Philip Patton, better known as Peejmudd, has spent years crafting expansive, textured soundscapes that transport listeners beyond words. In this interview, he shares his journey into solo post-rock, how he builds immersive compositions, and the personal moments that shaped his unique sonic identity. Read on to discover the artistic layers behind his music and what’s next on his horizon.
Can you introduce yourself and share a bit about your journey into solo post-rock?
Hi! I’m Philip Patton. I’m based in Northern California and have been releasing music as peejmudd since around 2010.
I’m a classically trained pianist; did recitals, played with orchestras and jazz bands, and even worked as a church organist for a bit. I also played guitar in a ska band back in the late ’90s. A coworker
introduced me to post-rock in 2001, and honestly, I haven’t been the same since.
What led you to explore this genre on your own rather than as part of a group?
I actually was in a post-rock jam group off and on for a few years. We never had a name or played shows. We’d just meet up and make noise for hours. But…it was beautiful. We never talked about what we were going to play. We’d just start, and after some chaos, something magic would emerge. Kind of like a Godspeed You!
Black Emperor vibe mixed with Tool-ish basslines. But the other guys were already in bands, so this was more just their creative release valve. They weren’t interested in writing or recording or repeating anything.
Eventually, they both moved away, so, I kept developing ideas on my own. Some of my early singles, like “Lover Afire” and “Of Butterflies and Burning Hearts,” were born out of those jams.
These days, I treat music more like composing and producing. I write and arrange everything, usually keep the first or second take, then manipulate the sounds a lot in post. I rarely revisit songs once they’re finished.
Were there any defining moments or personal experiences that helped shape your sound?
Back in junior high and high school, I recorded under the name Eisegesis and made cassette tapes for friends. It was super lo-fi. I was obsessed with analog textures, field recordings, and tape loops. I even wired up multiple Walkmans to build a makeshift multi-track recorder when I was 14. That raw DIY aesthetic and love for scratchy, degraded sounds has always stuck with me.
What does a typical writing session look like for you—from spark to structure?
I don’t really “sit down to write.” I wait for songs to come to me…usually in the shower or while I’m driving.
Sometimes I’ll wake up with a melody from a dream. If I’m not home, I just sing it into a voice recorder so I don’t lose it. Some songs come together right away, others take years. I used to demo everything on a 4-track, but now I jump straight into Ableton. Sometimes the track pours out fully formed. Other times I have to break it apart to find what it really wants to be.
A great example is “standing at the precipice, a moment before the fall.” It started as this upbeat EDM-ish thing with heavy guitars and huge drums, but it just didn’t feel right. One night I started tearing it apart, slowing it down, speeding it up, layering effects, changing the key, until something clicked. I re-recorded it with piano and intimate strings, and now it’s one of my favorite tracks. It landed somewhere between ambient and neo-classical, which surprised me in the best way.
How do you build your songs layer by layer to create that expansive, immersive feel?
I love layering textures, kind of the same way I build my album covers, by stacking visuals. Musically, I usually start with piano or guitar, add in strings and synths, then start tucking in subtle layers of noise, things like granular textures, low feedback, or distant static. You might not consciously hear it, but you’ll feel it.
I’ll also double a track and pan different effects to each side, maybe reverb left, delay right, so it wraps around you in a subtle way. I mix everything on monitors, not headphones, but I always think about how it’ll feel in headphones. I want the music to be immersive, not distracting.
Without lyrics, how do you approach storytelling through sound alone?
To me, it’s like scoring a silent film. The album title and song names are the subtitles. The cover art is the setting. Stare at it while the music plays.
I usually sketch out a sort of storyboard for each album, a narrative arc of what the protagonist is doing or feeling for each track. Each song becomes a chapter in the story, and I create the arc around the storyline I’ve created. Because each song is therefore integral to the story as a whole, I’d rather change a song to fit, than exclude the song from the album, as that would disrupt my narrative. So, I almost never have any outtakes from my albums, each song is equally important to the story being told.
One of the very first concerts I ever went to was John Williams, the film composer. He was on a tour conducting the Boston Pops, and of course they played his “hits” at the time: Star Wars, Superman, Indiana Jones, E.T., and hearing the songs performed live like that, with no visuals, opened my eyes to how the music was able to stand on its own and still tell a story.
I’ve been trying to recreate that feeling ever since.
What kinds of art—films, books, or visuals—influence your work outside of music?
Besides my rom-com guilty pleasures, I love films that blur reality and imagination: “Vanilla Sky”, “Eternal Sunshine of the Spotless Mind”, “The Fountain”, “Inception”. I like endings that leave room for interpretation.
Book-wise, I gravitate toward dystopian stuff like Jeff Noon or magical realism from Christopher Moore. Kurt Vonnegut is huge for me too. Welcome to the Monkeyhouse is probably my all-time favorite book.
Visually, I’m drawn to abstract and surreal art. I got to see the Basquiat x Banksy exhibit in DC last year and it was a big moment for me.
How do you translate your solo work into a live setting?
I’ve really been leaning into the composer aspect of the music, but I do want to perform again in the next year or two. I’d ideally work with a local guitarist, and I’d run piano, synths, and a sampler for loops and backgrounds.
I’ve been testing setups at home, which worked out pretty well. But having someone else on live guitar, even if it’s just for textures and feedback, would really fill things out.
What’s a standout moment you’ve had performing live?
N/A for now, but I’m hoping to change that soon.
Do you feel like the solo post-rock scene is growing and welcoming?
I do, actually. Whether it’s a true wave of new solo post-rock artists (maybe sparked by the isolation of the pandemic) or just the magic of social media algorithms connecting us more, it definitely feels like there’s a stronger sense of community than in the past.
Every artist I’ve interacted with has been generous and kind, and
we all kind of bond over being a little awkward and a little gear obsessed. If any of you guys have a secret group chat or anything, hit me up!
How do platforms like Postrocknation.com support or impact your journey as a solo artist?
Genre-specific platforms like Postrocknation are huge. There are tons of generic music blogs out there doing reviews or features, but most of them don’t have a clear focus, they’re just churning out content so artists can say, “Hey! I’m on the internet.”
Postrocknation feels like it actually gets the music. There’s this built-in trust.
The people visiting the site are already into what I’m doing. Getting added to the 24/7 radio stream and having a personal discography page I can update myself, has been amazing.
It feels like I’m being seen by the right people, not just screaming into the void.
What can fans expect from you next—any releases, collaborations, or shows on the horizon?
My new album fight to keep from sinking just dropped on March 14, and it’s streaming everywhere. I’m still doing promo for that, but I also work pretty impulsively. If I finish a new track that stands on its own, I’ll probably release it right away.
Best way to keep up is to follow me on Spotify or wherever you stream. I’m also looking to collaborate more this year. Working with Jon from They Danced Like Programmed Angels was a highlight for sure. I’ve got a short list of artists I want to reach out to once I start writing again. I’m excited to see where that leads.
If you enjoyed the interview with Philip from Peejmudd make sure to check their music out on Post-Rock Nation.
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