Pigeon Spins Featuring an Interview with Nathan's Patience, and Peter Dyna

Nathan’s Patience - The Thoughts We Can’t Tell

"The Thoughts We Can’t Tell" offers a glimpse into Mazur's introspective songwriting, drawing inspiration from a wide range of musical influences such as Bad Religion, Simple Plan, The Pixies and so many more. This EP marks a significant return to music for Nathan after a health scare earlier in the year, showcasing stories that are real, honest, and deeply connective with listeners. Produced and recorded by John Kowaleski in Livonia, MI, the EP captures the essence of Nathan’s Patience and sets the stage for their upcoming live performances, promising an exciting journey ahead for this emerging artist.

Interview with Nathan's Patience

After a 20-year hiatus, what inspired you to return to music with Nathan’s Patience?

I felt like something was missing in my life. I’ve always been creative and I love creating something from nothing. My life felt very fulfilled in so many ways, and yet I still felt that I needed to focus on something that was just for me. My wife was such a big part of that push that I needed as well, and her support through this new project has meant the world to me. Music has always filled holes for me, from the time I was very young, and it became apparent at the beginning of this year (2025) that not nurturing the musical creation side of myself was that something that I was truly missing in my life. From the moment that I started writing again, that feeling that something was missing has gone away, and I couldn’t be more grateful to be fulfilling that need again.

The Thoughts We Can’t Tell is deeply introspective. How did your recent health scare shape the songwriting on this EP?

Reflecting on your life, and the fear of not being here on this planet any longer, can really mess with your head. For me, it brought forward so many reflections on myself, who I am as a person, who I have been, the mistakes that I’ve made, and the realization that who I am today, and into the future, is the most important thing to me. Most of the lyrics in this EP, and the songs in general, were influenced by my own daily journaling about my feelings, emotions, struggles, wants, etc. I believe that music heals, and that the process of writing it is healing in its own way. The honesty in the stories that I tell truly reflects who I am today, and the fact that being the person that I want to be, and know I am, sometimes takes work. But that work for me has been life changing and so beyond worth it. Sometimes it takes a kick in the face to remind you what’s really important in this life, and as hard as it was going through that health scare, I find myself feeling grateful for it now.

Your influences range from Bad Religion to The Pixies. How do these diverse sounds inform your music today?

When I was younger, a friend of mine laughed when one particular song came on and I said “I love this song”. He said “You literally love every song”…. And that wasn’t far from true. I just love music. The bands and songs that have influenced me the most though are the ones who write songs that are so catchy musically that they stay in your head, and yet so thought provoking lyrically that they make you pause and think because the emotions and stories are real. My influences really are vast, but my goal when writing always comes down to writing memorable hooks alongside lyrics that convey real emotion. I’d say that punk rock in general is my biggest influence, but allowing myself to not just put myself in a corner genre wise is how songs like “Somewhere Over the Rainbow” sneak in there and influence me in ways that I never even expected.

What was it like working with John Kowaleski on the production of this EP?

John is incredible. I don’t just mean as a producer, but as a guiding force in both music and in life. This was my first time working directly with a producer to fully bring musical ideas to life, and his presence and influence on the end result of this EP are felt word for word and note by note. The choice to work with a producer is never an easy one. Opening yourself and your creations up entirely to someone else, and being able to not only accept constructive criticism, different ideas, different lyrical phrasing, etc. but also being able to do that with eyes and ears wide open, and with excitement, in an effort to create the best song from start to finish in every possible way, is not something that comes easily to most artists. However, at the end of the day, for me, it truly is about creating the best song possible. Working with John makes me a better song writer, and better overall musician. He brings out the best in my ideas and I owe an awful lot to him and his talents and expertise. In fact, we worked so well together and are both so proud of what we accomplished together, that John will be joining me on stage for any live performances. For me, the fact that we did what we did together, and are now continuing to work together on “what’s next”, sums up just how great of an experience working with John was. For any band or artist out there who is looking for a producer who cares about creating the best possible end result, while fully supporting an artist’s vision at the same time, I can’t recommend John and his studio in Michigan highly enough.

How does it feel to share personal stories and experiences with a new generation of listeners?

It’s wild being a 44 year old Dad and trying to learn all the new ways of marketing and promoting music. Social media, Spotify, etc. has completely changed the game and it’s like I’m learning everything all over again. The main thing that’s not different, and that I focus heavily on, are that real stories still, and always will connect with others. If sharing emotions I’ve had, struggles I’ve been through, etc. connects and vibes with someone else personally, and helps them through something they’re going through, that’s “success” in my book. We all want to feel like we’re not alone… myself included. Music gives me the opportunity to tell that to others, and I’m so grateful for that opportunity. It’s a new generation of fans, but being real, and being honest, interacting with others in a genuine and caring way…That all still feels the same to me.

Your previous bands, Nowadays and Never Heard of It, shaped your early career. How do those experiences feed into Nathan’s Patience?

I’m sort of jumping off from the previous question, but one of the main things I learned with Never Heard of It was how important that personal connection with others is in music. When we were on tour, we’d go to a local mall in whatever town we were playing in, and walk around with a discman (ha!) and headphones and just approach people and ask them to listen. We sold so many CD’s with that approach. Most of the time, people would ask us to sign them, creating yet another personal touch for a new fan. Now, I take the same type type of approach, and I try and make things as personal as possible, even if it’s over the internet, for anyone who takes the time to even just listen to a song and engage in any way on social media. In today’s world, many connections feel less personal, but music and connection can still evoke a sense of belonging, discovery, and friendship, fostering appreciation. I try to focus on that as much as I can, especially with new fans.

How do you balance nostalgia for your earlier sound with your current artistic vision?

