We'll toast to that.
Nostalgic and satirical, the music of Seth Goodman’s The Grand Undoing cleverly incorporates modernity with the classic rock from which it pulls inspiration. Goodman’s third album, Sparks Rain Down From The Lights Of Love, highlights the growth of the frontman's instrumental ingenuity and prowess for creating lyrical composition from ordinary, everyday events. Thanks to his appreciation for the finer things in life, particularly wines of the sparkling variety, fans might be able to catch the next performance from The Grand Undoing at their local winery.
Tell us about Sparks Rain Down From The Lights Of Love!
This is the third Grand Undoing record. It was written and recorded over the course of two years.
I got help from some amazing musicians including Dave Westner, Andy Plaisted, Kevin Mahoney, Ian Kennedy, BJ Cole, Chris Nole, Allen Devine and Dana Colley. For the most part, I tracked it at home after doing the drums in a studio, which is also how I recorded the previous releases. I think it’s easily the most realized Grand Undoing record yet. My hope was to make a dynamic LP that would challenge the listener but also offer great rewards if you gave yourself over to it.
How would you describe your music to people who had never heard it before and what can they expect from you as a performer?
It's edgy, dynamic and expansive rock with it's heart in the '60s/'70s/'80s. All of The Grand Undoing gigs so far have been acoustic so there’s been an intimate quality to them. And the stripped down versions of the songs really highlight the writing as opposed to the production. But I also love and tend to deliver high energy shows. Having been raised on rock bands, the performances are definitely more spirited than what you’d normally expect from a guy with an acoustic guitar.
Who are some of your musical influences? What aspects of their music drew you to them and in what ways did they inspire you?
Scott Walker, X-Ray Spex and Rose Maddox are just a few of the many artists that made a big impression on me. I’m particularly drawn to musicians that have an original slant and seem to be operating outside of larger trends. I find that the people on the fringes are generally making more honest music, and overall have something more substantial to express. Artists like this have encouraged me to embrace my own musical eccentricities and continue to strive to take things to a new place.
How do you feel technology and social media impact the music industry and artist outreach for up-and-coming musicians?
Creative possibilities are really boundless now with the accessibility of new technologies. Conversely, the possibilities for reaching a larger audience continue to be challenging as the culture and the industry shift. Technology and social media have made communicating with your audience worlds easier than it used to be. However, new technologies are part of a larger social movement in which music has been devalued,
Gone are the days where the rock band, artist, or groundbreaking LP brought a generation together or reached God-like status in the culture. And while it’s clear that the old music business model is gone, it’s too soon right now to really know where the new model will take us over time.
Do tell us how you chose your name.
By bearing witness to mass deconstruction all around and toasting to it with champagne.