What’s the story behind your latest song/album?
Well, “The Distortion Years” is obviously a very weighty and grandiose title. Its meaning can range from the stupidly simple to the nauseatingly—I don’t want to say “pretentious.” It gets thrown around a lot. But Monsieur Herr is an inherently pretentious and self-indulgent project. Anyway, this album, “The Distortion Years,” sort of continues in a similar sonic vein to my last one, “Everything’s Great,” which might be an even crazier record than this one. I’m always writing and making records—you can probably tell a lot of things by the fact that I say “records” instead of “albums”—but I’m also trying to do something new and interesting each time. I like to think “The Distortion Years” is, if nothing else, undeniably interesting.

How has your creative process evolved over the years?
It’s kind of stayed relatively the same, more or less. I’ve just gotten a little better at doing it each time. I like David Thomas of Pere Ubu’s analogy of comparing his band to a cup, where each album is a new vantage point, a new angle on the cup. It’s less evolution and more highlighting different aspects of the cup that were already there to begin with. I feel the same way about Monsieur Herr. I don’t know, necessarily, how much I myself have changed. My material circumstances have changed, my interests have changed, but I don’t know if I’ve really fundamentally changed. I think Frank Zappa would call it “conceptual continuity.” That’s about the gist of it.

Is there a specific moment in your career that felt like a turning point?
Not so much a turning point, but recently my musical comrades and I in our band Basal Metabolism played our live debut at a small punk record store in San Diego. It was myself, my friend Max Major, who has his own project called Zhir Vengersky, and our mutual compadre Matt Molaro. Matt and I plus our other mutual friend Evan Pincus are also in a band called The Chris Isaak Show—no relation—that plays really stupid and fucked up covers of beloved tunes. Our first show had renditions of Dion’s “The Wanderer” and ? and the Mysterians’ “96 Tears” that counts down from 96. We have lots of other really terrible ideas we’re considering for next time, and there will be a next time. Again, I wouldn’t call it a turning point, per se, but it’s fun to do.

What’s one misconception people have about being a musician?
Songwriters are all liars and music is ontologically evil. It’s not at all a respectable profession. We’re all horrible, horrible, deeply unwell people. Oh, sorry, you said “misconception” and I answered with something everybody already knows. I can’t read.

Who or what has been inspiring your music lately?
Recently it’s been things like the aforementioned Pere Ubu—obviously numerous other things, too—plus a lot of Japanese electropop in the vein of Yellow Magic Orchestra, a beloved band of mine, and especially P-Model. You know, a lot of people know Susumu Hirasawa, and a lot of people know P-Model, but it’s so strange to me that the first three or so P-Model records, when they were a willfully annoying new wave band—In a Model Room, Landsale, and Potpourri—aren’t especially well-known or regarded by a lot of people who are really into Hirasawa. It’s very unlike his later and more well-known work, I suppose, but it’s pretty seminal and important stuff in the Weirdo Music circles I run in. They’re great records. It’s in the same vein as things like XTC’s first two albums and Bill Nelson’s Red Noise, all of which I also love. Maybe I just like “bad” music.

[bandcamp width=100% height=120 album=3616175419 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small]

Can you share a memorable or unexpected moment from a live performance?
Basal Metabolism does a Zhir Vengersky song called “Multiplied by One,” which is about, quote, “multiplication and carcinization.” The evolutionary tendency to converge into a crab-like shape. It went over extremely well, and it’s one of my favorite songs to do live. All of the songs on Zhir’s album “Farewell, My Lovely,” which that song is on, have parenthetical titles, and you’ll notice this one’s is “Red Brontosaurus,” the name of the very record store at which we played our live debut. Kooooky!

How do you handle creative blocks or self-doubt?
Not well. I’m constantly riddled with both.

If you could collaborate with any artist, living or dead, who would it be and why?
Well, I like all my friends. Our collaborations are mutually beneficial and highly fruitful. Aside from that, I have a lot of respect for Paul D. Millar of Slugbug, who has overseen some of the best-sounding records of this century. He says obsequiously.

What’s a piece of advice you wish you had received earlier in your career?
“It’s not worth it.”

