(Circa 2019)
SYGNWAV didn’t start with a business plan—it started with a conversation. In 2019, I met Kigh G (Kai Guingona) on a Wednesday, and we ended up talking about everything from YouTube algorithms to image control. What kind of quality do you want to present? What things are you willing to keep off the internet? We weren’t just talking content—we were talking identity. That first meeting became the groundwork for how we would approach everything moving forward: as collaborators, not just creatives.
The early plan was simple—three singles and a limited-play EP titled Things Don’t Last Forever. But by the second meeting, it was clear this was bigger. We weren’t just rolling out songs—we were staging transformation. The rollout for Kigh demanded aesthetic control, visual storytelling, and a duality that became our blueprint. One version of Kigh was rooted in nature and light—Kigh Universal. The other existed in the cyberpunk cityscape, built from neon, hard lines, and self-determination: KIGHDEN. Inspired by artists like Tyler and The Weeknd, every new phase demanded new looks, new moods, and new symbols.
SYGNWAV was born from that duality. From questions of behavior, image, and unseen labor. From music that sits between being pushed aside and pushing forward. It was never just about releases—it was about finding language for the liminal. That’s still what we do.
