By: Staff
Mama Mañana Records is thrilled to announce the release of "Double Blind," the debut single from Chicago-based recording project Tinvís. This captivating track offers a glimpse into the lush and emotionally resonant soundscapes of Texnia, the highly anticipated album, set to drop in early summer 2025 on vinyl, cassette, digital, and streaming platforms.
Led by Joel Daniel, Tinvís weaves together an impressive collective of talent, including Max Hart (War on Drugs, Tegan & Sara, We Are Scientists) and Eric Gardner (Tom Morello, Melissa Etheridge, Dot Hacker), with contributions from Jon Natchez (The War on Drugs, Beirut) and Luke Reynolds (Guster, Sharon Van Etten, Phosphorescent). Together, they craft a tapestry of sound that melds heartland rock revival with indie nostalgia, drawing comparisons to icons like Death Cab for Cutie and The War on Drugs.
Joel Daniel’s evocative vocals and journal-like lyrics invite listeners into a world of reflection and connection, making "Double Blind" the perfect soundtrack for autumn evenings by the fire.
To dive deeper into the creation of "Double Blind," the inspiration behind Texnia, and Joel Daniel’s visionary approach to music, check out our exclusive interview with Tinvís. You won’t want to miss this inside look at one of indie music’s most exciting new projects.
Begin Interview:
Hello Tinvís, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more excited to get a deeper look into both your brand and your personal and professional inspirations.
What was the inspiration for your stage name Tinvís?
ausTIN and daVIS. The project really formed based on these places: Austin, Texas and Davis, California. I wrote every song in one of these places and/or somewhere in between. I thought a lot about place and what that means. I was living kind of in both and not necessarily feeling home in either, but also sort of home in both. At some point, I knew that I did not want to use my name for the project. Even though I want to be thought of as a "singer/songwriter" the stuff I make never winds up sounding that way (at least to me), and thus a moniker seemed apt, thus tinvis came to be.
We see you both perform very frequently and host shows as well as attend live performances. How does the live music atmosphere impact your performances and what is different about how you present your music in live settings?
I think it depends on the context. However, one thing that is consistent is that I want a live setting to feel communal whether I am part of an audience, hosting a show, or playing. I worry for the future of live music. I write about this extensively here: https://open.substack.com/pub/joeldaniel/p/why-everyone-should-be-hosting-house?r=30s7jx&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true It is really hard to make money at a smaller scale for everyone (musicians, venues, promoters) which is causing every one of these to disappear (especially in smaller market towns), thus, I want communities to develop around music to create ancillary reasons for people to continue to show up (i.e. to see their friends, and recognize the value in being around others and community).
Also, if I am playing or hosting a show, I will try and give a lecture on the value of house shows and the difficulties musicians face these days with the hopes that others will host house shows and/or keep showing up. Thus, expect it to kind of feel like you are at school. kidding, kind of.
"Double Blind" feels like the perfect track to usher in the colder months. How did the seasonal shift influence the song's atmosphere, and was that intentional during its creation?
yes/no. Even though there is no guitar in this tune, I wrote this song in an Open D minor tuning on guitar https://www.youtube.com/watch?v=NgViOqGJEvM While the song is actually in G minor, Nigel is kind of right that it is hard to write a song (I have found) in Open D minor and make it sound happy.
In writing the album I knew that something I was interested in covering was avoidance in relationships and specifically the idea of some one being a workaholic and using that as a means of avoiding emotions. While I did not sit down to write that song when I started writing Double Blind, it pretty quickly turned into that song, and I am not sure that it could have been anything else, based on this particular guitar tuning.
Your music is described as a nod to early aughts indie influences like Death Cab for Cutie. What about that era of music speaks to you most, and how do you incorporate those inspirations into your work?
This one is tough.
