In the world of Nathaniel Paul, music is not just a passion; it’s a way of life. Join us as we delve into his unique songwriting process, the influence of his classical guitar background, and his relentless pursuit of creativity in both solo and band projects.
INTRODUCING
What time did you wake up today? Was it out of choice or necessity?
I am up at 6 AM. Out of necessity – well at least I feel that way. We had a gig and had to be at soundcheck at 1:30. So my normal day of show routine runs like this: 6 a.m. wake-up, 6:30 piano practice, 7:30 guitar and voice practice, 8 a.m. coffee, 8:30 gym, 11 cleanup, noon ready for soundcheck. Wrapping the show and leaving around 1-2 AM. Then some rest. I am pretty regimented with my daily routine….
Who are you and what do you “do”?
I am a full-time musician, film director, songwriter, and film and music producer. I like to stay busy.
Describe your music to someone who has yet to hear it…
My music can be a bit wild – but also has something that can bring you back to give it another listen. I tend to favour storytelling and lots of music changes. Then I like to strip it all back and present really raw acoustic tracks that expose a little more of my storytelling, voice, and what I do live.
Out of your own tracks, which is your current favourite and why?
I really like the acoustic duo of “The World We’re Living In” and “Never”. It’s just a full effort to focus solely on the lyrics and storytelling. I was actually really pleased with the overall sound of the tunes as well. I really wanted to keep it simple.
Your musical background is in classical guitar. How has this influenced the way you approach songwriting and production in your solo work?
Absolutely. When I studied classical guitar it was a brutal focus on refining my guitar skills. The Segovia Method is a notoriously difficult teaching method. I can still remember being called out in front of my peers because I missed a passage on the guitar. But ultimately it made me a better player – not the best in the class haha – but better. I also realised that I didn’t want to play classical guitar for a living and a trip to Miami solidified those feelings after watching a few tremendous flamenco guitar players. I wanted to focus solely on songwriting and production. So I gained the knowledge that I felt would help me in composition and performance and retired my classical guitar.
Your album “Learning to Listen” received critical acclaim. How do you feel your sophomore album “Turpentine” builds upon your previous work?
I’m going further with everything. I’m not afraid to fail – but I have also pushed myself to do things that make me feel uncomfortable. I think this next record has a real honest vibe to it. I’m working harder at songwriting but also letting go a little more too. It’s an exciting space to be working in. It’s a never-ending process.
SONGWRITING AND RECORDING
Can you walk us through your typical songwriting process? Do you have a specific routine or approach?
I stick fairly close to the same basic daily routine I talked about earlier, but instead of heading to the show at 1, I am in the studio at 1. I’ll try to churn out a full song in about 11 hours – sometimes an acoustic bit or a full band production. There is no exact science to it. Sometimes I start with a lyric or melody, others a bass line or drum beat, or other times I just want something I can sing and play. After that initial 11-hour burst, I will spend one day making edits and revising and then one final day doing overdubs – then it’s off. The key for me is to never get stuck. I just push through.
You’re known for being part of The Bergamot. How do you balance your creative output between your solo work and the band? Do you find that these experiences feed into each other?
I love this question. They absolutely do. I write so much freaking music that I have to have space for the songs that don’t fit The Bergamot vibe. The ‘Nathaniel Paul’ project is completely limitless. Sometimes the songs are kinda shitty – but that’s fun too. I have been writing a poetry blog for about 7 years now and the goal is to never use the backspace. It’s almost like contour drawing – but for lyrics/poems. I take a bit of that into the studio with me. I don’t want to spend too much time saying no – I just want to follow wherever the moment takes me. Sometimes I am blown away and those will be sent to my good friend Matt Wiggins and Jillian will take a listen, and sometimes I am not sure what I think. Sometimes I hate it when it’s done and then on the car ride the next morning I’ll think “Meh, not all that bad” and then I get reinspired. But having the Nathaniel Paul project allows the music to go wherever it goes. Sometimes it ends up fully polished on The Bergamot records or sometimes as an off single with NP. I’m just having fun with making music and there are loads of opportunities these days!
How do you find inspiration for your lyrics and melodies? Are there any specific sources or experiences that influence your songwriting?
