The Level is the moniker of a songwriter seeking solid ground amid the ever growing tides. Following several independent releases, the debut EP Technocrats marks the project’s first cohesive statement. The record gestures at the fallout of modern life – hyper-optimization, the claustrophobia of choice, and the quiet alienation they bring – while turning inward toward memory and reckoning with the impossibility of return.

You perform under the name The Level. What does that name mean to you, and what does it say about your music?

The name “The Level” is representative of how I try to orient myself to life, which is to try to stay level and grounded in these chaotic times. It came from a Bob Dylan quote in a 2020 NYT article when he was asked about growing older – “I just try to go on a straight line and stay on it, stay on the level.” That quote really stuck with me, and also is related to what’s expressed in my music. I feel the lyrics in these songs express a lot of self-doubt and uncertainty but the music is, for the most part, pretty grounded and structured.

You’ve described Technocrats as your first cohesive statement. Have you made other, less-cohesive statements in the past? What made them less cohesive, and what lends Technocrats a stronger sense of cohesion?

While I’ve played music most of my life, I’ve only released three other singles before Technocrats.  Having waited so long to begin releasing music, I felt a pressure in wanting to make sure what I released first was “good”. That pressure led to more of a focus on finishing a song that sounded “proficient” to prove to myself I could do it. It became more about getting it done than really saying anything. With that pressure released, I felt like I was able to relax and be more honest here.

The album examines what you describe as the fallout of modern life — hyper-optimization, the claustrophobia of choice, and the quiet alienation they bring. How do you see those forces operating in today’s world?

Whew. I mean it’s ingrained everywhere in society. The rise of AI, the balance of trying to exist and survive under capitalism while maintaining what it means to be a human. Mark Fisher’s book Capitalist Realism was an inspiration here – he talks a lot about how we can sooner imagine the end of the world than the end of capitalism, and the impact that has on individuals. The inspiration of Technocrats came from these techno-libertarians who want to colonize the sea. It feels like we’ve sort of fallen into a current that is sweeping us further and further away from the things that ought to matter most.

How does your music serve as a counterweight to all of that?

I came from a working class background and a lot of my childhood messaging was about working hard to have a better life. I work a day job. For me, music is a connector to creativity and an outlet that isn’t tied to productivity  – it sounds corny but it’s important to me to have that practice in life. It’s easy to get caught up in the slog and not nurture those parts of yourself.

You’ve also mentioned the value of turning inward toward memory and reckoning with the impossibility of return. Can you say more about that?

I’ve always been a nostalgic person. It’s a really potent feeling.  But you can’t keep looking backwards forever. Even if you could replicate a past situation in its entirety, it wouldn’t be the same. It’s a different moment. I find myself wanting to indulge in memory, while also trying to not get too caught up in its draw.

In some ways, I’m reminded of Twin Peaks: The Return, which deals with a lot of the same themes. Are you a fan of David Lynch?

Wow, this is such a compliment. Thank you. I’m a huge fan of David Lynch and his perspective. I’ve seen Twin Peaks at least five times. I just got the Twin Peaks: From Z to A boxset, so I guess there will be a sixth soon.

The first track of Technocrats is about fifteen seconds long and sounds a little bit like a soundcheck, or like you’re getting levels right in the studio. It’s a little reminiscent of the opening of Sgt. Pepper’s Lonely Hearts Club Band. What was the idea there?

This was us figuring out the harmonies for the last track – Matt (Poirier) had some room mics set up and just hit record. We listened later and thought it was a cool moment but  weren’t sure what to do with it. Then the idea came of making it an intro, and that felt really satisfying and full circle to me because that refrain is also the last on the record.

You recorded the EP at Retro City Studios. How would you describe that studio, and what attracted you to it?

It was Matt’s idea – he works there often and it was nearby. It’s a great space, and it has a really big live room which was fun to play in. It’s an inspiring place. No notes.

And Matthew Poirier was your producer. What did he bring to the process?

Matt is an incredible producer and engineer. He brought so much to the record – sounds, ideas, etc. But Matt and I have known each other since kindergarten. Being able to make something with an old friend is a beautiful thing and one of my favorite parts about working on music.

Do you have any plans to take the EP on the road with a live show?

I’d like to play a few shows around the NYC/Philadelphia area now that we have more material. We’re figuring some stuff out – hopefully this summer.

What’s on the horizon for you?
I’m excited to get into making some new stuff. I found it hard to work on new stuff while we were finishing up this EP. Now I’m finding myself inspired by different artists and things again, so I’m just going to follow that feeling. I’ve had the idea of doing a weird English-language cover record of Misora by Sachiko Kanenobu, so maybe something will come out of that.