Before I started to take playing music very seriously, I was captivated by a quote I heard (that I later learned was attributed to Paul Stanley of Kiss): “Any song that doesn’t sound good on an acoustic guitar is not a good song“. As I grew into a musician in a day and age of MTV Unplugged, and as music became more of an important role in my life, I thought of that quote and how it works with various styles of music.

I thought that any good song could/should START on an acoustic. I even remember sometime in 2004 watching or listening to an interview with Andre 3000 talking about writing the song Hey Ya on an acoustic, further proving to me the power of writing with an acoustic guitar at the start.

As I progressed in my music career, I always wrote songs on an acoustic. For the 2000s through the early 2010s, any punk or hardcore/metal songs I wrote were on an acoustic. For me, this proved to be an effective writing tool and methodology. Tempo, accompaniment, vocal stylings – THESE are what differentiated the genre; but they could all START on an acoustic. A song wasn’t metal until it was at 220BPM with high gain on the guitar and angry shouted vocals; but take that same song and play it at 120BPM with light palm muting on an un-distorted electric guitar and softer vocals and you have indie rock gold. Of course, neither of those work if you don’t have a good song.

Although I was still playing in my post hardcore band at the time, in 2008 I decided to start to formulate the idea of what music I wanted Proof and Proving to be. In thinking through it, I realized that I wanted the music to be more, I don’t know, “timeless” than say a genre that can by commonly associated with age or period of my life (logic that is not without its flaws, I associated punk and youth; hardcore and young adulthood; indie rock with adults in denial and young adults trying to be double-counter culture; etc). I didn’t want to be any one of those genres, though I didn’t want to be excluded from them either.

Let’s shelf this idea and point-in-the-story to shift gears for a moment.

When I started to take Proof and Proving more seriously, around 2009-2010 – when my post hardcore band stopped playing out and started its still-continuing hiatus, I wanted to keep it as a solo act. I saw the difficulties of trying to coordinate multiple members’ schedules, talents, and lives; and I wanted to avoid all of it. Full disclosure, I did not say this as elegantly when I was in-the-moment of the band slowing down. Here’s a funny interview I did with a Temple University writer in October 2010 (pages 9 and 12): http://temple-news.com/files/2010/10/Oct.-12-Edition.pdf

With all of the above in mind, when I started to write albums and play out, I wanted them to be one-in-the-same. While I could play things like bass and drums on a recording, I wanted the album to sound like how I could perform it live (with the only deviations perhaps being back up vocals). Humility In The First Person was the first album where this was a conscious idea; to keep all of the songs to just an acoustic and vocals.

After some US touring, comps, smaller EPs, EU touring, split 7″, and countless cheeseburgers, it came time to write another full length album. With Proof and Proving still being a solo outfit, I mostly stuck to the same concept as I did with Humility for this next album, The Lineage Of The Recluse. I did decide that, aligning with the concept of the album, I would include others to accompany a song here or there; but for the most part nearly all songs were still acoustic and vocal centric. With two songs in particular, I decided to expand even a bit more. I had played drums, bass, acoustic, electric guitar, vocals, backing vocals, and had my extremely talent friend Michael Anticoli play grand piano. While these songs fit with the storyline of the concept album, they stood out on their own. I enjoyed working with them, but at the same time felt guilty as it broke from the mentality I set into years ago – acoustic and vocals only, since that’s all you can do live.

Fast forward to now. I realize that I was working with flawed logic. Thinking that I should leave a song acoustic-and-vocals-only because it could be perceived as style agnostic – or that I should restrict the outcome of an album by what I can perform live – is stupid. There were ideas for Humility and Lineage that I avoided because I didn’t want to add too much to shape the songs, but it really did a dis-service to the end goal, and the end piece of work.

This is what makes the next phase of Proof and Proving exciting. I give zero fucks whether or not I can perform a song live as I record it. If I record drums but don’t have a drummer at a show, no one will care, so why should I? I want to keep writing-a-good-album and performing as two items that are not mutually exclusive. I am going to use all the tools in my toolbox to make the best piece of work that I can, both with albums and with my live show.

So with all of that in mind, here is a glimpse into what’s in the works for Proof and Proving. No working title (“blah blah blah” was Maria‘s idea). All the songs were recorded on an iPad with the built-in microphone. I initially recorded these as scratch demos, but had too much fun with them and decided to share here. I’ve broke out of the limited tool set of only-acoustic-and-vocals, and in addition now use on this: mandolin, electric guitars, piano, drums, bass, and some effects that I’ve denied myself for years (tremolo, etc). Happy listening!

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