Deadheading was thrilled to catch up with the creative powerhouse that is Daveit Ferris to talk about his latest (and naturally, colossal) project, 365 Sparks, in which he will release an original song for every day of 2015.
DH: What appealed most to you about the idea of 365 Sparks?
DF: The grandiosity and sheer scale, knowing it’s a unique project, the
challenge itself and knowing I’d better myself in a lot of different music related
facets. To be honest, absolutely everything was appealing about it
and I was as excited as a little kid at Christmas whilst assembling all the
ideas for it in the early planning stages circa November 2013. I’ve always
written an absolute tonne of songs but I’ve never been as prolific as I’d
like to be on the recording side. I’ve lost hundreds of songs simply by
never recording or writing them down, and eventually I wound up
forgetting they ever existed. It simply was time for me to live up to my
potential and do something really BIG.
DH: What made you decide to make it a reality?
DF: Coming close to dying in October 2013 with something called Supraglottitis
completely changed my outlook on life. I know that sounds as cliched as a
Nicholas Sparks movie, but it’s the first time I’ve ever truly been close to not
existing. Prior to this happening, I’d almost convinced myself that I had all
the time in the world to finish my collection of projects and as a result, I have
hoarded hundreds of half-written scripts, almost-completed novels, poetry
books, websites, graphic books, etc… that are soundly asleep on various hard
drives. This incident made me realise that my life is totally finite and I need
to be completing these projects and not half-doing 50 at one time. I decided
that my next project would be my sole focus and I’d complete it before giving
my full attention to the next thing.
DH: Do you like the independence that comes with releasing and distributing
these songs by yourself?
DF: I decided from the planning stage that I wanted this project to be completely
DIY. There was no bravado or arrogance involved in this decision, just a
realisation that I could and therefore I should. Also, due to the time sensitive
nature of the project, I didn’t want to be involving other folks just in case of
cancellations and postponements. I’ve always been happiest when in full
control of my creative output, so meandering down that independence line is
very comfortable at this stage. I’m obviously biased, but I’d question
musicians who are happy to relinquish control of any side of their output
without being involved in some capacity – from the songs and mixing, to the
artwork and website design- all those things are extremely important to at
least be a small bit involved in.
DH: All of the songs contain autobiographical elements, but to varying degrees: do you find it difficult to determine what you are comfortable sharing with
the public? Is it hard to draw a line?
DF: When I look back at my lyrics in all my previous bands, it’s abundantly clear
that I was not comfortable singing about myself at all. Almost all my
previous lyrics were peppered with artistic jargon that just served to mask
that they were all about me in some shape or form. ‘Write REAL lyrics’ was
actually one of the lines that I scribbled on my whiteboard before I started
the project, so it was a conscious decision to not conceal my true feelings,
ideas and stories under a smorgasbord of clever words and witty phrases- I
really wanted to be open about everything. I touch on depression, cancer,
rejection, family matters, anger- there’s no way I could have done that
before this turning point in my life- 365 Sparks could have only happened in
2014/2015 because until then, I simply wasn’t ready to be honest, lyrically.
There were lines that I did eventually redact, but literally the only time this
happened was when I felt that the person I was writing about might take
offence and be hurt by my words or memory- there’s always other options in
songwriting and sometime the punk-rock thing to do is not be a dick for the
sake of being a dick.
DH: When you could have focused on any number of creative ventures (for
instance, your poetry) why did you decide to prioritise 365 Sparks?
DF: Poetry poses absolutely no challenge to me at this point and I’m sure there’s
good folks reading this that will feel the same way. Don’t get me wrong, I
love writing poetry and still do very frequently, but it doesn’t enthrall me the
way songwriting and recording do. Before settling on 365 Sparks, I was
planning on making an indie film. I know that sounds as pretentious as hell,
mainly because I don’t know the first thing about how to do this- but that’s
what I’m all about. I wanted to go out and learn a completely different set of
skills and exist in a completely separate universe than the musical one I’ve
always known. I haven’t given up this idea though and was pleasantly happy
with the material I developed during those few months… Never say never!
I’m just one of those guys who wants to be on his deathbed knowing he’s
created music, poetry, books, films, websites etc etc- as opposed to just lots
of music- you know?
