Below, you can read our interview with Matthew Olsen of focus teo, and listen to their album “stitch”. Check out our full music review of “stitch” here.
Q: Great to be speaking with you, Matthew! You’ve described focus teo’s second release, album “stitch“, as more upbeat and more “fun” compared to Rock Paper Cyanide, which came from a very raw emotional place. What changed for you between the two albums?
A: Thank you so much for the interview. Well, for Rock Paper Cyanide, I was emotionally coping with quite a bit, very poorly. The prior year -2023- my eldest son Jackson and I went to NYC for the first time, and also visited Jersey to attend the Adjacent Music Festival (shout-out to Jeff Rosenstock and Haley Williams, the MVPs), and it was such an incredible experience that he and I were able to have, just as two dudes from Oklahoma visiting a new place. Sadly, it was also what I viewed as our final trip together, with him graduating and moving on. Though, of course that’s not what happened, I had such a high level of melancholy and premature grief, which is how many of these songs were derived.
When the recording sessions for Rock Paper Cyanide finally happened, I was able to connect with some folks from the University of Central Oklahoma (from which I had graduated) as they were wrapping up their degree in music production. They were younger than I was and trying to earn some cash before moving to Phoenix to set up their own studio there. We recorded in one of their parents’ garages, which was converted to a makeshift studio, and these dudes were offering a “pay-by-the-day” option. I think I paid $120 to spend 12 hours recording what was initially going to be an EP, yet we recorded some different variations of each song so that I was able to have an eventual companion album (Redux Paper Serenade, released in January 2025). I also had a few extra songs that I had written as a teenager in OKC and later in my early twenties while living in Austin, which filled out the remainder of the LP. We actually ended up with so many songs that they gave me a free session the following day to complete everything.
During this time, I was highly depressed, and highly high – taking edibles or mushrooms during the early summer evenings – trying to process that Jackson would be moving out soon. I simply couldn’t easily grasp that the child who – just yesterday, seemingly – was leaving the nest. “Sorrowfulness” is the mood I recall from the period of that album, to an extent that I can still hardly listen to it, and actually kind of prefer Redux, when I want to hear one of those songs.
What changed for the current second album, “stitch”, was preparation – having more time to write, record, and produce on my own – which meant I could change the lyrics and sound to serve a more cohesive mood. Additionally, I’d had time to mentally address losing Jackson from the household while watching my other children grow into their own personalities and start working on their futures.
Really, I just ultimately wanted to make something fun for the second, and final, half of the focus teo recordings. A little less “woe is me”, a little more “fuck it, it’s music, let’s have fun”. So fuck it, it is music, and fun was had. 
Q: “stitch” is a wildly eclectic album, shifting from pop-punk to electro-rock to meta-folk storytelling. What does the word “stitch” mean to you in the context of this record?
A: “Meta-folk storytelling”… I haven’t heard that before, and I absolutely love that definition, ha! The idea of the album being called “stitch” came from what was supposed to happen with a similar collection of music: Initially, my friend Omar (Crash Planet) and I were going to make a big, goofy, fun indie-pop EP, heavy on synths and beats. Due to the physical distance between us and our time constraints regarding collaborations, it took months to actually piece together even a couple of tracks. The Postal Service, we were not. During this period, I was nonetheless mostly writing for that particular project, titled Subsequent Function. I planned on making a focus teo follow-up sometime during the summer of 2026, provided that I had enough material.
With the Subsequent Function models not coming together in a pertinent manner, I decided to take a lot of what I had written and just … I guess stitch?… together what could potentially be a second focus teo album, initially titled Sketches. I realized the songs – as initially written – just didn’t gel, leaving many of them to be re-constructed to start creating what I figured would be a more pop-punk driven album than the first one, stitching together tracks with a loose narrative, and utilizing significantly more samples than ever before.
Hell, the album’s cover focus was pure kismet: I was mostly finished with recording, and was sitting in a meeting where I needed to take photos of the presentation slides. My phone accidentally took a very close-up shot of my jeans, while resting on my thigh. I saw the photo of the denim later that evening and thought, “well, this definitely works as ‘stitches’”
Q: You mentioned learning the production side this time around, especially with sampling and remix-style experimentation. What part of producing this album challenged you the most?
A: Honesty, the desire to keep editing and changing things after the recording process was finished. I’d never produced before, or at least to any formidable degree. I’ve definitely recorded some absolute garbage throughout my years. The more I learned about how to mix and edit – and eventually master – these tracks ended up being the most rewarding part of the process.
Jackson was taking audio engineering classes, and utilized that knowledge for his work with his band Semester Abroad (named after the Brand New track “Jude Law and a Semester Abroad”). I tried to tell him a few tricks I had picked up during the “stitch” sessions, and he was like, “yeah dad, I know…” lol. Marshall ended up jumping in to give me some advice about the production after listening to the first “completed” version of the album. He mentioned how the second half was better and more experimental, and that the first half could use something to help differentiate the tracks, which mostly lean on early-aughts pop-punk tropes. That’s how “Leave the Cannoli (deadnamesake)” ended up with a Jungle-Edm back half.
While “stitch” is most likely the end of focus teo as a recording artist, I did love the post-recording process, and anticipate having another companion album with the B-sides from this session, as well as a few remixes. I also plan to work on producing music from other local bands in Oklahoma, if they’ll have me.
Q: You mentioned that your kids have an “instrumental” influence on your music. In what ways do they shape your sound, your themes, or your motivation?
