Dive into this candid Q&A as we explore the inspirations, philosophies, and stories that define Daryl Johns' vibrant world of music.

Hailing from Englewood, New Jersey, Daryl Johns has carved a path from being a celebrated jazz bassist to crafting euphoric pop melodies that resonate with the spirit of the 80s. With his debut single, “I’m So Serious”, Johns is ready to unveil his highly anticipated debut album - a collection that spans nearly a decade of songwriting and experimentation.

We had the chance to sit down with Daryl to discuss the journey behind his genre-blending sound, the recording process that channels a mix of analog warmth and digital edge, and the lessons learned from collaborating with some of the most eclectic artists in the scene. From the dorms of Manhattan School of Music to late-night jams in Los Angeles, Johns opens up about the formative moments that shaped his creative voice. He also shares his thoughts on reviving joyful, melodic music in an era saturated with moody and experimental tracks.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

My name is Daryl Johns, I’m from Englewood, NJ and I make bubblegum jazz pop/rock fusion on tape, 80s vibes, late 70s vibes. Tape recording stuff.

We love your debut single “I’m So Serious”. Can you tell us more about your upcoming debut album?

Thanks, this album is mostly a collection of previously unreleased material of songs thats conception dates back to as old as 2014. I started making this kinda music in 2014, it’s just sugar pop rock jazz that I developed in the Manhatten School of Music dorms as well as my parents’ basement in New Jersey when I was sick of playing jazz.

How was the album produced?

Some songs fully me, some worked on with my friend/collaborator Chris Fishman overseeing the process. Mostly on cassette 4 and 8 tracks. Some songs a mix of digital n tape. Eq’s straight to the sky, lots of treble mountains, a tendency to get rid of low end to sound as skinny mid scooped as possible, I guess my influences on that front are like the Husker Du albums like new day rising and the early My Bloody Valentine albums like ecstasy and wine, some of the most piercing trebly and mid scooped albums of all time. Most things ended up being sped up. Chris oversaw and co-produced the album as a whole, and wrote parts on it, he also wrote the entire song “The Deputy of East Carlock” that’s his song, that song is kinda showcasing him and featuring his writing skills. He also wrote lyrics and melody of the verse of “I’m So Serious”. I had that entire song done except the verse melody and lyrics. He also wrote the iconic appegiator baba oreilly irish line on “Maggie and Me” on the chorus. There’s other moments but those are the ones that come to mind now.

You’ve moved from being known as a jazz bassist to creating euphoric pop music. How has your background in jazz influenced your approach to writing and performing pop songs?

Some songs I wear the jazz composition style on my sleeve, and some songs are more straight forward pop things with no tricks. But the songs that are more “proggy” or “fusiony” even when they go ADD modulationitis the writing is still anthemic and sugary hopeful euphoric feeling. Kinda like smashing 10 Journey songs into a 10 sec passage, thats how I think about it, like quilting pop melodies together in a maximalist way. It should feel like pop on alotttttt of crack.

You mention that “Maggie and Me” evokes a sense of yearning and grief. How did writing that song-differ from more upbeat tracks like “Happy” and “I’m So Serious”?

Thats a quote from bio, but i wouldn't necessary say that to describe it anymore. That song just to me sounds like a crying fist pumping Irish adventure Lord of the Rings 80s county fair music. I’d say it has an Irish spiritual new age euphoric meditation feeling to it, more than the other more overtly bubblegum tracks. Maybe its one of the more crying songs, similar to “Corner Store”.

You’ve been part of a community that includes artists like Mac Demarco and Drugdealer. How has this creative environment influenced your music, and what have you learned from collaborating with them?

Well Mac is the reason I started recording music. He changed the format and medium in which I express myself. Instead of playing bass in jazz bands, it become writing songs and being a tape home recorder guy. I was writing the same kind of songs before, but before him I would just write a chart out to give to a jazz band n would never ever think of recording it. So it’s great to finally be his friend hang out and learn from him and ask him questions. Was cool when he showed me the original stems to “Rock And Roll Nightclub”, that was really amazing. That was huge. I always admired Mike Collins work with drugdealer. The first two albums especially loved the sound of those records, before I met him. The songwriting is great, his attitude towards music is very admirable, humorous while still earnest. When I finally started hanging with him, it was so fun, we’d just stay up til 8am jamming and coming up with ideas and listening to music. Definitely made me feel at home when I first moved to LA.

