Written by Sosefina Fuamoli / Photo by Declan Blackall
For over a decade, Plini has crafted an unique space for himself within the Australian and international markets – one that is marked by a signature fusion of virtuosic guitar technique and emotionally complex songwriting.
His instrumental skill is matched by an innate ability to imagine and execute realms of sound that can move between ambient, atmospheric and heavy with ease. Plini is an artist whose music can intoxicate as much as it can scramble one’s brain if allowed: complex, often beautiful, always dynamic and curious.
2026 has seen the Sydney artist return in a big way with the release of his third studio record, An Unnameable Desire.
Through this project, Plini presents arguably one of his most sprawling efforts yet: ten tracks that oscillate between moments of intimacy and symphonic vibrancy, as well as some incredible moments of heaviness that serves as a reminder of Plini’s instrumental range.
While the internet still goes back and forth on how to properly articulate where his sound falls – is it prog, djent, jazz-fusion, all of the above? – Plini remains focused on how he can take steps forward into sonic territory that challenges himself with each project.
“I’m starting to work on some more music now and it’s following a similar formula,” he explains.
“There were maybe three or four bands that I had as a starting point [of influence], and then I’d start adding to it. Inevitably, half of it never appears because something else happens. The main goal from the beginning was to make some of it heavier and some of it harder to play on guitar, than what I’ve done previously.”
Having spent a significant portion of this year touring already, those more complex guitar parts have now become muscle memory.
A slow smile spreads across Plini’s face. “I’m used to it now, I have to go harder next time.”
An Unnameable Desire features masterful contributions from a roster of talented musicians who Plini counts as long-time collaborators.
Mixed by Simon Grove (who also co-produced the record and plays bass and auxiliary guitar) and mastered by Adam “Nolly” Getgood (former bassist, Periphery), the album features Chris Allison (percussion), Dave Mckay (piano, keys and synths), A.J. Minette (string arrangement, production); Misha Vayman (violin), Yoshi Masuda (cello), Jakub Zytecki (guitar, ‘Ciel’), Devesh Dayal (production, ‘Ciel’) and Emily Hopkins (harp, ‘After Everything’).
Well aware of the creative talent that makes his circle, Plini admits that their tenacity as creatives has influenced him in a positive way.
“All of them are equally if not more committed than I am, to being better at their craft,” he laughs.
“Simon wants to mix the best album of his life, every time. Chris wants to play the coolest drum parts. That’s also good for me, because I think if I worked with people who were equally as excellent but happy to coast along…I have a tendency to be like that as well! I have to try and keep them impressed with the songwriting.”
“There’s a phenomenon where your earliest shit is what everyone likes the most. I think that’s true for almost all bands,” he adds. “The first couple of albums have the songs that everyone heard at just the right time and it’s like, nothing you do will ever be as good as that.
The game for me, is to try and figure out what caused those moments, and see if I can make it happen again. Not because I want people to necessarily like the new stuff more…but when I first started writing music, I was in my late teens and I had some sort of naive energy that I think is a good thing. Now, I’ve seen too much!”
Catching a moment of downtime with Plini is a rare thing in itself. The world tour for An Unnameable Desire started in Europe in April, and continued through Asia, Australia and will touh down in North America come November.
At home in Sydney, Plini admits that this tour has produced some of his most memorable shows to date.
“Just playing the music, it’s been my most favourite tour I’ve ever done,” he says. “The best vibe, the best shows. I’m excited to just do more of that.”
Yet as any independent artist knows, sustaining a career goes far beyond simply creating your work and then performing it. While working on evolving his own practice, Plini has self-released his three studio albums, while also being intensely involved in the planning of each extensive tour cycle.
As he explains, having a tight team of like-minded individuals with him both in the studio, on the road and in logistics, has forced him to remain on the top of his own game as much as possible. The artist and the management sides of his brain may often clash but nowadays, his practice can allow both to do what they need to do.
“The one [side of the brain] that does the work of a manager or a record label, is the one that likes composing,” Plini admits.
“I’ve found that on the tour, possibly part of the reason that I had some of my favourite shows ever, was because I was also having my favourite days ever. Now, I have the sickest crews; everything is easy and fast. I’m basically on a holiday and then someone will hand me a guitar and I’ll play some music and there’s a room full of happy people.
There’s always moments though, where my tour manager is saying that I need to give him a document for my visa for India and I’m like, “...but I found a nice park!” There’s a time and a place. I put up a little sign that just says “Work Harder”, so when I have free time, I use it well. When I’m home for a few weeks I feel that if I can get everything I need to get done out of the way now, the rest of the tour can also be holidays. And then I’ll be free to come home and be a little composer boy again.”
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The North American leg of Plini’s An Unnameable Desire World Tour starts in October. Tickets and more information - HERE
October 6 - Music Box, San Diego CA
October 7 - The Nile Theater, Mesa AZ
October 9 - Mohawk, Austin TX
October 10 - White Oak Music Hall, Houston TX
October 11 - Studio at The Bomb Factory, Dallas TX
October 13 - Red Hat Amphitheater, Raleigh NC (supporting Polyphia)
October 14 - The Masquerade, Atlanta GA
October 15 - The Underground, Charlotte NC
October 16 - Baltimore Soundstage, Baltimore MD
October 17 - Union Transfer, Philadelphia PA
October 18 - Irving Plaza, New York NY
October 20 - Paradise Rock Club, Boston MA
October 21 - Theatre Beanfield, Montreal QC
October 22 - Danforth Music Hall, Toronto ON
October 23 - Globe Iron, Cleveland OH
October 24 - Saint Andrew’s Hall, Detroit MI
October 25 - Metro Chicago, Chicago IL
October 26 - Fine Line, Minneapolis MN
October 27 - Madrid Theatre, Kansas City MO
October 29 - Gothic Theatre, Englewood CO
October 30 - The Depot, Salt Lake City UT
October 31 - Knitting Factory, Boise ID
November 1 - Revolution Hall, Portland OR
November 3 - Commodore Ballroom, Vancouver BC
November 4 - The Crocodile, Seattle Hill WA
November 6 - The UC Theatre, Berkeley CA
November 7 - Ventura Music Hall, Ventura CA
November 8 - The Fonda Theatre, Los Angeles CA
