At just 22-years-old, Seattle musician Peter Campanelli has lived more life than individuals twice their age. They’ve been through the ringer in recent years, with dangerous living situations and addiction testing their limits. But one thing’s for certain — Peter Campanelli is a fighter.
That message is undeniably apparent throughout their third full-length album, Pesto Baby, which was released on February 28th via Youth Riot Records. Campanelli’s music bears a strong resemblance to the jazz-fueled experimental music that took hold during the late ‘60s and early ‘70s. It’s honest, raw, and a powerful story of redemption amidst incredibly trying times.
Campanelli was gracious enough to sit down with Double Negative a few days prior to the release of Pesto Baby about the impact music has had throughout their life, finding their sound, and finding their peace.
DN: Tell us a bit about how you got started creating and recording music.
I started playing piano at an early age, and even received private lessons. It was a bit too heavy and strict for my liking; it felt more like a task, rather than something fun to do. In middle school, I got into classic rock and picked up guitar — thanks in part to my mom, who also played.
I went to a performing arts high school, Saint Paul Conservatory for Performing Artists, because I had originally intended on becoming an actor. But I joined a funk-metal band, learned how to play the bass and switched to doing music. After receiving some great advice from one of my teachers, Mr. Vasich, I started to change my path. He told me that music doesn’t always have to be concrete and rigid and perfect. It’s about self-expression. Eventually, I became a huge music theory nerd. I fell in love with the way intervals and chords work.
As far as recording goes, my friend Austin Lombardo (shrimpolympics.bandcamp.com) was the one that introduced me to the idea of home-recording. I eventually bought a four-track tape deck and the rest is history.
Jazz is my favorite genre of music because I feel it’s integral to the human experience. Jazz, at its core, is improvisation. We improvise all the time in every interaction. The air of unpredictability has always been striking to me.
DN: You sing and play every instrument on Pesto Baby. Do you feel added pressure as an artist since you’re essentially a one-person-band?
I actually love the creative freedom that comes with doing my own writing and playing. Honestly, playing a variety of instruments keeps things exciting and fun. Also, not having anyone else to depend on removes the burden of expectation — there’s no compromising because it’s your own creative vision.
DN: Would you consider collaborating with a producer on a future release?
I would love it if someone with more experience would produce on a later record [laughs] it would definitely sound better. It gets pricey, though, so the financial aspect is kind of limiting.
DN: Pesto Baby is your third full-length release, and you’re only 22! How do you continue to stay innovative?
I’m always encouraged by different sounds and perspectives. Old school R&B and funk groups are an endless source of inspiration to me.
DN: What are some of your favorite bands and artists?
My favorite band is Sly & The Family Stone — an R&B group that took root in the late 1960s. Sly Stone's arrangements are hugely influential to me. I also love Laura Nyro. She says what she means and doesn’t sugarcoat things. Her songs are packed with gorgeously heartbreaking lyrical honestly, and her manipulation of tempo is second to none. And of course, there’s the incomparable Stevie Wonder.
DN: Why did you gravitate towards more of a pop sound for Pesto Baby in particular?
I’ve loved pop music from all eras, and I wanted to create something that spoke to that love. It’s the hardest music to create, in my opinion, because of the production factor. It needs to be accessible. And it’s hard to create a perfectly produced pop record — I was stuck on this idea of perfection in my head. It took a really long time to get Pesto Baby to be what I wanted. Although it can be stressful and sometimes irksome, I love limitations in the creation of art. That’s why I love recording on tape. Once you put sounds onto the tape, there is not much you can do to change it.
DN: How did you decide on the title Pesto Baby?
I decided on Pesto Baby for a number of reasons. The first and most obvious being that I’m of Italian descent. Also, “pesto” is a calamity of flavors. When you’re eating a dense meal, you’re not thinking about every little ingredient that goes into it, you’re thinking about the taste. It’s similar when you put this anecdote in terms of music. When it’s a multilayered project, the listener is mainly thinking about the overall sound.
The “baby” part has a deeper meaning. I went through a lot of trauma during the first 20 years of my life, with a lot of drug use and bad interpersonal relationships. I’ve spent the last two years getting my life back on track, and that includes relearning what it feels like to be a person. So, in this stage, I guess you can say I feel like a baby, learning how to do everything again.
DN: We read that it took you two years to finish this record. As far as the songwriting process goes, is that something that you kind of piece together slowly, or do you find that you sit, start a song, and finish it?
It sort of circles back to what I was saying before, about that quest for perfectionism and being your own worst critic. I got caught up in my own perception of what I wanted this record to be, and with all that self-doubt and battles with mental illness, it got harder to see the finish line.
In terms of songwriting, most of what I create comes out of improvisation and just kind of elaborating on an idea. I’ll sit down at a keyboard or start strumming on a guitar. Something will turn my ear and I'll work on that until I've fleshed out a full song. Some songs take two days of recording, while others take two months. There’s really no concrete formula.
DN: The song titles on Pesto Baby read like a stream of consciousness. Is that what you had envisioned?
The song titles are very much intentional. I wanted them to feel flowy, conversational, and personal. Having them written in all lowercase letters sort of allows me to get a serious message across without being too serious. Because, honestly, humor is healing, and a lot of the time, satire is how I persevere through the pain of a difficult situation.
DN: Would you say your songwriting process is based on real things you’ve experienced, or more so stories from an outside perspective?
All ideas and lyrical concepts are written from my own perspective. Although, I will say, trauma makes your judgement more clouded. Ultimately, I tried to bring light to the struggles queer people face daily. The hetero-patriarchal capitalist world we all live in takes a huge toll on most everyone I know. I also felt it was important to take a look at the journey that brought me to today — from shitty living situations to drug recovery — it’s my story and I wanted to share it.
DN: What has your experience been like working with Youth Riot Records?
Youth Riot allows me to make the music that I enjoy making, and I am incredibly grateful for that. There are so many lovely and kind bands on their roster, and it’s inspiring. It’s a super supportive environment.
DN: How has the music scene in Seattle, Washington influenced your own musical endeavors?
My experiences in Seattle have been very integral to the creation of Pesto Baby. When I'm in Seattle, I feel safe; it’s an inclusive environment that allows me to learn and grow. All of the people I surround myself with are supportive and accepting. I play in groups with a lot of queer people who are unafraid to authentically be themselves, which was integral to the production of this record. Seattle was the ultimate place to make this record — it’s home.
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You can stream the honest and emotional Pesto Baby below, out now via Youth Riot Records.