What’s next for you—any exciting projects or goals on the horizon?
Well, I can already feel the creep of stagnation with Monsieur Herr. It might need a bit of time to fully recharge. But there are certainly more Basal Metabolism shows on the horizon. The Chris Isaak Show is being renewed for at least another season. I have a novel I’ve been chipping away at for the past five or six years. As Chris Stamey says, “anything is possible.”

INSTAGRAM: Instagram Facebook

What’s the story behind your latest song/album?
We were a bit shocked at the pace that top flight musicians were starting to cancel really big stadium tours earlier this year and they were giving out all sorts of different reasons – but it was clear what was happening, they just couldn’t sell enough tickets. Why ? Because after COVID, we were all desperate to go out and see our favourite artists and had the money to spend on expensive tickets. But things have changed. We’ve seen the biggest ticket agencies fleecing us unfairly with dynamic pricing and economically, times are hard. We don’t have the same money to spend on tickets. We’ll never stop loving the music but a lot of us will miss the big gigs and go to pubs, clubs and bars to see our great local bands instead !

How has your creative process evolved over the years?
Writing a great song, especially the perfect pop song, is really hard ! When we were teenagers, we didn’t really think about writing “hooks” and how to bring your listeners on a journey with you. Trying to be good at anything takes thousands of hours and you just have to put all that work in – it’s hard and frustrating but that creative process is great when it works and you end up with a song you are proud of and most importantly, people love too !

Is there a specific moment in your career that felt like a turning point?
Yes ! We never felt like our playing was good enough in those first three years but when we got into a recording studio for the first time to make a single, we met our first music producer, Brad, who had worked with Paul Simon and within an hour or two had our music sounding professional and truly great, in a way that it never had before ! We really started to believe in ourselves and what we could do, from that session onwards.

What’s one misconception people have about being a musician?
People think that being in a band is all glamour and being in the spotlight, with an audience cheering and applauding you. That’s the best part and makes it all worthwhile. But they don’t see the grind of travelling around, never having enough money in those early years and worst of all, the endless waiting around. Most of your day, week or month is waiting for a plane, sitting on a bus, waiting to soundcheck, waiting to go on stage – it’s crazy why anyone does it all !

Who or what has been inspiring your music lately?
Every country seems to be going through even tougher times this year and a lot of the world crises seem manufactured or completely avoidable. We think people need music that will help them escape from all this and lift them up, remind them of all the love in the world and how better times are ahead. we need hope and happiness and our next songs hope to take you there.

Can you share a memorable or unexpected moment from a live performance?
Probably our worst moment was when we were playing a club called “Bogarts”, me and the other guitarist Mike, stepped up to the spotlight to play a harmony guitar solo and the lights went out at exactly that moment. We both missed our notes on the fretboard and our playing was so bad and screechy, it sounded like two cats fighting in a sack. We had a good laugh about it afterwards.

How do you handle creative blocks or self-doubt?
Phone a friend. My own biggest frustration is when you’re writing a song that you know could be good but you just can’t find the line or the chorus that will bring it to life. Time and time again, you sit down with a friend, say “I’ve got this piece” and they go “Yeh, how about this ?” and then suddenly the deadlock is broken. It’s exciting and joyful and you both know what you’ve found is “right” instantly. The key message is “Don’t Panic !”

If you could collaborate with any artist, living or dead, who would it be and why?
Peter Gabriel. He is such a creative guy, inquisitive, curious and never afraid to try something new. He has worked with so many other artists in a very generous way and as Kate Bush said several years ago, “he throws open all the windows” and lets fresh ideas flow in. He was very influential and supportive of World Music, going back to the first WOMAD festival in 1982.

What’s a piece of advice you wish you had received earlier in your career?
Music is a craft and a learned skill. As Malcom Gladwell wrote “you have to put your 3,000 hours in, to be good at anything”. Before the Beatles went to Hamburg, they were good local band in Liverpool, nothing particularly out of the ordinary. When they came back, they were ready to conquer the world ! We wish we’d worked harder in those first years – we could have got here quicker.

What’s next for you—any exciting projects or goals on the horizon?
Oh yes. Inspired by the work of Peter Hamilton and “futurist” writing, we’re trying to imagine what our lives will be like in 30 years if we keep on the same path obsessed with our phones and technology. We can get back to what really matters: family, friends, the arts, nature, experiencing this life and what it means. Sounds like material for a new album ! It will definitely be different to Blue Dot Fever. All our music starts off with us asking ourselves a question. What it will sound like comes later !

