Between Games and Emotions: Myslie Talks “Double Stepper”

In this interview with Music-Alive, Myslie shares the story behind “Double Stepper” and the creative world surrounding it. As an independent artist who writes and composes all their music, Myslie blends personal experiences with elements from their video game project Walker of the Sunset Path. Working with a fully DIY approach and releasing music independently through their self-created label White Stripes and Neon Lights, Myslie offers insight into their creative process, production choices, and emotional storytelling. This conversation explores how music, games, and real-life experiences come together in their work

Can you tell us the story behind “Double Stepper”? What inspired the lyrics and the mood of the song?

Around the time I started finishing the script for my video game Walker of the Sunset Path, I realized that I really wanted the characters to sing to the main character at the end of the game. It fit the story and the characters, so for me, a song with lyrics as the credits theme was non-negotiable.

Since I was already working on background music for the game, I thought I would try my hand at making a standard song. It worked out because, at that time, I was dealing with some pretty intense feelings and needed an outlet. This song, and later my EP Under Rental Lights, became that outlet.

That’s the dual meaning of the song—it’s both an expression or a confession, as well as a piece that is important to my characters, and hopefully to the players of my video game.

How would you describe the emotions or message you want listeners to feel when they hear this track?

The song has an imperfect production by design. I was still new to making music when I first started creating it, so both my equipment and my understanding of audio tools weren’t as polished as those of a more seasoned artist.

My studio setup included two high-end microphones (thanks to friends and coworkers), an electronic saxophone, a basic computer, a copy of Ableton (thanks to my grandma), Keira Jaylynne’s contribution, and a dream. So the production is very DIY compared to a traditional studio environment, and I leaned into that aesthetic.

If you notice the cheap-sounding synths, washed-out drums, and even the vocal quality, those are all intentional. They’re designed to give the impression that this isn’t a perfectly produced song. It’s meant to feel like a cornerstone of shared memories between people, which works both for my video game and my real-life experience.

You wrote and composed all your music yourself—what does your songwriting process usually look like?

There’s an old saying: “A good chef is a good eater.” So before I put pen to paper, I listen to a lot of music.

If I’m aiming for a specific genre, I usually immerse myself in it for a while. Eventually, that influence settles in, and I can start creating something that feels at least adjacent to the style I was inspired by.

From there, I build a chord progression I like. After listening to it on loop, a melody usually starts to form. Once I have that, the rest of the song develops naturally.

Lyrics come later, after the melody is established, although I usually already have a theme in mind. What you hear in the lyrics tends to be my raw thoughts shaped into rhythm and pitch. I don’t spend much time refining them—too much editing can take away the raw edge and weaken the message I’m trying to convey.