Broken Prism Studios

David Vandervelde has carved a distinctive niche in the indie music landscape as a versatile American songwriter, producer, and multi-instrumentalist.¹ Known for his compelling solo work and significant studio collaborations, his career has been marked by a dynamic evolution of sound and style. From his early associations with Jay Bennett of Wilco to his later collaborations with Father John Misty, Vandervelde’s musical path showcases a multifaceted artistic identity. This report delves into the depths of his career, exploring his origins, musical shifts, notable projects, and lasting contributions.

Born on September 3, 1984, in Holland, Michigan, David Vandervelde’s musical inclinations surfaced early in his life.⁴ At the age of 14, he embarked on his musical journey as a guitarist for Fable, a hardcore metal band based in Michigan.⁶ Between 1998 and 2000, Fable released two recordings: “Give Us the Night” and a split with the band Mara Akate.⁶ Simultaneously, Vandervelde began exploring a different sonic territory. With the support of his parents, who provided him with basic recording equipment, he started recording acoustic music in the more intimate setting of his home while attending Holland Christian High School.⁶ This period marked his first official release, the track “Like Judas,” which found its place on a compilation album featuring unsigned bands, curated by Velvet Blue Music.⁶ Further demonstrating his early engagement with the indie music scene, Vandervelde recorded initial demos for the band Entrance in his parents’ basement. These recordings proved instrumental in securing Entrance’s first release under the label Tiger Style Records.⁷ This early immersion in diverse musical styles, from the intensity of hardcore metal to the introspective nature of acoustic music, laid the groundwork for the eclectic approach that would characterize his later work.

The year 2003 marked a significant turning point in Vandervelde’s career as he relocated to Grand Rapids, Michigan.³ There, he expanded his recording endeavors by establishing a home studio where he began to record local bands and fellow musicians.³ It was during this time that Fonic Records encountered a demo Vandervelde had produced for the indie-pop artist Brie Stoner.³ Impressed by his production skills, the label signed Stoner and orchestrated a collaboration between her and Jay Bennett, the former guitarist for Wilco. In 2004, Vandervelde found himself working alongside Bennett at the latter’s Pieholden Studio in Chicago, producing Stoner’s debut album.³ This initial collaboration blossomed into a more profound artistic partnership. Following the album’s release, Vandervelde made Pieholden his residence, immersing himself in both his solo projects and various other recording ventures under Bennett’s guidance.³ The environment at Pieholden proved to be incredibly fertile ground for Vandervelde’s creativity, leading to a surge of songwriting and recording that would ultimately form the core of his debut solo album.³ During this productive period, Vandervelde also contributed his instrumental talents to Jay Bennett’s albums, “Bigger than Blue” and “The Magnificent Defeat”.³ The extended period of over two years spent working closely with Bennett was undeniably formative, providing Vandervelde with invaluable insights into the intricacies of recording and production.⁸ Their bond transcended a typical professional relationship, with Vandervelde describing Bennett as a figure who encompassed the roles of “best friend, brother, and father all rolled into one”.⁸ Furthermore, the fact that Vandervelde’s debut album was crafted using the same equipment at Pieholden Studio that had been instrumental in the creation of Wilco’s acclaimed albums “Yankee Hotel Foxtrot” and “Being There” subtly hints at a shared sonic lineage, even as Vandervelde developed his own distinct sound.¹⁰