CONTACTS: INSTAGRAM FACEBOOK

What’s the story behind your latest song/album?
There are moments in life when we all need someone to remind us…
“I’ve been there before.”
My new single, “I’ve Been There Before,” was inspired by a real conversation I had with one of my sons while we were sitting on the front porch one evening. Like so many parents, I’ve watched my children experience heartbreak, financial struggles, disappointment, and uncertainty. In that moment, I realized that sometimes the greatest gift we can give is simply sharing our own experiences and reminding them they don’t have to face life’s storms alone.
This song isn’t just about my family—it’s about all of us.
We’ve all experienced heartache.
We’ve all struggled.
We’ve all wondered if tomorrow would be better than today.
Whether you’re a parent encouraging your child, a son or daughter searching for hope, or someone simply trying to make it through another difficult season, I believe you’ll find a piece of your own story in this song.
If you’ve ever been comforted by someone’s wisdom… if you’ve ever needed someone to say, “I understand because I’ve been there too,” then this song was written for you.

How has your creative process evolved over the years?
When I first started songwriting, all I had was a cheap acoustic electric guitar, a cheap microphone and an old Tascam 4 track cassette recorder. Over the years I have taken numerous songwriting classes and workshops from Nashville Christian Songwriters, Lance Carpenter, Song Refiners, etc. Now I have a full home studio with the best tools and workstations money can buy.

Is there a specific moment in your career that felt like a turning point?
Yes, after the release of my first album, Dirt Road Diaries, I began doing live performances again after 25 years of being in the shadows. After my first concert, so many people came up and talked to me afterward and told me how good that was or you are very talented. It was just enough to give me the self-confidence I needed to continue to do what I do. Since that first concert and album, I have sold over 6500 CDs, had over 16,000 Spotify streams, featured in over three dozen magazines and have completed a handful of interviews across the globe. I’ve also been given the title by reviewers of my music as “The New Sound Of Country” for my unique traditional country conversational storytelling. While I’m nowhere near “There” yet, it certainly is a nice start and now I know there are fans out there who are hungry for that type of music.

What’s one misconception people have about being a musician?
I can give you the top five I hear all the time!

Myth 1: You have to be famous to be legitimate.
Recognition is not the measure of artistic worth. There are brilliant musicians performing in cafés and on the street, teaching in classrooms, or composing at home who move hearts every day without millions of streams. You are a musician the moment you commit to the craft, not the moment the world gives you permission.

Myth 2: You need a record deal to have a real career.
The music industry has shifted. What once required gatekeepers now often comes down to community, consistency, and creative independence. A record deal can be a tool, but it is not the only path. Some of the most fulfilled artists have carved their own way and found success on their terms.

Myth 3: You have to stick to one genre.
Some of the most compelling work happens at the intersection of styles—like jazz vocalists with gospel roots or classical musicians who write indie-folk. Your voice is your signature, and the more you explore, the more authentic it becomes. You don’t have to “pick a lane”; you just have to stay true to yourself. I love country, I love rock, I love pop and I love Christian music. You can hear all of those styles in my music.

Myth 4: You have to feel confident all the time.
Every artist battles doubt. I know I have many times! Confidence isn’t a prerequisite—it is something that gets built over time, especially in the right environment.

Myth 5: You must be “born with talent” to be a good musician.
In reality, skill comes from consistent practice, not innate genius. Many people assume that musical ability is purely genetic, which can discourage aspiring players from starting. The truth is that time and dedication trump talent. Whether you have been playing for minutes or decades, improvement comes from regular, focused practice and the willingness to put in the hours to refine your technique.

Who or what has been inspiring your music lately?
Luke Combs, Luke Bryan, and Morgan Wallen. These guys have that vocal grit, as well as that emotional, raw music feel. They put their hearts and souls into their songs and you can feel it when they sing.