You’ve worked with a wide array of musicians from Pat Metheny to Macy Gray. What’s the most important lesson you’ve learned from collaborating?

Well I never collaborated with Macy Gray or Pat, I just played bass with them. So I wasn’t doing any writing, I was just laying it down. I don’t generally collab with people cuz I’m really picky, but obviously I’ve collabed with Chris Fishman in moments on my album. Collabed with Pedro Martins with Chris on Pedros Pollos, super proud of that. And hmmm my buddy Evan Wright who releases his own music which is amazing and impressive, We've collabed and I always trust his choices in making parts, nothing thats been released yet. I don’t like collabing alot because i started doing my music so I’d have full control of the choices, since i felt engineers or other people would always fuck it up and not get it right. So I think it was important for me to go through an 8 year phase of not trusting anyone with my music. Now I’m more open to trusting others (within reason) but still theres gotta be regulations (I’m half joking).

You describe your music as having a certain “Irish quality” and “diner rock” influence. Can you expand on how these cultural and stylistic elements come together in your work?

Irish really just describes “Maggie and Me”, there’s a tinge of Irish stuff throughout I guess u can say, that was a bit of a joke when I said that. The synth line of Maggie played by Chris has a Irish midi fiddle doubling it, so its a bit jig like. There’s a jig quality maybe to the synth chorus line on friends forever. Lets see, more Irish hmmmm. Idk. Diner rock tho that is just referring to I’m so serious, which has a Fast Times at Ridgemont High vibe to it. I could have said power pop, but diner rock felt more unique. I loved Grease as a kid and pp (power pop) has some of its roots in that doowoop greaser diner thing.

The 80s seem to play a significant role in your music and overall aesthetic. What is it about that era that resonates with you, and how does it influence the sound and themes of your debut album?

Well I think late 70s early 80s is when music started to have that new age emo color pallet , a growing process which i feel the police sped up quite a bit. A more stark emo feeling, less light hearted feeling. Something in the chords the attitude, the sound of chorus guitar is so fucking good. Thats a big part of it. I love the early 80s

In a world where you say “no one knows how to make happy music anymore,” what does it mean for you to create joy through your music in today’s often cynical cultural climate?

All these “all caps” artists make unnecessary experimental and dark music. I just wanna make smiling fun music. Playful music. I think of pub rock music, just fun band playing bar band rock and everyone drinking enjoying themselves. Mike Collins has a song “back to business, back to love, bla bla , back to music, back to song.” Something like that, but what ever happened to fucking music and melody. Fuck all this moody “vibe” shit coming out. All vibe, no melody. Listen to fucking Def Leppard photograph, thats how u make music.

What’s it like working with Mac’s Record Label?

It’s great. Mac’s my friend, and he’s very chill and lets me do what I want. And he’ll give me suggestions every now and then to steer me into a good direction, but he’s not overbearing wutsoever

What do you love right now?

Bach

What do you hate right now?

When people don’t rep Journey

Name an album you’re still listening to from when you were younger and why it’s still important to you?

Peter Gabriel so, my dad played it for me when I was young on cassette and I remember being like “ouch this hurts my ears” cuz it was sooo trebly and 80s. Now I make maybe the piercingly thin music out there now.

What do you hope fans take away from your debut album?

That they feel like they’re being brought to church, my music is soulful worship music ultimately. I’m not religious, but there is a religious feeling to the music. I want people to feel inspired and cool when they listen, but that's how these songs make me feel, at least when I’m in a good mood. I’m proud of this stuff, not trying to sound egotistical, but I do enjoy listening to my stuff, it soothes and uplifts me. It's drug music, it is the drug. I just want people to feel mega uplifted and magnificent and really inspired, like the back pain will go away.

Start Listening To: Daryl Johns