‘All Hands On Deck’ is the third single from Miles East’s forthcoming album ‘Between Lightning and Thunder,’ a highly anticipated release that is a sonic exploration of love and human nature. Miles East has been steadily gaining a wide audience, and deservedly so, for the evocative and emotionally-charged quality of his music. Each release is a striking tapestry of exquisite melodies and reflective lyricism, bringing a real and relatable character to the songs. Lost In The Manor interviews Miles East about the themes, musical influences, and creative processes involved in making the song ‘All Hands On Deck’ and the forthcoming album, ‘Between Lightning and Thunder.’
Introduce us to the sound and story behind your latest single, ‘All Hands On Deck’.
This song is about dire emergencies and what’s required to meet them head on. In my view no emergency is more dire than one at sea. If there was ever an occasion to band together, roll up sleeves, and get to work it would be that. I also believe it happens to be a pretty good metaphor for the struggles we’ve had to deal with collectively over the last eight to ten years. Sonically, I had one idea in mind. I wanted the listening experience to convey being on the deck of a ship on a stormy sea.
What are the musical influences at play here?
“The Wreck of the Edmond Fitzgerald'' comes to mind. Gordon Lightfoot is definitely on my map of musical influences. “Wooden Ships” by CSN as well.
How does ‘All Hands On Deck’ fit into the bigger picture of your forthcoming album ‘Between Lightning and Thunder’?
I’m an album guy. I love a collection on a theme. We’ve described this album as a voyage through the dark waters of a relationship in crisis. “All Hands” is a crucial chapter because it’s the only song on the record that is an unambiguous call to action. The other songs could be described variously as warnings, laments, or odes. With the inclusion of “All Hands on Deck”, their impact is even greater and the story arc more defined. Having it in the second spot on the record is important as well. Song sequence matters.
Tell us more about your creative process. What aspect of songwriting did you love the most in ‘All Hands On Deck’?
I really love the way this song evolved. It was born out of a deep, personal feeling of desperation, and when I first wrote it it was all about quiet intensity. Though it was the same tempo as it is now, I finger strummed it and sang it soft and somewhat plaintively. As my inward desperation shifted to outward alarm the song started to take on more urgency and more agency. I started playing it harder, digging in more. I rewrote lyrics to convey more decisiveness. Then, being a drummer, I started to hear the drum part and that’s when the full sonic vision really began to take shape. My producer Blake Morgan and I were very clear about the direction of each song on the album and how they all fit together but this song was definitely the clearest going in.
Name some of the artists that have shaped your sound?
Well let’s start with The Beatles. They’re the Rosetta Stone really. For me in particular, it was Paul. His melodies growing up lit me up like a pinball machine. I was a huge Wings fan as well. Sticking with the UK for the moment I’ve gotta go with Elton John next. Then back in the states it’s the whole Laurel Canyon sound of the 70’s—Jim Croce, James Taylor, Carole King, The Eagles, CSN, Fleetwood Mac, Elton and Bernie, Joni, Carly, Jackson Browne, Don McLean, the aforementioned Gordon Lightfoot. I’ve gotta give a shout out to the whole 70’s Motown sound as well. Those melodies always knock me out. More currently it’s Dawes and Jason Isbell.
What are some of the themes and tonalities that the listener can expect in the forthcoming album ‘Between Lightning and Thunder’?
The sonic vision for the record began in earnest like this—If Paul McCartney’s Ram and Beck’s Sea Change had a baby it would be Between Lightning and Thunder. Of course, the album doesn’t sound like either of those records but that was never the point. Before we began pre production, I was all about creating that Laurel Canyon sound but Blake observed that the songs we selected were giving off vibes of those two records and I had to agree. So that was the approach we took and, interestingly enough, the record ended up sounding a lot like what I was going for in the first place but in an authentic and, more importantly, fresh and current way. If you let the music do the driving, it’ll ultimately take you where you want to go. As I mentioned before, thematically this record is a voyage through the dark waters of a relationship in crisis. The type of relationship is purposely left somewhat ambiguous so it can easily be whatever the listener needs it to be. Each song represents either a distant light guiding us through the darkness or the dark water itself. Sonically, I think we successfully honored that.
What are your plans for the future and what do you look forward to?
Top of the list is the full record release of Between Lightning and Thunder on June 7th. The success of the first three singles have exceeded my expectations so I can’t wait for people to hear the whole thing as a complete collection. We just shot a video for “All Hands on Deck” so I look forward to the release of that over the next few months. Then I’ve got a lot of work as a drummer that I’m looking forward to including the release of my label mate Janita’s next record along with her residency at The Bitter End beginning in May, The release of Chris Barron’s (of Spin Doctors) next solo record, and getting into the studio for my producer and label mate Blake Morgan’s next record for which we’re currently writing drum parts. Then of course I’ll be looking to start getting in front of an audience with this new record but that’s a little further out. Exciting times!
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