Interview: Dan Israel talks re-issuing on vinyl and new album 'Seriously'
Interview by: Andy Ellis, Writer @andysmileyjay
Edited by: Paul Thorson, writer/editor @paulyt03
If you like what we are doing, please consider supporting us on Patreon, PayPal, or Venmo.
Dan Israel. Photograph by Stephen Cohen.
Singer-songwriter journeyman Dan Israel has been honing his craft for years. He’s got the physical catalog to show for it. And while he could have gone to Nashville or Los Angeles to pursue having his name in bright lights at the Ryman Auditorium or the Hollywood Bowl, he stayed in the land of First Avenue and the Turf Club.
Gig after gig and song after song he’s established himself as one of the most hardworking and renowned artists to step foot on the Minnesota music scene, and he’s got no intention of slowing down. I had the opportunity to talk to him when he decided to reissue his 2019 release Social Media Anxiety Disorder on vinyl, and in 2022 for the release of his newest record, Seriously.
Luckily for us, he’s a man of many words and insights, and you can read it all below. The conversation has been edited for readability and clarity.
Andy Ellis: “As of this year, you’ve released 17 records, which I would say is a pretty big feat for an independent artist. How have you managed your longevity, especially in an industry that seems not too friendly to independent artists?”
Dan Israel: “I hate to correct you, but I've also released an EP, Late at Night, which came out in early 2021, and another standalone single, ‘The Hang of It,’ in summer 2021. That sounds like bragging, but since I've never really hit the big time, my prolific-ness is definitely something I'm proud of and that does make me stand out a bit in a crowded indie music field out there.
I have managed to do it "with a little help from my friends" (and my family, and sometimes a little government assistance, too). I definitely owe a lot to a lot of people out there who have supported me and encouraged me over the years, along with the amazing musicians I have worked with for my records and live shows - I could never have done this all myself. At the same time, I work hard, and I'm pretty driven - sometimes; so much so that it has had negative impacts on my personal health, and my finances.
It's not easy or cheap to put out that many records, largely on my own dime over the years. But again, at times, with help from supporters - including Joel at Poor L'amour Records, who I'm so grateful to for partnering with me to release Social Media Anxiety Disorder on vinyl. As for longevity, I think part of it is just that this is what I love to do, and it usually doesn't feel like ‘work’ to me to write new songs, create new records, and put them out there - it brings me joy.
Now, would I like some broader success in the wider world and for more people to hear and buy my music? Absolutely! I always want that, but that's never the sole reason for continuing to put out more music for me. It's the satisfaction of creating new music and having people react to that and connect to it that really drives me forward, I think.”
A.E.: “Does it help that you live in a place like Minnesota that isn’t exactly an industry town?”
D.I.: “It helps, and it hurts. Art is encouraged here. Overall, it's a supportive place for creating new music. It would also help if there were more industry connections here and more ways to tap into things like getting one's music placed in film, TV, and commercials: that's one of the few ways left that a singer-songwriter can actually make real money in the industry. I wish there were more connections here to that kind of thing, at least for someone less-known like myself.
So, ultimately, I may have to make more trips to New York Cit, Los Angeles, Nashville, and so on to cultivate the sort of relationships that bring about more opportunities like that for myself, so I can bring in some revenue for my music that way. I DO wish we had more of an infrastructure here for that to help someone like myself make those connections. But it is a great place to live, play music, and have a family. I have two kids, ages 16 and 13, and the schools and general environment are great here for raising kids, so that's a big part of the reason I've stayed here for so long.”
A.E.: “How did you survive during COVID? Are you seeing things get better even though COVID is still around in some capacity?”
D.I.: “It hasn't been easy as a musician. I did a lot of live-streamed shows that first winter of the pandemic and have focused more on writing and recording - but summers have been busy. I've transitioned over to more private shows in people's yards, on blocks, decks, patios, and so on. I do think we're going to get past this wave, and this could be another big summer. I just hope there isn't another bump in the road, as we've already lost so many venues. I don't know how much more this industry can take.
