•November 29, 2011 • Leave a Comment

One thing I’ve always loved doing live is tagging other songs during my piano instrumentals.  For instance – a couple years ago, I went to a Luther College Nordic Choir concert, and their final piece really hit me hard.  So for the next few performances, I tagged it at the end of Speak.  No one really noticed, but every now and then a couple people would, and that made it worthwhile.

That being said, I encountered this in mainstream music recently, and I wanted to share it with you.  I’ve been listening to Coldplay’s new record, “Mylo Xyloto,” on which they have an incredible track called Charlie Brown.  There are a handful of YouTube videos of them performing it live, and at the end of each performance, Chris Martin ditches his acoustic guitar and sits down at the piano to play what seems like a simple outro.  But I knew I recognized it from somewhere… then it hit me, he’s tagging the main theme from the song Christmas Time Is Here, which is fittingly off of the Vince Guaraldi Trio’s beloved “A Charlie Brown Christmas” album – in my opinion, the best Christmas jazz record of all time.  You’ll probably recognize the pattern:

Now watch Coldplay perform Charlie Brown, paying particular attention to 4:13, when he starts tagging the Vince Guaraldi Trio.  He voices the chords differently to make it fit, and I hope you appreciate the allusion as much as I do.




•September 29, 2011 • 2 Comments

Not the needle, nor the thread, the lost decree.
Say nothing, that’s enough for me.
-Bon Iver, “Holocene”

The first time I heard that song, it sunk into me like it belonged there, and always had.  Beautiful words do that – they assume a position in your life as though they were quietly looming, but the timing wasn’t quite right.  Suddenly, there they are, and you can’t imagine your life before them.  I have no idea what the hell Justin Vernon is saying in “Holocene.”  It doesn’t matter; it speaks to me in a way that other songs don’t.

When I took on He Who Never and started recording music, I put my foot down and decided that I was fed up with artist secrecy.  I was frustrated by an evasive industry that presented itself when and how it wanted to, ostracizing personal connection for risk of a genuinely human appearance.  And I wanted to be utterly transparent, to approach my art with an uncommon, uninhibited candidness.  The idea was that I wouldn’t hide anything: my fans would always know me as a person, know where my songs came from, what necessitated them and what they said.

That’s starting to change, but not because of image – because of words.

Some of the most profound music I’ve ever listened to has also been the most metaphorical and unexplainable.  By being elusive and obscure, it has allowed me to impose my own experiences onto it, relate it to my life and form it to my needs.  To me, art that allows people to do that – to apply it and make it their own – is the art I want to produce.  If I write about the way it felt to leave London, and it gets you through a tough breakup, it’s not some betrayal of the song’s essence.  It’s how it should be.

My music is yours, and there’s more on the way.


Diego Stocco

•September 26, 2011 • Leave a Comment

Check this out… pure brilliance.


Free Download of ‘Calvary’

•July 6, 2011 • Leave a Comment

Right now, a major annual music festival called Lifest is kicking off.

Relatively soon, there will be an unassuming man wandering the Lifest grounds with flyers that look an awful lot like this:



Click this link for your free track:

Until July 11th,


Birth of a Beat

•June 20, 2011 • Leave a Comment

Cloudy Day Improv

•June 13, 2011 • Leave a Comment

‘Cause Why Not?

•June 10, 2011 • Leave a Comment