Can you share a memorable or unexpected moment from a live performance?
After one of my concerts, a young little girl, who kept waving at me from the grandstand while I was singing, just came running up to me and gave me the biggest hug. She couldn’t have been no older than 6 or 7 and while I was singing, I could tell she was excited as she was just hopping, dancing and waving to me during every song. After the show when I was doing a meet and greet with everyone, is when she came and just hugged me. Her mom was with her there and said that she had gotten real sick and had been in the hospital. Her mom said that about the time that I released my song, “God is Good” she just felt a connection with it so she began playing by her daughter’s bedside every day. three days later she said the illness was gone and she had her little girl back. When her daughter and her were talking she told her that she played my song for her every day and prayed for her. She told her mom that she wanted to meet me because I was the angel that God sent to her. Her mom said ok and brought her to one of my shows. That is definitely one memory I will never forget and what a humbling experience.

How do you handle creative blocks or self-doubt?
I no longer have self-doubt; I beat that demon a long time ago. However, I do experience creative blocks all the time. If I get to the spot where I can’t get the words to a song I’m writing just right or I can’t figure out a chord progression for a song I’ve wrote, I will simply just walk away and leave it alone for a few days and then come back to it.

If you could collaborate with any artist, living or dead, who would it be and why?
If I had to pick just one, I would pick Conway Twitty who was once titled “A songs best friend.” I loved his intimate vocal style. What I mean by that is the way he would be singing and then shift to softly spoken words while pouring all his emotions and heart into the song. Over the years, I have been influenced by so many artists. For example, during my time in WV, I was emersed in country and Christian music. Artists like Conway Twitty, George Strait, George Jones, Hank Williams Jr, Oak Ridge Boys, Statler Brothers, Alabama, Kenny Rodgers, Ronnie Milsap, Steve Warnier, Earl Thomas Conley, Keith Whitley, Dan Seals, The Judds and Randy Travis were who influenced me at this time in my life. In 1986 my mom, baby sister and I moved to Georgia and for the first time in my life, I was exposed to Bon Jovi, Def Leopard, Motley Crue, Guns and Roses, Bryan Adams, Poison, Lynyrd Skynyrd, Firehouse, etc and they influenced me during the mid-80s into early 90s. Then in the 90s came Boyz II Men, Backstreet boys, Collin Raye, and all those 90s great country singers. So having been a part of all that music influence, I try to portray that in every song I write and record. I try to put my heart and emotions into like Conway would on every song. I try to tell the story like Randy Travis or George Strait would and I try to put raw grit into it like Luke Combs or Morgan Wallen would.

What I mean is that is they all poured their souls into their music and made iconic songs. That type of storytelling, as well as heartfelt and emotional vocals is what I try to duplicate with every song I write and record. For example, think about the emotions in the following songs. 1. “I Will Always Love You”-Whitney Houston 2. “Hello Darlin”-Conway Twitty 3. “Always”-Bon Jovi 4. “He Stopped Loving Her Today”-George Jones 5. “Lady”-Kenny Rodgers 6. “You Look So Good in Love”-George Strait My goal, hope and prayer for every song I sing and write is to make people feel about my song, the way they still feel about these iconic songs nearly 45 years later.

What’s a piece of advice you wish you had received earlier in your career?
Writing more songs, more often than attempting to write the perfect song is more valuable. In other words, instead of spending months trying to perfect one song, write every day for an hour or two and your songwriting will get better each day. Take classes and workshops, always try to better yourself. Remember time and dedication will develop your skills.

What’s next for you—any exciting projects or goals on the horizon?
After my release of “Dirt Road Diaries” in October 2025, I seen first-hand how hard it is to get radio stations to play music for independent, unsigned artists. After meeting 100s of other independent artists and listening to their stories and the trouble they’ve had with other radio stations and with similar problems as me, I decided to do what I always do, fix the problem. So, I decided to start and launch my own Media Network called “Coalfield Country Media Network LLC” I picked the name Coalfield Country, because West Virginia is known for its coal production. CCMN will include a radio station that will only play independent artists, a magazine to showcase and help those artists develop a fanbase, a record label “Coalfield Records”, a music festival that will showcase different independent artists 3 x a year, a live show that I will invite artists to come to my studio, interview them and perform for the live show.

