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Paul Bergmann; Photo Credit: Alex Legolvan
Paul Bergmann’s music is refreshingly tangible in our digital age. His voice and melodies are reminiscent of late nights on back porches filled with wine-drinking, reminiscing sing-alongs and buzzing crickets. In a word, Paul can at times be nostalgic; yet he avoids the pitfalls of many by being unapologetically himself while combining complex emotions like frustration, adoration, and yearning.
Both a crooner and a wordsmith, Bergmann has evolved from his previous EPs and debut LP into a more refined, upbeat version of himself, with forays into electronic beats and off-kilter orchestral arrangements on his newest record Nothing At All.
The album is a waltz from Los Angeles, where it was conceived and recorded, to Maine, where he currently resides, across Middle America and the plains and cities in between. Nothing At All was produced by avant-garde composer Brendan Eder. With a background in film scoring and currently helming an experimental chamber ensemble of his own, Eder’s influence is plain to see. The collaboration birthed the final sound of the record, which is riddled with Eder’s inventive, eclectic compositions. The album, which features a track produced by L.A. tastemaker Gus Seyffert (Beck, The Black Keys), encompasses a variety of emotions yet still feels cohesive.
In short, Nothing at All is the result of years of singing, touring, playing shows, and recording. While a bit nihilistic, the brutally honest (and also funny) title is one that we all can commiserate with.
The Big Takeover premieres Bergmann’s track “Coffee, Wine, Water, Tea” today. The artist explains, “This is probably the most sincere song I’ve ever written. It’s also the heaviest collaboration between myself and Brendan Eder (the producer). Brendan built the soundscape of the song and composed the entire outro, which showcases both how much of a nutcase he is and also his enormous talent. To me, this song is the cornerstone of the record, and I have a special fondness towards it.”
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