Blunt Blade’s second album Forgiveness weaves progressive rock, orchestral drama, and electronic textures into a powerful emotional journey—blending genre-defiance with deeply personal storytelling and sonic ambition.
1. Your
second album Forgiveness blends progressive rock, orchestral elements,
electronic textures, and more. What was the driving vision behind this eclectic
fusion of genres?
I think similar to a number of songwriters, I tend to write in an amalgam of the styles of some of the greatest musical influences I've had. For me I've always felt that some of the most interesting music blends styles to an output of something more unique and original. My hope is that this album provides the listener with a similar experience.
2. The songs on this album explore themes of tragedy, with some offering
morals and others ambiguity. How do you approach storytelling in your
songwriting process?
It’s a very curious series of events that I don’t fully understand myself. The lyrics are the last part of the song that I write, and I try to craft them in a way that fits the mood of the song. Some of the songs, such as Justified, became a moral or a tragedy just as I was writing them. Others, such as Esperanza, were more of a planned effort. Ater the music and vocal lines were written for the song, I had an idea to create a story with actual characters. You could say the music almost always inspires the lyrics or story for me, and not the other way around.
3. The title track spans over ten minutes and evolves into an epic journey.
What inspired you to create such a long-form piece, and how did you structure
its emotional arc?
I’m a huge prog rock fan. I’ve loved bands from Yes to Rush to Dream Theater to Tool to Frank Zappa. I’ve always had such respect for their musicianship, but also the ability they have to craft such amazing music. The title track is a bit of an homage to my love and respect for that genre. Structuring it was a bit wild. I had to take it in sections and then work on the transitions between sections to insure there was reasonable cohesion. I then had to create similar musical themes within each section that mirrored those in other sections of the song. Then I wanted most of the sections to build and release, while having the final section provide a bit of extra fire for the final climax. I wanted the song to be not just moody, dark, and complicated, but also very dramatic.
4. Forgiveness was mixed and mastered at the iconic Abbey Road Studios. What
was it like collaborating with Gordon Davidson and Alex Wharton, and how did it
shape the final sound?
I can’t say enough about how amazing it was to work with both Gordon and Alex. They were incredibly insightful, offering suggestions and helpful tips at every turn. And when I asked for some late-stage changes to a few songs they quickly made it happen. They listened closely, understood my vision, and worked with me to make it happen. I couldn’t be happier and more appreciative to have had the time with them.
5. Your musical upbringing spans piano, guitar, bass, and drums — all before
adulthood. How has being a multi-instrumentalist impacted your approach to
composing and arranging music?
I reflect on this quite a bit. When your mom makes you take piano lessons when you’re in grade school you really lack any type of perspective as to what they could mean later in life. Even if someone told me at that age what it could mean, my ability to perceive the future with that type of long-term vision is just not there. But in the absence of that very foundation, I would not have been positioned to write the way I write. From the side of multiple instruments, I’ve never been around an instrument that I didn’t want to at least try to play and create something with. I love making as many different noises and sonically diverse sounds I can. I think that’s led me to want to create music with a wide range of instrumentation.
6. You’ve mentioned influences from Frank Zappa to Tame Impala to Dream
Theater. How do these contrasting styles find their way into your sound without
overwhelming it?
I think it’s a result of the desire to be creative and original while showing respect for the me provide things like inspiration but you have to make your creations your own. You try to blend those influences with your own experiences, tragedies, and joys. The result is then hopefully something that another writer will hear and be inspired to create their music. And balancing all of that is somewhat of a challenge, but when it’s all completed the desire is to have a cohesive piece that can be ingested by the listener that leaves them feeling fulfilled as opposed to giving them indigestion.
7. Many reviewers describe your music as genre-defying and deeply layered.
Do you feel any pressure to define your sound for listeners or the industry, or
do you embrace the ambiguity?
I would say a little bit of both. I do struggle with attempting to define the genre in which I fit, typically ending up just picking a few that don’t really seem to feel right. But I also like that I’m somewhere in relative obscurity as well. Some of my favorite bands and artists didn’t really fit into a mold when they first released their music either
8. Your baritone voice adds a unique dimension to your music. How do you
work your vocal tone and range into the emotional weight of your songs?
I’d like to think my lower voice adds a bit of an even darker dimension to the music, although perhaps that more for the listener to determine.
9. The name Blunt Blade itself suggests a paradox — something soft and
sharp, ineffective yet dangerous. What does that name represent to you
artistically or personally?
I’ve often loved paradoxical language or sayings, and little literary devices such as alliteration are just fun. I used both when choosing the name. I also like that the name is ambiguous and can be interpreted in a number of ways. It can be very literal. It can mean direct with an implied danger. It can mean something that is initially perceived as a threat but upon closer inspection is mostly harmless.
10. Your first band was called Chainsaw Vendetta (originally Chainsaw
Vasectomy!). How do you reflect on those early days, and what do you carry
forward from that experience into Blunt Blade?
I think for many of us who were in bands when we were in high school, my first taste of it was like a first experience with what will become an addiction, albeit a healthy one. The long-standing desire to both perform and create music began with those early practices and performances.
11. With such a deep and introspective album as Forgiveness, how do you hope
listeners connect with the material? Is there a particular message you’d like
them to walk away with?
My biggest hope is for listeners to be able to connect in some way to this album. Some may connect more with the music and others the lyrics. I want them to feel the music as if it’s a part of themselves. To be a little curious, a little unnerved, but ultimately feel emotionally satisfied.
12. What’s next for Blunt Blade — will you be performing live more,
releasing new material, or exploring even more experimental musical directions?
I will for
sure be continuing to write and record. I love to explore various musical
directions and a lot of what makes writing so enjoyable is the discovery and
development of something new. My next performance is slated for Elmaro Vinyard
in Trempeleau, WI on August 24. We’ll see what the future holds
thereafter.
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