiness is noticing that even while you are questioning yourself, you are still moving.
That mattered to me because I think a lot of people mistake unfinished for failing.
Oliver:
Your personal reflection on “Slowly Ready” describes recognizing that growth does not have to happen on anyone else’s timeline, while hesitation, change, and unfinished parts of yourself can still represent progress rather than failure. Looking back, what did you have to unlearn about readiness, timing, or personal progress before you could genuinely see yourself as becoming rather than being stuck?
Guyver7x3:
I had to unlearn the idea that progress had to be visible enough for somebody else to recognize it.
We are surrounded by timelines. By certain ages you are supposed to understand yourself. By a certain point you are supposed to have healed, succeeded, moved on, figured things out.
That creates this strange pressure where even genuine growth can feel inadequate because it does not look dramatic enough.
I had to stop treating hesitation as evidence that nothing was changing.
Sometimes hesitation means you understand the weight of a decision more than you did before. Sometimes moving slower means you are finally choosing instead of reacting.
That was a major change for me.
I started asking less, “Why am I not there yet?” and more, “Am I still the same person standing where I started?”
A lot of times the answer was no.
Oliver:
The song does not approach growth from the perspective of having everything figured out or arriving at a perfect ending. How did you want that unfinished quality to shape the emotional identity of “Slowly Ready,” and why was it important to leave room for uncertainty instead of resolving everything for the listener?
Guyver7x3:
Because resolving it completely would have made the song dishonest.
The point of Slowly Ready is not “I made it.”
It is closer to, “I finally recognize that I am moving.”
There is still uncertainty in that. There should be.
I wanted the song to carry enough forward motion that you feel change happening, but not so much resolution that the listener is told everything is fine now.
Life rarely gives us those clean endings anyway.
Sometimes the most meaningful moment is not reaching the other side. It is the first time you realize you are no longer completely trapped on the side you started from.
That is the emotional space I wanted the song to protect.
Oliver:
“Slowly Ready” can speak to people experiencing growth, healing, identity, change, starting over, quiet victories, or the difficult process of finally choosing themselves. How did you approach writing the song so that it could begin from something personal to you while still leaving enough emotional space for listeners to recognize their own experiences inside it?
Guyver7x3:
I try to write from the internal experience instead of over-defining the event that caused it.
Almost everyone has experienced uncertainty. Almost everyone knows what it feels like to wonder whether they are moving forward fast enough or whether they are actually changing at all.
That becomes the shared space.
The details underneath the song can belong to me, but the emotional behavior does not belong only to me.
So when I write something like Slowly Ready, I am trying to preserve the exact emotional pressure I experienced while removing anything that unnecessarily closes the door behind me.
I want the listener to be able to enter.
Oliver:
Your writing often explores abandonment, self-recognition, memory, emotional survival, fractured relationships, and internal conflict, yet you deliberately avoid presenting pain as spectacle. When you are writing from difficult emotional territory, how do you decide what should be revealed directly, what should remain implied, and what needs to be transformed into something the listener can feel without being explicitly told?
Guyver7x3:
I think pain becomes spectacle when the suffering starts becoming more important than what the suffering is revealing.
I am not interested in proving how damaged somebody is. I am interested in what happens internally because of it.
So I ask myself what the listener actually needs to know.
Sometimes a very direct sentence is necessary because avoiding it would weaken the truth.
Other times, the strongest decision is not saying it.
A silence after a line can sometimes communicate more than another verse explaining the same wound.
Production also carries information. Distortion can communicate pressure. Distance can communicate dissociation. Repetition can communicate a thought somebody cannot escape.
That lets me reveal the emotional consequence without always exposing every personal detail that created it.
Oliver:
You describe your productions as immersive emotional environments, where the listener can remain inside a feeling long enough to recognize and understand it. What role does atmosphere play in your songwriting, and how do you use elements such as space, tension, repetition, silence, or sonic texture to make an emotion feel lived rather than simply described?
Guyver7x3:
Atmosphere is huge for me because emotions do not only exist in sentences.
There is a space around them.
If somebody is emotionally isolated, maybe the vocal needs to feel close while everything around it feels impossibly far away. If pressure is building, the low end might gradually become heavier instead of suddenly appearing. If somebody is trying not to say something, silence becomes part of the performance.
I use repetition when a thought has not released somebody yet. I use space when there needs to be emotional distance. I use texture when the feeling is becoming harder to contain.
Those choices are not decoration.
They are part of the psychology of the song.