I think early 1970s specifically 1971 was the best year for music: Hunky Dory (Bowie); Ram (paul Mccartney); Imagine (Lennon); Tapestry (Carol King); IV (Led Zepplin). However, I also equally love the mid 00s when technology was accessible enough that anyone could do it, but you still could not fake EVERYTHING.
Humans play ever part of the music on Texnia and I wanted that to be the case, but it was also recorded remotely during a pandemic where we took advantage of file sharing. I really really want the songs, even if they never find an audience - or in the case of McCartney's RAM it takes 50 years to stand the test of time and still feel like solid pieces no matter when they are heard.
With "Double Blind" leading the way, what themes or stories can listeners expect to hear throughout the Texnia album?
More than anything I wanted to try and write actual emotions. I really wanted folks to feel something real and human in every song. There are songs about relationships (romantic, friendship, and ambiguous), there are songs about big decisions, and reflections on the past, nostalgia, hope for the future, and uncertainty about the future, and there is loss and hope.
Can you tell us your relationship with Mama Mañana Records and how that developed?
This comes from a very sad story. Kiley from Mama Mañana records and I shared a fried, Gray Griggs. Gray was an incredible writer, friend and mentor. I would suggest that as you write this you listen to some of his music as Generous Gods (though there is other stuff out there): https://open.spotify.com/artist/5x9RFLaVzCii1BK3KB0gm4?si=Lf6V-TZvQm2TeB9ZyfaQXg. My favorite piece is Samsaric Sacrifice: https://open.spotify.com/track/4YGPHjGhwDXc4mjaNKd7Z4?si=4d7f3a5ff76c4d25. It was the first piece he finished for this particular project, but NOT the first one that he put out. It would actually come out posthumously.
Gray passed away really suddenly and tragically in September 2021. Kiley wrote what I would refer to as his musical obituary https://kileylarsen.substack.com/p/celebrate-the-life-of-gray-griggs
I did not know Kiley at that time, but what he said moved me to tears. It is hard to read it now still. Some time after that I reached out to Kiley, maybe to try and connect still to Gray. I am not really sure. Regardless, we started a connection and would chat about music and life over the course of years until we started chatting about putting out Texnia on his label. And now, it is coming out sometime this summer. I miss my friend Gray immensely, and am thankful for him giving me a new friend in Kiley.
The liner notes from Kiley for the upcoming "Wild Now" single is here:
What you hold in your hands may be the first official Tinvis release, but this baby has been on the back burner for a long time.
A friend who is no longer in this earthly realm but is never forgotten brought Tinvis and the label together. As if they dropped this beauty as a parting gift.
“Wild Now” is the next single off the upcoming Texnia LP, and a fitting call to action to find happiness and peace away from the screen world. In addition to Joel’s songwriting, guitar, and soothing croon, we’re thankful to Max Hart (Katy Perry, Tegan and Sara, We Are Scientists), Eric Gardner (Dot Hacker, Melissa Etheridge, Tom Morello) and Jon Natchez (The War on Drugs) for bringing gorgeous letter to life. The B-side features two songs, “On the Porch” and “Made My Day,” ditties from the Tinvis mind factory that is only featured on this 45.
Thank you for forgetting streams and supporting physical media.
To Gray. find some wild now.
“Double Blind” brings together an impressive roster of collaborators. How did you connect with Max Hart, Eric Gardner, and the others who contributed to this project?
Max and I both come from Davis. I have long been a fan and an admirer (his work on The Jealous Sound's Kill Them With Kindness, while a little known record, is an all time favorite, not to mention his more heavy hitting stuff with War on Drugs, etc... . I am not sure I had a collection of tunes until the writing cycle for Texnia that I would have felt good enough about to bring to someone like him, but I decided to give it a go. In his own way, I think Gray gave me that confidence. I reached out to Max during late 2020 - in the midst of the pandemic - and he was into the songs and receptive.