I think I've managed it decently well, but it's been really difficult at times for me and for many others. But I'm always an optimist. I do think we will get past this, and down the road, there will be things we've learned how to do— in terms of adjusting and pivoting—that may serve us well down the road, too.”
A.E.: “What made you want to put Social Media Anxiety Disorder out on vinyl?”
D.I.: “Well, I grew up listening to records in the '70s. We didn't say ‘vinyl’ back then, by the way. They were ‘records.” When I was a kid, that was pretty much the only way you could listen to recorded music other than 8 tracks which I never had. Cassettes didn't really take hold until the '80s and CDs were not prevalent in my world until the late '80s or early '90s. Anyway, sorry for the digression and explanation; I'm a little older, so I wanted to explain!
Anyway, growing up listening to records made me feel that vinyl was a special way of taking in music. And I think I go into writing and recording stuff feeling that music still has this power for me that it had when I listened to records as a kid. So I think, particularly making Social Media Anxiety Disorder, I had this feeling that I wanted to try to make a great record, like the ones that inspired me when I was a kid. And while I had made many records before this one—ones I was and am very proud of—I wanted to make this one special. So I put an extraordinary amount of time and energy and, yes, also money into making the record. And I think it shows in the sound of it and the look of it.
Then early in 2021, I reached out to Joel Almberg, who runs Poor L'amour Records, as he had just put out a great record on vinyl, Skylights, by my friends Rich Mattson and the Northstars. I sent Joel a lot of my stuff, but he was really excited about Social Media Anxiety Disorder, which originally was released on CD and digitally in 2019. He liked a lot of my stuff, and yet I think he heard that this record was special, and that it somehow really belonged on vinyl. So he got back to me, expressing some serious enthusiasm for the idea of partnering with me to put it out on vinyl. And so it began, this project to reissue the record on vinyl.”
A.E.: “Would you have sequenced the album differently if the vinyl would have come out during the original release?”
D.I.: “I'm not sure. Yes, probably. I assume you're referring to the fact (or maybe you're not) that side two on the vinyl starts with the very oddball track; especially for me, "Just Can't Take It Revisited." Had I really thought about it, I might not have made that song be the first song on side two, because it's frankly strange for me, with the ‘rapping’ and so on. And on a CD, that song is simply track six or whatever, so it isn't highlighted as much as making it the first song on side two of the vinyl. But other than that, I really liked the sequencing on both the vinyl and the original CD.”
A.E.: “Were there any changes made to the record?”
D.I.: “You mean in the transition from CD to vinyl? No. Nothing else. But creating the artwork and packaging was like starting from scratch almost. It was a lot of work - especially for designer Jon Hunt. He did an amazing job on both products
Since we had more room for vinyl, we added lyrics and liner notes by the incredible singer-songwriter Peter Himmelman. And we did blue vinyl at the suggestion of my girlfriend Eden, and that looks super cool. So I think even if someone already owned the CD, getting the vinyl is still really special - and I've also had a few people ask me if it was mastered especially for vinyl audio-wise. The answer is YES! Back when I made the CD, I also had mastering engineer Tom Garneau master it especially for vinyl too, which I do now with bigger projects just in case the opportunity arises later to release it on vinyl. So that initial extra investment paid off, because of course we DID end up also releasing it on vinyl!”
A.E.: “When you first heard the vinyl for the first time, was there anything you noticed that you didn’t pick up before in the songs?”
D.I.: “I always hear different things when I hear a record on vinyl for the first time. I hear more richness, particularly in the low end. So the bass sounds more full to me, the drums sound more full, and anything on that end of the audio spectrum just sounds better to me, more like the records I listened to when I was a kid. So absolutely. Other than that, I'm not sure what specifically I heard that I didn't pick up before, but somehow hearing it on vinyl, it all sounds clearer, fuller, and richer.”
A.E.: “What do you think is behind the vinyl resurgence? Is it trying to reclaim the active listening experience that may be a little lost with streaming?”