I think the overall sounds are very similar, but as a friend of mine recently so eloquently put it “It sounds just like you…. But older.” The songs are more mature and well structured, the lyrical content is much more grown up and based on real life experience, but the energy and overall sound still come from the same punk rock teenager who found acceptance in so many ways within that community.

What themes or emotions do you hope listeners take away from The Thoughts We Can’t Tell?

Togetherness, support, reality, and real-life emotions. My goal is to have the listener truly believe that they’re never alone.

How are you approaching your upcoming live performances after such a long hiatus?

I’ve officially put a full band together at this point, and am really excited about the members who are joining me on this project. All of them are people I love being around, and who are amazing musicians and friends. Practices will start in the next month or so, hopefully, and I’m so excited for that. Performing live takes a lot out of you physically… so right now a big focus is staying healthy, and on increasing my endurance and physical abilities by starting to actually work out again and get into better physical shape. Not a day goes by at this point though, that I’m not working on singing or on getting better at the guitar and other instruments. Working on this project takes up a lot of my time in multiple ways, and I’m just really enjoying every second of it right now. All of this prep work will pay off when it comes time to play live.

Looking forward, what directions or new experiments are you excited to explore in your music?

Vocally I’m writing new songs that allow my voice to sit a bit higher, especially when the chorus hits. That’s my sweet spot vocally and I want to highlight that more over these next few songs we are working on. I’ll be back in the studio at the end of October and we will be releasing new singles in November and December of this year, with more to come in early 2026 as well. What I’m most excited about though is working on finalizing our first official live performance, which will take place in March, 2006. All those details will be announced closer to the show date, but I am so excited for what we are putting together and it’s sure to be a really special night.

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Peter Dyna - That Girl With The Bald Head

"That Girl With The Bald Head" by Peter Dyna is a captivating blend of old Synthpop and Electronic Body Music influences, drawing inspiration from iconic acts like VNV Nation and Dr Lektroluv. With arpeggiated synth bases and a touch of neo-synth pop reminiscent of The Midnight, Peter's music offers a fresh take on the electronic music scene. The release's unique concept, centered around a subtle persiflage on a classic track that evolved into an ode to female empowerment, sets it apart from the crowd. Featuring a pumping industrial base and uplifting dance vibe, "That Girl With The Bald Head" is a must-listen for music enthusiasts seeking a refreshing and meaningful musical experience.

Pre - save Link: https://artists.landr.com/057829584945

Interview with That Girl With The Bald Head

That Girl With The Bald Head blends synthpop, EBM, and neo-synth elements. How did you arrive at this unique sound?

My own stuff pulls from years of listening to diverse genres, I very much appreciate people who have a wide unpredictably mixed taste. In my case that’s Dark Wave, EDM, Drum’n’Bass, World Music, intimate piano with spoken word, Moby-esque electronica, even that fragile, Icelandic feel you hear in Sigur Rós or Stafrænn Hákon. 30 years of intensely listening to all of that, just filters down and sneaks into my tracks in one way or another. I certainly don’t plan to fit in a genre, I am just obliged to label afterwards ;)

The track started as a subtle persiflage and became an ode to female empowerment. How did the concept evolve?

I’m pretty nostalgic about the very early days of house music — I can still picture myself listening on my Walkman. There’s one track in particular (Kraze - The Party), that probably only people who were there at the very start would remember, and I wanted to tip my hat to it. But I didn’t want it to be obvious, so I rewrote the lyrics and kept the reference tongue-in-cheek — more of a sly wink than a copy. That’s how “that girl with the bald head” popped up, and that line ended up sparking the whole video idea.

How do you balance old-school electronic influences with modern production techniques?

The last 15 years, I don’t feel that modern techniques have forced me to change; on the contrary, modern soft- en hardware facilitate processes that were harder in the past, it’s all become just much more user-friendly!

The song features a pumping industrial base alongside uplifting synths. How do you approach layering these contrasting elements? / What role do arpeggiated synths and neo-synth textures play in shaping the emotional tone of your tracks?

If I feel like making something danceable, I’ll always twist it — make it darker, more nostalgic, but also sneak in a melody you wouldn’t expect under a beat like that. “Fun,” to me, means a little unexpected.

Told in a more silly but true way: there’s still the need to be the cool dude when starting a beat, I’ll try to make something that’s going hard with a good beat or a heavy bass. But then in the end I end up mellowing it up because hey, everything’s nicer with some twinkly bell sounds ;)

After years of producing music in your bedroom, what’s it like finally sharing your work with the world?

I’ve been making music for about 20 years in my bedroom, but I was raised catholic, and taught to be modest, so I would never dare call myself a producer, let alone an artist. But I’m 46 now, and at some point I just thought: f*ck it, I’m putting it all out there! And my god, it’s liberating to suddenly be brave. You can (and should, I suppose) nag about how unfair Spotify is to artists, but I do appreciate the democratic side of it. 
The best part of starting late is that I don’t feel tied to any genre rules. I’ve got old tracks I can finally release, and they’re not going to fit neatly into any box. So yeah — more is coming, and it won’t be predictable!

How do you ensure your music remains both danceable and conceptually meaningful?

My only answer to that is that it’s the music I appreciate most myself. When listening to EDM, I want a deeper layer, something that touches you. Example: Andrew Bayer’s From The Earth comes to mind, or Orbital’s Transient.

This is your second major project. How has your creative process changed since your first release?

It hasn’t, really. The first song was more spoken word, introverted, and this one is more feel-good, and I tend to bamboozle Spotify’s algorithms with every new release.

Looking ahead, are there any new directions or experiments you’re excited to explore in your music?

I love using samples of films or YouTube clips, but I think I’m ready to work with real singers. Not in a very direct verse/chorus style song, but let a singer do her thing and then mash it up in a kind of remix.

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