Silver Lining Sweat Interview
Q: Can you talk about your history as an artist?
A: I currently live in Portland but grew up in Southern California. When I was in high school I used to make these pretty elaborate recordings using 4-track, mini-disc (it was the ’90s), and primitive computer software. I would recruit lots of different musicians and drive all over town to record them on 4-track. I've been making music ever since and toured the country extensively with a psych folk band called 2% Majesty in the mid-2000's. I also lived in Chicago for a while and formed a few bands there. One of the bands, Memphis Khan, released an album on the British label, Reverb Worship. I've always been interested in production and creating relatively lush recordings. I really have never got tired of writing songs and recording. I love the process of seeing a song grow.
I credit Nirvana and the Beatles as the catalysts for me wanting to make music. The next major influence was the British band Tindersticks. I pretty much stylized my high school music after trying to make the recordings as lush as possible severely overdubbing on 4-track. You can't necessarily see these influences in this record since it has a much more MOR ’70s soft rock kind of vibe. I've always liked '70s soft rock and easy listening pop (preferably with a weird tinge).
I actually released another Silver Lining Sweat record called I'll Catch Your Drift that has a more country Roy Orbison feel. It's purposely stripped down.
Q: What is your recording process like for Free Shade Easy Light?
A: For this album, I recorded a lot of the instruments and vocals in my home studio on Protools. The drummer on the album, Alfred Smith, lives in Portland so he also recorded in my studio. The strings, flute and trumpet were all recorded remotely with various musicians from around the country. I found the musicians on Craigslist, sent them the songs and they sent me their parts via Dropbox because of the pandemic. I cut up some of tracks and mixed everything before I sent it to be mastered. It was a fun process for me and a way to still collaborate with other musicians that I couldn't meet in person.
The guitar and lead vocals on "Rats in the Summertime" were recorded directly to my phone and then other tracks were added later.
Q: What is your creative process like?
A: Usually I just start playing guitar or piano and work with the first progression or riff that I play. I try to trust the chords and then figure out a melody; I don't waste much time trying to find something to work with. I figure I'll just work with the first thing that comes along, turn it into a song and if I don't end up liking it when it's done; Oh well... There's always another song to be written. The bones of the whole thing usually form quickly and I usually start recording the basic tracks as soon as I can. I am kind of obsessive once I get excited about a song.
Other times, a lyrical phrase and melody will just pop into my head and I find the chords to fit it. As far as the lyrics go, sometimes I think of a character or scenario but the lyrics are rarely totally autobiographical. The most autobiographical song on the record is "That Cinnamon One.” It sounds like a love song (and it is in a way) but it's actually about my dog Lucy.
Q: Can you talk about your history as an artist?
A: I currently live in Portland but grew up in Southern California. When I was in high school I used to make these pretty elaborate recordings using 4-track, mini-disc (it was the ’90s), and primitive computer software. I would recruit lots of different musicians and drive all over town to record them on 4-track. I've been making music ever since and toured the country extensively with a psych folk band called 2% Majesty in the mid-2000's. I also lived in Chicago for a while and formed a few bands there. One of the bands, Memphis Khan, released an album on the British label, Reverb Worship. I've always been interested in production and creating relatively lush recordings. I really have never got tired of writing songs and recording. I love the process of seeing a song grow.
I credit Nirvana and the Beatles as the catalysts for me wanting to make music. The next major influence was the British band Tindersticks. I pretty much stylized my high school music after trying to make the recordings as lush as possible severely overdubbing on 4-track. You can't necessarily see these influences in this record since it has a much more MOR ’70s soft rock kind of vibe. I've always liked '70s soft rock and easy listening pop (preferably with a weird tinge).
I actually released another Silver Lining Sweat record called I'll Catch Your Drift that has a more country Roy Orbison feel. It's purposely stripped down.
Q: What is your recording process like for Free Shade Easy Light?
A: For this album, I recorded a lot of the instruments and vocals in my home studio on Protools. The drummer on the album, Alfred Smith, lives in Portland so he also recorded in my studio. The strings, flute and trumpet were all recorded remotely with various musicians from around the country. I found the musicians on Craigslist, sent them the songs and they sent me their parts via Dropbox because of the pandemic. I cut up some of tracks and mixed everything before I sent it to be mastered. It was a fun process for me and a way to still collaborate with other musicians that I couldn't meet in person.
The guitar and lead vocals on "Rats in the Summertime" were recorded directly to my phone and then other tracks were added later.
Q: What is your creative process like?
A: Usually I just start playing guitar or piano and work with the first progression or riff that I play. I try to trust the chords and then figure out a melody; I don't waste much time trying to find something to work with. I figure I'll just work with the first thing that comes along, turn it into a song and if I don't end up liking it when it's done; Oh well... There's always another song to be written. The bones of the whole thing usually form quickly and I usually start recording the basic tracks as soon as I can. I am kind of obsessive once I get excited about a song.
Other times, a lyrical phrase and melody will just pop into my head and I find the chords to fit it. As far as the lyrics go, sometimes I think of a character or scenario but the lyrics are rarely totally autobiographical. The most autobiographical song on the record is "That Cinnamon One.” It sounds like a love song (and it is in a way) but it's actually about my dog Lucy.
Q: What are some of the themes that are touched upon your release Free Shade Easy Light?
A: Relationship conflicts, confusion, optimism, dreams, summertime, puppy love.
Q: Have you started playing shows now that the pandemic is almost over?
A: No, I haven't played any shows yet but I would like to soon. I need to get a live band together first. I'm excited about that.
Q: What else should we know about Silver Lining Sweat and your music?
A: I try to balance positivity and cynicism. When I write a song, I never know which way it will go. Ultimately, I have a pop sensibility that shows up either way, I think.
A: Relationship conflicts, confusion, optimism, dreams, summertime, puppy love.
Q: Have you started playing shows now that the pandemic is almost over?
A: No, I haven't played any shows yet but I would like to soon. I need to get a live band together first. I'm excited about that.
Q: What else should we know about Silver Lining Sweat and your music?
A: I try to balance positivity and cynicism. When I write a song, I never know which way it will go. Ultimately, I have a pop sensibility that shows up either way, I think.