Everyone I Know, Just Holding On is very much a product of the conditions in which it formed, on levels both personal and political. Darcy describes how he and Sendrowitz often found themselves discussing dreams not yet realised, actions still to be taken, the unerring tick of time squeezing possibilities. In the face of such pressure, it is easy to throw in the towel. But the record is a call-to-arms against such thinking, a reminder that there is always time to act, to work and fight to make real what feels right.

The cover shows Sendrowitz and his friends on a beach in Montauk, gathered to celebrate his fortieth birthday in 2018 in a country slowly coming to terms with the cultural fight on its hands. “Forty is a benchmark, an over / under,” Darcy continues. “A wrecking ball had recently touched down. That time in Montauk felt like a crossroads. A beach town in winter. Brian and I made a tacit pact—our lives were decidedly still in front of us. Radio daydreams never end.”

Beat Radio’s distinctively hopeful tone is clear from the opening track, ‘Alchemy’. “I know I haven’t been here / and it’s been a hard year / but I’ve got faith in the future,” Sendrowitz sings. “Sometimes it’s hard to find the light / But we’ve still got time to make it right.” If Take It Forever signaled a turn away from the nostalgic, fresh-faced angst of some of the early releases, Everyone I Know, Just Holding On realises the change completely. ‘There’s a Darkness’ consolidates the power of small scale humanity against the mystifying cruelty of the world, while the undeniable brightness of the title track belies the insidious doubt of the lyrics.

Snake in the grass, wolf at the door
We’ve made it through hard times before
It’s getting dark and our dreams are gone
Everyone I know, just holding on

There’s a paternal steadiness to ‘Song for Jackson,’ as though in the aftermath of the previous track lies not surrender but hard-won wisdom, a reflective calm, the ability to sit with the trouble in the world for the benefit of others. The track is a great representation of the record’s focus, recognising the ubiquity of confusion and dissatisfaction and widening the lens beyond one’s own concerns, helping both others and yourself.

Everyone I Know, Just Holding On is out now and you can get it from the Beat Radio Bandcamp page.

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Hi Brian, how is life on Long Island? How does it feel to finally release the new album after the long hard process of getting it into existence?

Long Island is excellent.  It’s a pretty small town I live in.  I commute via the railroad to Manhattan for work.  It’s nice to feel the energy of Brooklyn and NYC, but also have a break from it every night, and a bit of room to stretch out.  Releasing this new album is quite an amazing feeling.  As a musician, I think every time you can finish something it feels like a triumph on one level or another.  This is the first time we’ve ever worked with a PR company, so the process of waiting and not just releasing everything immediately via Bandcamp was challenging for me.  I think my impulse is just to share stuff and see what people think, but not that we’re finally here I’m super excited.  Brian V. and I are really proud of the album.  The songs come from a really honest place, and even though some of the songs are melancholy, there was a lot of joy that went into making it.

Your explanation of the new album on the Bandcamp page gives an honest picture of your life at the time of writing – the band’s situation, your family life with a wife and kids, the economic struggle and so on – and you say this heavily influences what you write. Do you find it difficult letting the people close to you see/hear the new songs?

There are a few songs – “Stars Collided in Our Hearts” in particular, that do feel really vulnerable and emotional to perform.  “Head Underwater” is another.  I think in the past I’ve written a lot of songs that portray more of a romanticized view of love and other things. I was always trying to create a dream world that was somewhat removed from my reality – an escape.  This time I was determined to let go of that a bit, and speak more directly from the heart.  I think one of the things I’ve learned as more of a general life-lesson is that it helps to be open about things.  I think a lot of people are really secretive about their problems, especially when it comes to money.  It’s fine to be private, but handling things that way can also create this weird cycle of shame and depression.  I found myself saying things in these songs that I wouldn’t say to friends and family.  It’s funny – a lot of those people will hear the record and probably won’t listen closely enough to the lyrics to really catch what I’m talking about.  It’s bizarre and ironic that I get to speak more intimately with strangers around the world through music than I do with family, but I guess it’s also pretty wonderful and amazing that I get the chance to do that.

As a follow-on from the previous question, do you see your music as a way of speaking to your loved ones? For example in ‘Hard Times, Go!’ you sing‘I haven’t been as brave in how I’ve loved you // as I know I should have been // I thought if I kept quiet // you might think I was strong’. Do you want your wife to listen to your music and treat it personally? Or do you use your situation and emotions to mould songs that are about (and for) other people? In other words, are you writing songs concerning your life and self? Or are you writing fiction from experience?

Ha – I’ve definitely learned that speaking through lyrics is not the most effective way to communicate with my wife!  That being said, this is definitely the most autobiographical set of songs that I’ve written.  I think I resisted writing that way for a long time, and maybe I was finally just at the point where I had nothing to lose.  When I was younger I started out playing more folky, singer-songwriter type music.  I played around a lot of coffee houses where the thing is to do a more straightforward, confessional style of songwriting.  I always resented the limitation and the implication that things should only be perceived that way.  It seemed like an oversimplification.  Of course, fiction comes from some sort of emotional reality, and there’s always a connection –   but if everything is confessional than you’re eliminating the entire scope of the writer’s imagination.  I always wanted my songs to be more than stream of conscious journal entries.  I took pride in the craft of transcending that.

What are the main influences on your music and writing outside of personal experience? In the aforementioned description you say that Robyn’s Body Talk had a large effect on Hard Times, Go! But are there any others? Do books and literature play a role in song writing for you?

