About That Song: Aaron Smith & Steven Tacheny of Phantom Fields
About That Song #56
In our special series, singer-songwriter Sarah Morris interviews artists about the songs that shaped them.
Hi! I’m Sarah Morris. I’m wildly in love with songs and the people who write them. There have been a few songs in my life that have been total gamechangers—songs that made me want to be a songwriter and songs I’ve written that made me feel like I am a songwriter. About That Song is a space where I can learn more about those pivotal songs in other writers’ lives.
For our 56th installment, I talked to Aaron Smith and Steven Tacheny, two members of the genre-blending Twin Cities alt-country/rock band Phantom Fields. They’re set to release their second EP later this month and celebrate its release at The White Squirrel in St. Paul.
Phantom Fields. Photo credit: Monti Smith.
Sarah: Hi Aaron and Steve, it’s so nice to meet you! Along with Ben and Tate, you are Phantom Fields! Per your bio, Phantom Fields was “a coming together of four seasoned musicians in the dark wilds of early COVID.” Recently you released your debut EP, Now You Know—congratulations!
I hope you’ll take a moment to tell us about the songs that operated as stepping stones on your individual paths, and how they led you all today to Phantom Fields. First off, do you remember the song you heard that made you want to be a songwriter? Tell us about that song.
Steve: Good question. Probably Billy Joel songs. Somehow at 6 I had my own turntable. Raised in a musical household and learning piano, I remember memorizing all the lyrics and songs on The Stranger. It was long and narrative, and he played awesome piano, great melodies and a variety of instruments. Crazy non-pop arrangements. Pick one? “Movin’ Out,” probably because of the muscle car audio at the end—my 6-year-old mind loved hearing that while I played with Hot Wheels.
After that, I kept making narratives in my mind to songs I heard by other artists, like Simon and Garfunkel (“Mrs. Robinson”), Earth Wind and Fire and, of course, The Beatles. And then I’d sing my own lyrics to those melodies. I even remember a melody I copied on piano at 6. So, being a songwriter wasn’t something I decided to do—just something I did.
Aaron: I’ve gotta go with a song by Trip Shakespeare. Might’ve been “Toolmaster of Brainerd.” I was a freshman in college and friends of mine, who would end up my bandmates in a band called Talkin’ Big Flavor, played the Are You Shakespearienced? album for me for the first time. Trip’s Minnesota roots, and the way that the band had three vocalists/songwriters—with their bass player, John Munson, being very involved in the overall sound—made me, as a bass player, more excited to write music.
The first self-written song I ever recorded was a Talkin’ Big Flavor song on which I played the bass and sang the lead vocal part. I recall writing the lyrics for that song up at the top of the stairs when I was home for summer break.
Sarah: Once you began writing, did you feel like a writer immediately? It took me a few years of writing before I believed it—was there a song that gave you that “a-HA! I AM a songwriter!” moment? Tell us about that song.
Steve: Probably when I was in college with a band called The Snozberries. I was a rhythm guitarist and played along. I’d always doodled on piano and guitar, creating chords and melodies as described above, but I wrote a song called “Neverfound” that many people immediately enjoyed. Both musically and lyrically it felt awesome. It was one of the first that the group made more amazing or even better than just an acoustic guitar. So, for others to like it and want to play it was really affirming.
Sarah: It is a powerful thing when someone hears your song and gives you the “YEAH!!”
Aaron: Interesting that Steve would pick a Snozberries song. I’d echo that with a song I wrote called “Boomerang” off the third Snozberries album Orange Soda Dream. That was the first song I ever wrote and recorded on 6-string guitar. Steve and I played in the Snozberries from roughly 1989 to 1992. I played the bass almost exclusively on all of the Snozberries records and didn’t really learn to play a 6-string until Steve and I lived together during a summer break. Steve let me play his Yamaha acoustic and I figured out some basic, moody chords.
I remember that summer I was writing poetry a bit (likely girlfriend-related) and one night I kept hammering away at the few chords I knew ’til the lyrics I’d been hearing in my head started to make sense with the music somehow. I presented a rough version of “Boomerang” to the band at one of our rehearsals and was lucky to be playing with some amazing musicians who were able to really quickly figure it out and create some amazing parts.
