Formerly one of the main figures in the used-to-be-popular indie band, The Winston Jazz Routine, Nathan Phillips‘ life has slowed down immensely since experiencing the impact from the often-buzzed-about record, “Sospiri,” which released back in 2007. If you’re a TWJR fan, it’s probably because Nathan Phillips’ vocals made your heart flutter a little when you were first introduced to the tunes. As wimpy as that may sound, dudes who are confident enough in their sexuality will admit that their heart actually fluttered. Moving on. From what I’ve learned through several conversations I’ve had with Nathan, not much has changed. The Winston Jazz Routine just simplified the name to Nathan Phillips. It’s probably a little more complicated than that, but it’s sort of irrelevant at this point. After you read my interview with Nathan, check out what gave him the invaluable avenue that he has (TWJR). Then, fall in love with what he’s doing now. His journal is pretty nifty, too.

Luke Goddard: So, you sort of made a name for yourself under the stage name, “The Winston Jazz Routine.” The Winston Jazz record, “Sospiri,” got rave reviews all across the board. Were you surprised by the response from different media publications as well as the fans of that record?

Nathan Phillips: Yeah, I remember reading a few really nice responses and reviews of that record; certainly surprised, too.

Luke: Before we talk about your new stuff, I want to talk a bit more about “Sospiri.” You invested a lot of time into this record. A ton of folks contributed. Tell me a little about the experience recording “Sospiri.”

Nathan: It was a lot of fun recording friends, piecing things together and having the leisure of recording it on my own time. There were certainly limitations though. For instance, my freshman year of college was spent trying to find time during the day when my dorm was quiet enough to record, which was almost never. I also had a roommate who constantly watched Seinfeld and threw potato chips all over our room/studio, so I had to figure out how to work around him as well. I didn’t know much about recording and ran everything directly into an M-box with a couple of mxl microphones, which I later found out wasn’t a great idea. A couple of months after the basic tracking, my friend Mike Odmark engineered the drums at a really nice studio in town, so that helped things out a lot sonically. I learned a whole lot during the process as far as what to do and what not to do concerning engineering and also in working out basic musical arrangements with other people; that was probably the most significant part of it for me.

Luke: One of the hits off that record, “William and Betsy,” tells the tragic story of a cancelled wedding and more. What inspired the story of this song? The imagery is so rich.

Nathan: Well I don’t know anyone named ‘william and betsy’ but I always liked the story of Betsy Ross and was reading about her at the time. Though completely fictional, the song sort of originated from thinking about her.

Luke: The Italian word, “Sospiri,” means “Sighs” in English. Yeah, I’ve done my research. The album name is pinpoint perfect though. The songs, as a collection, are dense. Was the record, in any way, a reflection of something you were going through at the time the record was written?

Nathan: I’m impressed. So apparently there’s this enclosed bridge in Venice that connects some old interrogation rooms to prison cells on the other side. The bridge got its name, ‘the bridge of sighs’, from the idea that prisoners would look out the window of the bridge while they were being taken from the court room where they were convicted to their cell on the other side, and evidently would sigh upon their final view of the city. In Italian it reads ‘Ponte De Sospiri’. I liked the way it sounded and thought that maybe some of the songs on the album felt like sighs or exhalations.

Luke: So, you quit performing as The Winston Jazz Routine. In fact, you even quit recording as The Winston Jazz Routine. You are now just Nathan Phillips. After receiving so much recognition as The Winston Jazz Routine, what made you decide to suddenly change your stage name?

Nathan: Yes, that’s true. It seemed like the right time to move on from that name. My friend, Derek Barber and I came up with the name towards the beginning of high school when it was still a band format. After we went our separate ways to college in different parts of the country, I kept on using the name but ultimately didn’t feel right using it as a solo project. Also, I think a lot of people were confused by the name…including me.

Luke: I’m glad the music didn’t drastically change. Your new record, “Postcard,” is utterly amazing, Nathan. Who’s been one of your biggest influences as a songwriter?

Nathan: Thanks! Growing up I mostly listened to classical music but would try to sneak in Ben Folds or really anything that was on 90′s radio whenever I could, or whenever my parents weren’t looking. Today I’m really liking Brian Eno’s ‘Ambient 2: The Plateaux of Mirror.’

Luke: I know “Postcard” is available on 12″ vinyl as well as digitally. Obviously, I prefer the vinyl. Not just because it’s vinyl, but more so because of the time you put into creating them. Tell us how you handmade these and what they include.

Nathan: My sister carved the stamp for the text out of a linoleum block she had and I did most of the cutting, sanding and taping of the cardboard covers. It was cool to see all of the postcards from different eras and get  to choose which postcard should go with each cover, etc. My mom was a huge help with the assembling as well. Overall, it took way longer than we thought and I accidentally cut myself several times, so I was glad to be finished by the end of it.

Luke: Nathan, you seem pretty detailed-driven with your art. It’s evident in the time and energy you put into each record, as well as the art that goes along with it. Was the arts something your family stressed in your upbringing?

Nathan: I took a couple of art classes in junior high but for some reason they never really stuck. My  parents always encouraged art, though my sister was the only one in the family who really pursued it.

Luke: So, these days you either perform as Nathan Phillips or with your longtime pal, Aaron Roche, as The Choir at Your Door. What’s it like recording and performing with Aaron?

Nathan: We work differently most of the time. Aaron always has lots of ideas and I tend to obsess over smaller details. Sometimes it works really well on recordings and other times it can be a little chaotic, just depends on the day. Often times there’s a positive balance that stems out of it though.

Luke: Your record, “Postcard” as well as the new Choir at Your Door record, “Worktapes,” have been blowing my mind ever since you left my house last weekend. The new CAYD record is so nostalgic for me. Were you and Aaron going for a pretty central theme with this record or did you guys just let the songwriting process flow naturally in its own direction?

Nathan: I’m glad you like it. I think a general theme we were both going for on that recording was to try and make happier, up-beat songs. I suppose it formed somewhat naturally from there.

Luke: You, Aaron, and the rest performed recently at a Blue Indian show here in Macon, GA. Were you surprised to hear the crowd singing along when you performed “William and Betsy”?

Nathan: I was really surprised and flattered. It helped me too, as I botched up several of the words.

Luke: Wrapping it up. Tell me you’ll come back to Macon to play again. Can we work something out? I promise you’ll have the bed next time.

Nathan: Only if the bed’s made of sushi.