I want somebody to feel like they spent three minutes inside that emotional condition rather than having somebody explain it to them from outside.
Oliver:
With “Slowly Ready” sitting within electronic pop while drawing from darker pop, glitch, synth-pop, EDM, and alternative electronic textures, how did you use the production itself to reflect the psychological movement from hesitation toward becoming, and which sonic choices were most important in giving that transition its emotional weight?
Guyver7x3:
The production needed to move without suddenly pretending the uncertainty was gone.
So there is a gradual opening.
The song starts from a more contained psychological space. Then movement begins entering through rhythm, electronic texture, widening atmosphere, and increasing energy.
The important thing was that the production could not simply switch from “sad” to “uplifting.” That would flatten what the song is actually about.
The darkness still belongs there.
What changes is the relationship to it.
By the time the track opens up, the feeling has more momentum and more room around it. The uncertainty has not disappeared, but it is no longer preventing movement.
That difference is what gives the transition its weight.
Oliver:
You explain that every production decision is shaped by what an emotion is doing, whether it is resisting, breaking, remembering, dissociating, surviving, or trying to continue. When you were building “Slowly Ready,” what did the emotion of becoming ready actually sound like to you, and how did that answer influence the arrangement and progression of the track?
Guyver7x3:
It sounded like something beginning to move before it completely trusted itself.
Not a huge victory.
Not a dramatic breakthrough.
More like the first few steps where you are still checking whether the ground underneath you is real.
That meant the arrangement needed restraint in the beginning. Then, instead of jumping directly into confidence, different parts of the production slowly gain permission to move.
Rhythm becomes stronger. The environment opens. The energy begins carrying the voice instead of surrounding it with hesitation.
To me, becoming ready sounded like momentum appearing inside uncertainty.
Once I understood that, the arrangement made much more sense.
Oliver:
You also approach technology as an instrument of translation rather than a replacement for identity, developing creative systems intended to preserve emotional continuity, vocal character, psychological intent, and imperfect human qualities. What challenges have you encountered in using technology this way, and how do you know when a technological decision is helping the emotional truth of a performance rather than taking it away?
Guyver7x3:
Technology naturally wants to optimize things.
Emotion does not always want to be optimized.
Sometimes the crack in the voice is the performance. Sometimes being slightly behind the beat matters. Sometimes the breath before a sentence contains more truth than cleaning everything until it sounds technically perfect.
One of the biggest challenges has been learning how to use technology without allowing it to erase those things.
That is why I have spent so much time developing ways of governing continuity, vocal character, movement, pressure, and psychological intent in my work.
For me the test is pretty simple: does the technology help the emotion communicate more accurately, or does it make the result impressive while making the person disappear?
If I hear the second one happening, I usually pull back.
Technology should extend the translation. It should not become the identity doing the translating.
Oliver:
One of the most striking ideas in your artistic philosophy is that innovation should not simply make music more artificial or technically impressive, but should create new ways of communicating what ordinary language cannot fully hold. How has this belief influenced the way you experiment with sound, and what have you learned about emotional communication through that experimentation?
Guyver7x3:
It changed what I consider innovation.
I am not very interested in doing something unusual simply so somebody can say they have never heard that effect before.
I want to know what the unusual decision communicates.
If a sound moves strangely through space, what does that do psychologically? If the bass reacts to the voice instead of simply supporting the beat, does that make the pressure feel more alive? If silence happens where a chorus would normally explode, does that tell the truth better?
Those questions interest me.
I have learned that listeners understand far more emotionally than we sometimes give them credit for.
You do not have to explain every decision consciously.
People can feel when something moves closer, when tension refuses to release, when the environment changes around a voice, or when something suddenly disappears.
Sound itself can carry emotional meaning before language catches up.
Oliver:
Your reflection on “Slowly Ready” describes the impact as “quiet but heavy,” particularly in the realization that you were already becoming ready before you knew how to express it. What did that realization change in the way you understood your own personal growth, and has it altered how you now approach moments when you feel uncertain or unfinished?
Guyver7x3:
It made me respect progress that does not announce itself.
That was probably one of the biggest realizations behind the song.
Sometimes you are changing for months before you have the language to recognize what changed.
Now when I feel uncertain, I try not to immediately interpret uncertainty as evidence that I am failing.
I look for movement.
Am I responding differently? Am I making decisions I would not have made before? Am I recognizing patterns faster? Am I choosing instead of only reacting?
Those are forms of becoming.
It does not mean I suddenly enjoy uncertainty, but I do not fear it in exactly the same way anymore.
