Juliet Weybret’s “When I’m Gone” Interview
Q: “When I’m Gone” is an incredibly beautiful vocal and lyrical representation of the barrage of emotions that coincide with leaving someone. It showcases a soft, yet triumphant tone that is delicately depicted with a bittersweet, raw, emotional, painful melody that leaves the listener consumed from the start. What is the story behind the song, and what made you want to deliver such unique and captivating vocals?
A: I lived in Los Angeles, CA for 4 years before I moved across the country to Nashville, TN. For those four years, I was greatly attached to someone who meant a lot to me. I got hurt many times by them and every time I’d try to run from the situation, they’d pull me right back in. It was a very unhealthy relationship. When I broke the news to them that I was moving away, it’s like all their walls came crashing down and they wanted to say things to me that I always wished I’d heard from them. Yet, this time it didn’t phase me. I was used and taken for granted for so long and was ready for a new chapter. The vocal melody came to me naturally as I was writing the lyrics. I’m happy how they turned out as I think they capture a nice balance of emotional hurt and relief.
Q: In “When I’m Gone” the composition of the chords feeds into an elegant kind of independence. How did the chord progression come to be? Was there anything that stood out to you, while you were composing the piece that made you want to make the sound so much like “freedom?”
A: The chord progression stays the same throughout the entire song, excluding the bridge. I knew I wanted the first chord to be minor to set the emotion. The track is obviously acoustic, but I still wanted it to feel powerful so I layered and panned 6 different acoustic guitar tracks. They are difficult to pinpoint, but every track made a difference.
Q: The lyrics read as though the song was an open letter to the person you left behind. Did you intend the song to be as personal as it is vulnerable? How difficult was it for you to write those words? And was there importance in writing those words for yourself to overcome the tumultuous past relationship?
A: I most definitely intended for this song to be personal and vulnerable. I try to be as real as I can be when I write. It’s how I tell stories of events that happen in my life. Writing those words were actually the opposite of difficult. It was more a feeling of relief. It was when I truly decided to remove myself from the unhealthy attachment I had to this person it made me realize how unhappy I had been. I still feel a sense of relief when I listen to the song.
Q: The lyrics for the song start out with a strong sense of conviction as you put forth how you feel without a touch of remorse as you sing “Told you I’m leaving in a few short months/Across the country from your twisted love/My words hit you like a bullet train/You’re begging me not to go away./” As a Songwriter how important was it for you to make the song as deep and moving as it is?
A: I was at such a boiling point with this person that I wanted to write the song as if I were talking to them and had zero sympathy for their feelings. Sort of like a payback for the amount of times my feelings were played with. As I previously mentioned, it’s an honest story paired with a melody.
Q: You have been on YouTube for about eight years now, how does it feel to know that you have 62,788 subscribers and that they have been very kind and loyal to this new song you have put out?
A: It’s one of the best feelings. There are people who have followed me since I was 15. I am 22 now. They have seen my music and writing grow and I am grateful that they are still sticking around to listen to what I am creating these days. When I’m Gone now has over 20,000 plays on SoundCloud in just over a month. That’s something I never would have imagined to happen. I am so happy to know that people are enjoying it.
To listen to “When I’m Gone” or more of Juliet Weybret’s music check out her Soundcloud account here: https://soundcloud.com/julietweybret/when-im-gone.
Written By: Sam Piscitelli
Edited By: Kendall Graham
Jeb Haven’s “Survive You” Interview
Q: In “Survive You” you can clearly hear a painful, yet beautifully sad yearning in the vocals. What is the story behind the song, and what made you want to deliver such powerful, and chilling vocals?
A: I had recently been through a very painful breakup at the time and was in a kind of daze, where I felt like everything I knew had been taken away, yet I was still there, going through the motions of each day. I think this song was just an attempt to capture that feeling, and use the song as a way to find myself out of it.
Q: With “Survive You” the composition of the chords on the piano follow the same kind of “hollow” feeling. How did the chord progression come to be? Was there anything that stood out to you, while you were composing the piece that made you want to make the sound so devastatingly, truthful?
