Interview: Inland Years Chat About Their New Album "Nowadays"

What inspired the theme or concept behind this album?

The idea behind Nowadays came from learning to appreciate what exists right now instead of constantly looking backward or worrying about what's ahead. Even the title reflects that mindset, finding meaning in everyday moments that might otherwise go unnoticed. Nostalgia runs throughout the album, but not in a sentimental way. The songs are less concerned with reliving the past than with understanding how memories shape who we become and how they continue to influence the present. The record was also shaped by the contrast between two very different environments: Brooklyn, where I live, and the woods of northeastern Pennsylvania, where the album was recorded. Moving between the energy of the city and the quiet of the countryside naturally found its way into the music, creating songs that feel both reflective and immediate. More than anything, Nowadays is about finding beauty, purpose, and creativity within ordinary life. It's a record about continuing to make meaningful things despite the responsibilities, routines, and demands that come with adulthood.

Were there any particular events or emotions that shaped the songwriting?

The inspiration behind Nowadays came from trying to make meaningful art in the middle of a busy life. There wasn't a single event that inspired Nowadays. Instead, the songwriting grew out of the accumulation of everyday experiences and emotions that come with getting older. Many of the songs deal with change, distance, uncertainty, and the ways people drift toward and away from one another over time. There are also recurring feelings of longing and connection running through the record. Songs like "I Know This More Than Anyone" explore acceptance and the realization that some things can't be fixed, while others reflect on searching for meaning and companionship in an increasingly disconnected world.

Were there any challenges you faced during the recording process?

The biggest challenge during the recording process is always the vocals. I record a lot of harmonies, and finding the right parts is often a process of trial and error rather than something that's fully planned out in advance. I'll experiment with different melodies, stack harmonies, let songs sit for a few days, and come back with fresh ears to see what actually works. More than once I've felt convinced I'd nailed a vocal after a few glasses of wine, only to listen back the next morning and realize it wasn't quite what I imagined. That back and forth is a big part of my process. A one minute song might take hours or even days to finish because I'm constantly refining vocal arrangements and performances. I'm also a bit of a perfectionist when it comes to singing. Rather than recording line by line and punching in small sections, I usually prefer to sing entire takes from beginning to end. Sometimes I'll get the first verse exactly right and stumble on the second, which means starting over and doing another full pass. It's not the most efficient approach, but it helps the performance feel natural and connected. Recording at home made that process possible. Working on a Zoom R24 allowed me to experiment freely without watching the clock or worrying about studio costs. If I'd been paying for a commercial studio, I probably couldn't have worked this way. Having the freedom to keep trying until something felt right was an important part of how Nowadays came together.

Which track was the most fun to create, and why?

That's a great question. It's probably a tie between "Around We Go" and "Cold." "Cold" was the first song I wrote for the album, so in a lot of ways it set the tone for everything that followed. It was also one of the most fun to arrange because I experimented with a taishōgoto and mandolin playing off each other, creating textures that felt uniquely me. "Around We Go" was the opposite. It was one of the last songs written, but it ended up becoming the album opener. From the moment I finished it, it just felt incredibly catchy and captured exactly the mood I wanted to set for Nowadays. Sometimes you spend months searching for the right opening statement, and then a song arrives that makes the decision easy. Both tracks represent different sides of the record. Cold reflects the experimentation and discovery that went into making the album, while Around We Go captures the immediacy and melody driven songwriting that ties everything together.

Did any collaborations influence the sound or direction of this project?

While Nowadays was recorded entirely as a solo project, collaboration still influenced the way some of the songs were written. As Inland Years has started performing live, I've had the opportunity to think about how the songs might translate beyond the recordings. A few songs in particular were written with my friend Daru in mind. I intentionally chose keys that I knew would suit her voice. Even though those songs were recorded by me alone, having another musician's strengths in the back of my mind shaped some of the songwriting decisions and melodic choices. More broadly, the project has benefited from the encouragement and feedback of the community surrounding it. The album was released through BSDJ, a label that grew from a network of bedroom musicians sharing music and supporting one another online. Being part of that environment reinforced the DIY spirit of the record and provided a creative community that helped keep the project moving forward. So while there weren't traditional studio collaborations, the sound and direction of Nowadays were still influenced by the musicians, friends, and creative communities that surrounded the project throughout its creation.

Did you experiment with any new techniques, instruments, or styles on this record?