I take from lots of different places I guess.  I think as a writer, my work was fundamentally shaped by Bob Dylan, Van Morrison, and Jack Kerouac more than anyone else.  I still think about Bob Dylan all the time – and just the sheer power of him as an artist.  Of course there are lots of others – Tom Waits is big.  I draw on literature a bunch too – I love the Beat Generation writers, and Bukowski and Henry Miller, but also more contemporary folks like Junot Diaz, Lorrie Moore, Denis Johnson.  I feel like film is pretty closely connected to music also, and even television.  The song “Chasing a Phantom” is a direct reference to one of the episodes from the last season of Mad Men.

The album was funded via Kickstarter, and through one of the updates on there you said that you felt it allows artists to receive funding for the work they want to produce, rather than the old model of producing what others want to hear in order to receive funding. Do you think this freedom could allow bands to thrive in areas where that were previously impossible? Does the amount raised significantly influence an artist’s ability to produce their work?

I think it’s part of a larger conversation, about the whole digital revolution, but Kickstarter has absolutely been an amazing tool for us, and bands are absolutely thriving in areas that were previously impossible.  I was always an indie rock kid at heart – I grew up idolizing people like Ian Mackaye from Fugazi, so for me that fact that’s it’s become so much easier to make records than it was back then is a really incredible thing that I’ll never take for granted.  You can make a record for almost nothing.  I don’t think the amount of money raised from Kickstarter relates directly to an artist’s ability to produce work – unless their work relies on more expensive tools than ours does – higher fidelity, mastering, etc.  It does take a bit of creativity and stubbornness to be self sufficient, but it always has.   We treat Kickstarter more like an extended pre-order for the record, with merch and stuff.  Our goal was set to make the process of making the Vinyl and the T Shirts and stuff something we knew we could break even at – instead of the old DIY way of basically funding things on a credit card and hoping you did well enough to recoup your expenses.  We aren’t able to do that.  On a larger scale – signing to a label was sort of the same thing.  Most bands never recouped expenses and got dropped.  My favorite thing about Kickstarter is that if you don’t meet your goal, no one gets charged and you aren’t required to complete or fulfill the project.  It seems responsible.  If there is not an audience demand to support a product, that product doesn’t come into existence.  You make music to connect with people.  You make records if people want them – not just because it seems like a cool thing to do. 

With all the said – with music and with our culture in general there is also a relationship between money and access.  There’s the challenge of reaching people through all the noise.  I try not to worry about that much.  I just try to do good work and share it, making use of the tools I have.  If there a content war going on with our culture – it’s probably a war that no one is going to win.

You wrote an essay on the evolution of the music industry and our relationship with the music we listen to, and conclude that the increased availability of music (and for free) has lessened our willingness to engage with each single album, as if in the gluttony of filesharing we no longer savour each bite and instead gulp down whatever we can (as highlighted by my first post on Beat Radio). Compare this to the positive effect of the internet where unknown bands can reach wide audiences through social media (and the aforementioned effect of Kickstarter allowing artists to create whatever they envision) and there is an interesting standoff between the good and evil of the information age. In your own experience (admittedly without the pleasure of a crystal ball to view alternate realities), has the internet been beneficial or detrimental to your musical career?

I used to get hung up on the question but I came to realize that there wasn’t really any point to look back.  Beat Radio came of age creatively at a strange time where people were still operating with the expectations of the old music industry, but the bottom had dropped out.  We were able to get the attention of lots of people – labels and stuff, but nothing ever really came of it, for lots of reasons.  Without the internet and the support of mp3 blogs and stuff, we never would have found an audience at all.  Without access to inexpensive gear where I could make records in my basement, we never would have gotten past the first album. So mostly I’m grateful that I’m able to make art and connect with an audience.  I feel really lucky to have been able to continue to develop as an artist. We’ve been fortunate to finally start bringing in revenue over the last couple years through licensing and download sales and stuff – but whenever I put pressure on music to have it be something that could take the place of my day job, it always seems to take the joy out of it.

Finally, what music are you enjoying at the moment? Could you list four or five artists that you are currently listening to? Any genre or vintage welcome.

Yeah, of course! I wrote a post about my favorite songs of 2012 here – I really loved the records last year from Will Stratton, Damian Jurado, and Father John Misty.  I also listen to a ton of Pavement over the last few years, and Neutral Milk Hotel.  I heard the new Yo La Tengo today also and that is really great.  I co-wrote a song recently with Drew Danburry and have been listening to a ton of his stuff.  The demos for the new album he’s working on are incredible.  There’s so much. It never ends.

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The new album shows some definite changes from past Beat Radio releases. Yes, the music is still gloriously fuzzy and the words thoughtful and heartfelt, but the lyrics appear to deal with a different set of themes, as if Sendrowitz has changed his focus from a rose-tinted past and decided to confront the present. The explanation of the album on the Bandcamp page pretty much confirms this, with him detailing the circumstances under which he wrote the record and sounding very much part of ‘real’ life (with all the tedious and painful worries it brings), saying that the writing process was his way of dealing with the problems he faced.

Hard Times, Go! is doubly refreshing, firstly because it deals with a different aspect of relationships than the usual first love/loss of pop songs, and secondly in that it demonstrates that attentive and poetic lyrics can work in what is essentially catchy indie rock. Beat Radio show that pop music and literate lyrics aren’t necessarily mutually exclusive.

I think Sendrowitz’s achievement (and it is a large one) is successfully managing to transfer the feeling from his earlier nostalgic releases into a new record which deals with very adult issues. It is easy to write and sing about a sunny past and sound in love with so-called better times, but here he manages to still come across as warm and sincere when dealing with less romantic topics. The album is full of realistic but hopeful (and thus hugely endearing) songs about life. It is a personal record, a brave record that truly wants to let the hard times go. It is a triumph.

Hard Times, Go! is available on Bandcamp in a digital or vinyl, with a variety of nice merch items to get too (totes, tees, beer koozies etc.). Also be sure to check out the Hurricanes EP, a collection of B-sides and covers.

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