A: The chords of the song are hollow and repetitive, especially in the verses. This was meant to capture the feeling of emptiness, feeling suspended in a daze. Then, the song opens up and finally fully lands on the major root of the scale at the start of the chorus (“But the heart is stronger…”). This is the moment that the song turns, from being stuck in that suspension to realizing that life still moves onward, and no matter what happens to us, we still have ourselves and our lives.
Q: The lyrics bring forth a lot of brutal honesty, both about the relationship and moving past its unresolved pain. How difficult was it for you to write those words? And was there an importance in writing those words, so that you yourself could move past such a painful experience and heal?
A: The lyrics are very honest. I wrote most of the lyrics very quickly, as the feeling just poured out of me. I wanted to keep it as simple and honest as possible. Later, I did a lot of tweaking and adjusting in order to clean up the rhythm and the rhymes, but I kept most of the initial lyrics intact. The song was an important part of me moving forward from feeling stuck.
Q: The chorus undoubtedly holds the most potent lyrics in the whole song. They come with fragility, yet unwavering strength, and a sense of hope: “But the heart is stronger than I ever knew/ These crashing towers I had built for two/ It can take a beating/ Just to keep on beating/ I know so true. That I will survive you”./” As a songwriter how important for you was it to get across the message that loss, as drowning and deafening as it can be, is able to be overcome?
A: I think it was the message I needed to tell myself, and that’s what makes the song very important for me personally since it did help me. And I think when we as artists capture something honest that resonates with something deep within us, then others can feel that and relate to it as well.
Q: The song, while not released on iTunes, has 42,762 views on Youtube, and rains down with comments like “This is the one that means the most to me Jeb. Painful, honest, and inspiring. Thank you.” And, “Ok this guy can become Ed Sheeran.” How does it feel as an artist that you are reaching people while getting comparisons to Grammy-winning artists like Ed Sheeran?
A: It’s the most rewarding part of what I do, to know that something that I created is resonating with other people around the world and helping them to work through whatever they need help with.
To listen to “Survive You” (The Acoustic Version) or more of Jeb Haven’s music check out his Youtube account here: https://www.youtube.com/watch?v=s5rgHJnHJIE.
Written By: Sam Piscitelli
Edited By: Kendall Graham
Giuseppe Love’s “Printing Press” Interview
Q: ” The Printing Press” is a tumultuous free fall of agony that is a no holds bar contender when it comes to the dark representation of a man’s soul and the freedom he lacks. What is the story behind the song and what made you deliver such desolate and brute vocals?
A: You mentioned freedom. In terms of America, and the situation I am in, I do not lack freedom. If I lack any freedom, I share that lack with the layman. If I’m confined by anything, it’s on a societal or judicial scale or a human condition.
Have you ever heard that famous quote from Winston Churchill, “History is written by the victors.”
I heard that quote at a young age, I was in high school, I was still putting the world together, and some things just didn’t add up. I would think very deeply into things.
So when I heard this quote I would think, “If history is written by the victors, that would also mean that history is destroyed by the victors. Especially at times when there was no easy way of going about mass communication, recordings of history could’ve been destroyed in a fire, people were definitely killed for thinking certain ways, and speaking about forbidden topics and forbidden knowledge.” So that is why I called it the Printing Press, a symbol for the newfound ease of mass communication. The media still has gatekeepers, don’t get me wrong, but as you can clearly see here, it is easier than ever to get a word out and have it heard by a bunch of people.
This song was supposed to be a double track featuring a second-half produced by my fellow artist ViCi from New Haven, CT called “The Paper Shredder” and it was going to be way more badass, but that never really worked out for some reason.
At this time in my life, I was using music for expression. I was rapping, and taking it seriously, people enjoyed it. In high school we freestyled at lunch, we had talent shows and showcases, I had friends who wanted to chase music and I was always inspired by the fact that we had this one thing that connected us. I had this urge to keep getting better, and keep pushing myself musically, and try new approaches to songwriting. All of this melted together and stirred vigorously is what prompted me to write and deliver this song.