Sometimes uncertainty is just the space between an old version of yourself and something you have not completely learned how to recognize yet.
Oliver:
Across your wider artistic identity, you describe your music as personal without becoming closed, experimental without losing emotional clarity, and cinematic without sacrificing intimacy. How has developing that balance changed you as an artist, and what have been the most difficult lessons involved in protecting intimacy while still allowing the music to grow into something larger than your own experience?
Guyver7x3:
I think I used to believe bigger meant adding more.
More layers. More intensity. More explanation.
Over time I learned that scale can come from contrast.
A very intimate vocal can make a huge environment feel even larger because the person remains human inside it.
That changed the way I create.
Now I protect the emotional center first. Everything else has to earn its place around it.
The hardest lesson has probably been learning that experimentation cannot become an excuse for losing clarity.
I can build the strangest sound environment possible, but if the listener no longer understands what emotional gravity they are standing inside, then I have probably moved too far away from the reason I started.
The goal is not complexity for its own sake.
The goal is to expand the language without losing the person speaking it.
Oliver:
Your work is ultimately built around creating a language for emotions that have not yet found one. As listeners begin connecting with “Slowly Ready,” what do you hope someone who feels behind in life, uncertain about their identity, or still waiting to feel fully ready will recognize about themselves through the song?
Guyver7x3:
I hope they recognize that being unfinished does not mean they are absent from their own life.
You can still be becoming while you are uncertain.
You can still be progressing while you are afraid.
You can still choose yourself before you completely understand who that self is going to become.
I would never want the song to tell somebody, “Everything is going to be fine,” because sometimes that sentence feels too easy.
What I would rather say is: look again.
You might already be moving in ways you have not learned how to measure yet.
Sometimes you do not suddenly become ready.
Sometimes you realize you have been getting ready the entire time.
Oliver:
“Slowly Ready” suggests that becoming can itself be a meaningful destination, even when readiness still feels incomplete. As you look beyond this release, how do you see this perspective influencing the next stage of Guyver7x3, both in the emotional territory you want to explore and in the musical language you hope to continue developing?
Guyver7x3:
I think the next stage is going deeper into movement itself.
Not just what an emotion is, but what it becomes.
That has become increasingly important to me.
I want to explore moments where identity is changing while somebody is still inside it, where confidence and fear exist at the same time, where memory changes meaning, where something that once felt like weakness becomes information.
Musically, I think that means even less attachment to fixed genre.
I want the voice, bass, percussion, silence, distortion, electronic movement, atmosphere, and space to behave more like parts of the same emotional organism.
I am becoming much more deliberate about that.
Earlier Guyver7x3 could be very raw and push forward almost instinctively. I do not want to lose that person. I want to understand him well enough to govern that intensity instead of replacing it.
That is probably where Slowly Ready connects to what comes next.
Becoming does not require destroying who you were.
Sometimes growth is learning how to carry that person forward differently.
“With ‘Slowly Ready,’ Guyver7x3 finds meaning in the movement that happens before certainty arrives, creating a space where doubt and progress are allowed to exist in the same breath.”
~ Oliver (DULAXI Team)
EDITORIAL PERSPECTIVE
“Slowly Ready” stands out through its commitment to emotional patience. Guyver7x3 does not force the experience into a dramatic breakthrough, allowing atmosphere, electronic movement, vocal presence, and restraint to reflect the uncertainty at the heart of the song. What emerges is a piece shaped by psychological intention, where the production supports the idea of gradual change without pretending that growth removes every fear. The conversation with Guyver7x3 also reveals an artist deeply interested in how sound itself can carry meaning, particularly when language is no longer enough.
~ Oliver (DULAXI Team)
Closing
Thank you, Guyver7x3, for taking the time to speak with me and for sharing such thoughtful insight into the emotional and creative philosophy behind “Slowly Ready.” Our conversation offered a deeper understanding of the ideas that shape both this release and your wider approach to music, from the importance of emotional behavior to the value of preserving uncertainty rather than forcing every experience into a neat conclusion.
For readers, “Slowly Ready” offers an opportunity to sit with the quieter forms of progress and consider the possibility that growth may already be taking place, even when it has not yet become easy to recognize. Be sure to experience the release and continue following Guyver7x3’s artistic journey as he develops this evolving musical language further.
Thank you to everyone who spent time with DULAXI and joined us for this conversation. I am Oliver, and we look forward to bringing you more conversations with artists and creators from around the world in future DULAXI interviews.