Growing up listening to loads of music definitely changed my view on melody. I feel like melody construction is basically osmosis over time. I think one of the bands that influenced me the most melodically was 12 RODS, The Dismemberment Plan, Spoon, and The Flaming Lips. I had a buddy who made great mixtapes and I was listening to a lot when I was forming my musical tastes as a kid. But life just influences everything I write. I really try to pull from personal experiences or stories I have lived through.
Do you often make significant changes to songs during the recording process, or do you try to capture the essence of your original demos as much as possible?
I try to keep everything moving. Like I said, I am not a huge backspace type. My creative process pretty much looks like this: in the beginning anything is possible and you’re really excited. Then you start making choices that limit your possibilities (key signature, BPM, and instruments) and now your excitement is down a bit as possibilities narrow. Then you get to the point where a piece is about 80% done and you are married to an idea at this point – or at least I am. This is where the artistic resistance sets in. I usually want to walk away – I am not excited and there is very few places to turn unless you blow the damn thing up. But I just keep pushing it. Take the song to its home. Now I am just delivering it to its final destination. Now there is very little creatively and just getting things to sound right. RARELY do I blow it up. If I do, I just recreated it and reimagine it, but usually put out what I made as well.
How did the environment of Sedona, AZ, where the album was recorded, impact the overall vibe and sound?
What can I say, Sedona is an incredible place. Beautiful and remote and truly inspiring. All I can say is that when I am there I feel anything is possible and inspiration feels limitless. Can’t put a finger on it, but that place just inspires me.
How do you know when a studio session is completed?
If I am pushing past the 3rd day on a song – it better be fucking worth it. haha Seriously, a session is done when the song is setting well. Sometimes it’s a moving target – but it just feels done. With ‘Never’ and ‘The World We’re Living In’ it was just acoustic guitar and some voices and felt “full”. Sometimes a song doesn’t feel done until I get the bass line just right. But the song will let you know – you just have to be willing to let it go. No regrets.
What unique or unconventional recording techniques have you experimented with in the studio?
I record in a closet full of clothes. A random collection of clothes – like a junk drawer of clothes. I have tried using all sorts of different selections of clothes to baffle sound. Suits, boots, and dress shirts. So sonically I love the compact nature of the space. It feels comfortable – but also urgent. I mean a song that could break through and build a studio would be dope. A closet is not always an inviting spot to work haha. As far as instruments and effects go, I just turn knobs until something happens. I’ll spend a 4-hour session on synths because they can just make a song blossom and expand the music possibilities. But mostly I am just experimenting with what one person can pull off in a song. From the major productions to the stripped-down focused acoustic work. I’m just pushing my limits…
You’ve been involved in both the music and visual aspects of your artistry, evident in the music video for “The World We’re Living In.” How does visual art influence your music, and vice versa?
I just think that the visual elements really heighten the musical experience. My favourite movie as a kid was “Vanilla Sky”. It felt like one giant musical and visual journey. Once I feel the song is complete, I will experiment with the videos. I am always experimenting with video – pure experiments. I am mostly thinking.. is this even possible? If that is my first thought, what ensues might be worth exploring. Resistance is a fairly good barometer.
LIVE MUSIC
How would you describe the energy and atmosphere of your live performances? What do you hope audiences take away from your shows?
The live performances are fun. Always fun. The energy is always high. I spend a lot of time devoted to fitness so I can sustain a high level of live performance. But I am still in the grind of my career. So most of the time we are playing for people who have no clue who we are and we have to at least give them something to remember. I hope people walk away from a show thinking “I feel at least 1% better about life”.
Do you have any pre-show rituals or superstitions that you follow?
Feet up over the state line – always. Most of my pre-show runs the same as the routine I did today haha. The devotion to practice and fitness is a catharsis for all of the stress of live shows and travel. It’s my way of creating equilibrium.
How do you approach incorporating technology or digital tools into your live show?
You have to use tracks. Unless you can support a 4-5 pieces on the road, which is INSANELY difficult right now – the computer is much cheaper to house and feed! I like to run stereo tracks, a click track, and my fave is a solo bass track through a cab or direct to the house so we can get some killer bass in the house. I dream of having a band on the road someday, but it’s hard out here. I mean fucking horrible at times. So technology is helping me to bridge the gap in the meantime. I get to put the shows on stage that I believe in. It’s full whether it’s a solo, duo, or band show. I have the tracks built out quite intricately to accommodate all different setups. It’s a lot of fun.