In January 2007, Secretly Canadian Records marked a significant milestone in Vandervelde’s career with the release of his debut solo album, “The Moonstation House Band”.³ This collection of songs was largely a product of the intensive one-man band sessions he had undertaken at Jay Bennett’s studio.⁶ Demonstrating his proficiency as a multi-instrumentalist, Vandervelde performed the vast majority of the instruments heard on the album, with Jay Bennett lending his bass playing skills to select tracks.⁸ The album garnered considerable praise from critics and listeners alike, celebrated for its captivating melodies and richly layered arrangements.³ Vandervelde’s musical style on this debut drew frequent comparisons to the iconic sounds of T-Rex and David Bowie, a testament to the prominent glam-rock influences and his distinctive vocal delivery.³ Some even noted a sonic resemblance to T-Rex’s seminal album “Electric Warrior”.²² Among the standout tracks on “The Moonstation House Band” are “Nothin’ No,” a collaboration in songwriting with Bennett, the energetic “Jacket,” the reverb-drenched “Feet of a Liar,” the orchestrally tinged “Corduroy Blues,” which featured string arrangements by David Campbell (father of Beck), the catchy “Wisdom from a Tree,” and the atmospheric instrumental piece “Moonlight Instrumental”.³ The album was recognized as a confident exploration of retro sounds, skillfully reimagining musical styles from a bygone era.⁸ While the album’s lo-fi production was noted by some critics ²⁷, the strength of the songwriting and Vandervelde’s performance shone through. Following the release of “The Moonstation House Band,” Vandervelde embarked on a six-week tour, further solidifying his presence in the indie music scene.³ He also graced the stage at Lollapalooza in Chicago in 2007, bringing his glam-infused rock to a wider audience.³ The initial wave of comparisons to established artists like T-Rex and Bowie played a crucial role in defining Vandervelde’s early artistic identity and undoubtedly contributed to his initial recognition within the indie music community. This immediate association with the glam-rock aesthetic provided a familiar entry point for listeners and critics alike. Moreover, the fact that Vandervelde single-handedly performed the majority of the instruments on the album underscored his exceptional talent as a multi-instrumentalist and his commitment to a hands-on, DIY approach to music production. This self-reliance is a defining characteristic of many indie artists and significantly contributes to the unique and personal feel of his music.

Following the release of his debut album, David Vandervelde relocated to Brooklyn, New York.⁶ This move preceded the arrival of his sophomore effort, “Waiting for the Sunrise,” which was released on August 5, 2008, once again under the Secretly Canadian label.³ Shortly thereafter, in April 2008, he established a new base in Nashville, Tennessee.³ “Waiting for the Sunrise” represented a notable stylistic departure from the high-energy glam-rock of his debut. This second album embraced a more relaxed and roots-oriented sound, leaning towards soft-rock and drawing comparisons to artists such as Neil Young, The Band, and the Rolling Stones.¹⁹ For the first time in his solo career, Vandervelde opened up the creative process, collaborating with members of his band, including his former collaborator Jay Bennett, who contributed to the songwriting.³⁴ Notably, the album features a co-writing credit with Bennett on the track “California Breezes”.³ In a further shift from his debut, “Waiting for the Sunrise” was recorded with a full band, a deliberate choice to capture a more organic and “live” feel in the recordings.³³ While some critics found the album to be a pleasant listen, a few noted that it lacked the raw excitement and distinctive originality that characterized his earlier work.²⁷ Key tracks on the album include the introspective “I Will Be Fine,” the aptly titled “California Breezes,” the driving “Hit the Road,” the melancholic “Old Turns,” the personal “Someone Like You,” and the gentle title track.³ Vandervelde supported the album with touring engagements, including a performance at the FuckYeah Festival in Los Angeles in 2008.³ The move from Chicago to Brooklyn and subsequently to Nashville appears to have played a significant role in shaping the sonic landscape of “Waiting for the Sunrise.” As Vandervelde himself noted ³³, the isolation he experienced in Brooklyn influenced his songwriting, and the move to Nashville, a city deeply rooted in Americana and roots music, likely further contributed to the album’s stylistic shift. Furthermore, the decision to record with a full band for this second album signifies a conscious evolution in his artistic approach, indicating a desire to explore a different dynamic in the studio and potentially translate his songs to the stage with a more collaborative energy, a departure from the largely solitary creation of his debut.