We were going to go to the Panoramic Studio in Stinson beach to record it live, but the pandemic kept going. Thus we started working on stuff remotely and Max enlisted some of his former collaborts and colleagues like Eric and Jon.
I recorded all the vocals in Austin with Britton Beisenherz from Ramble Creek Studios who I found via Will Johnson who now drums in the 400 Unit but whom I love as a singer songwriter first with CentroMatic but really as a solo artist: https://open.spotify.com/album/0OuAiCOtEjK9nUsLgByMjx?si=0Ek3WUQzR7ibS_IbukftKg (This record kills: listen to it!!!)
The City of Davis’s DIMI program has been pivotal for funding Texnia. What inspired you to start this initiative, and how has it shaped your experience as an artist?
Sometime in the 2010s I realized that none of my friends that were playing music and trying to "make it" could afford to live in Davis. Certainly, this was shitty for them, and for me as their friend, that wanted to hang out with them easily (and play music with them), but also for the city, which had less talented people living in town to entertain us.
I also realized that when I moved to Davis in 1998 there were 7 venues and today (2024) there are Zero.
It occurred to me that on a hyper local level the US could maybe try something like Canada, England, and some Nordic Countries. I thought Davis would be as good a place as any to try and I made a proposal to the city counsel: give me a grant to make a record in turn I would teach those after me what I knew about the process. The catch was that I did NOT want them to give me the money unless they would give the money to an artist the following year, and then the following, and following, so that in 10 years there would be 10 new records, and hopefully there would be more music in town.
It seems to be working: https://open.substack.com/pub/joeldaniel/p/musician-living-aint-easy?r=30s7jx&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true
You’ve mentioned that Texnia leans into heartland rock revival while maintaining indie roots. What drew you to explore this fusion of genres?
I think that this is just what comes out. I certainly don't write pop hooks and/or present songs in that way, and my voice is not "good enough" to be country. Thus, it sort of comes out as American and off center. I am not sure this is intentional as much as it is a product of me being me.
"Double Blind" is written in D minor, famously dubbed the saddest of chords. What role does emotion play in your songwriting process, and do you often write with specific tonal moods in mind?
This was very intentional on this writing cycle. I wanted emotions to drive every song and I wrote in at least 9 different tunings for the album (not every tuning had a song that made the cut). Each tuning I found had a different vibe and mood. Open D Minor was by FAR the saddest sounding and fit this particular topic (for Double Blind).
With the album set to release on vinyl, cassette, and digital platforms, what inspired the decision to embrace such a wide variety of formats?
I wanted people to have access. With the grant, I promised the city that every resident would be able to listen for free to the album at any time (the digial covers this). I also wanted to print something physical so that people can touch it. If the physical recordings make a profit I will donate that back to a future artist for another grant. I would like to test whether this could be a way of generating future revenue for artists to support the next artist coming after them (sort of a non-profit record label model)
Mama Mañana specializes in tapes and thus, we have to put it out on tape!
The upcoming Texnia album showcases a lush, layered sound. How do you approach building such intricate arrangements while keeping the emotional core intact?
First, I tried to make sure the core was solid enough to begin with, then I released control to Max. I trusted him and work with what the song needed like a good director would do with a script for a film and I let him bring his vision to it. I think he nailed it.
Your lyrics are described as journal-like. How personal do you allow your songwriting to get, and do you ever find it challenging to share those moments with listeners?
There is something persona in all my songs, but not all the songs are based on personal experience. I do have a personal experience in Double Blind, but the character whos perspective I am writing from is not me. I am actually on the other side of it.
I don't find the sharing challenging. If there is one thing that getting older has taught me it's that there are 7 billion people on the planet and there is a good chance that at some point a majority of them have felt exactly what I have felt at some point.
I think the mark of a good songwriter, author, painter, whatever, is conveying something in a medium that they work in that everyone feels but might not be able to convey in that way.
Working as a musician in the United States has its challenges, as you’ve experienced firsthand. What do you think needs to change in the industry to better support artists like yourself?