D.I.: “I think it's something of a counter-reaction to the digitization of everything, the reduction of music and everything else in streaming, to just some "free" thing in the air that feels so disposable while streaming it. So yes, I agree, something has felt lost in recent years with the way we listen to music and vinyl brings it back to being that active listening experience with something tangible to hold in your hands: to look at the album jacket and the lyrics and so on. And to feel the needle striking the vinyl physically, I do think that is a big part of it, that counter-reaction to the disposable nature of music in the digital age, absolutely.
It also just sounds better than a compressed digital file played through a Bluetooth speaker or—worse yet— simply through the tiny speaker on a smartphone. I do listen to music that way too sometimes, but it simply doesn't compare!”
A.E.: “For those who are just coming to the record now, can you talk about the album title and how the songs fit into it?”
D.I.: “The album title is an odd one, that's for sure. I still don't know if it was a great idea to name an album Social Media Anxiety Disorder. But at the same time, it did make it stand out and it did reflect a lot of my feelings about the times we're in and how I react to all of that. Basically, the internet and computers/tech has always made me a bit crazy. When you throw in social media these last 10 or 15 years, I'd say that really has sometimes put me "over the edge" as someone who literally does suffer from some pretty intense anxiety at times anyway.
I don't know if it's really a ‘concept’ album at all, per se. The songs are kind of all over the place in terms of subject matter and style, but there was some desire on our part to create a cohesive and somewhat-thematic listening experience. And there is definitely a thread in the album of trying to keep yourself sane in a world that increasingly feels not-so-sane. But the songs were not written with any particular album title or theme in mind.
One thing I really love is how well designer Jon Hunt executed the ‘K-Tel record’ visual theme with the album cover. If you didn't grow up in the '70s or '80s you might not get the joke, but the album cover was definitely intended to evoke that memory of K-Tel records that were advertised on TV that were collections of recent big hits. So we extended the joke a bit and acted like this album was ‘12 original hits" but all by "Dan Israel’ rather than by numerous different artists, as was the case with the K-Tel record collections of the '70s and '80s!”
A.E.: “You recorded this new record, Seriously, up at Rich Mattson's Sparta Sounds Studio. Is that your first time recording there?”
D.I.: “No. So, I've known Rich Mattson for a while. I met him in the ‘90s when he was a sound guy at the old 400 Bar at Cedar and Riverside. I was up in Minneapolis playing with my band from Austin, Texas. The band was called Potter's Field. We played at the 400 Bar on our little Midwestern tour, I think in 1994. Both Rich and Dave Russ, a good friend who plays drums in my band now and has since 1999, and has also recorded tons of my stuff over the years, were sound people at the 400 Bar.
I met Rich then, though. When I moved back to Minnesota from Austin in late 1995, I ended up getting back in touch with both Dave and Rich and recorded my first album in Minnesota, which was 1997's Before We Met billed then as Dan Israel and the Cultivators with them both. I did seven songs with Rich and four songs with Dave. Rich had a studio then called Flowerpot, and he was really active in the Twin Cities scene then recording lots of bands and playing with his own great band The Glenrustles.
I know this is a long story, but then Rich and I stayed in touch. He formed another great band a few years later called Ol' Yeller, and then eventually moved back up to the Iron Range where he was from originally. Then as I was contemplating where to record my album in 2012, I decided to try to record again with Rich, so the band and I went up there at the end of June and beginning of July 2012 and laid down basic tracks for my album Live On, which came out in 2013.
Since then, I've also recorded much of the following albums there: 2015's Dan; 2018's You're Free; 2021's Social Distance Anxiety Disorder; and now 2022's Seriously. I love recording with Rich, as evidenced by the fact that I've recorded 5 of my last 6 full albums in Sparta. The only one I didn't record with Rich in the last few years is 2019's Social Media Anxiety Disorder.”
A.E.: “Up there you're on the Iron Range. How does it affect the creating and recording process removed from the Twin Cities?”
D.I.: “It's great. I feel free from a lot of the distractions and "noise" that seem ever-present when I'm in the Twin Cities. Being out of the ‘scene’ and the hubbub just kind of allows me to focus more on the creative process and on making great music, not trying to book a gig or hustle or schmooze or worry about any of that stuff.