DH: Do you actively seek inspiration for your songs, or are you more spontaneous in your approach to writing?
DF: Honestly, I don’t really make concrete plans to sit down and write all that
much. I know that’s laughable coming from me of all people, but generally
my only struggle is choosing what I’ll write about as I usually either want to
write about butterflies fighting volcanoes or clocks pretending they can
speak Latin. I don’t recall ever trying to specifically coax inspiration from
the world to inspire a song, but I have paused movies hundreds of times in
my life in order to write a song about a new feeling that came from that
moment. I’m inspired by absolutely everything about our world. I find that
when I feel like writing that I have ample topics to spin words around. I’m
just always receptive to being creative and that keeps me away from the
dark gloom of writer’s block- besides, I’m one of the few that believes you
should write your way out of writers block – as confusing as that may seem!
DH: Is it difficult for you to write about personal matters?
DF: It used to be impossible. I think when we’re younger, we’re all trying to
cover the flaws and pretend we’re basically perfect- and whilst that facade
can work for a short time, it’s a tough world to live in and stay connected
with. My remedy for this in the past was basically to sing about other people
as opposed to, ‘Here are my feelings about ..’- I just didn’t want to be
perceived as weak for doing so. That’s early 20’s, now in my very late 20’s
it’s a completely different story. I actually enjoy the songs in which I’m
talking about really personal stuff, and those will likely be the songs I carry
forward from this project and play in a live setting because I can feel a small
electric buzz on my bones each time I sing them. I wish I could have gotten to
the honesty stage in my music a long time ago, but it just took me longer than
most to destroy that wall and expose my flaws for all to see.
DH: What comes first: the lyrics, or the music?
DF: It changes so frequently that it’s impossible to answer. At this point in my
creative life, I’ve written a song pretty much every single way one could’ve
been written. Both have pros and cons. I love writing lyrics first because I
usually end up with alternating melodies due to the uneven syllable count on
the lines, this means that each line usually has something the previous
didn’t, and that can keep the listener’s attention a lot more vs a completely
symmetrical set of melodies perpetually grinding away. Writing music first
can be fantastic too though, because on something like ‘Animal
Liberation’ [which is rock-metal riffs galore], I just decided to riff it up from
the start and not even stop to consider the vocals. When it came time to lay
down some vocals, I had no choice but to find something that fit because the
music was already complete, this alone threw me in a new direction.
DH: Has your song writing process changed much since this project?
DF: My songwriting process, editing, arranging, mixing, mastering [and 1,000
other relevant things]… have all improved 100x within this single project.
Those all are positive outcomes I was hoping to get from doing this so
intensely for two years, so it’s worked out nicely. In terms of writing, I’ve
pushed myself down roads I’d never have gone down before simply because I
didn’t want to write 365 rock songs. It was not only fun, but very
interesting to see a whole different side to music. I’m way more interested in
electronic music than I was when I started because I listened to a lot for
sonic inspiration during 2014.
DH: Have you ever written anything and felt that you couldn’t release it?
DF: Within this project? Sure. In letting my lyrical guard down for these 365
songs, there were definitely moments when the guard completely fell and
exposed things a little too much. I became too open in songs and as a result I
did scrap a lot of lyrics and start new ideas where their ghosts were. As
someone who has always added a protective atmosphere above their lyrical
intention, this was brand new ground and I needed to dig into that soil and
truly find the depths before I could settle on a comfortable place that slept in between honesty and personal comfortability.
DH: You previously enjoyed success with bands such as The Mascara Story and
Telephone Bruises. Do you miss being part of a band? Is it something that
you would ever consider doing again?
DF: A band in it’s organic state is not something I’d be interested in doing at this
point. I don’t really feel designed to be an equal music shareholder in a
collective creative endeavour. I’m so intense about music that it has made
former members uncomfortable. As i alluded to earlier, I like to have my
hands in all facets of what a band is, from the writing, to production, to the
graphics and website- I don’t really leave much room for other opinions
because of that. I don’t apologise for being this way and I couldn’t change my
behaviours even if I wanted to – but I definitely can appreciate that this setup
wouldn’t be ideal for other musicians. I mean, I am the guy that left an
early band simply because the band already had it’s main songwriter and I
wanted to have my songs heard- so i can hardly speak negatively about this.