I am not sure.
Bob Dylan says the word does not need anymore songs (https://www.themarginalian.org/2014/05/21/bob-dylan-songwriters-on-songwriting-interview/) that seems sad.
It seems to me that as long as people have emotions then there needs to be songs to make sense of them and the times do change (as Dylan also did say).
I think Ticketmaster/Live Nation being broken up could certain help to free space for other venues and modes of experiencing music to open. It also could creat mroe competition so that we were not being forced to spend 1000 to see one show and we could spend 50 dolloars to see 20 shows. I would love to see more house shows generally and I think getting more local community funding can only help. There is a value for communities to have artists and musiicans in town. The musicians will play! and generally, we all love music!
Can you tell us about a particular moment during the recording process for Texnia that felt especially magical or memorable?
When Max said, "yes" to doing the record was one of them.
Also when I heard Jon's horn parts on Satisfied. I cried in the right way.
How has your time working on Texnia shifted or deepened your perspective as a musician and songwriter?
It made me a better writer. I forced myself to try a lot of things that I wouldn't have previously with the alternative tunings and I wrote a lot. I brought nearly 70 songs to Max. Also, Max is a genius so I got to see that process up close. He made the songs better and I trusted him to do that and to know that he wasn't going to fuck them up, and he didn't. That is not to say they songs would not have been different in the hands of someone else, they would have been "different" but likely not bette.r
The idea of blending atmospheric synths with driving drums on "Double Blind" is fascinating. What was the inspiration behind this combination?
I wrote this to Max on 1.19.21 when I shared the first demo (I shared with Max) to Max on this tune (it's attached):
Double Blind. SUPER inspired by Radiohead - their In Rainbows record (see: https://www.youtube.com/watch?v=-LlfGrP4n6E).
He ran with that, but also built something that would still allow for that conversational Wilco thing (the piano helps in that regard), and Eric built up the drums in a way that hints at some Moon Shaped Pool era Radiohead with that the second drummer playing some more orchestral feeling stuff
Texnia is set to release in early summer 2025. How does it feel knowing this project will soon reach listeners, and what are you most excited for them to discover?
I am so happy to be getting this record out. It has been sitting a long time. mostly because getting the DIMI project going and continuing has been such a huge effort (which I would not change for the world), but it has still forced other things to the back burner including this record. I think what excites me most is that the next song that comes out will both NOT sound like Double Blind and WILL sound like Double Blind. It is a strange record in that no matter where you start the next song won't make sense, but when you hear them all together they can totally exist on a ten song album as one thing. I am really proud of that.
Do you have any professional advice that you would give your younger self that might have changed the current course your career is now on?
Start. Do not wait to do anything, just start, and then after a while pause and ask youself, "is this where I want to be?" "Did what I just did get me where I was wanting to go?" "What should I do/try next?"
Essentially, don't be afraid to fail. Fail and learn and fail again, eventually the failures can be valuable.
Do you have a favorite song from your childhood that you would like to cover that makes you feel connected to who you are as an artist today?
Everybody Wants to Rule the World by Tears for Fears.
Lastly, with the success of DIMI funding more projects, what are your hopes for the future of the program and its impact on your hometown's music scene?
I would like every small to medium size town in the US to have a program like DIMI. Hundreds of thousands of little girls saw Taylor Swift play over the last few years and I am confident a significant number want to be like her someday. Those young ladies need places to play, and they need an infastructure to support those aspirations, and the towns they are from are in need of the music, I guarantee it.
Tinvís, thank you so much! We appreciate you taking the time to talk to us.
Thank you!
End Interview
-------------------------------------------------------------------------------
We’re happy to have shared Tinvís' exciting journey with you and uncovered such inspiring insights about their creative process.
Now, click the links below to experience their incredible work firsthand!
Check out this latest release and listen to more on Spotify & YouTube
コメント