Interview - A Is For Atom

We sit down with A Is For Atom whose path through music has been anything but linear, spanning late-’90s funk and soul stages in Boulder, formal studies at NYU, and an evolving solo project that continues to blur the lines between introspection, collaboration, and community impact. Alongside a parallel commitment to nonprofit work with Sweet Relief Musicians Fund, his career reflects a deep-rooted belief in music as both expression and support system. We explore the influences that shaped his sound, from Stravinsky to Radiohead, his reflective, emotionally driven approach to songwriting, and the recurring themes of hope, longing, and curiosity that run through his work. Touching on everything from meditative lyric writing walks to the communal energy of live performance, this interview offers a window into a creative life built on movement, meaning, and momentum.

Welcome to MeloDrift. Can you tell us a little bit about your musical background?

I got my start in the late ’90s music scene in Boulder, Colorado, playing with a funk/soul outfit called Zuba. That was really my foundation—learning how to be in a band, how to perform, and how to connect with an audience. In the early 2000s, I moved to New York City and pursued a Master’s in Music at NYU, which broadened my perspective both technically and creatively. Around that time, I started my project, A is for Atom, which I’ve continued to develop over the years alongside my work in the nonprofit sector. Currently, I’m with Sweet Relief Musicians Fund, which feels like a meaningful way to support the community that’s given me so much.

If your life had a theme song, what would it be?

I’d have to say The Firebird by Igor Stravinsky. It captures a wide emotional spectrum—there are moments of chaos and intensity, followed by calm and reflection, and ultimately it resolves in something triumphant. That arc feels very true to life.

Who or what have been the most impactful influences on your musical style and sound?

My influences are pretty wide-ranging. Artists like Air, Leonard Cohen, Peter Gabriel, and Serge Gainsbourg have shaped my sense of atmosphere and lyricism. On the rock side, bands like Radiohead and Wilco have been hugely influential, along with songwriters like Aimee Mann and Matthew Sweet. I’m drawn to artists who balance emotional depth with strong melodic instincts.

How do your life experiences shape your songwriting, and what emotions or ideas do you hope listeners connect with?

My songwriting is definitely informed by my life, but not always in a literal, narrative way. I’m more interested in translating experiences into emotional landscapes rather than specific stories. The feelings I tend to return to are hope, longing, curiosity, and love. I like leaving space for listeners to bring their own interpretations—to find themselves in the music rather than just hearing about me.

Each phase of music-making has its own rewards. Could you share a memorable moment from each stage?

For me, the writing phase is very internal. I usually start with the music, and then I spend a lot of time walking—whether it’s in Brooklyn or another city—working through lyrics. It’s almost meditative, like solving a puzzle in motion. Recording is more collaborative and technical, where ideas start to take shape in a tangible way. Rehearsing is about building that shared energy with other musicians, and performing is where everything finally connects with an audience—that moment when something private becomes communal.

Is there a song of yours that holds particular personal significance?

“Upriver” stands out. It’s a very emotional track for me, and it reflects a sense of journey—both personal and creative. I drew inspiration from Ulysses and the broader mythology of Odysseus, that idea of striving to return home after a long and difficult path. It resonated with where I was in life at the time.

If you could swap lives with any musician for a day, who would it be?

I’d be really curious to step into the world of Ludwig van Beethoven. He was known for walking constantly while working through his compositions, which is something I relate to. There’s also something fascinating about how his music still feels so present—we’re still, in many ways, living in the world he helped shape.

What’s a guilty pleasure song you secretly love?

I have a real soft spot for “Sailing” by Christopher Cross. It’s not something I’d ever try to emulate stylistically, but there’s a purity and warmth to it that I find really comforting.

Looking ahead, what are some goals or dreams you have for your music and career?

Right now, I’m already working on new material, so the immediate goal is to keep that momentum going—release another album, start playing more shows, and continue building an audience. Long-term, it’s about sustainability: being able to consistently create and share music in a way that feels meaningful.

Finally, is there anything else you'd like to share with our readers?

I’m really excited about this next phase. It’s a complicated time in the world, but I still feel a sense of optimism—especially thinking about the future for my son. There’s that idea that it’s always darkest before the dawn, and I think a lot of us are holding onto that right now. I’m hopeful that we’re moving toward something better.

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