North Americans- "Catch and Release"
Artwork by Brian Blomerth
North Americans released the enchanting record Roped In in October of 2020 that marked their debut on Third Man Records. Two years prior to that, chief instrumentalist Patrick McDermott published Going Steady, a monumental piece for his ambient new age folk venture. Now, Third Man Records has announced a reissue of the seminal album that’ll contain several unreleased tracks from the 2018 recording sessions.
We caught up with McDermott to learn more.
It's evident that Going Steady was a landmark work in the evolution of the North Americans musical identity that we see and hear today. What aspects of your third record released back in 2018 helped it become such a special and consequential part of your career?
I think there are three key factors here - one was the switch back to really focusing on guitar and organic instrumentation as the core focal point. For what it’s worth, I view analog synthesizers as organic instruments. The second being not overthinking and micromanaging the performances and production. The third being collaboration.
The later two here being the most important. I really wanted to make music that wasn't so labored over and it led to such a wonderful process that was genuinely fun. I am sure someday I'll sit down and spend countless hours tweaking one synth pad but it was so great to buck that mentality and just trusting the process.
What are your fondest memories of working on Going Steady?
Essentially expanding on what's above and something I've said a lot when talking about this music - making music with friends. We recorded the bulk of the record in my roommate Gilles (who has made all the North Americans videos with his creative partner Rocco) bedroom at my old apartment in Echo Park here in LA. The super relaxed environment that we all felt very comfortable in, which I think was an important part of not overthinking the performances. We weren't running up a studio tab or really thinking about anything other than just experimenting and working towards a viable formula. When Hayden Pedigo flew out the records concept truly came together. He was a super foundational part of the record and the direction of the project.
Additionally, it was extremely fun to ask some of my favorite musicians to contribute and was lucky enough to be in the room for some of these additions. Also nothing better than seeing an email hit your inbox with a new overdub from someone you truly admire. It was a total dream to have Julianna Barwick, Meg Duffy, Dylan Baldi and Joel Williams contribute on top of Hayden's many contributions.
The new reissue attaches some previously unreleased material left out from the original recording sessions. Why did it feel important to share these songs now and do you have a different evaluation of them that might not have been so when you were assembling the record for it's first delivery?
Honestly, I had totally forgotten about how much material we made that didn't make the record. When TMR asked if I had any additional content, I genuinely was unsure. It was a total blast to open up some of the sessions that never made the record. I think at the time we made the right call of cutting them and keeping the record short and focused but I do really like a lot of the unused material. Especially the heavier stuff, which is something I am always trying to tap into more but haven't quite found a process I love.
The choice to cut them was more about how they fit into the overall context of the record versus thinking they were “bad.” I'm excited to have them coming out into the world now (digitally) but also want to preserve how the record originally was put together, so they’re still not on the vinyl.
How has your interpretation and appreciation of "ambient music" shifted since recording Going Steady?
Great question and a genuinely topical one. Co-running Driftless (which put out lots of ambient material including two ambient compilations) and making ambient music pretty earnestly at the start of the North Americans project, I was already burned out on the framing of ambient and the discourse around it. I gave up the Driftless ambient compilations and instead curated an instrumental compilation which was the genesis for me really returning to guitar.
We essentially had a rule on Going Steady of NO REVERB to even further try to push this music away from the ambient moniker. Brian's incredible artwork was also a direct attempt to separate this music from more traditional ambient presentation. With all of this said, I know I don't really control that narrative and I love tons of music that falls under the massive wide label of “ambient.” I am just happy anyone listens to this music at all and whatever framing informs that is great by me.
In terms of my own listening habits, I still listen to a lot more of what I would consider instrumental music than I do "ambient" music as I find it most inspiring to what I hope to make. However, I mostly just listen to Lungfish.
How does the connection with the natural world continue to inspire and inform your work as an artist?
At this point I think the way to best describe my connection to the natural world with relation project is “escapist.” I feel writing, performing and even listening to this music is like that postcard or photograph that reminds you of a natural place you love.
While I deeply love getting out into nature, especially fishing, which I do often, I'd be lying if I said I sit in the cabin conjuring up these songs. I write these songs at home after working a 9-to-5 noodling near my gaming PC or on the couch. I am not in the cabin. When I do get out into nature, I'd much rather be present than trying to pilfer inspiration for making music.
So to me making this music is more about longing to be in that environment versus directly summoning it, if that makes any sense.
Going Steady introduced Brian Blomerth's far-out anthropomorphic cartoon universe created for North Americans. The burning question on everybody's mind is "Which character are you?"
Ha! Honestly you'd have to ask Brian. While I don't play saxophone, I’d love to be that well dressed trout playing the sax on the right side of the jam session on the cover :)
Purchase North Americans’ reissue of Going Steady out 10/15 via Third Man Records.