In 2020, Der Baron M. Kilpatric gave life to The Behaviour, a post-alternative rock project infused with a gothic aesthetic. After more than two decades of lending his exceptional drumming talents to renowned bands like Black Light Burns, The Esoteric, Seaspin, Kylesa, F-Minus, Crisis, and Today is the Day, Kilpatric unveiled his mesmerizing and profoundly moving solo endeavor. In September, he officially released The Behaviour's debut album, A Sin Dance, offering a cathartic journey that delves deep into themes of redemption, healing, and self-discovery. This album, meticulously written, arranged, and performed solely by Kilpatric, draws from influences like Jeff Buckley, Soundgarden, Slint, Killing Joke, Pink Floyd, Leonard Cohen, My Bloody Valentine, David Bowie, and Black Rebel Motorcycle Club. The Behaviour represents a fusion of artistic integrity, passion, and a wealth of experience, capturing the essence of finding oneself through introspection and within the tapestry of interpersonal relationships. It serves as a healing balm for repressed emotions, an enlightening voyage for evolving sensibilities, and a therapeutic elixir for melancholy, marking Kilpatric's return to the music scene. This week, Stef from The MIC sat down with Marshall to discuss music and The Behavior's debut album, A Sin Dance.
Photo Credit: Wendy Anne
SJ: Hi Marshall! We’re so excited to talk about your musical journey and your debut album.
1. SJ: You have been making music for over twenty years, writing, recording, and performing! You’ve been a drummer for groups like Black Light Burns, The Esoteric, Seaspin, Kylesa, F-Minus, Crisis and Today is the Day. In 2020 you decided to embark on your own post-alternative rock journey. What drew you to create music initially and inspired you to create The Behaviour?
TB: I don’t know if I ever had a conscious choice in the matter of creating music. I was born into an artistic household, where my father was a musician and my mother an avid reader and supporter of the arts and being creative. I suppose I could have gone another direction and gotten into athletics, but it just wasn’t the case. Music and art have always driven me to be who I am, to be original, and to express myself in ways that normal everyday language has not ever done for me fully. I learned to play the drums practically as I learned to walk, getting my first real kit at the age of 4, so it has just grown and evolved from there my entire life. Creating The Behaviour came about after taking several years away from the music industry and refocusing priorities on my health in all ways spiritual, physical, mental, and emotional. I finally reached a point where the time felt right, after I had gone through some very sobering, traumatic, and life-altering experiences, and came out of the darkness into the light finding a balance of both while keeping my sober and healthy living the focus with a renewed and invigorated perspective on life. I felt I was finally able to express myself in ways that I had always wanted to, as a songwriter and beyond being just a drummer. The only way was forward and through, with me holding the flame to convey this with emotion and humility, confidence and vulnerability. I had and have much to say about what inspires me, and hopefully in turn may inspire anyone who listens.
2. SJ: You just released The Behaviour’s debut album, A Sin Dance. Can you tell us what inspired this record?
TB: Many of the same things as above. Gaining a clearer perspective of who I am on this plane of existence, having reflections on the past to now, understanding and being aware of how choices made affect not just you but those cared deeply for. As well as having discernment for situations and healthy boundaries with individuals living less in harmony and peace inside this chaotic world, and avoiding those not operating in more evolved frequencies. Being grateful to be alive, of life in general, and for bringing me to where/who I am today. Not saying there’s still no room for improvement. After doing much shadow work and coming to some very harsh realizations (which do still occur), the songs on the album reflect the journey I have taken to get here. Some are very generalized depictions of this, about no particular person or thing (or an amalgamation of many), some are allegory or metaphoric in nature (like the album title itself-a plays on words and has many meanings), a couple are very specific but veiled references to things I have experienced. All aim to give hope and healing in the end, through acceptance, awareness, and atonement, via purging and cathartic means. I also don’t ever want to be too specific, as in my opinion, it’s a goal of the songwriter to leave things open to the listener to interpret or personalize things in their own way.
Album Art: "I’ve Seen It All": Meike Hakkaart
3. SJ: Marshall, you wrote, arranged, and performed this album all by yourself. What inspired you to create this album in this way? What were the biggest challenges of having all the responsibilities of creating this record?
TB: Again, I had taken enough time away from making or playing music and focused on healing myself, and I felt it was the right time to do this, but all on my own terms. I didn’t want to jeopardize the introspective nature or compromise my vision. I wanted to prove to myself, more than anyone, that I could do it all on my own. I also knew of several artists who had done this themselves, from Dave Grohl to Wolfgang Van Halen to Brant Bjork, and knew I could just as well. In my opinion, I had what some would consider the most difficult aspect handled, playing the drums, which is second nature next to breathing for me. I knew I could sing and do the rest, but it took time to develop these skills to the point where I felt confident enough to be able to craft melodies and harmonies heard in my head and transcribe them with my hands and voice. I also knew what I wanted to hear, what I liked, and what inspired me, and I felt it best to convey this more purely myself without having to take the time to communicate or develop these things with others. I’ll save that for live settings once the songs are already completed. Some of the biggest challenges were (and are) having patience, from songwriting when it may not happen as fluidly as I’d like, to trying to dial in the right sounds in the production, and knowing when it’s time to walk away. Thankfully I had invaluable help in that department from the talented ears and experience of Scott Mackey. Other challenges have been finding the time and resources to do it all myself, which includes the business side of things, at least for now. It is difficult to be a one-man operation and attempt to cover all bases and reach every goal.