Q: With “The Printing Press” the composition of the chords evokes a deafening depression twisted within the spine-chilling sound of hands and fingers snapping like brittle bones. Was there a particular thought or image that went through your head as you composed the piece to sound like a representation of hopelessness?
A: Ok this one has a quick answer. I did not produce this beat. My best friend Pablo Barnes made this. It reminded me of a typewriter, which was another reason why I wanted to call it the Printing Press. You should do an interview with Pablo, he makes great music. Definitely ask him that, “Was there a particular thought or image that went through your head as you composed the piece to sound like a representation of hopelessness?” question…that’s gold.
Q: The lyrics of the song are as poetic as they are jaw-dropping with the darkest caverns of the man being portrayed. How difficult was it for you to write those words? Did writing those words help in the deflection of the abundant pain that was highly felt throughout the entire song?
A: This is probably the deepest I’ve ever gone into pushing myself lyrically. I couldn’t tell you how hard they were to write, but I definitely spent a lot of time on these lyrics.
And yes, music was an expression to me at this time, now it means even more than that. Music means the world to me man.
Q: Some of the best lyrics are “/Ink in my pen, blood on my face/Thought I was done but that wasn’t the case./Now I’m stuck in the Pen, blood on my hands./”As a songwriter how important was it for you to state the burden this man was living every day of his life?
A: That’s wild that you said that. First of all, thank you, I was a kid when I wrote those lyrics, I really was trying to paint a picture here, metaphorical as it may be, on a literal level it wasn’t necessarily something I truly experienced. The metaphor is a box, a situation that you can’t get out of. As the song goes on I continue to say, “Curiosity killed the cat. Imagine that…stack litter to the top, you imagine the locks.”
As I felt at the time and to an extent still do to this day, some people are stuck in a box mentally. Some people deny growth, and they feel that they can never change because of this idea, that they cling to SO tightly, about who they are. So, you imagine the locks, and as the years go by you wind up in a box filled to the brim with your own shit that you created because of who you think you are.
I can tell you that the line “Thought I was done but that wasn’t the case is taken directly from a Childish Gambino song called “The Party.” Definitely check that one out if you haven’t heard it. I love Gambino’s music, I thought that line fit really well with the content here, and at this point in time, I had this idea that I wanted to be really good at rapping. I had done a few concerts at my high school (shout out Charlie) which provided me with a platform to see how people would react to certain songs or whatever. I’m really thankful for those concerts because I still have some people that listen to me to this day because they were at those shows. At the time, because I was experimenting with performing, I would play certain songs that were really out there and stupid. I scrapped and fixed a bunch of them since then, but at the time I felt that there were people who thought I would just stop doing music because the crowd reaction wasn’t what I thought it would be. Me, I’m like, “Imagine if I didn’t get that reaction and I had nobody there to tell me it wasn’t dope!” I would’ve made a fool of myself if didn’t have the chance to understand what works and what doesn’t. So that’s why I hit up Gambino and was like, “Yo, can I borrow this question mark” and he’s like “that never happened.”
Mr. Donald Glover aka Childish Gambino, sir,
I’m sorry I never reached out to you.
However, I want you to know that your music has changed my life and got me through some of the toughest years of my existence, I bought “Camp” and “Because, the Internet” in CD form, and now I got Apple Music so best believe I have “Awaken, My Love!”
I know you won’t sue me for that.
And if you happen to read this, or if somebody in your communication department should read this (show this to Gambino if he has time to hear it please), we should make some music. Thank you for this bar. I know I probably didn’t have to say all this, but I know in my heart that you would’ve found out anyway so let’s be friends about it. Thank you so much for all of your work that you do. Not just the music, you work really freaking hard, and I aspire to have as much motivation and confidence as you.
Joseph Capozzo aka Giuseppe Love
Q: You had just started putting this and other songs of yours out on SoundCloud after a friend advised you to. So far they have generated a lot of attention with over 2,000 plays in total. How does it feel to have such a quick turn of success after not being sure if you should put them up or not?
