Hello everyone, it’s your host Oliver from DULAXI, and today I’m delighted to be joined by Remik Erikson, a Windsor-based artist from the United States whose imaginative songwriting continues to carve out a distinctive place within the contemporary EDM and alternative pop landscape.
Our conversation centres around his latest original album, A Baker’s Dirty Dozen, released on 21 July 2026. Built around an inventive culinary concept, the album transforms baking, cooking, hospitality, and everyday food into engaging stories filled with humour, emotion, clever wordplay, and genuine reflections on life. Rather than simply chasing conventional songwriting ideas, Remik embraces originality by turning ordinary experiences into memorable musical narratives, creating a project that is both entertaining and deeply personal.
Before we begin our conversation with Remik Erikson, here’s what you need to know about today’s featured project.
About Remik Erikson
Remik Erikson’s journey into music began in an unexpectedly heartfelt way. What started as an attempt to write a wedding song for his fiancée gradually became the foundation of a much broader artistic pursuit, revealing a songwriter who finds inspiration in life’s simplest yet most meaningful moments. Although songwriting officially emerged through that personal milestone, his creative roots stretch back much further. Long before recording original music, Erikson had developed a lifelong love for poetry, storytelling, and writing, passions that continue to shape the personality and emotional honesty found throughout his work today.
Based in Windsor, United States, Erikson has built his music around authenticity rather than convention. Working primarily from his own basement studio, he has cultivated a creative environment where ideas are allowed to develop freely without the pressure of outside expectations. This independent approach gives him the freedom to experiment with humour, emotional reflection, and imaginative storytelling while remaining true to his own artistic instincts. His songs often blur the lines between playful entertainment and sincere personal expression, allowing listeners to connect with experiences that feel familiar while appreciating the originality with which they are presented.
His latest release, A Baker’s Dirty Dozen, represents the culmination of that philosophy. Released on 21 July 2026, the album arrived after the success of Nacho, a song that reignited his passion for songwriting and transformed music from a personal creative outlet into a challenge he felt determined to pursue. Rather than viewing the project as simply another collection of songs, Erikson approached it as a personal mission to push his creativity further than ever before while remaining completely faithful to his own artistic identity.
Throughout the album, culinary imagery becomes the foundation for a surprisingly rich collection of stories. Baking, cooking, hospitality, and food are used not merely as recurring themes but as expressive metaphors for relationships, humour, resilience, affection, creativity, and the everyday experiences that often define who we are. The result is a cohesive body of work where every composition contributes to a larger creative vision while maintaining its own individual personality.
The project also reflects the challenges that accompanied its creation. As the album developed, Erikson continually tested his own creative limits, balancing inspiration with self-imposed expectations while striving to complete a concept that remained consistent from beginning to end. The process demanded patience, persistence, and the willingness to overcome creative obstacles without compromising the originality that first inspired the album. Those experiences ultimately shaped a record that feels deeply personal while inviting listeners into a world where wit, storytelling, and emotional sincerity comfortably coexist.
Musically, A Baker’s Dirty Dozen blends contemporary EDM, electronic pop, dance, commercial pop, alternative pop, and modern vocal-driven production into a polished yet accessible listening experience. Beneath its infectious rhythms and imaginative concepts lies an artist committed to meaningful songwriting, proving that humour and thoughtful craftsmanship can successfully exist within the same musical space.
Perhaps most importantly, A Baker’s Dirty Dozen demonstrates Erikson’s willingness to embrace his own creative identity without chasing trends or expectations. Every song reflects an artist determined to create music on his own terms while inviting audiences to laugh, reflect, sing along, and discover something unexpectedly meaningful within even the most ordinary moments of everyday life.
Having this brief introduction to today’s featured project, I’m sure both new listeners and longtime fans are excited to hear directly from Remik. So, without further ado, let’s begin today’s interview.
INTERVIEW SESSION
Oliver:
Your journey into songwriting began in a rather unique and personal way, writing lyrics for your wedding day song. Looking back now, how did that experience change your relationship with music, and at what point did you realize songwriting had become something much bigger than a one-time occasion?