How do you kill time when you are on the road? Any new hobbies you have picked up along the way?
Well, I was actually a Division I Athlete here in the States. I was a golfer! haha I still love the game. I’m the type of guy who can’t go for a walk without purpose. Golf at least gives me a ball to chase. But most of the time, I like to visit local cafes. I love coffee and it’s a reasonable expense to enjoy on the road. Food can get really pricey quick!
Do you have a favourite venue or a venue that has left a particular impression on you? What makes it special to you?
My all-time favourite is The Morris in South Bend, IN. We finished the filming of “State of the Unity” at that historic location. I’ve seen Bob Dylan there, James Taylor, B.B. King. Being able to play on that stage connected me to some of my musical idols. It’s an overwhelmingly amazing place and very close to my heart. I also love Schubas and Lincoln Hall in Chicago. Those were some of the best out-of-town spots I played at growing up. Hotel Cafe in LA is dope too – a historic listening room.
Is there any song you have grown sick of performing live?
“Forget About Tomorrow” with The Bergamot is a rough one these days. When that song dropped on “Rock Band: Rivals” it ranked it a 5/5 in difficulty for singing. I have to be fully warmed up to sing that song – it kicks my ass sometimes. You can’t be timid to hit the big notes. You just have to steamroll it. I wrote it that way on purpose – but night after night after night – it’s a tough one. Still love the song though haha!
With the release of your new album and the upcoming documentary from The Bergamot, it sounds like you have a busy time ahead. How do you manage your creative energy and stay inspired during such productive periods?
I just keep going. The lack of sleep and articulate focus on anything in particular keeps me inspired. I’m spread thin, but I need that or else I can’t sleep. I have to go all the time. It’s weird. I write some of my favourite tunes when I really don’t want to write. It’s like when I don’t want to write – I elevate my writing to keep me engaged. I’m also super super critical of myself – so I just keep it rolling or else I will get too heady about stuff.
MUSICAL JOURNEY
What was the first record/tape/CD you ever bought?
Whitey Ford Sings the Blues by Everlast and Dookie by Green Day. Had to rip the cover off and fold the jacket so my mom wouldn’t see the parental advisory…
First concert you attended?
Bob Dylan at the University of Notre Dame.
What was the last song that got stuck in your head?
12 RODS – Split Personalities
What was the last show you paid and queued up for?
Foo Fighters and Wrigley Field
What’s the most memorable or bizarre fan encounter you’ve ever had?
Someone asked Jillian and I straight up for a threesome. Didn’t know I was putting out those vibes – we passed on it. Another guy was convinced that my guitar had seen the stratosphere during one of the solos. Last was just a funny quote from a musician who said it looked like “wood chips came flying off the neck” I love that visual.
Are there other artists from your local scene we should know about?
I have some friends of mine who went to the same high school in a group called Francis Luke Accord. We have also opened for The Accidentals and they are really sweet people. Finally, we have some friends we met during a thing we did with Epiphone called Oshima Brothers. All really cool stuff – very eclectic.
As a multi-instrumentalist, is there a specific instrument you’ve always wanted to learn but haven’t had the chance to yet?
ahhh man… probably the violin. Sounds so dope and is the best instrument to ride the subway with in NYC!
OPEN SCENARIOS
If you could record any cover in the world, what would it be?
I would love to learn every single lyric for “We Didn’t Start the Fire” by Billy Joel
If you could have any fictional character as a band member, who would it be and what instrument would they play?
Charles Dickens on Bass (he is real… haha) Fictional? Don Quixote on guitar!
If you could bring any artist back from the dead, but in exchange you would have to send a living artist down, which artists would you choose and why?
This is going to get me in trouble… You have to come ask me this at a live show. I’ll fill you in.
Can you share a sneak peek or hint about any upcoming projects or surprises that we can anticipate?
Well… I think the surprise is coming on Sept. 6th (or very near about) so stay tuned
Our conversation with Nathaniel Paul leaves no doubt that he is a musician who lives and breathes his art. Whether it’s his dynamic songwriting process, his devotion to fitness for live performances, or his unapologetic approach to experimentation, he’s a force to be reckoned with. As we look forward to the release of his sophomore album “Turpentine” and the documentary “State of the Unity” with The Bergamot, it’s evident that Nathaniel’s creative journey is one marked by passion, perseverance, and a fearless pursuit of musical excellence.
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