I think it also has to do with the fact that the Iron Range is where my Mom and her whole side of the family are from. My Great-Grandpa Morris settled in Tower and Ely when he first came over from Europe, and his son Frank (my Mom's Dad, my Grandpa) owned a men's clothing store in Virginia, MN when my Mom was growing up there. My Grandma Dorothy (my Mom's Mom) was a concert pianist who had been a rising star in Chicago but then my Grandpa Frank moved the family back up to northern Minnesota where he was from, and her musical career was then essentially over. Though she did teach piano lessons up there and taught piano to Bob Dylan's brother David Zimmerman. The story goes that she was also supposed to teach Bob Dylan (Bob Zimmerman then), but he didn't want to take piano lessons apparently. That didn't impede his musical progress too much, but who knows? Maybe if he had taken lessons from my Grandma, he would have been better at piano. He’s actually pretty good at piano anyway, to be fair!
Anyway, there is also something to the fact that Bob Dylan is from the Iron Range and I am a huge fan. He's had a big impact on me as a songwriter, so it feels like a good place to be making music. It’s like music belongs there like it's part of the landscape and the essence of that whole area.
But really, what I think many musicians who record up there feel is that Rich and his girlfriend Germaine, who plays with him in Rich Mattson and the Northstars, are just incredibly good hosts and warm, friendly people. They treat the musicians so kindly, and they just create this atmosphere that feels like "rock and roll summer camp.” You go up there and feel really liberated to make the kind of music you want to make with no inhibitions.
Rich has an incredible ear. He's never overbearing but always good for great suggestions, can play any idea that comes into his head on any instrument seemingly but isn't pushy. If you don't want to try one of his ideas, he accepts that too. He has this great balance between being helpful and not being too pushy. All of this contributes to an atmosphere that just makes a person want to be creative and experiment and have fun making music.”
A.E.: “‘Seriously’ caught my ear for a couple of reasons. The beginning seems to expose the struggles of an indie musician trying to get their music heard, and towards the end, I feel you channeling your inner Kurt Cobain with that final yell. What inspired this song?”
D.I.: “You have a good ear. All of that is definitely in there. It's also a commentary on (looks around, gestures around)...well...everything. All the craziness in our society right now: war, disease, strife, January 6th, the madness of social media, and so on. It was just a ‘spilling over’ of a lot of my frustrations with my own personal situation and the world in general into an often pretty angry song - it's cathartic.
And that ending where I scream, ‘I seriously don't know,’ that was kind of the ultimate catharsis for me. I screamed the hell out of that. When I screamed that, Rich’s cat and dog were actually kind of scared. I was kind of scared! I didn't necessarily know I had that kind of gut-wrenching howl in me - but I guess I do!
It felt good, even if, at first, it kind of felt like "too much” to me and the rest of the band. I'm glad we stuck with it, though. It feels real still. My frustrations with not being heard enough are always there just because— frankly—it IS hard to do what I do over and over again, I often feel like I'm not getting anywhere, even after 17 albums or whatever.
That said, people are responding to this record in a way I haven't felt in a little while, so maybe it IS getting through a bit. Who knows? I'll keep doing it either way. But sure, a little more recognition and a little less having to struggle, particularly financially, would sure be nice. I always hold out hope that my music will eventually reach a little larger audience, but I also am grateful for whoever listens and finds meaning in it, even if I'm still very far from being the proverbial ‘household name.’”
A.E.: “What made it the album title?”
D.I.: “I always struggle to name albums. I knew that, coming into this album, I wanted a shorter album title - probably just one word. The reason for that was that I had named my 2019 album Social Media Anxiety Disorder, and then the pandemic hit so I named the next album Social Distance Anxiety Disorder in 2021 as a kind of ‘sequel’ title-wise. But that was a LOT of syllables in those two album titles. It literally got kind of tiring always having to say ‘Social Media Anxiety Disorder’ or ‘Social Distance Anxiety Disorder’ out loud so many times or type it.