A: In just about every way. Our house is a musical house. My brother Justin and I grew up playing in a band together and still try to put together songs in our very limited spare time. Jackson has been playing guitar and working on music since his early teens, Marshall received his first acoustic-electric bass when he was 14, and Connor recently started dabbling with the ukulele and keyboard as he started taking an interest in our focus teo project. Quite frankly, he’s a huge inspiration on this album’s quirkier elements and contributed some amusing ideas, especially on the tracks “Everything Deliriante con Connor” (hell, he’s even in the title) and his opening hum to the otherwise explicit “The Weaknd”.
As a family, we see a lot of live music together, from local garage bands in tiny venues, to large Broadway-level musical theater productions. It’s such an incredibly joyous way to spend our time. We even have Jess – whose preferred art and talent involves more of a visual medium, and unquestionably NOT musicals – on board with it these days.
Q: You’ve said this may be the last album you personally record and produce. What makes this project feel like a natural stopping point?
A: As a man of – ahem- a “certain age”, it feels like I have completed what I set out to do with the focus teo brand. I totally needed it for Rock Paper Cyanide, as a way to push through a dark state, and then giddily wanted it for “stitch” after the Subsequent Function project fell through, as it was almost like a creative rebirth for me in a way. I have an immense fondness for this new album because it wasn’t rushed in the same way as only having two days to record, so I was able to stop and tell myself, “This isn’t as good as you want it to be, so keep working on it.” I don’t think I could make another album as good as this (or even Rock Paper Cyanide) again.
Not to mention how difficult it is to promote indie music without the live stage presence. With a family, it’s fine to play a couple of local club shows, but attempting a tour – even a regional one – is nearly impossible without sacrificing something that will be missed at home. Shit, I don’t even like travelling to Tulsa or Dallas overnight without my family around.
I do, however, want to continue learning how to hone my production skills. That’s an aspect of music I plan to continue pursuing. And, to be fair, I’ve been writing songs since I was 13 years old, so I don’t believe I’ll stop writing entirely. I just won’t be making any more focus teo songs or albums in the foreseeable future.
I’m happy to “Rivers-Cuomo” it and write a catchy riff for someone else lol.
Q: What was your first instrument? Do you still have/play it?
A: Blue Ibanez electric guitar. Damn, I loved that thing. I wrote so much stupid bullshit on it. And I love every part of that stupid bullshit. Eventually I donated it to a friend of mine who teaches music at an elementary school. He fixed the warped fretboard, changed the strings, peeled off the subjectively inappropriate stickers that lived on the aqua paint for years, and put it to good use with the youth of America.
Q: Perhaps in some unspecified amount of time, your musical career explodes in the best of ways…what does that look like for you?
A: That sounds like my family might be able to work a little less, God-willin’.
Q: You get to collaborate with anyone of your choosing. Who is it?
A: Jonny Greenwood, hands down. While I love his work in Radiohead’s recordings, I am equally enamored with his film scores. There Will Be Blood, One Battle After Another, Power of the Dog, You Were Never Really Here… all masterworks.
Q: Your favorite album of all time? (Yup, you gotta choose one.)
A: Oof… just one? Let’s go with Pink Floyd’s Dark Side of the Moon. While that might be an obvious and generic pick, it truly was the first album that made me realize how a band could take nine songs and make a uniquely complete work of artistry that is still as impressive now as it was back in – I don’t know – did it come out in 1975? 76? The soundscape is so immersive that people still go and see laser shows inspired by it. People pay good money to see cover bands perform that album live. It’s THAT good.
It’s also the album that was playing the first time I smoked a joint. So… mileage may vary.
Q: Your favorite song of all time? (Again, only one!)
A: Double oof… Since it’s briefly sampled on the new album, I’ll say “Orchestral Suite (From ‘The Godfather’)”. Can we just call it “The Godfather Suite”? It’s one of those pieces of music that is unique and singular… Simultaneously complex and beautiful yet easy to just vibe to.
Q: What would you like fans to know about you that they’re most likely unaware of?
A: Hey! I’m a Special Education teacher. I won’t complain about how difficult the job is, but I will say that if you’re going to have a career in the education field in the future, it’s ridiculously easy to get burned out. I don’t have all of the answers (unless I’m writing the test of course), but I can say with all certainty that having a creative outlet – be it making music, or writing, or painting, or playing sports, or jogging, or fishing, or going on a hunt to harpoon some Great White the locals call “Jaws” – will help things feel a little easier. Being in focus teo is my “calm”. It’s my Jaws harpoon expedition.
Q: Any shout-outs you wanna make?
A: Oh, hell yeah. Jackon’s new band, Semester Abroad, is available on Bandcamp. They will be performing in the Oklahoma City/Tulsa metro areas. Cool stuff that is a bit heavier than focus teo. Definitely check them out and follow their work.
Also a huge thank you to Aaron Harris just for being “that music guy” who did everything to help influence us. Not in Our Name is pretty amazing.
And my family, of course, for the support to endeavor this entire process. It’s very much appreciated Jess, Brenda, Jackson, Marshall, Connor, Justin, etc. Hearts.
Q: Anything else you’d like to add?
A: Thanks again for the interview. I appreciate that you put in the work to ask really great questions that pertained to this album. Very cool. This was fun.
Please look for the digital release of “stitch” on January 2nd, 2026 on your favorite digital format.
CD copies are available now on Bandcamp: https://focusteo.bandcamp.com/
Vinyl copies are available for pre-order now: https://elasticstage.com/
Spotify: https://open.spotify.com/
Apple Music: https://music.apple.com/us/
YouTube: https://youtube.com/channel/
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<< Go to our full music review of: “stitch” by focus teo.
Listen to “stitch“ by focus teo:
“stitch” premiers on 1/2/2026