In this exclusive interview, Mike Maurice shared the evolution from his debut EP, Apartment Secrets, to the rawer, folk-tinged tone of his latest release, Telephone. Maurice reflects on his formative experiences, the collaborative magic of working with Danny Black, and the creative synergy that fuels his seven-piece band.
Mike Maurice, welcome to A&R Factory! It’s a pleasure to sit down with you ahead of the release of your upcoming single, Telephone, on October 11. What inspired the single and what themes are conveyed through it?
The journey of this song started as something I wrote in my basement, a deeply saddened tune, and perhaps one of the first that isn’t necessarily about anyone in particular. Telephone allowed me to dive deep into an interpersonal connection of a fictional figure whose emotions are derived from real-life experiences.
Would you say it is a continuation of your earlier work or a departure?
Telephone is a very organic departure from Apartment Secrets as it calls for more of a raw folky element that I feel most connected to. I recognize that Apartment Secrets has become the predecessor for this song and for what is to follow, which leads me to embrace this journey of evolution for my sound.
What sparked your passion for music and how have you kept that spark ignited throughout the years?
My spark for music started at a very young age. I was about 4 years old when I heard my older brother playing an upright piano downstairs at the ranch home I grew up in, tucked away in the woods of Oxford, Maine. Not to sound cliché, but music was my calling.
It felt like an ability that I knew I needed to acquire, a language I needed to learn. I begged my Mom for piano lessons. I was writing music and got into multi-track recording around the age of 9. The ability to create and realize that there are infinite possibilities with 6 strings, 88 keys, and what-have-you for instruments, makes you realize it’s a beautiful world.
What’s your band’s origin story; what brought you all together?
The formation of this band came from combining my closest friends in the Maine music scene. Leading up to the pandemic, I was primarily a piano player, gigging weekly at bars, and restaurants, playing in numerous bands, weddings, and so forth. I learned a lot from being a backing musician in several bands, learning what and what not to do when leading. I learned how hard it is to find talented musicians void of ego – and I knew this would be a key factor in putting my group together.
I called my closest friends from various projects over the last decade to come together and form this sound. We all have each other’s backs, and as a 7 piece whenever we play a show and receive comments on how tight and clear our sound is, we feel honored and exuberated. We’re having a blast and creating something truly special.
Your debut EP, Apartment Secrets, exhibits the sharpness of your songwriting chops and your ability to paint vivid vignettes through sound; what was it like working on this EP?
Apartment Secrets was my first project where I didn’t settle or rush. The concept came about in early 2020 with a handful of tunes. This was the first singer/songwriter album I self-produced with help from a good friend, Thomas Clukey, recording in the basement of a home I owned at the time. I initially planned to release this album in 2021, but I was so glad I didn’t. Some songs didn’t make the EP, while others, freshly written, did. The mood stayed true, I found elements I liked, and I let my songs marinate and mature to be the best they possibly could be at the time of recording.
Forest Fire was such a fun song to record from that album. It started as this ‘golden nugget’ where I was almost afraid to do too much or alter it. I knew this was a strong track and when I first played it out, it stood out as a favorite. This song is one of the fastest songs I’d ever written; just 15 minutes with chord progression & lyrics. I was listening to a lot of John Mayer and Fleet Foxes at the time.
Now when I listen back to Apartment Secrets, I feel as if I could forge it a little differently. My musical head space has shifted, and thus wouldn’t be true to that album. Overall, Apartment Secrets is an accurate timestamp to where I was in my musical journey at the time.
How did you come to collaborate with Danny Black, member of Good Old War and Gregory Alan Isakov?
A dear friend of mine, Adam Monaco, introduced me to Danny Black through a project he had been working on. Adam and I also have a side project, Pianolin, which is piano & mandolin-based improv. We’ve known each other for many years, and he helped with bass and mandolin on Apartment Secrets.
Adam showed Danny our Pianolin project, and in casual conversation, Danny seemed to express interest in what else I was developing. So, I asked Danny if he’d help work on Telephone with me and he agreed. Earlier this summer, I went out to Philly to record my stuff with Adam and Danny where we started to record Telephone among two other tracks
What was it like working with him in the studio?
We hit it off, he’s such a great dude. When I went out to Philly with my banjo player, Zavier Walker, we had a full day in Danny’s studio. We took Telephone, a song I’d been playing for 2 years, and nudged it to life by bringing in cello played by Peter Oswald, Adam’s mandolin, Danny’s pedal steel & harmonies, Joe Beninati’s percussion, and Zavier’s banjo – thus, elevating the song to its fruition as you hear it now. It’s so cool to hear Danny’s atmospheric approach to pedal steel, the production came out incredible. If you’re a fan of Gregory Alan Isakov, I think you’ll dig this tune. Danny is awesome to work with and I’m excited for more songs that will be released in the near future… stay tuned!
Stream Mike Maurice’s discography on Spotify.
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Interview by Amelia Vandergast