Yes, we started to abbreviate them as ‘SMAD’ and ‘SDAD,’ but those abbreviations only work when someone is already familiar with the longer album title. And often, in my world, I'm interacting with people who are NOT familiar already with my album titles. So... yeah, it just got to be a lot of explaining and syllables, and I really wanted a one-word album title.
The song ‘Seriously’ suddenly seemed to fit the bill as an album title. It kind of felt like it captured a bit of “Zeitgeist" (I felt like I was always hearing people say that word these days), and it has turned out to be a pretty good album title, I think. Not everyone in my ‘inner circle’ loved it at first. A few friends pointed out that there was a Phil Collins album called ...But Seriously and stuff like that, but I was not dissuaded — I really thought it would work well.
Then we found this great artwork by Laura Bennett, who was kind enough to let us use her art, and somehow that seemed to work well with the title Seriously. So I think it all ended up being pretty effective, but I do struggle with what to call albums and what image to use for a cover image, and so on. Everything luckily fell into place this time though, I think.”
A.E.: “When it comes to your songs, and these songs especially, what's the collaboration process like with your band? Do you have an idea of how the finished song will sound, or do you play the demo for them and then work with them in crafting a full band version?”
D.I.: “This album was definitely more collaborative than previous records. A lot of the process is solitary for me. I hum melodic ideas into my digital recorder, write lyrics down in a notebook that seem to fit with certain melodies, and listen back to the digital recorder over and over, and see which ideas ‘stick.’ That is, usually, which ones I find myself singing in my head even when not listening to the digital recorder. Then I try to finish lyrics to the songs that really have ‘potential,’ and then I make home demos of those songs that I think could be worth pursuing further. Maybe I play the songs for my girlfriend or another friend, and if they show enthusiasm for a particular idea, that might encourage me to stick with it even if I wasn't previously sure it was strong enough.
But with this album, I involved the band more. I did make demos of the songs that felt the strongest to me, but then I shared those with the band and asked for input. Then we got together and went through the songs, tried to play them, and the guys in the band really contributed many great ideas to the process on this one. Probably because I sought it out more this time, which makes me think this was something I should do more often!
We incorporated a lot of those ideas when we went up to make the album. I think maybe in the past, I was more reluctant to allow so much input from the band. Maybe because I was very protective of the songs and feared that ceding any creative control would somehow make them less “mine.” But this time, I consciously decided to try to allow more input from the band, and I think it worked to the benefit of the album.
We have coalesced around a band lineup more recently which feels really good. I've worked with the drummer Dave Russ since 1999. Dave is just a total pro. He knows music like almost no one else I've ever known, and we have a good working relationship. He has been involved with recording many of the albums over the years, including many of the overdubs on this one, and on several of the previous records where the basic tracks were recorded at Sparta Sound. Many of the later parts were added at Dave's "It's a Secret" studio in Minneapolis, so he has still been actively involved in the recording process on these recent records.
Mike Lane, the bassist, has been in the band now for almost ten years, and he has great musical sensibilities. He is a singer-songwriter himself and has a tremendous "ear" for what makes a good song better. Steve Brantseg, the guitarist, joined the band a couple of years ago. He has really added a ton to the band.
Steve has been in so many great bands over the years and knows his way around a song. He was in the Phones, Bash and Pop, and has played with Curtiss A, The Suburbs, Faith Boblett, and so many others. It's just been awesome having him in our band, and I think he added a great deal to this record with his great ideas and positive energy.”
A.E.: “‘How Do I?’ comes off as a very mature love song, in the sense that the person writing this and the person it's being written for found each later in life after they have both been quite a lot on their own. It doesn't come off as lovey-dovey but more of this declaration of trying to be a better partner for the other. What do you remember about writing this song and the idea you were exploring?”
D.I.: “Wow. First of all, thanks. I feel like, just from the way you worded the question, you really got it. Writing a love song - it's not easy. I mean, there are so many cliches you run into just with the very idea of a ‘love song.’ Strangely, I don't really remember writing the song. I don't want to say it "wrote itself,” but I don't have a conscious memory of the moment this song came into being, other than I know that it expressed many things that I had been trying to say for a while very long time.