4. SJ: Although you’re currently living in New England, this record culminated from your time in Colorado and the Midwest. How did your geographic location affect the songwriting process of this record? What did that process look like?
TB: Aesthetically, the beauty of these places was an obvious inspiration to me. The Rocky Mountains of Colorado are so majestic and have been my backyard for many years. It is hard for someone creative and in tune with nature and the grandiose and sometimes intoxicating energy of the universe not to be affected by that. Of course, there is also an energy current that runs through, underneath, and around everywhere and everyone. I am a very sensitive individual, which is sometimes a blessing as much as a curse. No longer numbing my senses reinvigorated myself to sensing these things as they should be sensed and hopefully conveyed; the trick being to manage and navigate them and not become overwhelmed by them. The Midwest has a calming effect on my psyche; it is a place that allows me to stop and be mindful and present in the moment. It has its own beauty unlike the coasts, which maybe you have to be from there to recognize. The sky and land are always vast and open like an ocean; the sunsets are full of fiery beauty; the people are warm and kind. It always feels like putting on a favorite well-worn and comfortable piece of clothing when I am there. Though, you do need to change your clothes after wearing them for too long. New England has its own beauty and pace unlike any of the others; I have since written many new songs after moving here and it continues to spread and grow on me. The process of writing the album was done with just me an acoustic guitar and my voice, with a very regimented timeline. I spent one year having a goal of writing one song per week, and I attained that goal. That said, there are many more songs in the arsenal for the future besides the ones on this album, in addition to so many others being written since.
Photo Credit: Wendy Anne
5. SJ: Who were your biggest inspirations for this record? What was one song you wish The Behaviour wrote?
TB: Very good question. Musically, I didn’t listen to many other artists during the songwriting process. I spent that time focused solely on and consumed by my own creative efforts, perhaps subconsciously not wanting to be influenced by any external creations. But prior to that and since, I can say that Jeff Buckley, Mazzy Star, Swans, Pink Floyd, Leonard Cohen, Nick Cave, Wovenhand, Black Rebel Motorcycle Club, My Bloody Valentine, Soundgarden, Slint, Killing Joke, Mark Lanegan, Failure, Swervedriver, David Bowie, Chelsea Wolfe…each take a small percentage in the totality of inspirational sounds. The writings and works of Haruki Murakami, Clive Barker, Wendy Anne, Genesis Breyer P-Orridge, Zecharia Sitchin, Dr. Manly P. Hall, Dr. Michael Salla, Elena Danaan, and Dr. Steven Greer. Personally, my love and supporter Wendy A., my family, and friends who were by my side before, during, and since the period of manifestation and creation of this album. Asking one song I wish I wrote is like asking who your favorite artist is; to pick one seems disproportionate to the value of the others. I suppose at this moment it would be “Wish You Were Here” by Pink Floyd.
SJ: What’s next for The Behaviour?!
TB: Writing and releasing more music! As I said, there is an arsenal of songs waiting to be more explored, as well as a few covers I want to interpret to put out there. Continuing to reach a new audience in any way is never-ending, and perhaps I will bring The Behaviour to a new dynamic by presenting it live at some point. I do not desire to tour as I once did, being on the road for months at a time. The climate of that environment has changed drastically since I last did it, and it is far more difficult to make a living at it now with costs and expenses, while also being away from your loved ones and trying to have stability and security. But we’ll see. I am definitely not opposed to doing one-off dates, like festivals or something of that nature.
SJ: Thank you so much for taking the time to chat with me, and dig a little deeper into A Sin Dance! Can’t wait to hear what you create next.
TB: Thank you so much for taking the time to allow me to do so! I am very grateful and appreciative for you supporting The Behaviour, and helping to reach anyone who the music may resonate with.
Listen to A Sin Dance below!
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Credits:
Written, performed, arranged: Der Baron M.Kilpatric
Guitar Solo on "Affecting": Michael Kilpatric
Percussive wrists and ankles on "Burning of the Neon Dream" and "Strangelic: Paul Deceglie, Larry Donaldson, and Mike Howell
Production: Scott Mackey and Der Baron M. Kilpatric
Recorded and Mixed: Scott Mackey at Le Chateau de Bonzeaux Additional Recording and Mixing: by Der Baron M. Kilpatric at TheAsylum
Mastered: Mike Nolte at Eureka Mastering
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