A: Actually I released these songs after an experience that I had at a party in Woodbury, CT. It was the wildest party I’ve ever been to. There were like 300 people at this mansion, I had been invited by my boy Stubbs, who was one of 13 DJ’s/producers on the bill. When I got there, this dude Greg Eichler was playing the guitar, a kid whom I’ve never met. He cuts his finger on the guitar, doesn’t notice until somebody says something, he looks down and says, “Oh. Hope I don’t get Hep. C.” and continues to play for like 12 hours after that when the rest of the party arrives. That dude showed me what can happen if you ACTIVELY pursue your passion for music. There were people at this party painting, selling their crafts, dancing, singing, breathing fire! The music was phenomenal and everybody was doing her thing. There were so many people at that party who had something to bring to the table, you could feel that the whole thing was very alive. That we all met at this huge house, people from ATL, CT, MA, NY, and we had all been there for a reason. These people accepted me; there was a mutual respect in the air, free of judgment.
I wanted to be a part of it!
The whole situation reminded me of this song “Home” in which I talk about the home that we create when we accept one another, come together, and do what we do. So I dropped that song, which, along with “Empty Souls,” has the most plays on my SoundCloud.
My boys Pablo and Artie have been telling me to drop this music for years, I just needed to understand that I’ve grown since making this music, and it is not perfect, but for what it’s worth, it’s dope, and can’t just sit around collecting dust. I’m excited that the projects I’ve released are being heard, but really I’m just excited for what the future holds.
To listen to “The Printing Press” or more of Giuseppe Love’s music check out his Soundcloud account here: https://soundcloud.com/giuseppelove.
Written By: Sam Piscitelli
Chris Weule’s “Dreamcatcher” Interview
Q: “Dreamcatcher” is the selfless action of adhering to a partner’s fears and promising to be the sanctuary they have always needed in order to feel at peace. What is the story behind the song? And what made you want to deliver such tender and uplifting vocals?
A: Actually there is no true story behind the song, but it is symbolic for many negative situations in which it would be good and calming to have another person to talk to or just to feel safe in a way. I think many people can relate to that so I tried to put it into a song.
Q: With “Dreamcatcher” the composition of the chords instills a sense of unwavering faith and devotion. Was there a particular thought or image that went through your head as you composed the piece to sound like a creamy daydream?
A: I recorded an early version of the chord progression a long time ago without really knowing what to do with it. So it wasn’t really intended to be about the dreamcatcher theme necessarily.
After I revisited the instrumental a few months ago the lyrics for the chorus just came to my mind while playing the song and because they were kinda fitting perfectly, I just kept them and added verses and pre-chorus afterward.
Q: The lyrics are written and molded after what can best be described as a set of battle armor, with the ease of reassurance and a layer of steely resolve that resides over it. Did you mean to make it have such a resilient feel to it? How difficult was it for you to write those words? Was there any thought or image that manifested the idea of the lyrics?
A: Writing the lyrics were pretty easy after I had the initial idea for the theme of protecting each other. And yes, it was intended to have a resilient feel and I’m very happy that it seems to appear like that to other people, too.
Q: Some of the best lyrics in the song are “/I am your dreamcatcher/Your shelter in the night/I am your dreamcatcher/Protector of the fright/I am your dreamcatcher as if our minds be untwined/And I’ll catch yours/And you’ll catch mine/.” As a songwriter how important was it for you to get the message across that this there is safety even in those moments of utter fear that leaves one paralyzed?
A: I think those moments are the ones with the most need of support from another person. If you got someone who’s there for you in those situations, you probably won’t worry that much. To make that the key statement of the song was very important to me.
Q: This being your very first single, what does it mean to you as an artist? And why did you decide on this being the first song everyone heard from you?
A: Originally I wanted to release a different song as the first single. I was basically just going to record a stripped down version of “Dreamcatcher”, only with vocals and guitar, for a competition at the time but found myself adding more and more layers of guitar, a piano part, and vocal harmonies so I decided on short notice to put it out as a single. Also because the song was well received in live concerts. The other song will simply be the second single then.
