Released today! Do you like to relax? Then maybe a soundscape designed to help you relax is the right thing for you before bed!
Patrick Neely is a multi-instrumentalist out of New Jersey who writes music in a variety of genres. He loves to layer sounds together in magnificent harmony. He was the songwriter for That Robot Ash and was the rhythm guitarist for The Infinite Vacation. Patrick has various projects, a solo singer-songwriter project, and an instrumental-soundscape project.
First off, tell us about your musical past, would you tell us about your early years?
I grew up in a music-rich environment, thankfully. My father would always have vinyls spinning in the house. Eric Clapton’s “Crossroads” was a frequent player. Once I was old enough (three years old apparently), my parents took the plunge and had me take piano lessons. I was positively in love with music from that point on. I picked up my first guitar in the fifth grade. My dad saw that I enjoyed writing music and gave me a copy of Cakewalk, where I was able to craft classical music. I never looked back.
How would you describe your sound?
I think the main thing with me is I am very eclectic and a sponge for my musical influences. One moment you can hear me laying down blues-rock, but in another vein, as with my upcoming EP “The Essence of Time” I get positively into mood-setting and ambient music. It depends on the angle I am going for on that day. My old band, That Robot Ash, shows an array of different styles as well. The main overlay may have been grunge, but I channel some Sonic Youth in “M.P.C.” I love all music, as I feel like they have much to offer their listeners, and while I may not be able to reach all listeners, I want to have something for everyone.
Which artists have the biggest influence on your sound?
That is so hard to say. I take inspiration from so many songwriters, so I will try to focus on those that come to mind at the moment.
For my current EP “The Essence of Time,” my biggest influence would probably be Bill Vencil (Chords of Orion). His ambient guitar work is positively inspiring at times.
Sonic Youth is also a major influence on me. Most people wouldn’t constitute them as ambient, but if you really listen, there is so much sonic amazingness going on in their music. That atmosphere is intoxicating to me. This ambient album may not be as in the same vein, but I always wanted to create a giant atmosphere for people to get lost in.
Probably Led Zeppelin. I loved the fact that they could literally create any kind of song, and it was amazing. I try to take that approach with my music and not get pidgeon-holed into one genre. I feel like I like way too many genres just to stay stuck in one.
What’s the last song you listened to?
“Jealous Guy” by John Lennon. I fell in love with his solo stuff from a very young age. I had a friend whose dad was all about The Beatles and their solo work after they broke up. He used to have Lennon’s stuff playing all the time. His way of layering sounds was something special. Truly inspiring.
What’s your source for hearing new music?
I like to use Spotify playlists and Instagram to find new bands I haven’t heard of before. My girlfriend loves pop, so I am exposed to the Top 40 quite frequently.
Who is your dream producer?
This may come out of left field, but Butch Vig. Between Nirvana’s “Nevermind” and all of Garbage’s incredible albums, I can’t imagine what the 90s would have been like without his presence. I would love to craft a driving rock album with him producing it.
If you could collaborate with anyone, who would it be?
Thurston Moore. Just to be able to see how he goes about creating those sonic waves of glory. There is no one in the world like him.
What led you to music, and what motivates you to keep making it?
I think the fact that I was surrounded by music at such a young age and inspired to take the craft seriously from a very formative year definitely led me down the path. However, it was in my early teens when I started crafting instrumental music that I truly felt a calling. To me, instrumental music goes beyond anything vocal music can ever hope to achieve. You are able to really build an atmosphere to the music, sharing an entire mood you are in, and finding the right lead instrument that is the focal point of your soul. You can speak more to people about an overarching feeling, without having to use words, which really are inadequate at times.
Tell us about the songwriting process. How does it all come together?
It depends on the genre, but I usually try to come up with either the main accompaniment or write the hook and find accompaniment that will fit the hook. If I write the accompaniment, it is usually a fairly linear process. If I go about it with the hook first, it can be a meandering process. You can often find counter-melodies in my music, my lead guitar work will play off of the vocals, for instance.
How do you connect with your audience? What is the easiest way for them to connect with you?
I am most active on Instagram. I always answer my DM’s. Also follow him on Spotify.
You have new music coming out. Tell us more about it. What will it be about? What style are you going for?
“The Essence of Time” was meant to be a mood piece. A snapshot of a day. It opens with “The Sun’s Triumphant Return,” in which the Sun returns in all of her glory to spread light over the land, bringing the morning. The emotional ebbs and flows of the day, the calm of the afternoon, the fear of darkness, and hope that the moonlight will be enough to see in “The Stillness of Midnight.” It’s a big loop. You could, perceivably, start anywhere and return to the same point. Though I like it best from morning until midnight.
Where was the music recorded? You have other musicians on the recording or was it all solo?
I recorded everything in my personal studio in my home. It was all done solo. Every note is a baring of my inner thoughts.
You have an ambient EP coming out. Tell us a bit about that. What’s your goal with it?
It is a genre, I feel like people are hesitant to delve in. I get it; many ambient composers go on thirteen-minute opuses. My main goal with this EP was to craft something both heartfelt and emotional while adhering to a strict time limit. The longest track, and my favorite, “Children at Play,” it clocks at 5 minutes flat. The piece had a lot to say, so I needed it to be longer.
You have an artist creating album art. Did you give the artist direction, or did you giventhem a concept and let them run with it?
My friend Conor Estler (instagram: veiledsovereign) crafted a piece of art depicting a person (gender is ambiguous) basking in the glory of the sun’s return. With ambient music, it is about setting the mood. I wanted people to listen to the first track and feel what they were seeing — a perfect blend of the visual and aural.
With my non-instrumental projects, I have a picture of myself taken. I feel like people want to connect with the artist more, and so it requires a more personal touch. You have to look at some things from a marketing perspective.
What’s next for you?
I am currently stripping the sound down completely for an acoustic EP, and have a couple of Pop/Rock songs on the horizon as well. I have a song called “Satisfy You” that is nearly complete. I will likely release that single in January, and the acoustic EP will likely follow sometime in February.
Anything else you’d like to add or let us know about?
Music is personal. With every song, I hope to set a mood for my listeners. I want them to be uplifted, as I wrote in “Shine On,” but I also want them to feel the emotional roller coaster when they need to be cathartic and let it out.
“The Essence of Time” will be out December 13th. I will have early access to the first track the week prior.
