He was long considered the man for sad texts. With his acoustic guitar, John Moreland sang minimalist songs about grief, heartbreak and faded memories. But that was too much for the musicians from Oklahoma. He lost his love for music and wanted to change his sound.
Moreland found a new passion on his album LP5 (2020). He produced beats for his songs and turned away from his image. But he stayed true to his roots. On July 22nd his new album “Birds In The Ceiling” will be released. ROLLING STONE spoke to the songwriter about the consequences of the corona pandemic in his arch-conservative home state, YouTube videos about Tokyo and a possible techno album.
What is the central theme of the new album?
I would say that it’s mostly about isolation. It was written in the summer of 2021 and the songs remind me a bit of last year: the pandemic, the lockdowns and the completely crazy political climate in the USA. I was just like, ‘What the hell is happening here?’ and ‘What is this life like?’ (laughs) I was mostly at home with my wife and we just didn’t see anyone for like a year.
What were the Corona rules like for you?
For example, we could have gone to the supermarket, but we never did. It just felt really weird. We live in Oklahoma and most of the people here are very conservative. Many don’t believe in science and thought Covid didn’t exist. Hardly anyone wore masks, and when someone wore masks, the person was mocked. It was really bad. But of course not everyone behaved in such an extreme way.
How did this heated mood influence your songwriting?
It definitely affected my family relationships. I was raised by conservative people and I always thought, “These are good people,” which in many ways is true. But then how can they support this madness?
Can you overlook such views?
It’s really difficult. I meet my parents regularly and they are really good people but also very influenced by their environment. Their attitude is, “We’re Christians, so we always vote for this party.” I feel like it’s been easier to disagree in the past. Now people will call you a piece of shit if you don’t agree with them. That’s bad, of course, but at the same time, people are showing their hatred more and more often. Then I just think that someone is a piece of shit. How can I not think that?
Regarding your music: You have changed your sound over the years and you can sometimes hear electronic influences. What excites you about it?
I just think it’s cool that it’s something new. I still like to write sad folk songs, but I figured if I keep going like this, I’ll ignore a lot of music that I’m also interested in. In recent years I’ve had a lot of fun breaking rules, mixing different influences and creating something new. When you stop conforming to the aesthetic that is expected, you create your own new aesthetic.
Which musical influences have led you to change your music?
I’ve been listening to hip hop and making beats since I was a teenager. Back then I started with Fruity Loops, then Logic and now I use Ableton. When it comes to artists, I like listening to The Alchemist, JustBlaze or Madlib. My wife went to a lot of raves when she was young, so I’ve been listening to house and techno for the last couple of years. Oh, and I like 90’s pop too. Janet Jackson, Sinead O’Connor or Sheryl Crowe.
So maybe there will be a techno album in the future…?
(laughs) So if I actually do an album, I’ll probably release it under a different name. But that’s actually something I might do in the future.
Your music is very pictorial. Are you inspired by visual sources?
Yes I think so. My wife is a draftswoman and her works are hung all over our house. She even got me to draw, I’ve never done that before. I’m a big fan of John McLaughlin – he painted abstract expressionism. His works are actually just rectangles, but they’re placed very precisely and it’s so calming. That also influences my lyrics, which are also rather abstract. I don’t really want to tell a linear story.
Why ?
I find it more exciting when you have to ask yourself what the lyrics mean. I think that’s better than being told. I’m not trying to be confusing on purpose, but I like that there isn’t one simple meaning.
How was the recording process for the new album?
I wrote most of the songs last summer in July – then in August and September I did the samples and the drum parts in my home studio. In October I was done and then brought the songs to the real studio.
Do you have a favorite song on the album?
Not really, but there’s one song that really surprised me. “Generational Dust”. At first it wasn’t one of my favorites and I didn’t have any post-production ideas. But I was pleasantly surprised by how it ended up sounding.
I felt the same way. What do you think the song is about?
The memory of growing up. “Generational Dust” has the line where I sing “The Choices We Inherit” and that’s something I’ve noticed a lot the older I get. Many of our paths in life were only created through the decisions of others. Ultimately, the song simply reflects my own childhood and that of many friends.
You worked again with your producer Matt Pence on this album. What is your collaboration like?
It was great. I was a big fan of his band Centro-Matic and when we met it was clear that we were on the same wavelength. We have the same instincts when it comes to songs. Also, his skills as a sound engineer are great, I learned a lot from him. He’s also fantastic as a producer. He also helps me with songs I don’t know what to do with.
Any examples of this?
The song “Truth Be Told” from the new album for example. There was already a lot of electronic influence, but it still didn’t feel good. Matt then played the drums and it was amazing.
You once said in an interview that you need quiet to write songs. How did the songwriting work on this album?
I’ve always loved to write at night when everyone is asleep. Between 12:00 p.m. and 4:00 a.m. Then, during the pandemic, I came across these YouTube videos of people walking through Tokyo at night. I would always turn off the lights, grab my guitar and let the videos inspire me. If I was struggling, these videos were also perfect for clearing my head.
At the beginning of your career: You played completely different music then than you do now…
You mean the hardcore bands? Yeah, that was teenage shit. Punk rock was the first genre that got me into playing music. I think a lot of people in my age group felt that way. I listened to bands like Green Day and I thought, “I can do this too” – that’s how it started. Later I heard indie rock from The Magnolia Electric Company, Songs: Ohia or Beck. At some point I ended up with Americana through the TV show “Wide Open Country”.
What excited you about it?
It sounded familiar because it reminded me of the music that was always there in my life. But it was also new and exciting. I find this combination very cool. That’s why I like Beck’s Sea Change. He mixes folk music with cool new sounds that sound more like The Flaming Lips. The lyrics also inspired me. In hardcore it’s just not that important because nobody understands it anyway. But it’s something else when you hear the lyrics together with the music.
Did writing for you only start with songwriting or did you already write stories before that?
It was always just songwriting for me. Other musicians often say that they are more interested in the literary side, but that’s not the case with me at all. I’m here for the music. Of course I want to write good lyrics, but the music is the most important thing.
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