To listen to “Dreamcatcher” or more of Chris Weule’s music check out his website here: https://chrisweule.com/.
Q: “Rip Off The Rearview” is a comprehensive look inside an abusive relationship that has taken a two-year toll on a woman’s emotional and physical well being. What is the story behind the song? And what made you want to deliver such ethereal and impassioned vocals?
Q: With “Rip Off The Rearview” the composition of the chords presents a blood pumping sense of fight or flight. Was there a particular thought or image that went through your head as you composed the piece to sound like a representation of self-revival?
A: (1&2) It started out as a breakup song and organically evolved. We met with YWCA Nashville and were given statistics that blew my mind. 1 in 4 women will experience domestic violence in her lifetime. I knew we had to put as much into this recording as possible, so I called up Vince Gill to help us out.
Q: The lyrics of the song reveal the complexity of a wounded heart and soul. How difficult was it for you to write those words?
A: The words came pretty quickly and effortless. My co-writer Adam James really brought it with the lyric “It’s a 2-year version of a one night stand and a really good warning from his right hand.” I like to think God gave us this one.
Q: Some of the best lyrics are /”Now the screen doors swinging and her boyfriends saying you won’t ever make it alone/ He for taillights fading and the highway waiting on the chevy if she’s ready to roam/ She could slam on the breaks and just stay in the past or rip of the rearview and never look back.”/ As a songwriter how important was it for you to make others see and hear about domestic violence?
A: I grew up in a great home and never had witnessed or experienced DV, so I had no clue about it. It wasn’t until meeting with the YWCA that I wanted to help bring awareness to the issue. As a father of two boys, I want to be an example and raise them to respect women equally as men. We are trying to change the conversation at a young age. That’s where we start to end the problem.
Q: You’ve been working with Country legend Vince Gill, how has that experience been? How has it shaped you as an artist? And what lessons have you learned from him that you can share?
A: I’ve written a few songs with him. He’s a world-class songwriter, singer, and musician. Sitting the room and watching him do his thing is unreal. I’m very grateful that he welcomed me into his circle the way that he did. I hope to be the same someday for the artists that come after me.
To listen to “Rip Off The Rearview (Ft. Vince Gill) or more of Brennin’s music check out his website here: http://brennin.com/
Written By: Sam Piscitelli
Ley’s “Heartbreak History” Interview
Q: “Heartbreak History” is the striking sentiment of realizing that heartbreak is a recurring part of the life you lead but that it doesn’t define who you are as a person. What is the story behind the song? What made you want to deliver such uplifting vocals with a fresh perspective rather than the typical type of breakup song?
A: Coming from a long hiatus, writing new material and starting fresh was really hard since I never put out or really worked on original pieces. The song only took me really 45 minutes to write cause the song is the truth of my own heartbreak and how I moved on from it and the lessons I got from it. It’s funny how I can retell the pain I was feeling since this heartbreak was so traumatic that I had to write about it. That’s how I usually get ideas for any song I am going to write.
Q: With “Heartbreak History” the composition of the chords provokes a stirring fervency that is both thoughtful and mature. Was there a particular thought or image that influenced you to compose the piece to sound as sincere as it does?
A: It took me and Akilis actually 4 days to produce the instrumental because as an artist I want my songs to have the unique sound and touch that no other artist has. The images coming to my head was mainly a dark scene or a dark mood. But also strong that’s why we added a lot of bases to the song.
Q: The lyrics describe a woman’s convalesce and fierce heart. Did you mean for it to have such an inspiring and confident feel to it? How difficult was it for you to write those words?
A: After releasing the song I never thought I would have so much of a positive feedback from a lot of people, I never would think that the song would have so much of an impact on someone’s life. It wasn’t hard to think of the words but mainly hard on where I was I going to put what and how I was going to organize it to make my story clear but also for it to come as a message of advice for anyone.