Also in October, I will release my third album “Chapters of My Heart.” I’m really excited about that album as I believe it is some of my best songwriting yet. Every song on there was a chapter out of my life or chapter of my heart, that I have lived personally. With this album you will see more Conway Twitty, Doug Stone and Bonjovi type vocals. I really tried to recreate that late 1980s and early 1990 sound. You will also see the launch of Coalfield Country Media Network on September 1st, 2026. I’m about 90% done in getting everything ready. Its been really tough getting all the pieces together and launched, as well as keeping up with the other two business I own, keeping music coming and promoting it and working a full-time job that keeps me busy 6 days a week 10 to 12 hrs. a day. My day starts at 2am and ends around 8pm every night.

CONTACTS: INSTAGRAM FACEBOOK

What’s the story behind your latest song/album?
It is a human and A.I. collaboration.

How has your creative process evolved over the years?
I really feel like a machine set to work when I do music.

Is there a specific moment in your career that felt like a turning point?
When I had completed this one (Golden field) This is a latest D.A.W.Digital audio workstation version which I did with my MacBook Pro , Nectar Impact LX+ keyboard. Electronic golden field.
editor please add the links https://youtu.be/uhtubVV_kP8?si=WocnxmfxDaVnZcEa https://youtu.be/X3SCZNEJDsE?si=gjjbFr-biaMcLFGv

What’s one misconception people have about being a musician?
That it is about having fun, it’s more about hard work , pain and smiles.

Who or what has been inspiring your music lately?
James Hettfield, Alissa White Gluz and Dave Mustaine.

Can you share a memorable or unexpected moment from a live performance?
Well it was crazy little show with crummy speakers, it was… , it really sucked. But I would do it again anyway.

How do you handle creative blocks or self-doubt?
I could pull off a show with crowd audience without a fear.

If you could collaborate with any artist, living or dead, who would it be and why?
Dave Mustaine, James or Charlotte De Witte, I guess the last one would make most sense, I would play my keyboard , not DJ or mix.

What’s a piece of advice you wish you had received earlier in your career?
Buy a car, so you can do gigs, I still don’t have a car.

What’s next for you—any exciting projects or goals on the horizon?
More than once I have had it said to me “Do rap”. But then again I haven’t worked on song with my native language Finnish in a long time, that is also to consider.

What’s the story behind your latest song/album?
The concept of ‘The Sprint to Sleep’ actually comes from a moment a couple of years ago with one of my mates. It was on an evening where a few of us had gone to the cinema to see the new James Bond film. After all the trailers and the movie having a longer run time than we expected, we didn’t get out of the cinemas until close to midnight. This friend of mine is pretty stringent with getting to bed early so this routine was already in grave danger. Upon getting in the car to get home, he proceeded to run multiple sets of red lights and reach stupidly dangerous speeds in the pursuit of getting to bed. From reports of those in the car, he was doing his best James Bond impression on this drive home; all in the name of getting a good night’s sleep. The image stuck with me; the unbelievable irony behind ‘sprinting’ to something so peaceful as sleep. It became pervasive in my life and I began to consistently, and maybe wrongly, see it in the lives of others. Particularly in a city lifestyle, there is often a zeal for franticness. It can devastate our appreciation of connection and blind us to our complete adherence to efficiency.

How has your creative process evolved over the years?
I used to religiously work on my own with projects, believing that solitude would bring out my most honest creative thoughts. The biggest change I’ve made over the years is finding the joy in collaboration. It was there in small moments in previous years but embracing it in the last couple of years, I’ve had some of the most intensely beautiful times of my life. The first one that comes to mind is the filming of our first Official Music Video for my single ‘Parachute’. We filmed the whole clip in 1 day all around the area where I grew up in the Hunter Valley and working with the actors and camera crew (most of which were people I had known since I was a kid) to create this mini-movie was a day I’ll always remember.

Is there a specific moment in your career that felt like a turning point?
The writing, producing and releasing process was hugely enjoyable but it all felt real on the night of our first live show at the Botany View Hotel in Sydney. That night was one I felt like had been coming for years and years and was an evening I felt the rarest sense of connection to those present. Being in front of people for the first time to perform songs that I wrote and created mostly in the quiet of my bedroom was undoubtedly a turning point for my life in music.

