Mutemath

“Did that create challenges with our label?” he grins. “Yes. Our whole story with Warner Brothers, at first, was trying to win them over. There was just one guy there who, from the beginning, embraced us making the left turns that come up as we write, as opposed to trying to follow some pop formula. Sometimes songs call for that, but sometimes they don’t. So, we have created some difficulties with A&R and radio people. Fortunately, when the audiences started showing up, the label began to realize we were on to something.”

Live, Meany’s keyboard work employs a real Rhodes and samples of various analog synths played from a Kurzweil K2661. Most unusually, he tours with a rare Helpinstill electro-acoustic upright piano. Live or in the studio, what he does with his rig recalls the best songs by bands such as the Police and the Cure: Guitar-driven rockers though the songs may be, there’s harmonic maturity and emotional impact that just wouldn’t be the same without Meany’s moody piano, swirling synths, and aggressive Rhodes.

Asked about the songwriting process, Meany confides, “For me, it usually starts with some kind of sequence or sample. We’ll record ourselves jamming to it, and at some point, light bulbs will go on about where to take it structurally. Where the piano comes in is at that stage. It’s a litmus test — if I can compose a melody or chord part on piano that fits, then we know we’re on track to come up with a decent song.”

Meany bought his first Rhodes in a consignment shop after hearing the instrument on the Beastie Boys’ Ill Communication, and the Rhodes he plays on tour lives front-and-center onstage, separate from his other keyboards. “The Rhodes has always been my lead instrument in every band I’ve ever played in. For me, to be onstage without a Rhodes would be wrong — like having no pants!”