Phantom Fields. Photo credit: Jo Johnston.
Sarah: The title track of Now You Know talks about “suspicion, conspiracy, wonder and consequences” with a chorus that begs everyone to sing along to the catchy hook. Can you tell us about that song?
Steve: Thanks for the compliment. Yeah, it’s about maybe too much transparency or ambition. You want to know your ancestry, or that secret, and then suddenly the effect of what you find out isn’t what you expected. And “Now You Know.” It’s also about people who think they can do something or want to change a system, but then absolutely become the system. A degree doesn’t make you any wiser, a license doesn’t make you more moral.
And it’s especially for those whiners who claim to be victims when they are the ones who created their own realities and don’t have the character or responsibility to deal with the consequences. Wanna be a president, or whatever? Well, “Now You Know”—it’s not so easy. Claim some responsibility—can’t play the victim now.
Sarah: Your band comprises four songwriters. I’m curious about the moment when you all decided to be a BAND. Was there a song that someone wrote that made you know you had a specific band voice?
Aaron: Tate, Steve and I have been writing songs together and playing somewhat regularly in the Twin Cities for 10-plus years; before Phantom Fields we were in a band called Pioneer Son that made two Americana-adjacent garage rock recordings. In the later days of Pioneer Son, Tate was starting to get into pedal steel as his next instrument. We found ourselves drummer-less but still loved playing and did quite a few acoustic brewery shows, mixing covers and our Pioneer Son originals with more of a stripped-down, folky sound.
Then COVID hit, and our regular rehearsals came to a halt. That was a dark period. We didn’t get together to play or collectively write music for many months. Miraculously, during that very lonely time, Tate made a connection with Ben and we decided to test the waters. We cautiously gathered in St. Paul, partly (it seemed to me) to just be with other humans again. We played through some old songs and tried some new ideas we each had been working on.
Ben’s musical acuity/chops were obvious from the start. His ability to play across genres and grooves, often in the same song, allowed us to experiment with new sounds. We were able to weave pedal steel alt-country, garage rock and indie cinema soundtrack sounds all while making something uniquely our own. To me, when we realized we all had the interest and ability to work collaboratively to explore this new, unique sound, that’s when the Phantom Fields voice started.
Steve: When Ben joined the band, I was a bit self-conscious because he’s so good. I thought maybe our songs might not interest him. He’s also so thorough and diverse, so he can play any genre really well. I asked him what he would call this band. Ben taking ownership with the name sort of hooked him and gave him ownership of the songs too.
Sarah: I see this question should have been “Tell me about that Ben!”
Steve: “Truth and Tell” is the title song on the next EP (coming out August 29th), and it demonstrates our genre-bending tendency. Ben’s parts bring an amazing punk sophistication that drives the song so well. Another song that really drives is “Creatures of Habit” (also on Truth and Tell), which came together more quickly than most and is one of THOSE songs that definitely has a Phantom Fields “band voice.” On the first EP, well it’s “Now You Know,” again a Ben suggestion that definitely highlights this band’s “voice.”
Sarah: We’ll look forward to hearing your new music! I know you have a few notable shows in the Twin Cities area in the coming weeks: your EP release as well as City Country Fest! Wishing you the best of luck with both, and thank you for stopping by About That Song!
Catch Phantom Fields at their Truth and Tell EP release show on Thursday, August 29, at The White Squirrel in St. Paul! They’re also part of a spectacular local Americana lineup on Saturday, September 7, for City Country Fest at Palmer’s in Minneapolis.
Listen to “Now You Know”
Now You Know Album Credits
Recorded and engineered with Adam Tucker in 2023 at Signaturetone Recording in Minneapolis.
Ben Johnston - drums & percussion
Tate Schoeberlein - pedal steel & guitars
Aaron Smith - guitars, bass, harmonica & vocals
Steven Tacheny - guitars, bass & vocals
ABOUT THE AUTHOR
Sarah Morris. Photo credit: Tom Smouse.
Sarah Morris is a superfan of songs and the people who write them, and a believer that certain songs can change your life. A singer-songwriter / mama / bread maker / coffee drinker who recently released her fifth album of original material, she’s been known to joyfully sing with people in her Big Green Bathroom.