Remik Erikson:
Technically I began writing poetry many years ago around 12 years old. I had a love for it. And had a love for, song. I used to annoy everyone growing up with whatever song was in my head that day while singing my own lyrics in time. I used to brag that one day I would be the famous “Corned Beef” kind of a cross between Meatloaf and Weird Al. I continued writing poetry throughout. I even wrote lyrics for a few high school bands but was too nervous of a fella to actually take the stage. I have lived a life of an unknown poet, a barely noticed screenwriter and always a so called “writer.” Everything kind of just came together with my fiancée. I had this great need to attempt to make our wedding day special to her by making her a potential wedding song. All the juices just funneled to that concept. That became a song. And then a desire to create a full album. While in that mode we had a moment in the kitchen with Nacho’s which then again redirected my focus on a more youthful version of myself practically resummoning “Corned Beef,” in this case Remik Erikson.
Oliver:
Much of your music seems to draw inspiration from real-life experiences rather than manufactured stories. What is it about everyday moments, relationships, and personal experiences that continues to inspire your creativity?
Remik Erikson:
I wish I knew. It would be easier and faster. It comes in floods and it dries to nothing. Always been the case. The fire is lit or a spark is heard or seen and there is a flame or it goes out or it becomes a raging bonfire. And the same goes for having a focus and target. For the most part I wanted things that had a story; I believe above all in the “story.” Still sometimes these stories and characters are naturally gifted to you in a whim and others are forced and some just don’t belong. Still, the absolute most fun and stressful component is the ties. When you look at a nostalgic picture, there are so many invisible ties to it that you yourself may not completely understand or even be able to convey. I love these stories of life in any moment that just grabs you, even if for just a moment. And those are the ones you just want to smash it out and get it down. But I think just sitting yourself in these moments and not completely dismissing them. Allowing them to take shape and time in your own space is where the best formations of yourself can be created. Still, it is a journey of learning what to fight for and fight with and what to fight against that. I am not sure anyone ever really figures out. Best we can attempt to enjoy the process.
Oliver:
You’ve described the creation of A Baker’s Dirty Dozen as both a mission and a personal challenge after releasing Nacho. What was happening in your life and creative mindset that transformed this project from simply making music into something you felt compelled to complete?
Remik Erikson:
Nacho reawakened that kid in me with writing and songs that I haven’t really heard from or consistently in a very long time. It became more of a tangible thing that I could really share beyond one moment or with just one other, and that was an amazing feeling. It is like hanging out with my younger self, which most times is enjoyable. So, I wanted to continue with that, in which I dove right into attempting to deconstruct a salad while also doing it my way, and away I was. But each song was a journey. I don’t think it was until after Pie Me Down that I really wanted to lock into a full album. Which I also struggled the most with Pie Me Down and that probably because at that point I was focusing on actually making an album, and I wanted to do it right and then more things became forced. Most of life loses flavor when it is too forced and I was drowning in Tiramisu, but I kept plugging away until finally reaching that Date Nut Nut Pie and getting back on track.
Oliver:
The album title immediately sparks curiosity. A Baker’s Dirty Dozen feels playful on the surface, yet it also suggests a collection of stories, experiments, and experiences. What inspired the title, and how does it reflect the album as a whole?
Remik Erikson:
So I was trying the entire time to really get a meal flow plan with the entire album and a few ideas ended up to nothing and I really didn’t like that gaps that I was left with. Still the entire time I was playing with a handful of titles for the album that I liked or thought would work. Sadly, Hot Plates was leading the way for a long time. What really pushed A Baker’s Dirty Dozen through was that I originally was shooting for twelve songs and out of nowhere the final one Deviled Egg boiled me in on one last one. And it was beautiful. It was everything I wanted in a song that I did not have yet or in the album. To me it is the most genuine and beautiful one of the album, and it felt like it was just amongst these other twelve siblings that were just a little bit dirtier minded than it. Then it became the beauty of the words. A dozen to one. Together still a baker’s dozen. With a little bit of tred and little bit of dirt when you boil it all down.
Oliver:
One of the most interesting aspects of your artistic identity is your willingness to embrace themes that many songwriters might overlook. Instead of chasing grand concepts, you often find inspiration in ordinary moments. How would you describe your philosophy when it comes to deciding what deserves to become a song?
Remik Erikson:
I have to be able to extend the story or the meaning to someone who not only can relate but can possibly enjoy. Pie Me Down lists over 85 pies. That is absurd. But not as much if it tells you something. If it means something other than just being a shopping list. Songs need to be like family. Like distant cousins at least. You know and accept them, can relate to them, but still have to mean something to you personally. You cant have all that AllSpice without having some kind of reaction. And you cannot have any personal reactions to anyone if it isn’t made personal to anyone before you bake it up.
