Based out of San Jose California, Sam Feinstein is what a Tom Waits, Modest Mouse, and Tower of Power collaboration might sound like. His gruff voice, chaotic instrumentals, and sardonic lyrics cast him as a wrestling-heel, or a villain listeners will love to hate.  

In this interview spotlight, I chat with Sam about Chasing The Bull, dream collabs, musical memories and more.

Full Q&A along with links and music below.

What’s something you’d like readers to know about your latest project?

“Chasing the Bull” is a satire poking fun at the under-belly of the financial system. The name of my song refers dually to the “bull markets” that make investors rich and the B.S. that bankrupts investors. People who have little to lose need to be careful who they trust with their hard-earned cash.

While I take very specific shots at the frequent scams in the world of cryptocurrency and RobinHood, the overall message can be applied to many situations; famously involving Charles Ponzi, Elizabeth Holmes, Bernie Madoff, and The Wolf Of Wall Street, Jordan Belfort. Swindlers promising riches are as old as capitalism itself, so while the idea of financial mobility is an integral part of the American Dream, people need to be skeptical of anyone offering a ride to the top.

How does this project compare with your other release(s)? Was there anything specific you were trying to accomplish?

I’ve played in bands for about 13 years now as a bassist (and sometimes keyboardist), but this  is my first time making music under my own name. This project is establishing my own musical and lyrical style going forward.  The style I’ve curated is centered around rock music that features a large horn section, and allows band members room to improvise their parts, which combine into a rowdy chaotic sound that calls back to the Dixieland jazz music coming out of New Orleans in the early 1900s. I’m mainly drawing from Johnny Cash, Muddy Waters, Isaac Brock, and Tomas Kalnoky  for my deep, sometimes growly, sometimes talk-sung, sometimes shouting, and always theatrical vocal style. My voice tends to lend itself more to playing a villain than a hero, which used to be incredibly frustrating as I didn’t know how I could tell stories without a relatable voice.  However, taking a hint from wrestlers who adopt the role of the “heel”,  I’ve managed to feel empowered by this vocal type-casting realizing that I can cast whatever and whoever I want as the villain, tell compelling stories through these them, and allow the audience the chance to have fun trash-talking my characters with me.

What motivates you to create music?

At a young age, I was diagnosed with NVLD (now grouped into Autism Spectrum Disorder as of the DSM-6) and I had a difficult with communication and making friends. Music gave me a safe medium through which I could communicate with and relate to other people. My social life and my musical life are inherently entwined.  While this release is more public-facing than what I do in my social life, it is an extension of the same goal: I want to communicate the world as I see it in an entertaining package that can allow the audience to have fun while listening to me mock the people and ideas I think deserve some criticism. 

What’s one of your first or most powerful music memories? Did that play any role in driving you to create?

While my father took me to some great concerts early on, the first concert I ever went to with friends my own age was Streetlight Manifesto. Experiencing the way they integrated the horn section into this aggressive rock sound struck me as a perfect combination. That night, I went head-first into my first mosh-pit. While these pits are typically pretty rough, there’s a sense of community and belonging you feel in the pit. Everyone is there to have a good time and looks out for each other. They even lifted me up to crowd-surf my way to the stage, where I danced with the band for a minute before surfing my way to the back of the crowd. This was before the house of blues put up a barrier to keep audience members off the stage. While what I play now isn’t really “ska-punk”, I still heavily identify with that sound and I want to give that experience to anyone ready to receive it.

More recently, my college roommate, Zachary DiLello, and I drove from Miami, Florida to Asheville, North Carolina together when Hurricane Maria hit back in 2017. We played in a ska-band together and he’s actually the trumpet player on “Chasing the Bull”.  We picked up some CDs to listen to on the drive and one of them was “Good News for People Who Love Bad News” by Modest Mouse.  The way Isaac Brock creates this chaotic sonic landscape that still some-how makes sense, and his deeply cynical lyrical style deeply influenced my own personal style, and completely changed the way I think about what makes music “good” or “bad”.

If you could collaborate with anyone – dead or alive, famous or unknown – who would it be and why? If it’s an indie/DIY artist, please include a link so readers can check them out.

I’d love to collaborate with Tomas Kalnoky of Streetlight Manifesto. His music has had a profound impact on my life, both musical and non-musical and I’d love for my music to have that kind of impact on someone else too. His musical style is one i try to emulate in parts of my own music, and I’d love to write a song with him some day. I would love for my songs to speak to someone the way “Would You Be Impressed” and “Better Place, Better Time” spoke to me.

What was the last song you listened to? And who is one of your favorite all-time bands/artists?

A musician friend recently recommended I check out a band called Horsey and their song Sippy Cup. There are some crazy things happening in this track that spoke to my sense of controlled chaos. It supposedly came up as Spotify recommended after my song, and it sounds like what I might write if I drank a gallon of coffee right before a class on jazz-harmony.

I’ve always loved Bruce Springsteen and the E-Street Band.  I’ve been lucky enough to see them a few times with my father.  They’re my comfort music, the music I listen to when I’m not necessarily looking for new sounds to use in my writing, but when I’m looking to veg out and feel good. Clarence Clemons is possibly my favorite rock saxophone player of all time, and Jungleland always reminds me of singing along to it in the car with my father.

Where is the best place to find you and stay connected?

 Most social medias have me as @samfeinsteinmusicI have this linktree ( https://linktr.ee/samfeinsteinmusic ) keep up to date with all my social media info. I try to be platform-neutral so people can find me on whatever platforms they like best.

I really appreciate Your time. Anything else before we sign off?

No. Thank you for the interview and for sharing my music with your audience.