Interview // North Americans

Artwork by Brian Blomerth

North Americans, the instrumental collaborative project between guitarist Patrick McDermott and pedal steel player Barry Walker will share their newest record Roped In on October 9th with Third Man Records. We spoke with McDermott about the origins of the new material, its striking visual elements, and about being an important piece of the label’s evolving identity.

Roped In follows up 2018's breakthrough LP Going Steady. How has the time elapsed since the last record shaped your new collection of songs?

The biggest difference in approach was feeling more confident and informed about the writing and recording process. Going Steady was such a fun experiment that had such little premeditation. Roped In certainly carries the torch in terms of an improvisational and collaborative approach, but I had a more cohesive vision on Roped In. And of course, working with Barry throughout was a total thrill that took the concept to a whole other level. I am so thankful he wanted to be a part of this.

The new record feels like an extension of the ambient landscapes felt on Going Steady with elaborations in the instrumentation and production value. Did you intend to connect the two pieces of work in any way?

Yes! I definitely see this record as an extension of the last. I sought to continue a very similar approach but with new instrumentation and collaborators, so I recorded on nylon string guitar and enlisted Barry and some incredible pals (William Tyler, Mary Lattimore, etc.) for other additions. The spirit and sort of internal "rules" of the process were intact.

The recording process was elevated for sure. I recorded at home but via Joel Ford’s (my best pal and label partner) studio that's in the garage of my place in L.A. Barry recorded at a really special studio in Portland, Oregon called Type Foundry with producer/engineer Dylan Magierek. The process was remote but I think it really worked well and I feel like we captured a feeling of playing together or so I hope. I am actually actively trying to separate this music from the term “ambient.” While I think it fits into the definition, I've wanted both records to avoid a lot of the tropes of the genre and its current resurgence.

Visually, another vibrant, colorful universe is created by artist Brian Blomerth for the artwork for the record cover and inserts. How does Brian's work best represent the North Americans ecosystem?

First and foremost, I feel super lucky Brian took on the project and did the last record. I was a huge fan of Brian's art generally and my close pal and fellow artist Nick Gazin linked me with him and we connected quickly at the outset. Similar to my sentiment above regarding ambient tropes, I didn't want the album art for Going Steady to be a minimalist painting or a nature photograph. I was trying to get away from Windham Hill style aesthetics and typical ambient album art concepts. Brain's art for me was the perfect fit.

I firmly believe, even the micro-successes of this music, wouldn't have been possible without his contributions. Instrumental music certainly leaves a lot up to the imagination and it's such a joy to pair Brian's characters and vision with this music. I believe the curious and playful nature of Brian’s work really mirrors the music and I really value his hand-drawn organic approach to the process which I also believe is inherent to the tunes.

Roped In features collaborations with Mary Lattimore, William Tyler, and others. How did these folks get involved and what about their styles was most important to convey on the album?

For me, whether it was my early days playing in bad bands to releasing records for the last decades at my various label jobs, actual human connection to my peers has always been the draw. I love collaborating in many forms and for this music, it feels essential. It's so simple at its core that I think its just far more interesting if someone lends their take to an existing piece, opposed to me constantly overdubbing. I've been lucky enough to work with some of my favorite artists and this time was no different. I am a huge fan of both William and Mary. I became friends with both of them through a truly special artist and beacon of a human Julianna Barwick. Considering the switch to Nylon string, I really felt Mary's playing and the harp generally would be a really nice fit. With William, I actually woke up one day with an email from him! His manager Ben Swank had mentioned my music to him and we had mutual friends. I quickly/selfishly enlisted William to play as it would be a dream but also I knew he could add something really special. In life I always try to surround myself with people that are better than me at things, which isn’t very hard, so enlisting friends like William and Mary was a no brainer.

The album announcement arrives during a period of global health crisis that has not spared the music community. What are some of your thoughts on the being an artist during these times and how your work has been impacted?

Man, this is a tough one. It's not really about me here as I don't make a proper living making music. I am lucky to have label jobs and freelance work. For my friends that tour its just been totally devastating as you well know (and thanks for all your work supporting musicians affected). Mostly I think we are seeing how devalued music creators are and how fragile the whole ecosystem is. It's truly unfortunate and I at least hope coming out of this some more protections.

I am thankful for and inspired by community leaders and people to look up to and learn from like Emilie Friedlander, Jeff Weiss or Tom Krell, and many more who can speak on this and use their powerful brains more effectively on this situation than I can.

This is your first release with Third Man Records. Recently, the label has taken some exciting steps to diversify their catalog and challenge their perceived identity as a rock and roll label. How do you think Roped In fits with their refocusing efforts?

First off, I am honored to be apart of Third Man Records’ recent artist additions. I really applaud what Ben Swank and the entire team are doing. I feel like Luke Schneider's incredible record Altar of Harmony sort of opened the door for a record like Roped In. Luke was really already part of the TMR family playing with Margot Price. I really value that familial nature in a label ecosystem and it is something I strive to do with my own label Driftless.

While I can't speak for Ben and the team, I think where my music fits into the larger TMR ethos, regardless of the timeline, is the general spirit and ethos surrounding organic music and the process around it. I am super excited to see the future of the label and it's been a real joy to work with them. 

Purchase North Americans’ new record Roped In our 10/9 via Third Man Records.