Oliver:
Following the response to Nacho, did you feel any pressure while creating this album, either from yourself or from expectations surrounding what listeners might want to hear next?
Remik Erikson:
There was a lot of expectation, and while Nacho was the catalyst for all of this, I still felt artistically that I was only scratching the surface of what I could really set my mind to. Although It is such a tight rope between relatability and internal artistic worth. I always felt that Nacho could have still been more, with less cheese. But I also understand that I most likely would not relate nearly as well for the general menu.
Oliver:
You’ve spoken about constantly testing yourself throughout the creation of this project. Can you share some of the biggest personal or creative obstacles you encountered while putting the album together?
Remik Erikson:
Pie Me Down was the biggest and longest fight. I wanted it to be perfect, and I could not even seem to get anything together even with the tune down the words were just stuck to the pan. That was the biggest and longest hurdle through the album. Towards the end I struggled where I was going to settle on twelve. The last four really most of the time felt too forced and out of rhythm either had too much butter or cheese, and I was very salty about the entire end. To the point where I just wanted to get anything together with the last three that I was starting to give in which I didn’t like. I also wanted to release the album on National Junk Food day and no other. So having that end date established I think really mixed me up. And then as I finally pushed through the last two, Deviled Egg just showed up for my missing afternoon tea appetizer that I didn’t even really know I was missing. Other than that, I was exhausted. I genuinely create at night once everyone is asleep and go to when I can go. Then nap. Then work. And repeat. So, I was running on many tired months as well towards the end.
Oliver:
The phrase “doing it my way” appears central to the story of this release. In practical terms, what did that freedom allow you to explore that you may not have explored otherwise?
Remik Erikson:
I always just want to create and entertain. But there is always a fear with a joker. That someone will not like or enjoy or even possible take offense to. Never the intent. But I still wanted to do it as much “my way” as I could, which means I really had to try not to consider too much of every other masticator out there and just hope that most people not only get it but hopefully also enjoy me feeling free to be more of me. A perfect medium rare is still not a desired plate for most.
Oliver:
Your music often balances humour, affection, lifestyle observations, and genuine emotion. How do you approach writing songs that can be entertaining while still carrying authentic emotional weight?
Remik Erikson:
If it doesn’t mean anything to the song and it doesn’tt mean anything to the creator. Then it has no chance to mean anything to anyone else. It all has to mean something and have some purpose, ingredients alone does not make a meal.
Oliver:
The review of Nacho highlighted how sincerity played a major role in making the song resonate with listeners. How important is authenticity to your songwriting process, and have there been moments where being completely honest felt creatively risky?
Remik Erikson:
Absolutely. You never know how a stranger is ever going to respond to anything from yourself. In anything we say and do. Which is especially so when you are attempting to mix humor and your own humor and serious components of life. Beyond that in the case of Nacho I was not the only party involved so it’s not just myself I have to consider as well.
Oliver:
Much of this album was developed from your basement studio. What does that space represent to you creatively, and how has working in that environment influenced the sound and personality of your music?
Remik Erikson:
I have always been a lone artist and prefer to go my own direction. So, working in my own space with my own programs and AI components is a fun process. I have no problem bouncing everything off myself and in my own space. That being said, I still need that verification that what I think works and is complete is actually so. That’s where I lean on close ones and loved ones to help reassure my own sensibilities.
Oliver:
Every album develops its own character during the recording process. Were there any songs on A Baker’s Dirty Dozen that surprised you by evolving in a completely different direction than you originally intended?
Remik Erikson:
No everything was intentionally directed and purposely composed in this direction and manner. Such as in Balls O Meat. I really wanted a high energy gospel to feel from some of my earlier days. It all came together just as I had planned. Although it works as intended, I still feel like I beat the eggs too much with Toss Your Salad. It works, and I accept it, but in this case, I feel like I let the character, who was intentionally heavy focused, be a little too hyper focused, in the end for humor’s sake. I still feel like it works. Though, I think about it too often.
Oliver:
As both the creator and the person living the experiences behind the songs, how do you know when a track has reached the point where it truly represents what you wanted to say?