In 2014, after a noticeable six-year hiatus, David Vandervelde returned with his third full-length album, “Shadow Sides”.³ This period of silence followed significant personal events, including the passing of his close collaborator Jay Bennett and the end of his marriage.⁵ “Shadow Sides” marked a distinct creative choice, as it was recorded entirely by Vandervelde in his Chicago apartment using a portable cassette four-track recorder.⁵ This recording method resulted in a lo-fi aesthetic, a stark contrast to the more polished sounds of his previous albums. While “Shadow Sides” still hinted at pop sensibilities, it leaned towards more refined and shimmering textures, with the overt glam rock influences of his debut taking a backseat.⁴¹ The album incorporated Beach Boys-esque vocal harmonies, adding a new dimension to his sonic palette.⁴¹ However, the lo-fi production and the more introspective nature of the songs led some critics to find the album somewhat meandering and sonically grating, with suggestions that it could have benefited from the perspective of an outside producer.⁴⁴ Vandervelde employed a significant amount of falsetto vocals on “Shadow Sides,” a stylistic choice partly influenced by the intimate recording environment in his apartment and the unique sonic characteristics of cassette tape.⁴³ The album’s title, “Shadow Sides,” refers to the aspects of our personalities that we often choose to ignore or suppress.⁴³ Notable tracks on the album include the opening “Where Are You?,” the gospel-tinged “More Than God,” and the reflective “One More Time”.⁴¹ The considerable time lapse between “Waiting for the Sunrise” and “Shadow Sides,” coupled with the personal hardships Vandervelde experienced, strongly suggests that “Shadow Sides” is a more personal and emotionally vulnerable work. The choice of recording on a simple four-track in his own apartment likely reflects a desire for a more direct and unfiltered mode of expression. Furthermore, the album’s release across multiple formats—digital via Secretly Canadian, LP through Park the Van Records, and cassette via Burger Records—indicates an intention to reach diverse audiences and perhaps aligns with the album’s lo-fi nature, with the cassette format often associated with independent and underground music.

Beyond his solo endeavors, David Vandervelde has maintained an active and diverse collaborative career. In 2004, he co-produced Brie Stoner’s debut album with Jay Bennett, marking an early foray into production work.³ Their professional relationship has continued, with Stoner recently collaborating with Vandervelde on her new music.⁴⁸ Since 2015, Vandervelde has been a consistent touring member of Father John Misty’s band, contributing as a guitarist and often playing additional instruments on stage.³ His musical contributions extend to Father John Misty’s studio albums, “God’s Favorite Customer” (2018) and “Mahashmashana” (2024), where he is credited as a co-writer on the track “Being You”.³ In 2016, Vandervelde formed a musical duo with Tess Shapiro, aptly named Tess & Dave. This project saw them opening for Father John Misty during numerous North American tour dates.³ His production skills were further utilized in 2017 when he engineered and produced the album “Book of Changes” by Entrance.³ Vandervelde also contributed to the work of others, including mixing and mastering a limited edition release by Tim Kinsella featuring Angel Olsen.³ His production credits also include Bobby Bare Jr.’s album “American Bread,” a collection of covers from the 1970s bands America and Bread.⁵⁰ Additionally, Vandervelde has played guitar for Aaron Lee Tasjan, contributing to Tasjan’s musical projects.⁵¹ Vandervelde’s consistent engagement in collaborative projects, particularly with well-regarded artists like Jay Bennett and Father John Misty, suggests his standing as a respected and sought-after musician within the indie music community. These collaborations highlight his musical talent and professionalism, earning him opportunities to work alongside prominent figures. The sheer variety of his collaborative roles, encompassing production, touring musician, and co-writer, further underscores his diverse skills and adaptability within the music industry, extending his influence beyond his solo work.

Tess & Dave represents a significant musical partnership for David Vandervelde, a duo project formed with his partner, Tess Shapiro.³ In 2016, the duo gained considerable exposure by opening for Father John Misty during his North American tour.³ They released their debut EP on August 26, 2016, under the label Friendship Fever.⁵² The musical style of Tess & Dave is characterized by its embrace of lush 1970s pop sensibilities, featuring smooth, intertwining harmonies, sweeping string arrangements, and occasional forays into progressive synthesizer sounds.⁵² Their sound has been described as occupying a space somewhere between the stylings of Father John Misty and the Canadian indie band The Besnard Lakes.⁵⁵ A notable track from their EP is titled “Holding My Own Hand”.⁵² Their live performances as an opening act for Father John Misty were marked by a unique theatricality, often incorporating choreographed mime-like movements that transitioned into waltzes, adding an unexpected and engaging element to their sets.⁵⁷ The creation of Tess & Dave appears to be a significant creative outlet for Vandervelde, allowing him to explore a different facet of his musical inclinations, one deeply rooted in the sounds of 1970s pop, likely influenced by his personal connection with Tess Shapiro. The description of their on-stage dynamic mirroring their off-stage life ⁵² suggests a profound artistic synergy between the two musicians. This project represents a clear stylistic departure from Vandervelde’s solo work, indicating a willingness to venture into new sonic landscapes within a collaborative environment.

