Blurring the lines between dream pop, shoegaze, and post-punk, @adeeperheaven is the immersive project of producer Marc Wheeler. Drawing on the golden era of alternative music from 1985–1995 and channeling the sonic spirit of labels like Creation Records and Captured Tracks, Wheeler crafts lush, emotionally rich soundscapes influenced by the likes of Beach Fossils, DIIV, Slowdive, and Echo & the Bunnymen. With a sound too refined for bedroom pop yet too hazy for the indie mainstream, A Deeper Heaven carves out its own space—where swirling guitars, layered hooks, and raw vulnerability come together in pursuit of healing and connection.
Q: In your opinion, what are the essential qualities that make a “good songwriter”?
A: For me, I love songwriters that create a distinct emotional atmosphere in combination with the instruments, almost using vocal melody and tone as another instrument. I've always loved symbolic, poetic lyrics, but lately I’ve really appreciated vulnerability and emotional content. I prefer songwriters who pack in as much blatant melody as they can without losing the vibe. Moody earworms make good songwriting to me.
Q: What is the basis for writing attention-grabbing music in this day and age?
A: Every listener connects with different patterns, but in general, authenticity and warmth in both voice and instrument should grab attention. With AI music growing, it’s more important than ever to be yourself and trust your instincts. Your sound will naturally be a mix of your influences and personality. Also, clear and professional production is important—especially in dreamy styles. You can’t just drown a track in reverb and hope it works; you still need clarity.
Q: Can you pinpoint some specific songs and songwriters that changed the way you write music?
A:
Mark Gardener / Andy Bell (Ride) – Vapour Trail, Leave Them All Behind
Pete Fij (Adorable) – Breathless, A To Fade In, Sunshine Smile
Rob Dickinson (Catherine Wheel) – Black Metallic, Crank, My Name Is Love
Robert Smith / Simon Gallup (The Cure) – Sinking, This Twilight Garden, 2 Late
Morrissey / Johnny Marr (The Smiths) – How Soon Is Now, Suedehead, There Is a Light That Never Goes Out
Q: Do you find it hard to be inspired by your peers? Can you name any new artists you find inspiring?
A: I’m easily inspired—I’m addicted to discovering brand new or overlooked bands. Here are a few that have stood out to me in 2025:
Fragile Animals, Hazy Waters, Broken Head, Fright Years, Casper Iskov, Maud Anyway, HYLA, Sea of Days, The Youth Play, Dummy, Alphabet, Sugar For The Pill, Slow Caves, Soft Velvet Lounge, Art d’Ecco.
Q: For your new album, what inspired the lyrical content, album title, and overall vibe?
A: Most of the songs reflect difficult emotions from before and after my daughter Symphonie’s death. Themes include emotional fragility, trying to protect someone, and the pain of loss. But there’s also quiet hope—for connection and healing. The title track “High” is more positive; it’s about how music helped me cope. It suggests that music can heal us all.
Q: Do you hold on to songs for a long time or write, release, and move on?
A: I hate holding on to songs. I feel urgency—maybe a fear of death or just a desire to live fully. I’ve mostly released singles and bundled them into EPs. I do overthink, revise, and remix a lot, but I usually get tired of songs once they’re finished. I’m trying harder to save tracks for a full album this time around.
Q: Any lessons from this release you’ll carry into your next project?
A: Definitely. I’ve proven I can fully self-produce, but it takes too long and limits outside input. I want to finish material faster—I have too many ideas sitting in digital dust. I don’t need to keep proving I can do everything alone. I plan to work with a co-producer now, at least for the next batch, and see where it goes.
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