What’s one misconception people have about being a musician?
This is a misconception I had myself until recently but the proportion of time spent actually writing and playing music is much lower than people realise. I’ve found in the past 12 months since releasing my debut single ‘Parachute’ that much more of my time than I expected is spent organising and planning, rather than creating and performing. I’m hoping to reverse that proportion that in the next 12 months as those quiet moments of creativity are what brings me more joy and purpose than just about anything.

Who or what has been inspiring your music lately?
I always have my soft spots on in the background like The Paper Kites, The Japanese House and The 1975. Someone whose music I’ve connected with a lot recently is Henry Jamison. He is Indie Folk at its best. He clearly cares about his lyrics and his tracks take unexpected turns. His new album ‘Big Flower Light Go Boom’ is a special collection of tunes and will definitely be in my top albums of 2026.

Can you share a memorable or unexpected moment from a live performance?
I’d had the thought cross my mind over the years of what it would feel like to have lyrics that you’d written to be sung back at you by an audience. We performed our most recent show in Maitland, the town where I grew up, and in the last song of the set I had my first taste of that experience which both unexpected and unbelievably warming.

How do you handle creative blocks or self-doubt?
Change is an instigator for creativity. When writer’s block comes, I know I need to change something about my creative process; the location I’m in, the instrument I’m playing, the type of material I’m using to get my thoughts down. Even changing contextual factors such as spending time with different people or going to a place I haven’t been before can trigger a mental process my mind thought to go to.

If you could collaborate with any artist, living or dead, who would it be and why?
I think because I’ve watched his sound develop over 20 years from a purely acoustic, almost sad lover boy, to a producer of creative and complex soundscapes, it would have to be Justin Vernon a.k.a Bon Iver. I’d also love to spend some time with him because, in the most complimentary way, he seems like just a normal guy. He is a musical mastermind but also appears approachable and humble from what I’ve seen in his speaking manner and the way he details his thought processes in interviews.

What’s a piece of advice you wish you had received earlier in your career?
It’s a piece of advice most kids are taught but the ‘keep it simple’ principle seems to become more and more relevant to me. So often I’ll convince myself that complexity is the answer to making ‘good’ music but the evidence continues to pile up against me. The greatest musical moments are often made from a chord progression or a rhythm that a beginner musician could play. The execution of a beautifully-constructed, but simple melody is what powers much of our connection to music.

What’s next for you—any exciting projects or goals on the horizon?
I’m really looking forward to the release of the Live Music Video for ‘Call’ and the Official Music Video for ‘Collateral’, both of which will be out before the end of June.
The creation of a full-length album continues to tantalisingly sit in the back of my mind. After the release of ‘The Sprint to Sleep’ and our album launch in Sydney, I want to take the next 6-12 months to completely indulge in writing and producing. We will see what comes out of this process; part of me loves the uncertainty of it. Hopefully it’s a collection of tracks I will release as my debut full-length album in 2027..

CONTACTS: Instagram • Facebook

What’s the story behind your latest song/album?
The story is pretty simple, it’s about not losing hope in anything, when you know that quitting is the easiest thing to do. A shared human emotion.

How has your creative process evolved over the years?
Honestly, just always trying to stay humble to the sounds and letting them dictate where I should be taking them.

Is there a specific moment in your career that felt like a turning point?
Right now.

What’s one misconception people have about being a musician?
That if you’re able to play an instrument or write a song, it’s gonna be easy.

Who or what has been inspiring your music lately?
Life, everything.

Can you share a memorable or unexpected moment from a live performance?
Yeah one time I broke several strings on my guitar and didn’t have a backup. Unfortunately, this happened on the first song, probably in the first minute or so. I played the rest of the song on the lower strings, which sounded like absolute shit. Thankfully, the band we were opening for let me use their guitar for the rest of the set. That sucked.

How do you handle creative blocks or self-doubt?
I don’t experience creative blocks per se, but self doubt comes in all the time. This is why I wrote “Losing Faith In Everything And Emptied On I-10”.

If you could collaborate with any artist, living or dead, who would it be and why?
Prince because I wanna learn and absorb everything from him.

What’s a piece of advice you wish you had received earlier in your career?
Someone telling me that the music industry is not the cool community, where everyones supporting one another, that it seems to give off.

What’s next for you—any exciting projects or goals on the horizon?
More bangers around the corner!

CONTACT: Instagram • Facebook