When reflecting on Deer Tick’s numerous performances in Asheville, John Mccauley, the band’s frontman, fondly recalls a unique venue from their early days. “There used to be a sushi place in town that we would play at a long time ago, like almost 20 years ago,” McCauley reminisces, eventually identifying the now-defunct restaurant as Akumi, aided by an old tour book. He adds, “That was always fun to visit Asheville back in the day because it was the only place I can think of in North America where you could play a concert in a sushi bar.”
From those initial gigs rooted in Providence, Rhode Island, Deer Tick has ascended to prominent Asheville stages like The Orange Peel, Pisgah Brewing Co., and now, headlining Burial Beer Co.’s Burnpile festival on Saturday, October 14th. Before making his way south from his New England base, John McCauley engaged in a conversation with Asheville Stages, delving into topics ranging from musical collaborations and seasonal beers to the extended gestation of Deer Tick’s latest album, Emotional Contracts. This new record, with each subsequent listen, increasingly solidifies its position as potentially their most accomplished work to date.
The Evolution of a Voice: John McCauley’s Vocal Journey
Edwin Arnaudin of Asheville Stages began by expressing admiration for McCauley’s distinctive voice, noting its consistent strength and character over the years since first encountering Deer Tick around 2011. Arnaudin inquired about any vocal care practices McCauley might employ to maintain his vocal prowess.
John McCauley explained that his vocal style developed somewhat organically, particularly from singing without amplification in early performances. Reflecting on his teenage years, he admitted to initially trying to emulate iconic rock vocalists like Chris Cornell. “I tried to sing like Chris Cornell and shit like that,” McCauley laughed, acknowledging that such vocal ranges were beyond his natural capabilities. This early vocal experimentation, while ambitious, led to some vocal strain. “I kind of busted up my voice pretty good trying to sing like somebody else.”
Through this process, McCauley discovered and honed his own unique voice. Projecting without a microphone became a key element of his early singing technique, although he admits to a lack of formal understanding at the time. “But I didn’t know what I was doing (laughs), so many years later it starts to give you problems.” Eventually, these habits did lead to vocal issues, including a polyp, prompting him to seek professional guidance. “I had a vocal polyp and all that shit, and then you’ve got to go and talk to the professionals (laughs) and get some advice from them.”
Despite these challenges, John McCauley feels his voice has not only endured but improved. “I don’t know exactly where it comes from or how I keep it working now, but I’ve still got it and I think I’m probably singing better than I ever have, if that’s possible.” This vocal journey, from imitation to injury and ultimately to mastery, is a testament to McCauley’s dedication to his craft.
Literary Songwriting: Influences and Inspiration
Beyond his vocal timbre, Arnaudin praised John McCauley’s songwriting for its literary flair and sophisticated turns of phrase. He questioned McCauley about his reading habits, wondering if he was a constant reader.
McCauley confessed that his reading habits have fluctuated. “I used to read books all the time. Lately, actually ever since the [COVID-19] pandemic, my literature intake has slowed down quite a bit.” He attributed this dip to the change in his lifestyle during the pandemic. Travel, previously a constant part of his life, provided ample time for reading. “I think it was mostly because I’d always have a book or five in my backpack when I’d be traveling — which was all the time — and then when I stopped traveling, I kind of forgot to read. (laughs)”
However, McCauley is actively working to rekindle his reading habits. “But, I’ve been working my way back into reading some books. I think I’m going to go through the Flannery O’Connor short stories again soon to get me back in the swing of things.” He expressed a desire to re-immerse himself in literature, admitting he lacks a valid excuse for his recent reading slump. “I don’t really have an excuse (laughs) for not reading at this point.”
Arnaudin noted a resemblance in McCauley’s imagery and dark humor to the work of Cormac McCarthy, inquiring if McCarthy was a significant author for him. “[Deer Tick guitarist] Ian [O’Neil] is a big Cormac McCarthy fan,” McCauley responded. Surprisingly, John McCauley himself has not yet delved into McCarthy’s novels. “I’ve honestly never read one of his his novels, but it seems long past due.” This revelation suggests a potential new literary avenue for McCauley to explore, possibly further enriching his already literary songwriting.
‘Emotional Contracts’: A Pandemic-Delayed Masterpiece
Transitioning to Deer Tick’s new album, Emotional Contracts, Arnaudin pointed out the longer gap since their previous releases, Vol. 1 & Vol. 2 (both from 2017). He asked about the timeline of the songwriting process for the new album.
John McCauley explained that the majority of the songs were substantially complete by early 2020. “Most of them were pretty much ready to go. At the start of 2020, we had a bunch of demos done and we were planning on recording an album that year. And, you know, COVID…” The onset of the COVID-19 pandemic significantly disrupted their plans.
The band members were geographically dispersed, and they consciously avoided remote recording solutions. “And we were all living in different cities and we didn’t want to do some remote recording projects. So, we just kind of sat on everything for a while until we could get into the studio with the producer that we wanted to work with…” This enforced delay, while initially frustrating, ultimately proved beneficial. It allowed the songs to mature and evolve. “…and give the songs a little extra time to exist in our minds and tighten them up a little bit.” During this period, some older songs were discarded, and new tracks emerged. “And a couple of new songs were written, and a couple old ones were thrown out.”
John McCauley views the extended timeline as a positive factor in the album’s final quality. “It was a long process, but ultimately I think the album is better off because of it. But had the pandemic not happened, it would have come out a few years ago — but it just would have been a little different and probably not as good.” Emotional Contracts, therefore, is not just a collection of songs, but a carefully refined and thoughtfully curated body of work, shaped by unforeseen circumstances into something potentially greater than initially conceived.
Curating ‘Emotional Contracts’: Song Selection and Album Length
Arnaudin noted the album’s tracklist had been reduced from a larger pool of songs, mentioning that the final ten tracks were selected from almost twice that number. He inquired about the decision-making process behind this curation.
John McCauley detailed how they approached the selection, emphasizing thematic and sonic cohesion. “Going through all the material, some felt like obvious tracks for the album. And we kind of noticed a theme throughout all those songs, so we tried to just go with the songs that really sounded like they belonged together and, subject matter-wise, worked well with each other.” The aim was to create a unified and resonant listening experience.
Practical considerations also played a role in the final tracklist and album length. “And then we wanted to keep it within a one-LP length without sacrificing audio quality. So that’s why it clocks in at only, like, 40 minutes.” They prioritized audio fidelity and the constraints of vinyl format. “But yeah, we wanted to present a punchy little package that sounded really good and could fit all on one piece of vinyl.”
When asked if any tracks were particularly difficult to cut, McCauley confirmed there were. “Yeah, I think our preferred sequence for it would have had maybe 12 songs, but we couldn’t fit it within those parameters.” However, he hinted at potential future releases for the omitted songs. “I’m sure there’ll be an expanded edition or something that comes out at some point. Or maybe we’ll hold on to a couple of them for the next record, but they’ll see the light of day eventually.” This suggests that fans may yet hear the additional material from this fruitful creative period in Deer Tick’s history, further expanding the Emotional Contracts era.
In conclusion, John McCauley’s journey with Deer Tick, from intimate sushi bar gigs to headlining festivals like Burnpile, mirrors the evolution of his own artistry. His reflections on vocal development, literary inspirations, and the making of Emotional Contracts offer a compelling glimpse into the mind of a seasoned musician. As Deer Tick prepares to take the stage in Asheville once again, and as listeners immerse themselves in Emotional Contracts, it’s clear that John McCauley and his band continue to deliver music that is both deeply personal and broadly resonant.
