Martin Looi has steadily redefined the role of the violin in contemporary music, positioning it as a leading voice rather than a supporting instrument. Trained in both performance and audio engineering, his work blends classical technique with modern production, shaping a sound that feels both structured and immersive.
With Velvet Alibi, released on 25 March 2026, Martin Looi moves into a darker, more cinematic direction shaped by what he describes as “Refined Mystery.” The eight-track album departs from his earlier pop-driven sound, instead exploring mood, texture, and restraint while reinterpreting familiar works alongside original compositions.
What drew you towards this darker, more cinematic direction?
“For me, Velvet Alibi was about having the courage to step outside my comfort zone. While my earlier work leaned more towards brighter, pop-driven sounds, I found myself drawn to the cinematic grit of the violin. Working with my producer and sister, Lav Looi, we wanted to move away from conventional structures and explore beauty in moodier, more atmospheric spaces. ‘Refined Mystery’ emerged from that process, as a way of reimagining the violin as a modern voice capable of carrying raw, immersive tension.”
You reinterpret familiar songs alongside original compositions. How did you approach balancing familiarity with innovation?
“Reinterpreting well-known songs is about finding the soul of a melody and presenting it through a new perspective. I’m drawn to familiar works because they create an immediate connection with the listener, but my intention is to strip them back and rebuild them through my own lens. The balance lies in preserving the integrity of the original while introducing unexpected textures and rhythmic nuances, so the emotional tone shifts without losing its core.”
The violin takes centre stage throughout the album, yet the sound feels distinctly modern. How do you redefine its role today?
“I approach the violin more as a vocalist than a traditional classical instrument. It’s often relegated to background textures or brief solos, but in Velvet Alibi, it becomes the primary narrator. Rather than focusing solely on technical perfection, my sister and I explored sound design, layering, and electronic textures to expand its role. By blending classical technique with modern production, I wanted to show that the violin can feel gritty, soulful, and fully relevant within today’s soundscape.”
You’ve described this project as stepping outside your comfort zone. What were some creative risks you took?
“The biggest risk was moving away from the sound people might have expected from me. With Velvet Alibi, I chose to embrace vulnerability and raw texture. A big part of that was leaning into minimalism — sometimes the hardest thing is to play fewer notes and let the tone carry the weight of the music. I also drew heavily on my audio engineering background to manipulate the violin’s natural sound, at times distorting or layering it in ways that might feel imperfect to a traditionalist but feel honest to me.”
Collaboration plays a key role here, especially with your sister and producer, Lav. How did that dynamic shape the album?
“Working with Lav is always very natural because she understands my musical DNA — where I’ve come from and where I want to go. That allows for a level of honesty in the creative process that’s difficult to replicate. While I focus on the technical and expressive aspects of the violin, she brings a strong perspective on arrangement and overall sonic direction, often pushing me to think beyond the melody. That dynamic really shaped the emotional core of the album.”
The album blends classical technique with dark pop and cinematic textures. How do you maintain a cohesive sound?
“I see it less as choosing between classical technique and dark pop, and more about using my classical foundation to serve the music as a whole. The cohesion comes from the intention behind the sound design. I try not just to play the notes, but to shape the violin’s tone using textures you might associate more with electronic or cinematic scoring. As long as the emotional narrative remains central, the shifts in genre feel like a natural evolution rather than a contrast.”
With this release positioning you on a more global stage, how do you see your sound evolving from here?
“I see my sound becoming increasingly borderless. Being on a global stage has shown me that while the emotional language of the violin is universal, its form can constantly evolve. I’m interested in developing something that bridges live performance and film scoring, while exploring how Malaysian roots can intersect with global trends in ambient, electronic, and dark pop.”
What do you think is currently missing in the Malaysian music industry?
“I think what’s currently missing is a broader infrastructure for instrumental and niche genres. The industry is still largely vocal-centric, which leaves artists like myself without a clear pathway for development. We need more meaningful collaboration between music and other creative industries, such as film and fashion, and more spaces where instrumental music is treated as a headline experience.”
What advice would you give to young musicians exploring unconventional paths?
“My advice is to find the intersection of your interests. Don’t feel like you have to choose between being a serious musician or a commercial one — the most interesting work often exists in that middle ground. Learn the language of production, and don’t be afraid to be the only one doing what you do. If there isn’t a clear path, it usually means you’re creating something new.”