Absolutely. I've always enjoyed having unusual instruments lying around and seeing what they can bring to a song. Throughout Nowadays, I experimented with instruments like taishōgoto, mandolin, tenor guitar, finger bells, and various bits of melodic noise that found their way into the recordings. Sometimes a song would start with a guitar part, and other times it would begin with an interesting texture or sound that inspired the arrangement. One of the bigger experiments on the record was "Morning Train." I've always loved the sound of pedal steel guitar, but I don't own one and have never really learned to play slide guitar. For that song, I took a Gretsch guitar, raised the nut to lift the strings, and used a glass slide to create some of those gliding, expressive tones. It was very much a learning experience, but I enjoyed the process of figuring it out and discovering what worked. In general, I like approaching instruments with curiosity rather than expertise. Sometimes not knowing exactly what you're doing leads to more interesting results. A lot of the textures on Nowadays came from experimenting, following instincts, and seeing where a sound might take a song. The experience also left me wanting to explore those sounds further. I love the character of pedal steel and slide guitar, and I'd like to bring more of those influences into future Inland Years recordings if I can find new ways to incorporate them.

How do you feel this album represents your evolution as a band?

I think this album represents an evolution in the sense that the experiments I’ve been trying for the past few years are starting to become a formula that people really connect with. I’ve spent a lot of time figuring out what works for me, and this record feels like those ideas are finally starting to come together into something that feels distinctly like Inland Years. A big part of that is trusting our own instincts and letting each idea exist for exactly as long as it needs to. A lot of the songs are very short, but they don’t feel unfinished. That’s intentional. I spend a lot of time cutting things down, getting parts to make sense, and trying to remove anything that doesn’t need to be there. Melody, texture, and feeling end up doing more of the work than conventional song structure. I think I’ve also become more comfortable with the rough edges. Instead of trying to hide them, I’ve learned to use them as part of the character of the music. There’s a confidence in simplicity that wasn’t necessarily there before. So for me, the evolution isn’t really about becoming more polished. It’s about taking all these experiments and instincts I’ve been following for years and realizing they can actually become a language of their own, and that people seem to really like hearing it.

What do you hope your fans take away from this album?

I think I’d want people to come away from it feeling like they discovered something that feels personal to them. The songs are small and simple in a lot of ways, but I hope there’s enough space in them for people to bring their own experiences to them. I also hope it makes people feel like they don’t need to overthink creativity. A lot of this album came from just following an idea, experimenting, cutting things down, and seeing where it went. There’s something nice about making something with whatever you have around you and trusting that it can be enough. And ultimately, I hope they just enjoy listening to it. I like the idea of these little songs finding their way into people’s lives, whether they’re paying close attention to them or they’re just playing in the background while something else is happening.

Have fans influenced the direction of your music or this album in any way?

Definitely. I think the biggest influence has been seeing what people respond to. The experiments I’ve been making over the last few years were initially just me trying things and following whatever sounded interesting, but hearing which songs people connect with has given me confidence to keep pushing in that direction. It’s not really about making music specifically for an audience, but when someone tells you that a particular song meant something to them, or that they keep coming back to it, you pay attention. It reinforces the idea that the strange little things you’re doing can actually connect with people. So I’d say fans have influenced the album more through encouragement than direction. They’ve given me the confidence to trust the instincts and experiments that were already there.

What can fans expect from your upcoming tour or album release events?

I think the live side of Inland Years is going to be an extension of the same ideas that shaped the album. I’m interested in keeping things intimate and a little unpredictable rather than trying to recreate the recordings exactly as they are.

Do you have any music videos planned for the album? What can you share about them?

Yes, there are already a few music videos up on my YouTube channel, with more planned for the album. I’m especially excited about some collaborations I have coming up with other artists.

If you could describe this album in three words, what would they be?

Simple. Melodic. Unfiltered.

Is there a specific moment during the album’s creation that you’ll always remember?

I think the part I’ll always remember is actually the curation of the album. I spent way too much time thinking about how the songs should follow each other and what kind of energy each transition created. One of the things I really wanted was to put “Haunt” toward the end, but use it almost like a reset point for the album. It brings a different energy back in, which gives the last few songs a little more space and glimmer. Getting that sequence right became almost as important to me as the songs themselves. I probably overthought it, but once the tracklist finally clicked, the whole album felt like it had a shape and a journey of its own.

Do you have a tour booked or is one being booked to promote the album?

Not at the moment. Work has been really busy, and I’m writing this from Japan, where I’ll be for the next month. That said, a lot of people have been asking about shows and I’ve had quite a few offers come in, so I’m sure I’ll be doing a bunch of shows this fall. Nothing is locked in yet, but it’s definitely something I want to make happen. It’s been really encouraging to see people asking for it.

Anything Else That You'd Like the Fans to Know.

That I’m really grateful that people have connected with these songs and have given me the confidence to keep going deeper into this weird little world I’ve been building. There’s a lot more music, videos, collaborations, and hopefully some shows coming, so this definitely doesn’t feel like the end of the story.

Nowadays - Album by Inland Years | Spotify