I think it's a realistic love song. Maybe that's why it works. It doesn't pretend that anything is easy but just says very plainly how I was feeling and how I still feel. I know I was striving for honesty above everything else. I know I didn't want anything in the song that felt phony to me in any way. I'm not sure what else to say except that I'm really glad it had this kind of impression on you as the listener - that was definitely what I was going for. So I appreciate that you said all of that.”
A.E.: “For ‘I'm in New York,’ it certainly has that city street feel to it. When creating this one, did you have a goal of putting the listener in the Big Apple sonically?”
D.I.: “I wrote it and the song right after it, ‘Taking the Fall,’ while I was on a trip to New York City to play a show in March 2019. I was going through a lot of stuff back home before I left, difficulties with friends and relationships and so on. When I got to NYC, I settled into the Airbnb I was staying at, and my show wasn't until the next night, so I had a lot of time.
This is NOT to endorse the use of alcohol, but the host of the Airbnb told me I could help myself to his collection of high-end bourbon, and I did just that. The songs ‘I'm in New York’ and ‘Taking the Fall’ both kind of ‘spilled’ right out of me. I hit ‘record’ and basically played both songs as they sound now, more or less. I improvised the words and everything, and there was a siren wailing on the recording, which felt especially ‘New York City’-ish. The Airbnb was right across the street from a fire station right where the Lower East Side meets Chinatown, all reflected in the lyrics. So I do think somehow the goal was to put the listener there sonically, and hopefully, I did that.
When I listen to it, I go right back to that little room where I was sitting back on my bed with my ‘travel guitar’ and was without a care in the world for a little while. I just let go and let that song out, somehow. That is not how I usually write a song, and I may never write another one that way, but it was such a ‘moment,’ and when I listened back, I liked both ‘I'm in New York’ and ‘Taking the Fall’ so I kind of combined them into a little ‘New York Medley’ on the new album. So there you go.
A.E.: “I feel ‘The Hang of It’ could only have been written by someone who has had a lifetime of different experiences, good and bad. The attitude of the song is too upbeat to be considered nihilistic. But there is that feeling of ‘I don't care. I'm gonna do what I want no matter what happens.’ Can you talk about the state of mind you were in when writing this song and the decision to have it close the record?”
D.I.: “Again, you honed right in on the sentiment and the inspiration - well done. I think all that was swirling through my head while writing this song. Like a sense of ‘screw it’ along with a sense of the freedom that can give you after holding on so tightly to something for so long. Maybe, in this case, it's my dreams of musical glory that I finally said to myself that it was ok to let go of, somehow, at least in some sense.
Now, the back story on this song is that I wrote it a little while ago, maybe even in 2018 or 2019, not totally sure. I know I made a home demo of it and then shelved it for a while, thinking it was too...something. I just didn't think it was good enough or something, which is strange, now that it has become some people's favorite song of mine.. Anyway, at some point, I played it for my girlfriend. I was just kind of like, "I don't know about this one, not sure it's any good." But she REALLY liked it. It totally changed my perspective on the song.
Then in the summer of 2021, I decided to go record a single with Jon Herchert, who produced and recorded many of the Social Media Anxiety Disorder albums in 2019. We released it as a stand-alone single and music video in the summer of 2021 as kind of my ‘summer single.’ This year, as I was finishing up the Seriously album with Rich Mattson and Dave Russ, I realized ‘The Hang of It’ had never been on an album, so I put it on Seriously. But I made it the last song so as not to interfere with the continuity of the other songs, which had been recorded with Rich Mattson and Dave Russ, while ‘The Hang of It’ was recorded with Jon Herchert. But also, it felt like a great, fun album closer too. So there were multiple reasons it ended up as the last track, but that's basically the deal!”
A.E.: “How has your songwriting approach evolved?”
D.I.: “Hopefully, I've gotten better and more honest! I have tried to always improve, to emulate my heroes like the Beatles and Dylan without being too derivative of them. I think I've gotten better partly just from lots of practice, trial-and-error, and so on.