Q: Some of the best lyrics are /”When you love please be cautious the heart is fragile/ Open your eyes watch out and protect/ You heart may break/ Tears may fall from your eyes/ But don’t forget who you are.”/ As a songwriter how important was it for you to share the message that a history of broken hearts doesn’t define your past, present or future?
A: Just by my own eyes I’ve seen that people who try to move forward actually don’t and just are stuck on the past which can mainly destroy any relationship that you are in. I find that the past are lessons and you can always start on a brand new page if you are willing to do so.
Q: This being one of your second solo songs how do you wish to be defined as an artist?
A: As an artist I want to be defined as the truthful one the one who doesn’t hold back, cause in a lot of these songs your hearing personal stories from my viewpoint. I want to be able to connect with people, I want my music to connect with people and for somehow the music just guides them through whatever struggle or path they are walking on.
To listen to “Heartbreak History” and more of Ley’s music check out her Soundcloud at https://soundcloud.com/user-712860029/heartbreak-history-by-ley-prod-akilismusic.
Written By: Sam Piscitelli
Ale The Man “I Run From My Problems” Interview
Q: With “I Run From My Problems” the composition of the chords provides an edgy darkness that is as bleak as it is haunting. Was there a particular thought or image that influenced you to compose the piece to sound as chilling as it is?
A: I wanted to give this song a mysterious aura. I was influenced by the idea of enlightenment and ancient Egyptian/African vibes. I like to think I found a way to mix the deepest of conscious rap with today’s popular sound.
Q: The lyrics describe a man who is selfless to all those around him and to the realities that face him. Did you mean for it to have such an authentic feel to it? How difficult was it for you to write those words?
A: I just wrote with as much of myself as possible, I can agree that I have a selfless nature and which is one of the problems I’m also dealing with in this track. It wasn’t difficult at all.
Q: Some of the best lyrics are /”My heart is cold/ My patients is low/ I’ve been going through some shit but don’t nobody know.”/ As a songwriter how important was it for you to showcase the prevalent problem of men who run away from torment?
A: It’s important to me because I’m aware that most people (not only men) suppress their problems in some unhealthy way, I still do. I believe that although running from your problems isn’t healthy at all, running in the direction of your dreams is better than staying stagnant. The one recurring problem I noticed within myself was my lack of patience when dealing with my struggles or conflicts with others. Often I get fed up and give up altogether but lately, I’ve been learning to appreciate the time it takes for change to occur in my life.
Q: As a rapper how important is it to you that you maintain the ability to write and perform your own songs?
A: It’s my top priority to be writing and performing my own songs. I take a lot of pride in producing, mixing and mastering my own music. So much that I barely write to other producer’s beats. I just believe it keeps my ideas pure and unscathed.
To listen to Ale The Man’s “I Run From My Problems” and more of Ale’s music check out his Soundcloud at https://soundcloud.com/ale-the-man/i-run-from-my-problemsprod-by-ale-the-man
Written By: Sam Piscitelli
Janie Barnett & The Blue Room’s “Good Crazy Thing” Interview
Q: “Good Crazy Thing” is a gorgeous representation of the universal feeling of falling in love without the repercussions of rejection. What is the story behind the song? What made you want to deliver such honey filled vocals that cradled the listener with your voice?
A: The character in this song has absolutely no ability, nor any desire, to focus on anything beyond that feeling of reckless abandon. She is in many ways like the young teen whose brain hasn’t developed to the point of understanding future consequences. Rejection? Not even an inkling of a possibility. She is immersed fully in the fall. We learn so many lessons of caution in our lives. In work, in safety, in career choices. And we learn to be careful for some very good reasons. But once in a while, a crazy choice is the sanest choice we can make, because it means we are choosing the present, and we are choosing joy. I have had the phrase “Good Crazy Thing” for a long time. I had met the man I would marry, and it was a whirlwind. I was speaking with my roommate at the time, and we agreed it was “crazy.” Then I said “yeah, but it’s good crazy. It’s a good crazy thing.” I spent quite a while exploring that track to give voice to this song. It had to be luscious and indulgent, to reflect that moment of abandon. And my fellow musician on this track, Larry Saltzman, spent so many hours at his home building the tracks of stringed instruments, to reflect that intimacy. I know he feels it is some of his best work.
