Evening Powerlines was the hardest record I’ve ever made.

The focus and obsession behind it became extreme at times. Periods of intense Adderall use led to long stretches of sleepless recording sessions, where I would record the same parts repeatedly, chasing a version that felt “correct” without knowing exactly what that meant.

The recordings then sat untouched for nearly two years.

Eventually, what began as frustration and emotional pressure pushed me back to the material. I returned to it and spent a year making hundreds of decisions—re-recording vocals, guitars, synths, bass, and reshaping arrangements until the songs began to form a larger narrative.

The tracklist itself went through constant restructuring until it felt like a story rather than a collection of songs. When nothing else felt necessary to change, I accepted that it was finished.

Brooks Farris played all drums remotely, bringing precision and versatility across every style the album required. My partner, Jen Kiddo, provided the space to record most of the album in her garage and contributed vocals to “Sweet Girl,” along with steady support throughout the process.

The final stage was working with Ivan (Blindsight Mix), who mixed and mastered the record and endured an intense level of perfectionism. His consistency and attention to detail were essential in bringing the album into its final form.

Two additional influences shaped the direction of the record: Wendy Carlos’s Switched-On Bach, which informed the idea of blending classical structure with electronic and rock instrumentation, and Johann Joseph Fux’s Gradus ad Parnassum, which I used loosely as a guide for counterpoint thinking throughout the writing process.

At its core, Evening Powerlines is an attempt to merge emotional intensity with structural discipline—where guitar-driven songwriting meets classical ideas of movement and tension.

The title itself came from something simple: I’ve always liked the way powerlines look against the evening sky.