Remik Erikson:
It’s a constant flux. Sometimes the arrangement is perfect, and the words do not support it enough. Sometimes I have written down exactly what needs to be said, and the sound is just not quite right. That was definitely the case with Deviled Egg. Much like the song I had egg sactly what I wanted to say, no yoke, but the arrangement was much too hard. I had to slice it up and really slow it down to bring out that character and tone. Once through that shell it just felt perfectly garnished as soon as I got there.
Oliver:
Looking back on your earliest songs and comparing them to the material on A Baker’s Dirty Dozen, what changes do you notice most in yourself as a songwriter, performer, and individual?
Remik Erikson:
The earlier ones were definitely just all for fun with no real intent other than I have this in my head and its humorous to me, I think others might enjoy. While ZackyBee was obviously for my son. He constantly struggles with not being able to remember things, so I felt compelled to create him a song about my memories of him. The IT album has some good content, but I never felt locked in throughout the album. After Nacho, I felt like I had a more personal artistic intent to really apply me and also bun it up just right. I felt more like an actual artist with A Baker’s Dirty Dozen than with everything before Nacho.
Oliver:
Creating an album can often teach artists unexpected lessons about themselves. What did this project reveal to you that you may not have discovered otherwise?
Remik Erikson:
I found out how much I can overstress and how much it effects my creative process. Such as just placing a hard release date while not completely done created and added to creative barriers that I was not feeling previously. I also reinforced what I have always felt which is that if I have to fight too hard then it only takes away from my creative experience and I am also listening less to the fact of what’s just not correct or with the right flow.
Oliver:
Your music has a way of turning familiar experiences into something memorable and relatable. When listeners spend time with this album, what emotions, reflections, or conversations do you hope it inspires in their own lives?
Remik Erikson:
I mostly hope that people can enjoy the music but really hope that the lyrics resonate with them. That they feel comfortable enough to sing along while possibly dancing along with the music. But I can’t lie and say that I do not love the side eye and open mouth moments with lyrics that just make you pause a moment as your mind attempts to run two different directions. I want to inspire something that someone can enjoy enough to want to share with someone else as much as I wanted to share with anyone else.
Oliver:
For those discovering your music for the first time through A Baker’s Dirty Dozen, what do you think this album communicates about who Remik Erikson is, both as an artist and as a person?
Remik Erikson:
I have never really thought about that. I am sure there is a great many people that would think a great many diffrent things. Such as Bitchetarian, completely a character based solely on not hearing what my wife had said to me, but then deciding that it needed to be a song and a word and a “person.” Still I’m sure that one alone gives a great many different concepts of who I might be. I still in the end that it is songs like that, that ultimately let listeners know that my full intent is on creativity. Still, I feel that due to my creative processes,s most will never feel like I am a real artist. I still am not sure when I will not feel the same. But I still enjoy trying at this point and feel like there are some that are happy that I am doing so.
Oliver:
Now that this project has reached the world, where do you see your creative journey heading next, and what ambitions or ideas are beginning to take shape for future releases?
Remik Erikson:
I have already been planning a second Baking album with the leftovers as well as a Holiday’s Baking album that I am excited about while still in early preplanning stages. I also have a spark of desire to branch some puns into other areas such as pharmaceuticals and others, though those feel like distant stars at the moment.
“Remik Erikson’s journey is a reminder that creativity often lives in the moments we overlook. Through humour, imagination, and personal storytelling, he transforms ordinary experiences into a world where every memory, feeling, and idea has the chance to become something meaningful.”
~ Oliver (DULAXI Team)
MY EDITORIAL PERSPECTIVE
A Baker’s Dirty Dozen presents a fascinating exploration of creativity through storytelling, humour, and personal reflection. Remik Erikson’s ability to transform everyday experiences into imaginative musical narratives gives the album a distinct personality, while the production creates a colourful environment where his ideas can fully develop. The project reflects an artist willing to experiment, embrace individuality, and create from a place of genuine expression.
~ Oliver (DULAXI Team)
CLOSING
Thank you to Remik Erikson for taking the time to share the story behind A Baker’s Dirty Dozen and for giving us an insight into the creative process, challenges, and personal experiences that shaped this unique project.
Through this conversation, listeners gain a deeper understanding of the imagination, dedication, and personal meaning behind the music. We encourage everyone discovering Remik Erikson for the first time to experience A Baker’s Dirty Dozen and explore the world he has created through his songwriting.
Thank you for spending time with DULAXI. Stay connected with us as we continue bringing you more conversations with inspiring artists from around the world.
Until our next interview, keep discovering new music and the stories behind it.