There’s nothing I love more than seeing bands that are all great friends and
truly sharing something special together – in fact, I envy that a lot – but it’s
just not how it’ll work with me and history shows that, many times over. To
be completely frank, i have outworked and out-passioned every musician
I’ve ever worked with and most of them have told me as much, so I don’t feel
bad repeating this to you. This isn’t to say I’m even in the top 5 ‘most
talented’ of those aforementioned, but my intensity has been there from the
very first day. I mention this because I’m resigned to the fact that I’m not
going to find another ‘me’ with that matching intensity, and more to the
point, it’s not fair on me to judge others based upon my intensity- it just
can’t work that way anymore. When I do eventually get a new band together,
it will be musicians hired to help me bring my music live. Think of the way
Dashboard Confessional, The Rocket Summer and even John Mayer work-
it’s just one person with a changing sideshow of wonderful musicians
helping to bring their sound to the stage. I have huge respect for
collaborating bands- I don’t want to be seen as bagging them all just because
it doesn’t work for me- it’s just not the right fit for me and that’s why I’m
exploring a different avenue this time around.
DH: Was it always important to you that you released your music under your real name?
DF: Not at all. In fact, it was totally accidental. My idea was always to use my
name as my central hub of creativity and rebrand all my creative
departments as something different. The moment it changed was in
mid-2007 when I was trying to make a band called ‘Telephone Bruises’ work
out. It simply wasn’t working despite a lot of effort. So instead of moping
around, I wrote 10 songs, booked a studio in Lisburn and moved down there
for a week to record a new album. The only instrument I didn’t play was the
drums, I hired a session drummer for that. I showed the ‘Telephone Bruises’
members my finished album and it got approval from them all. I decided to
brand the release as Telephone Bruises even though no member other than
myself had any involvement. I saw it as a kickstarter to help the band find
their buzz and to have something to build upon; but it didn’t really change
anything internally. Ultimately i wound up rebranding it under my own
name as initially intended and that kickstarted the ‘solo’ era for me. The
next year, I released five solo albums and my first poetry book; so you could
say it felt really great to be working at the creative level I wanted to for such
a long time.
DH: Are you planning on recreating any of the songs from 365 Sparks live?
DF: Absolutely. My plan is to hire a live band to help me bring the best of the
music live. I’m going to call it 365-alive – did you see what I did there? The
great thing about having done so much music is that there’s not a looming
deadline for playing live, you know? When bands release a 4-track EP in
January, they kind-of have to be out playing in January- I don’t feel that
pressure due to the sheer amount I’ve released, and that’s cool. I have missed
playing live a lot over this last year – and that’s really been some of the first
times I’ve yearned to be back on stage since the Mascara Story days. It’s a
new feeling. I think it stems from confidence in my new work and new found
confidence in myself as a person, not a musician, but as a person. I love that I
have enough songs from this project to do a rock set or an acoustic set of
completely different material- that’s exciting for me. But how in the world
am I going to choose that first setlist? Paper in a top hat?
DH: How important is creative control to you?
DF: It’s critically important. I want my work to represent me fully. I’ve talked
about it before in interviews, but it’s so vital. There almost seems to be a
stigma around folks like myself who want to have a hand in every single
aspect of their output- that we’re arrogant, egotistical and narcissistic- I see
it very differently and think we’re just hard workers. Just to be clear, I’m
not saying that if you literally have never used Photoshop before, that you
should make your album cover in Microsoft Paint and release it to the world- being DIY extends to being the one delegating other creative and talented
people in various roles, and you’re still involved in the process. There’s a
hundred things I’d hire someone to do before doing it myself. I think too
many musicians give themselves a get-out-of-jail-free card and then go and
spend the rest of the week with their x-box. I’m not preaching from my
soapbox here, but I’ve seen this happen and heard it happen a lot.
DH: Did you feel a significant amount of pressure (due to the scale of 365 Sparks) whilst writing, or was it an enjoyable experience?
DF: Songwriting is my passion, so I’m always happy when I’m working on
creating something new in that realm. I’ve written thousands of pieces over
the years so I knew I’d not falter in regards to the writing component of the
project. The recording side was where my self-doubt lay as although I’ve
recorded myself before, I’ve never really brought it to this level before.
There was a lot to learn and I’m still learning all the time, but there’s enough
there that I’m constantly interesting in learning. The writing was a really
enjoyable experience, except for the days when the sun was melting the
streets and i was stuck in my studio couch trying to come up with something
new whilst having heat stroke. Fun!
DH: What was the most difficult aspect of this project (either personally, or as an artist) for you?
DF: It was incredibly, incredibly stressful. It’s impossible to feel progress is
being made when the goal is so huge. I remember finishing my 10th song and
thinking, ‘Wow! that’s an album already’… then I panicked when I realised
there was 355 songs to go- it just seemed like a huge mountain to climb.
There were times it seemed insurmountable and a few times I felt like
throwing in the towel and just admitting defeat, but they were few and far
between and all i needed was to escape the studio for a few hours to reset my
focus and recharge my batteries. The only other thing I’d mention is that it
got very lonely after a while. As much as it was my design for this to be a DIY
project, it just became emotionally lonely to see no other humans for most of
the day, every day, all year. That was tough after a few months and never got
DH: At what point in your life did you begin to take song writing seriously?
DF: There’s a story behind this and I touched upon it a little earlier with you. My
first real proper band was called ‘FutureReal’. I was singing for a school
band for fun when the guys from FutureReal heard me singing at an end-of-year
concert for the entire school. They were planning on replacing their
singer as it turned out and so, I got the job. I was super buzzed at this
opportunity and intent on making the most of it. I was around 15 at the time
and solely just the singer of the band. We’d rehearse often and play live
shows often and I was obsessed with the mechanics of the band. I got bought
an electric guitar for my birthday and was instantly obsessed with it. I took
a different route to other guitarists I knew, in that I taught myself from day
one [pre-having internet at home/YouTube] and that I only ever worked on
my own songs rather than learn the usual classics.
After a year+ of writing these songs, I felt confident enough to take some ideas to the band in the
hopes that we could integrate some of my songs into the set. I felt that a lot of
them had potential. However, I was told on multiple occasions that the band
had a primary songwriter and that was that. This really gave me no other
option but to leave the band because my writing was improving week by
week and i knew it was only a matter of time before I was writing brilliant
songs as opposed to good songs. I’ve been obsessed with the art ever since.
DH: Will music always be your primary focus?
DF: Possibly. Probably not in terms of the ‘artist’ angle, but more likely as a
writer or producer or something of that nature. The problem with the artist
angle is that it’s so damn unsustainable as a ‘career’ that it’s not clever to
put all your eggs in that basket anymore. It’s becoming harder and harder to
monetise music and the marketplace is becoming saturated with so much
noise that although the digital opportunities are 1000x better than they
were ten years ago … there’s also 1000x the amount of bands vying for those
spots and that attention. It’s really cut-throat. To be absolutely honest, the
other angles I mentioned are very exciting to me. I really want to push to get
into that writing circle of names that decorate the back of album booklets
and have already made some solid connections in that field. Likewise, I’ve
totally fallen head over heels with audio production and I’d love to start
producing albums by other bands once I get myself a larger studio space. I’m
confident I’ll forever exist doing something related to music – it’s where my
DH: Was a career in music always your end goal?
DF: Oh, for sure. When I was a kid I had a lot of fleeting passions; wrestling,
football, snooker… but once I really got into music I was obsessed every day.
I remember being introduced to so many great rock records by my sister’s
boyfriend, Kevin. I’d often go down to their house and just sink into their
sofa whilst playing records all day long- there was no distractions other
than the lyric booklet in my paw- it was all about the music. I knew then
that whatever i did in life would have some connection to music.
DH: Overall, how did you find this project? Was it cathartic, frustrating, etc.?
DF: It was a little of everything. I had moments of euphoria listening back to
certain songs after struggling so hard to get them written and recorded. I
had moments where I thought this entire thing was too grandiose and I was
stupid to even try. I pretty much experienced the full range of emotional
colours throughout the year- I was expecting that though, obviously. I’ve
cried in certain moments, laughed hard in certain moments and I’ve thrown
things across the room in certain moments.
DH: Do you think that it has been a valuable process? Has it been as rewarding as you had anticipated/ what aspect of 365 Sparks have you found most
DF: It’s the best thing I have ever done as a human, period. If I died tomorrow,
I’ll be remembered for this project amongst those that knew me. I share
Ricky Gervais’ philosophy about work in that the work itself is the reward.
I’ve known what these songs have sounded like by December 31st 2014 and
that’s when the project was an absolute success to me – the completion.
Everything after that has been a bonus. I have a very small audience of folks
who’ve been listening away daily and I’ve gained hundreds of brand new
faces that’ve supported the project – it’s been amazing. I can only see it as
having been absolutely valuable to me and my creative life – it gives me great
sense of pride to think about it now.
DH: What was the first song that you wrote for 365 Sparks?
DF: I’m sure ‘Even Butterflies Lose’ was the very first song i wrote and recorded
for the project. This song was the inspiration for me to try so much harder. I
remember listening back and thinking ‘Okay, well, it’s not bad, but i need to
do so so much better than this’. I remember trying so hard to get everything
right on day #1 and in the end .. i got everything absolutely wrong and i was
thrown into severe dizziness. I used this first song as a template for weeks. I
spent every night for weeks messing around with compressors, eq’s, panning
etc just trying to teach myself how this song could have been better on a
sonic level – this helped me paint over the rookie mistakes. I’m happy my
first recording wasn’t anything special because it gave me a platform to
better myself from.
DH: How did you find disciplining yourself to write a song every day? Do you
think that it inhibited you in any way, or did the time constraints serve as a
creative catalyst of sorts?
DF: The acknowledgement of limited time is the single best motivator I’ve ever
found in my life – and I’m not just talking about music. The writing itself
wasn’t really a huge ask because i tend to write something every day
anyways, but having to write parts for drums, bass, multiple guitars, pianos
etc… really forced me to up my game. It was no longer a daily exercise of
getting an idea down on one acoustic guitar – it was about composing a fully fleshed
out song. I think the pressure helped me rather than hinder me for
95% of the time. The other 5% were days when I had appointments or had to
be somewhere else and was left with literally a few hours to write and record
something brand new- those times were stressful but in that kind of good
DH: Do you find that there is a difference between what you initially intended to write and what you actually produce? If so, do you find that discouraging or liberating?
DF: Very often I’d assume what I was writing was a simple acoustic song only to
wind up with a full-blown rock track by the end of the day. The simplest
little things can derail that initial idea. Something like ‘Let this Love
Blackout’ was originally pretty fully-fleshed out as a song with lots of sound
layers, that was until I was listening to the vocals and acoustic in isolation to
ensure all the melodies were spot on- I just really dug what I heard and the
final version is devoid of everything except an acoustic and a voice.
Likewise, a song like ‘Now You’re Gone’ was intended to be a simple
acoustic/vocal song but completely grew into a full band song with drums,
bass, piano etc. In both cases, it was all justified around trying to do the best
by the song itself. I’m 50/50 between executing a clear vision and letting the
song tell me where it wants to go.
DH: Is there anything that you wish you had done differently (within 365
DF: Lots of things. I wish I’d pushed more to make a documentary around the
process. I had actually put in a lot of ground work to make it happen and
even gone so far as to do screen tests, but it came down to two issues; time
and narrative. I was cognisant that watching just me in the same small
studio day-in-day-out mightn’t have been appeasing to an audience, but I
wish I’d recorded daily videos every single day simply for my own archives.
I just didn’t have any time spare to even think about it in the end and so i
can’t mourn it too much- it was a ‘nice to have’, not a ‘need to have’. In terms
of process, I wish I’d had a few more months to plan the entire thing, simply
because there were a few other song experiences I was planning in throwing
in but ultimately had to cut due to a lack of planning.
DH: Are you self-taught?
DF: Yes. My mother offered to pay for guitar lessons for me when she witnessed
me stick to the guitar for months and months but even as a 15 year old kid, i
chose not to go down that route. I decided early on that i wanted to be me –
even if that meant that I wasn’t as technically proficient as other guitarists i
knew at the time. Developing my own sound and style was pivotal to me
even when I was a kid and I’m so thankful to the 15 year old me for choosing
this route. I reveled in the challenge of not knowing too much because those
little serendipitous moments were special at the beginning. I didn’t see the
fun in learning theory when i just wanted to annoy the neighbours with buzz
saw riffs late into the night!
DH: What was the first song that you ever learned to play?
DF: Nothing sticks out simply because from the moment I had a guitar at my
disposal, I was writing my own little riffs and songs – even if they were god
awful. My friends at the time used to come over to my house and ask to hear
what I’d written that week in my little [school-stolen] orange workbook
because it was so commonplace for me to have written 5 or more songs
during the week even though I barely knew my instrument. So I guess to
answer, the first song I learned to play would have been one of my own, but I
couldn’t be more specific than that.
DH: At what point did you discover that you could sing (or did you always
DF: I never ever planned to be a ‘singer’ and I still don’t! There’s a funny story
about how I even got into my first school band. I’ll try and keep it as short as
possible. When I was around 15 or so, all my class minus me were being
briefed by our teacher about the school trip they were about to embark on
that day. I was left at school because i was ‘bad’ that week. Whatever. I was
at the back of the class listening to Bon Jovi on my Walkman and apparently
I started to sing along with one of the songs without realising it. Sean Keddy
[whom I’d later form Mascara Story with] heard me sing and then had it in
his head to have me sing for his school band at the time. I agreed when they
eventually asked me and that was that. I was now in a band and ready to
take over the … school! Singing was never a plan of mine and trust me, if you
heard my voice when my started out vs. my semi-good voice now… you’d
assume a miracle had taken place. I initially sounded like a cross between a
siren, Mariah Carey and a washing machine.
DH: How did you get into producing music?
DF: In technical terms, I’ve been producing music since I was probably 15.
Although back then it was direct-to-cassette [remember those?]. When I
started to get into music at school, we had little four-track recorders in our
class that fascinated me. I recorded on those a lot [my school still has those
tapes somewhere I’m sure… Eeek]. Me and Sean both bought cassette
recorders when we were about 16 so we could record musical ideas. I pretty
much wore mine out. I’d get home from school and record from 5-10pm
almost every night. I’m not going to state ANY of it was even good.. but I was
constantly working on my writing and recording every single moment. To
better answer your question though; the start of my ‘producing career’ was
in 2008 when I decided to do the solo thing and wound up releasing five
albums in the first year. I had literally a USB microphone, awful computer,
borrowed keyboard and an acoustic guitar – I made five records solely with
It mightn’t sound sonically beautiful or professional, but those
albums contained songs that got airtime on a tonne of different radio
stations and as products they actually sold quite well. The reason why it took
me until 2014 to really start producing full-blown songs is because I was
using the time to build up my own studio and to actually learn about audio.
In 2013 i really felt like i could now produce songs at a sufficient quality to
release to the general public. I recorded a lot of songs in 2013 and they
sounded better every single time as I’d correct a rookie mistake from the
previous effort. I’d state 2014 as the year I really started getting into
producing. Oh sorry, I went off on a tangent there, to answer your question…
I got into producing for two reasons; 1) I genuinely wanted to learn that side
of the game because it fascinated me so much. 2) I simply couldn’t afford to
pay a studio every time I wanted to make recordings. It’s coming back to
that DIY/not waiting around attitude that I’ve tended to have forever.
DH: Your influences are very diverse. Were there any artists in particular that you found yourself listening to more whilst writing for this project?
DF: None that I overly magnetised to, but I made it a ‘thing’ to listen to a new
album every day I was recording and I still try to keep that up these days. I
was hoping that listening to symphonic music or reggae music would bring
out a whole new side of me… but I realised that my music is always going to
have some core component be strongly me. I’m fine with that though. I can
put my hand on my heart and say I’ve tried more new things in 2014
musically than i have in the preceding decade- that alone is a victory march
for me in terms of growth.
DH: What was the first album that you fell in love with?
DF: Silverchair- Neon Ballroom. That album literally defined the trajectory of
my life. I’d always adored music before hearing this record in 2000 or so, but
something about this album completely drew me in and filled me full of
wonder. It’s the album that changed me from a young singer in an upcoming
local band to a songwriter. This is the reason I have a portion of the album
cover tattooed on my body – it means that much. To be specific, ‘Ana’s Song’
from the aforementioned record hit me in a way no other song had ever been
able to. I was floored. I couldn’t believe music could give me shivers,
goosebumps and make me cry my eyes out at the same time. In reading into
the song in question, it only accentuated the tears because of how personal it
was. That album is the reason I am a songwriter. I owe it absolutely
everything. I’m still head over heels with it to this day and have yet to hear
an album i connect more with. It’s just perfect.
DH: Outside of music, what do you draw influence from (films, literature, art, etc.)?
DF: A few years ago I would have answered with films, but I’ve only watched a
handful of films from start to finish in the last few years. I much prefer
documentaries, especially those of the biographical kind because I find I can
use that information to better myself and there is real-world information to
be taken. I just realised how snotty that sounded, but it’s true. I still prefer
to read in the normal paperback way and [would you believe] I read pretty
much nothing but biographies. I really liked Steven Tyler’s book and Butch
Walker’s book, both of which I read again recently. Art [as in painting]
doesn’t really get me and never really has. I appreciate it for what it is, but
I’m not one of those that can go to an art gallery and feel floored – trust me,
I’ve tried on many occasions but always left a little wine-heavy but
inspiration-light. People are my biggest inspiration. I love just walking
around and people watching. We’re all just little ants meandering around
with our little different lives. People endlessly fascinate me.
DH: It is fair to say that 365 Sparks is a project of epic proportions. Do you think that you will ever undertake a project of a similar scale/nature again?
DF: I’m torn on this one. On the one hand, I do have grand visions for a future
project that would be on this level and that I think would be very unique and
interesting and on the other hand, I’m wary of a nervous breakdown and
losing even more hair! I don’t think I’d commit to releasing something-a-day-for-
a-year ever again because life is so unpredictable, as I’m finding out in the
latter half of this year. Problems come up, situations arise and people who
are expecting a song-a-day are left wondering, ‘Where’s the song?’. I can see
the finish line though and i haven’t messed up too badly yet…
DH: Do you have any plans (musical or otherwise) upon finishing 365 Sparks?
DF: Heartfuse is going to be my next large focus. It’s a company I’ve been toying
with for a long, long time. I’ve wanted to start a company since I was quite
young. Not a company only by name, but a fully-fledged operating and hiring
company for creatives to work within. It’s taken a long time for me to figure
out what I’d like to do and how I can make this possible but those ideas are
nearly at the fruition stage now and I couldn’t be any more excited and
scared at the same time. Hopefully it won’t be too long into 2016 before it’s
all up and running. Obviously I also intend on getting my 365 music out
there onto stages and that’s incredibly exciting. Other things I’m hoping to
accomplish: my first novel finally being released, perhaps another poetry
book and maybe even a short film.
DH: Have you found social media to be a useful platform, or more of a hindrance than a help?
DF: I have a love/hate relationship with social media and always have had. If
used by a musician/band as a measure of quality… then it’s going to be a
nightmare. It can be difficult to post a song you feel so proud of on social
media and see it inspire no interaction, and then post a funny meme and see
50 of your fans enjoying it and sharing it- you know? I never use it as a
measure of quality because it would kill me, and I’m sensitive enough as it
is! It’s great on the level that I can tweet a link to my music to the owner of a
major label and there’s a small chance he might click it and respond. So my
feet are firmly in the 50/50 column.
DH: What are you currently listening to?
DF: A lot of the Beach Boys / Daniel Johns / Green Day / Ryan Adams / My
Vitriol / Weezer and Fall Out Boy. I’ve been on such a nostalgia buzz these
last few weeks [I have one more month left before I hit 30 years old] that I’m
stuck on what I used to listen to over a decade ago. I’m looking forward to
getting 365 Sparks completed so I can start to treasure hunt for absolutely
brand new musicians and bands- it’s been a while since I’ve blindly done
DH: If you could transcend space and time, what artist would you see live?
DF: Silverchair- especially now that they’ve effectively gone into a permanent
state of hibernation. Their performances around 1999/2000 on the Neon
Ballroom tour are still some of the best I’ve ever seen [on video]. Although
the subsequent tour for ‘Diorama’ was absolutely amazing too. I watch those
videos on YouTube all the time, so to have been present for one would have
been unbelievable. Honourable mentions would go to Nirvana on the
Nevermind junket, Green Day on the Dookie Junket and Bon Jovi on the
These Days Junket.
DH: Is there anything that you wish I’d asked?
DF: ‘How has the Nervous Breakdown been?’