Tenants, the band tearing up jazzy, disco synth-pop, sat down to take us through four of their irresistible tracks from Nighttime Sunshine
Upholding the good name that Oregon has, Tenants are rising out of the Portland scene with their infectiously good and groovy as hell sound.
Glisteningly nostalgic and yet remarkably fresh, Tenants’ latest album is packed full with thrilling guitar riffs and electrifying vocals.
Taking us through ‘Only Right’, ‘Killing Time’, ‘Anymore’, and ‘Knocks’, Tenants explore their influences and paint a picture of their rich creative process.
From psychedelic bridges to addictive shuffle rhythms, this breakdown will give you a real appreciation of Tenants and their hard-hitting sound.
Check it out below.
Only Right
‘Only Right’ is the lead single from Tenants’ debut full-length album, Nighttime Sunshine, even though it was the last song selected during the pre-production of the record.
The track began as a simple demo containing only a bassline, drum groove, and chord progression—all of which lingered in musical purgatory on Nate Martin’s hard drive throughout the entirety of the COVID-19 lockdown.
Two weeks prior to beginning the studio sessions for the album, the song was revisited with the suggestion of drawing inspiration from records like Rumours by Fleetwood Mac and Saturday Night Fever by the Bee Gees. During a short lunch break at home, Ryan Logan added a disco-esque vocal melody along with heartfelt and melancholic lyrics, breathing new life into the track.
Finally, a psychedelic bridge section was contributed by Michi Maestre, heavily influenced by 60’s and 70’s British Rock and modern Australian Psychedelic Rock. When Ryan sent over the finished demo with the new vocals and bridge, ‘Only Right’ immediately resonated with the band—they knew they had stumbled upon the lead single for the record.
Under the meticulous guidance of producer Cameron Spies, the song underwent a few rhythmic adjustments and benefited from some happy accidents in the studio. We all found ourselves giddy with what ‘Only Right’ had become, blending nostalgic influences with our own modern twist to create a track that truly represents Tenants’ sound.
Killing Time
‘Killing Time’ represents a pivotal moment in Tenants’ evolution, marking the genesis of the band’s new sound. The song was conceived on a somber summer day in Michi Maestre’s basement, where he sought to channel his emotions into music.
The first spark came from the chords played on his Yamaha DX7—the quintessential 80s digital synthesizer known for its distinctive sound and his love for yacht rock. Shortly after, Ryan Logan joined Michi and infused the track with a groovy bass line.
Together, they crafted a scratch vocal melody that added depth and soul to the composition. Nate Martin later contributed his signature plucky guitar riffs and an unforgettable lead synth melody, transforming the rough ideas into a full-fledged demo.
The track underwent several iterations as the band explored different styles and directions, trying to find the perfect expression for the song’s emotional core. Initially unsure of its identity, they experimented with various tempos, arrangements, and sonic textures.
This period of exploration was crucial, allowing the song to mature and eventually solidify the new musical direction for Tenants. But it wasn’t until the guidance of producer Cameron Spies that the song truly came to life.
He shaped ‘Killing Time’ into a sensual, slow-burning yacht-rock piece, reminiscent of his own work with Night Heron and his personal influences. Cameron’s expertise refined the track’s final sound, seamlessly blending the band’s experimental efforts with his stylistic touches to create a blend of nostalgic elements with modern sensibilities.
Anymore
Pulling from 80’s nostalgia and heavily inspired by synth-pop and pop-rock artists, ‘Anymore’ developed into a song about coming of age, dealing with bittersweet reflections, and accepting what was and what has come to be.
Like many of our songs, ‘Anymore’ started with the groove and chords. Michi initiated the first demo, aiming for a track that was a bit faster than the other songs we were writing at the time.
He wanted it to be something different than the standard 4/4 measure, opting for a shuffle rhythm that has a sensation of never-ending movement. Using the powerful Juno-60 and Prophet 5—iconic synthesizers known for their sparkly and warm analog sound—he hammered out the initial rough demo with a shuffle beat driving the chords and synth melody.
Once again, Ryan came over to Michi’s house, and together they worked on a vocal melody that could complement the shuffle and sound distinctly pop, especially focusing on the dynamics and how to reach the chorus in a catchy way. Initially, the lyrics were complete and utter gibberish, but they fit the melody perfectly.
Later in the writing process, the lyrics began to take shape. Ryan and Nate sat down together late one night after a show and stumbled into the first few lines of the chorus, reflecting on their 10-year-long friendship and the journey of coming of age together over the years.
Producer Cameron Spies played a significant role in the vocal production of ‘Anymore’, bringing a special touch to the harmonies that elevated the song to new heights. His expertise crafted intricate vocal layers, resulting in harmonies that sound incredible and add depth to the track.
Knocks
Sometimes, inspiration comes knocking—literally. A simple knock on the door from a postman was all it took to spark the creation of ‘Knock’s. While experimenting at an upright piano and reflecting on the previous night, Nate stumbled upon the song’s hook.
Wasting no time, he built out a demo featuring drums, bass, Rhodes piano, guitar, and vocals. When he played it for Michi and Ryan, they instantly knew it had the potential to be a hit. With the Sister Sledge-inspired verses completed, the band took the song into the studio.
The recording sessions were filled with happy accidents that made the experience unforgettable. Ryan’s whistle before the third chorus—originally meant to find the upper harmony pitch—was left in the track, adding a whimsical touch.
An unmuted demo vocal accidentally included during the second breakdown provided an unexpected layer. Nate’s single-take guitar solo, which he thought he’d botched, was kept at the insistence of Cam and the rest of the band, and Michi’s Yamaha CP-70 single take ended up becoming the heart of the song.
Writing and recording ‘Knocks’ was an absolute blast, and we feel that infectious energy shines through in the final version.