I still look for a hook, the germ of an idea that excites me. I use a digital recorder for both melodic and lyrical ideas along with a notebook, and cross-reference those things and listen back and see what sticks in my head, what I find myself walking around singing or thinking about and go from there. There's no single method for me, nor is there one ‘approach’ per se.
I just keep trying to write the perfect song. It's always a little elusive, but that's how it goes! So I think maybe accepting the mystery of it all, ultimately, while continuing to work at it... that's really all I've got.”
A.E.: “What do you want fans to take away from this record?”
D.I.: “I want them to feel what I am feeling as much as possible. My joy, my rage, my hope, my fears - just kind of get that this is me, here in 2022. There aren't songs about my kids on this particular album, but there are plenty on previous albums, don't worry! They are teenagers now, and they are still such a big part of my life. I love them so much.
But maybe now that they are a little older, this album is more just about me navigating my life after being divorced for a few years and finding myself in a strong relationship finally again, and feeling good about that, but also voicing some of my fears and doubts about everything, too.
I also left my day job in 2017, so I'm at about the 5-year point now of trying to essentially do music full-time. I think that comes through in some of the songs too. I feel that freedom but also the fear that comes with throwing yourself into your dreams so fully. There are lots of songs that came out of the pandemic, and feeling cooped up and trapped by that while also wanting to run away and escape. It's a "road" album and would be a great companion for your car stereo for your next road trip. I love the road, it's where I feel the most free sometimes.
I hope my fans feel like it's one of my best records because I do. It's short, only about 32 or 33 minutes long, but it doesn't feel like it has any filler. It feels complete, and some of the people who have been closest to me and my music over the years seem to feel like it's one of my strongest recordings. I like to think I'm still growing and learning how to be a better songwriter, singer, and even a better guitar player, though I know I'm more of a songwriter than some kind of virtuoso singer or guitar player.
I still love great melodies and lyrics that move a melody along with a propulsive rock rhythm. There's some of that on this record, I think, and also some more personal and quieter stuff. I am really proud of Seriously - seriously! Ha, had to do that once!”
A.E.: “Someone comes up to you after a show. You're their first dive into the local indie scene. Who are three artists on the local indie scene you recommend they check out?”
D.I.: “Oh boy, that's tough. Well, I am going to say I think Rich Mattson is just incredible. He's one Minnesota artist who turns out album after album of amazingly strong songwriting and guitar work.is new one, Out There, is no exception to this. I feel a real kinship with Rich. We're friends, yes, but artistically I see how he is always working on his craft, expressing himself honestly, getting better at it all the time, and supporting so many other people in the scene. So I would definitely tell that person to check out the music of Rich Mattson.
Another artist I admire is Katy Vernon. She has channeled a lifetime of pain, loss, and frustration into some truly beautiful music. Her soul comes through in her songs, and she refuses to let the whims of the popularity contest known as the local music scene keep her down or dampen her spirit. I also think it's especially hard to be a woman in the music world. Katy, along with many other amazingly talented women in the Minnesota music scene, has overcome so much to get where she is. And I know she is just going to continue to make great, honest records going forward, as she has done all along.
Finally, I would tell someone new to the scene to check out Robert Wilkinson, who, along with his bands Flamin' Ohs and the Snaps, has been one of the top songwriter-rockers around for years. I just had the opportunity to see Robert play a solo show a couple of weeks ago at the Schooner Tavern, and he just blew everyone away with his songs presented simply with just him and his guitar.
With a band, he really lights it up. He has written absolute should-have-been-major-international-smash-hits like ‘I Remember Romance.’ Go look it up on YouTube, the Flamin' Ohs, "I Remember Romance,” and tell me that song shouldn't have been a HUGE hit nationally - you can't! And he keeps churning out great music to this day, with fire and integrity.
So there you go. That's only 3, and it's hard to narrow down a scene this full of amazing talent to three artists. But if I had to, that's what I'd say. Trust me, there are SO many incredible talents in this scene that you could go to a show every night for a year and still not have seen all of the great musicians around here — not by a long shot. It's truly an embarrassment of riches here, I really believe that. It's why I live here.”
Stream and download Seriously on Dan Israel’s website:
