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BAYONNE
Filters (Nettwerk Music Group Inc.)
Add date: 9.8.2026
Release date: 9.4.2026
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Bayonne’s music captures the indescribable. For 10 years, the Austin, Texas-based experimental avant-pop/electronic musician, born Roger Sellers, has been creating atmospheric soundscapes brimming with layers, texture, and deep emotional resonance. On his fourth and most immersive album to date, Filters, Sellers picks up where he left us on 2023’s mournful yet pop-minded Temporary Time. With its elegantly constructed melodies, silken synth-work, a sprinkle of field recordings, and an upbeat yet blissful blend of piano and percussion, Filters finds Sellers entering a new phase of existence as he works through the grief around losing his father and into a place of acceptance.
“The title Filters correlates with the concept of finding ways to get through rough times,” Sellers explains of his latest project. “It's like filtering through some of the negative things in life.”
A native of Spring, Texas, Sellers has been enamored with boundary-pushing synth-pop and related genres since childhood, which is when he fell in love with the groundbreaking drumwork of Phil Collins and repeatedly watched Eric Clapton’s MTV Unplugged performance. Sellers blossomed into a multi-instrumentalist who was both self-taught and had some formal music education. In 2010, he released the self-titled Roger Sellers and soon followed up with the more structured, electronic-folk-styled Moments in 2011 and 8 Song in 2012. As the indie music scene flourished in his adopted home of Austin, Sellers drew in bigger crowds with his loop-layering live shows. Eventually, he settled on the performance moniker Bayonne and released Primitives (2016) and Drastic Measures (2019) via the indie incubator Mom + Pop Records, followed by Temporary Time on his current home of Nettwerk Music Group.
“Filters feels like a continuation of Temporary Time,” Sellers says of the connective tissue between his third and fourth projects. “Temporary Time was this grievance phase, and this feels a little bit more like it's in the same universe, but it's more the acceptance phase of that period of my life.”
Musically inspired by new age/ambient titan Enya and electro-pop pioneers Air, Sellers worked in close collaboration with Bayonne drummer Matt Toman — a first for Sellers, who has largely worked independently on Bayonne material. In addition to working together on the album’s visual direction and resurfacing and polishing decade-old demos, Sellers and Toman suffused Filters with field recordings taken from nature hikes, time spent together on a Texas farm, and family gatherings.
“Three of the tracks on the album,” says Toman, “are essentially demos of recordings made on my MPC when I was living with Roger. We had melodies in mind for them, so they essentially got shelved, knowing that I wouldn’t want these songs to exist until Roger tracked vocals and/or piano on them. For these tracks to be seeing the light of day a decade later feels so incredibly surreal.”
Layering crisp acoustic strums atop crystalline piano, numerous field recordings of voices and helicopter (among other sounds), blooming synths, and a jogging rhythm, Sellers wastes no time pulling us in on opening track “Unexpected,” which sets the mood and ponders the uncertainty of life. "It's very much like a sonic experience — a good headphone listen," Sellers says of "Unexpected." "It sets up the concept of the record, that things are going to happen, and almost everything is unexpected, and you just have to go with it.”
Sellers began writing what would eventually become Filters as he completed the shimmering “Multiphase,” which rises and falls with a looping synth melody and moves at an easy, midtempo pace, while Sellers recalls a series of odd voicemails his mother received in the weeks following his father’s death. “When I think about the actual concept of this record in terms of acceptance and grieving, ‘Multiphase’ encapsulates that for me,” Sellers says. “Weeks after my dad passed away, my mom kept getting these weird voicemails that were unexplainable. It was a recording that I had made for my mom years ago for Mother's Day of me doing a version of the old song “I’ll See You in My Dreams”, and I think I gave it to my parents on a CD or something. It was just bizarre. How would anybody even get this particular recording? She attempted to send it to me over email, and when I tried to listen it would just be, like, nothing. There was no sound at all.”
Later, acceptance inspires hope on the beautifully buoyant “Oxygen,” a track with enough rich, propulsive pop energy to burn off the hallmark dream-pop haze, revealing something bright, saturated, and fully in focus. It signals forward motion as Sellers imagines a creative future for himself. “I was feeling really anxious about approaching music,” Sellers says. “I've had times in my life where, especially when I'm about to start something, it can be really difficult to get back in that mode. It feels like such a sacred place, and it's hard to just pop in and out of. In a lot of my songs, I’m having a conversation with myself. ‘Oxygen’ is me talking to myself about believing in myself again.”
Additionally, “Good Enough”, one of the bounciest cuts on the record, pulses with a glossy, kinetic energy that wouldn’t feel out of place in Toto’s catalog. “It's about anxiety and my approach to making music, but it's a little bit more societal,” Sellers offers about “Good Enough.” “In a grander scheme, I'm talking about the grasps of capitalism and the way that we feel like we constantly have to get better and play into grind culture. That kind of stuff never works for me. It's just not how I choose to live my life. It's becoming such a big thing and it makes me feel more anxious and worse about myself.”
Though Filters is a continuation of Sellers’ journey through loss, it also explores another kind of ending—the close of a romantic relationship. On the synth-soaked ballad “Forget,” Sellers’ layered falsetto poignantly walks the listener through the start and close of a dissolved romance. “It’s a breakup song, but it's not about anybody, really,” Sellers says. “It's just the broader feeling. I don't know that I've ever written a song that's that specific. It's so much more literal than any of my other music.”
Following “Forget” is its tension-relieving sister song “Alone For Now,” which weaves in numerous field recordings and splays open with bright, cinematic synths and a jogging rhythm. “‘Alone For Now’ is the acceptance phase of ‘Forget,’” Sellers says. “It's talking about how it's okay to go through this, and it’s OK to be alone for a little bit.”
Finally, the discordantly waltzing "Gamut" sees Sellers commenting on the internal sense of staying still while the world continues to rush around you. “‘Gamut’ is a little more abstract than my other songs,” Sellers says. “It’s about how we all feel when we feel like an outsider — in the broader sense of trying to find yourself in a really complex world. Accepting that things just go and go and go, and sometimes it's okay to just be lost.”
Photo Credit: Pooneh Ghana
Apple Music
Bandcamp
Nettwerk Music Group Inc.
Official Website
Spotify
Tidal
YouTube
Bayonne’s music captures the indescribable. For 10 years, the Austin, Texas-based experimental avant-pop/electronic musician, born Roger Sellers, has been creating atmospheric soundscapes brimming with layers, texture, and deep emotional resonance. On his fourth and most immersive album to date, Filters, Sellers picks up where he left us on 2023’s mournful yet pop-minded Temporary Time. With its elegantly constructed melodies, silken synth-work, a sprinkle of field recordings, and an upbeat yet blissful blend of piano and percussion, Filters finds Sellers entering a new phase of existence as he works through the grief around losing his father and into a place of acceptance.
“The title Filters correlates with the concept of finding ways to get through rough times,” Sellers explains of his latest project. “It's like filtering through some of the negative things in life.”
A native of Spring, Texas, Sellers has been enamored with boundary-pushing synth-pop and related genres since childhood, which is when he fell in love with the groundbreaking drumwork of Phil Collins and repeatedly watched Eric Clapton’s MTV Unplugged performance. Sellers blossomed into a multi-instrumentalist who was both self-taught and had some formal music education. In 2010, he released the self-titled Roger Sellers and soon followed up with the more structured, electronic-folk-styled Moments in 2011 and 8 Song in 2012. As the indie music scene flourished in his adopted home of Austin, Sellers drew in bigger crowds with his loop-layering live shows. Eventually, he settled on the performance moniker Bayonne and released Primitives (2016) and Drastic Measures (2019) via the indie incubator Mom + Pop Records, followed by Temporary Time on his current home of Nettwerk Music Group.
“Filters feels like a continuation of Temporary Time,” Sellers says of the connective tissue between his third and fourth projects. “Temporary Time was this grievance phase, and this feels a little bit more like it's in the same universe, but it's more the acceptance phase of that period of my life.”
Musically inspired by new age/ambient titan Enya and electro-pop pioneers Air, Sellers worked in close collaboration with Bayonne drummer Matt Toman — a first for Sellers, who has largely worked independently on Bayonne material. In addition to working together on the album’s visual direction and resurfacing and polishing decade-old demos, Sellers and Toman suffused Filters with field recordings taken from nature hikes, time spent together on a Texas farm, and family gatherings.
“Three of the tracks on the album,” says Toman, “are essentially demos of recordings made on my MPC when I was living with Roger. We had melodies in mind for them, so they essentially got shelved, knowing that I wouldn’t want these songs to exist until Roger tracked vocals and/or piano on them. For these tracks to be seeing the light of day a decade later feels so incredibly surreal.”
Layering crisp acoustic strums atop crystalline piano, numerous field recordings of voices and helicopter (among other sounds), blooming synths, and a jogging rhythm, Sellers wastes no time pulling us in on opening track “Unexpected,” which sets the mood and ponders the uncertainty of life. "It's very much like a sonic experience — a good headphone listen," Sellers says of "Unexpected." "It sets up the concept of the record, that things are going to happen, and almost everything is unexpected, and you just have to go with it.”
Sellers began writing what would eventually become Filters as he completed the shimmering “Multiphase,” which rises and falls with a looping synth melody and moves at an easy, midtempo pace, while Sellers recalls a series of odd voicemails his mother received in the weeks following his father’s death. “When I think about the actual concept of this record in terms of acceptance and grieving, ‘Multiphase’ encapsulates that for me,” Sellers says. “Weeks after my dad passed away, my mom kept getting these weird voicemails that were unexplainable. It was a recording that I had made for my mom years ago for Mother's Day of me doing a version of the old song “I’ll See You in My Dreams”, and I think I gave it to my parents on a CD or something. It was just bizarre. How would anybody even get this particular recording? She attempted to send it to me over email, and when I tried to listen it would just be, like, nothing. There was no sound at all.”
Later, acceptance inspires hope on the beautifully buoyant “Oxygen,” a track with enough rich, propulsive pop energy to burn off the hallmark dream-pop haze, revealing something bright, saturated, and fully in focus. It signals forward motion as Sellers imagines a creative future for himself. “I was feeling really anxious about approaching music,” Sellers says. “I've had times in my life where, especially when I'm about to start something, it can be really difficult to get back in that mode. It feels like such a sacred place, and it's hard to just pop in and out of. In a lot of my songs, I’m having a conversation with myself. ‘Oxygen’ is me talking to myself about believing in myself again.”
Additionally, “Good Enough”, one of the bounciest cuts on the record, pulses with a glossy, kinetic energy that wouldn’t feel out of place in Toto’s catalog. “It's about anxiety and my approach to making music, but it's a little bit more societal,” Sellers offers about “Good Enough.” “In a grander scheme, I'm talking about the grasps of capitalism and the way that we feel like we constantly have to get better and play into grind culture. That kind of stuff never works for me. It's just not how I choose to live my life. It's becoming such a big thing and it makes me feel more anxious and worse about myself.”
Though Filters is a continuation of Sellers’ journey through loss, it also explores another kind of ending—the close of a romantic relationship. On the synth-soaked ballad “Forget,” Sellers’ layered falsetto poignantly walks the listener through the start and close of a dissolved romance. “It’s a breakup song, but it's not about anybody, really,” Sellers says. “It's just the broader feeling. I don't know that I've ever written a song that's that specific. It's so much more literal than any of my other music.”
Following “Forget” is its tension-relieving sister song “Alone For Now,” which weaves in numerous field recordings and splays open with bright, cinematic synths and a jogging rhythm. “‘Alone For Now’ is the acceptance phase of ‘Forget,’” Sellers says. “It's talking about how it's okay to go through this, and it’s OK to be alone for a little bit.”
Finally, the discordantly waltzing "Gamut" sees Sellers commenting on the internal sense of staying still while the world continues to rush around you. “‘Gamut’ is a little more abstract than my other songs,” Sellers says. “It’s about how we all feel when we feel like an outsider — in the broader sense of trying to find yourself in a really complex world. Accepting that things just go and go and go, and sometimes it's okay to just be lost.”
Photo Credit: Pooneh Ghana