Q: With “Good Crazy Thing” the composition has a brave-hearted simplicity that empowers the listener to feel as if this song is solely about them. Was there a particular thought or image that influenced you to compose the piece to sound as honest as it does?
A: A song this intimate has to have a track behind it that reflects honesty and simplicity and lusciousness all at the same time. There could be no solo, no part, that seemed pat or predictable. So it took however long it took, and for Larry, it took a long time. We had to work honestly and slowly, to give that honest sound a chance to emerge. You’ve actually asked about the song, not the arrangement, but the answer is the same. A writer should always be first and foremost honest – painfully honest. The song came at a time when I was ready to purge myself of the last vestige of guardedness in my writing. In some ways, it was a breakthrough song in that sense. Ironically I finished the song because of a generic “song pitch” opportunity. Somebody at a company wanted a sweet song of love. So I challenged myself to write for that request with a full-throttled honesty and confessional quality from which I had been holding back. Like many things in my journey during the making of this record, I felt I had more to lose by holding back and guarding myself than I did in “confessing.”
Q: The lyrics warrant a fearless account of introspective love. How difficult was it for you to write those words?
A: It’s truly a relief to write with such honesty. The story is of a person who has prided herself in being the sane one in the bunch. The adult in the room, if you will. I’m not saying it is fully autobiographical, but I know what that feels like, to sense your role as the sensible responsible adult, and to feel both pride and embarrassment in that role. In this moment the storyteller, the smitten one, is ready to say I don’t’ care anymore. I don’t care what people think, I’m going to act like a teen and I’m going to love it.
Q: Some of your best lyrics are /”It’s a good crazy thing/ It’s as simple as they come/ It’s a trip around the sun in a single day/ It’s a good crazy thing to fall this way.”/ As a songwriter how important was it for you to show your perspective of loving someone so candidly?
A: I’ve written a lot of songs I thought were good solid pieces of writing, but they were fairly cerebral. There’s a place for those songs, but I think I had embraced airtight craft at the expense of the raw experience. It’s important for those stories of raw experience to be told in ways that the listener can feel that rawness on some level. Perhaps it isn’t on a level of conscious experience. But if we can tell a story through music and lyric and also carry the listener on a subliminal journey of – raw feeling? – then we are doing our job on several levels. The music needs to make us feel something – even if the lyric weren’t there. So that reckless abandon – it isn’t, in my case, reflected in a wild timpani-laden symphony. Its vehicle is a multi-layered track of stringed instruments that seem to cascade and float in a seemingly serendipitous journey.
Q: This is your second studio album, what was the process when it came to picking songs that perfectly depicted you as an Americana artist?
A: I wrote many songs during this period, and a number did not make it on to the record. They were mostly weaker songs, I believed. But as I wrote the songs I was tuning in to my earlier roots in Americana, folk, and what we used to call Newgrass. The sounds I heard early in my musical development included all of these layered stringed sounds, and I re-kindled my love affair with those sounds. I heard the arrangements while I was writing. I heard the rich, clustered harmonies in the lines as I wrote them. So my version of Americana was integrated into the writing. This was the first time I was able to do this, and it made it a thrilling, fully engaging process. There are actually two other full-length albums and an early EP. I’m proud of that work, and the collaborations with some very special people in my life during those projects. The sounds we explored were dear to me then as well. I think this album is simply the deepest for me because I returned to sounds that, honestly, my early collaborators had urged me to hold on to. I was stubborn back then! I finally figured it out on this one, and I’m just relieved that I did. In addition, I gathered a team that also wanted to fully commit to this project at this time. The mixing engineer, Michael Golub, was an absolutely essential partner in creating what I think is a particularly luscious version of the Americana sound.
Written By: Sam Piscitelli