New Single: “Never Had a Heart”
- “Never Had a Heart” is rich in post-punk textures and emotional restraint—what’s the core story or sentiment behind the track?
The idea is that a person who is a wonderful, good person with honest love can cause even the best person in love with them to hold on too tightly to such a person.
- You’ve mentioned inspiration from early post-punk and new wave pioneers. What specific artists or moments from that era influenced this song?
Vocally, Daniel Ash and the Reid brothers of JAMC influence my singing style. The bass is influenced by Peter Hook, bassist of New Order. He’s known for playing higher up on the fretboard which I do. Lyrically, though not pioneers, The Pains of Being Pure At Heart still has their own sound based on those original pioneers. I love their guitar and wished they would do their solos throughout the song with the vocals, so I said I’ll do it.
- How did you strike the balance between that driving energy and the atmospheric restraint that defines the track’s mood?
First off, I am flattered and happy I pulled it off which I assume I did since you’re asking this question. I am going to guess it is not having the vocals up front, but rather the guitar. Vocals are a bit buried and reward repeated listens while the beat and guitar drive.
- Following singles like “Bring Love” and “Give Up The Tears,” where does “Never Had a Heart” fit emotionally and musically in your upcoming album Tiger?
I am single and it sucks. So there’s that. My friends have kids and family – at least most of the ones I am closest to, and I envy them. And I know them well enough that I know it isn’t all Facebook smiles at all, but at the end of the day they have their tribe of love. And intentional or not, this comes out in the lyrics of the songs.
- The title suggests a kind of emotional vacancy—what does “Never Had a Heart” mean to you personally or artistically?
I have a secret for you – the title itself never appears in the song, but it is easier to remember. The line is “Heaven never felt a heart like yours.” There are wonderful people out there so giving and caring that even “heaven” pales in comparison.
The Album: Tiger
- Can you give us a glimpse into the world of Tiger? What themes or sonic landscapes are you exploring across the album?
Sonic landscape – the vocals are not upfront and this has some annoyed friends to no end, but those particular friends never listen to the likes of Slowdive’s Just For A Day, so their ears aren’t attuned to having the music upfront enveloping the lyrics. That’s the sonic landscape. Theme? Being alone isn’t forever, but you can’t sit back and wait for love. If you do, you end up like the character in Army of ME.
- You’ve cited M83 and New Order as influences—how did their aesthetic help shape the album’s sound or mood?
The bass is played higher up on the neck and Slowdive melted the vocals into the music. Doug White at Watchmen studios has two shoegaze bands, MAkaras Pen and Tearwave. He gets what I am going with that background. I have come in with half a song and in 8 hours we are plugging in instruments, adding drums and we just get each other. He was adamant that the audience I think this will appeal to most don’t put the vocals up front and he’s a fan of big drums. He is a huge influence on me.
- How long did Tiger take to create, and how do you know when a project like this is finally “done”?
It was 18 months. Part of the reason is Doug White at Watchmen Studios is booked and doesn’t work weekends. I knew it was done when I stopped myself from adding a ninth song I wasn’t pleased with just to lengthen the album. Vinyl used to have 7-9 songs and that was great. Then because CDs could hold more so people expected all the time to be used up on the disc resulting in asking too much of bands. I knew the album was done at 8 songs.
- What’s one track on Tiger (besides “Never Had a Heart”) that you feel really defines the album’s identity?
Bring Love. I would be jealous if someone else wrote that. The speaker accepts the break up, but ends up at the beach full of memories of the relationship and simply lets the pain wash over him/her.
- Was there a conscious decision to lean deeper into synth-driven or atmospheric territory this time around?
Yes on the atmosphere.
Synth has always been a big part of my music. I went for more guitars. Do you think you have any gearheads reading? This part may be boring but I love when bands talk gear. I got a Caitlin Bread Soft Focus pedal (a pedal modeled on one preset of the Yamaha fx500 I believe. It’s instant sonic goodness and a Boss RV-3 only for its modulation coming out of a JC-40 amp which is a much lighter version of the JC-120 solid state amp you will see everywhere when watching early 80’s bands like the Cure and 90’s bands like Slowdive playing live.
Artistic Evolution & Process
- From your 2011 debut 4 A.M. to now, how has your musical identity evolved—especially with you taking on more vocal duties?
A lot of people love 4 AM because the songs don’t follow a verse- pre chorus- chorus – bridge. My second CD did follow common song structure. The goal was to find a balance between the two this time around. It was an attempt to stand on the shoulders of giants like Slowdive, Jesus and Mary Chain, Youth Lagoon and so on. The piano piece is one of many completely influenced by Harold Budd. Will Sergeant caused me to pick up a guitar, Peter Hook bass and Harold Budd (RIP) piano. The Alesis SR-16, drums.
- As a multi-instrumentalist, do you start with a beat, a chord, a lyric—or does the inspiration hit differently every time?
The inspiration hits differently every time. I am writing a song now that is ¾ time for an evil carnival experience. So the time sig decided our approach to the lyrics. They can’t follow the drums and keys. And it may not work. Even when I put all the time in to finish a song and it’s awful, I’ve learned through the process.
- How does Buffalo’s music scene or creative energy feed into your sound, if at all?
Buffalo’s music scene is so good. There are two radio stations playing local music, WBNY and The Bridge, a blog called Buffablog and a good number of venues from basements, former diner, and venues like Town Ballroom and Nietzsche’s. There’s a lot going on I didn’t even know about. I hear bands here and know I have to up my game. Chelsea O’s band Stress Dolls, Last Night Songs and Bad Bloom along with the punk rock of Abandoned Trains are bringing people out to hear original music. The 20 somethings have a level of talent thanks to Youtube that was rare twenty years ago. I don’t want Dotsun Moon to be a let down live or in recordings relative to all I have mentioned. We are pushed by being around such talent. Yes, there is a band that has input. I wish I could name all the bands around here.
- Has your approach to songwriting changed between albums, especially as you blend more personal vocal work into your tracks?
Honestly, I didn’t know what I was doing on 4 am. I had purchased a recording package a guy had won at a raffle and went into a real studio with two songs which I figured was all there would be time for. Hearing Mary Ognibene sing “Glory” and “Heed The Warning,” I was inspired to make an album. People like it but some of those songs could use a bit more structure and punch(even just a power chord or two) while others like “Time For Talk Is Over” is so strong in its quiet retribution for a bad relationship.
- What do you hope listeners feel when they hear Tiger in full? What kind of emotional or sonic journey do you want to take them on?
I want them to want to listen to the song the entire way through and then love it enough to play it again. I want them to create their own story as they listen. I want them to open the car windows on a hot summer day, jump on the thruway and blast the album.
‘Never Had a Heart’ video
‘Bring Love’ video
‘Give Up The Tears’ video