David Vandervelde’s career has included a consistent presence on the touring circuit. In March and April of 2007, he embarked on a US tour alongside fellow Secretly Canadian artist Richard Swift, promoting his debut album, “The Moonstation House Band”.³ That same year saw him perform at the prestigious Lollapalooza festival in Chicago.³ In 2008, he also appeared at the FuckYeah Festival held in Los Angeles.³ A significant chapter in his touring career began in 2015 when he joined Josh Tillman, also known as Father John Misty, as a touring guitarist, a role that has taken him across the United States and internationally.³ In 2016, his duo project with Tess Shapiro, Tess & Dave, also served as an opening act for Father John Misty during his North American tour.³ Early accounts of Vandervelde’s live performances in support of “The Moonstation House Band” suggest a different approach compared to the album’s studio polish. Some described his shows as leaning more towards southern rock, with songs often expanding into extended instrumental jams.²² Later live performances with a full band saw a stripping away of the debut album’s studio sheen, opting for a more raw and energetic four-piece sound.¹¹ One live review humorously mentioned a “song about beer” that Vandervelde co-wrote with Jay Bennett.⁵⁹ He has also been known to perform covers during his live sets, including a rendition of Okkervil River’s “Singer Songwriter”.¹¹ Vandervelde’s journey as a live performer showcases an interesting evolution. His early inclination towards longer, jam-oriented performances, contrasting with the more concise structures of his debut album, suggests a dynamic approach to presenting his music in a live setting. The later shift towards a grittier, four-piece sound further indicates a willingness to adapt and explore different sonic textures in his concerts, potentially influenced by his experiences and the various musical contexts he has been a part of throughout his career.

In terms of recent musical activity, as of 2010, David Vandervelde had been working on a pair of singles, “Learn How to Hang” and “Wave Country.” These tracks were initially intended as free digital downloads, potentially leading up to a more extensive release in the form of a “box-set of 45s”.¹⁹ Around the same time, in 2014, Vandervelde hinted that his potential third album might resonate more with what listeners had anticipated for his second record.⁵⁰ More recently, in 2024, Vandervelde has been involved in collaborative tracks with a collective of musicians including Tim Daisy, Brian Deck, Ben LaMar Gay, Nick Harris, Emma Hospelhorn, Teddy Rankin-Parker, and Macie Stewart.⁴⁰ He also collaborated with Tim Daisy and Hope Wright on singles released in 2023.⁴⁰ Additionally, he appeared on a single by Kait Rose in 2022.⁴⁰ Despite this ongoing activity, his artist page on the Secretly Canadian website does not currently list any upcoming tour dates.⁶³ While his last full-length album was released in 2014, Vandervelde’s continued engagement with music through collaborations and single releases demonstrates his enduring commitment to his craft, even outside the traditional album release cycle. The information about potential singles in 2010 and his more recent collaborative work suggests that he remains an active presence in the music scene, perhaps focusing on different avenues for releasing and sharing his music.

David Vandervelde Discography

In conclusion, David Vandervelde stands as a compelling figure in the indie music scene, characterized by his evolution as an indie pop songwriter, producer, and multi-instrumentalist. His career trajectory showcases a dynamic interplay between his solo artistic vision and his fruitful collaborations with a diverse range of musicians. From the glam-rock infused melodies of his debut to the more rootsy explorations of his sophomore album and the lo-fi intimacy of his third, Vandervelde has consistently demonstrated a willingness to explore and adapt his musical style. His significant collaborations, particularly with Jay Bennett and Father John Misty, highlight his respected position within the indie music community. While his solo output has been less frequent in recent years, his ongoing involvement in collaborative projects and single releases indicates a continued dedication to musical creation. David Vandervelde’s ability to draw from a wide spectrum of influences and his multifaceted talents have undoubtedly left a lasting mark on the indie music landscape, solidifying his reputation as a unique and enduring artist.

Works cited

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