Matthew Colby Davidson wore a lot of hats before settling into his role as the frontman of Eastcliff. The Los Angeles-based rocker came up in the Bay Area band Analogue Spirit, before launching his eponymous solo project as a college student in Orange County. While his music incorporates a dynamic range of flavors, it all basks a time forgotten sheen. “My dad instilled in me a love for music, by quizzing me about songs on the radio; what was the artist and the name? He worked at Tower Records back in the ‘70s and ‘80s,” Davidson wistfully reflects. His father’s questions clearly had a lifelong impact on his son, who touts a sound that feels straight out of the breezy heyday of Van Morrison and Neil Young.

Davidson’s latest project, Eastcliff, sparked while he had his hands on a borrowed, haunted organ. The songs found their final form later on, as he collaborated with producer Alex Newport (City and Colour, Matt Costa, Death Cab For Cutie) in 2021. They holed up at Newport’s home studio, joined by session musicians Jake Reed (percussion) and Tyler Seppala (tenor sax), as well as Kaizo and Takazo Hall (horns and backing vocals). After laying down a few takes, Newport began to feel that the cuts didn’t quite fit in with Davidson’s pre-existing brand as a singer-songwriter — the batch of tracks leaned more serious and indie. While Eastcliff is spiritually in line with Davidson’s past endeavors, there’s a newfound Americana tint that sets it apart. It draws inspiration from artists including Father John Misty and My Morning Jacket, especially their invigorating live performances. The end result is soulful and psychedelic, aided by the lush backdrop of a seven-piece backing band.

“I write all of the horn parts for my band on my guitar, often with triads. I’ll then start working on the song in a DAW and add basic parts and bring it to band practice and direct the sound,” Davidson says, explaining how he operates as the frontman of such a large ensemble. With his arrangements, he tries to eschew standard structure and embrace unconventional wordplay.

Davidson’s process typically starts out with him humming random notes until a melody sticks. He compares it to completing a puzzle, trying to make different pieces fit without worrying about the critical voice in his head. Yet for as carefree as Davidson’s flow can be, there is a darkness at the core of his songwriting. It often draws from mental illness, unfaithful relationships, and the death of loved ones. “I grew up very privileged in many ways, but also had a fucked life in others,” he says. Eastcliff pulls from breakups, unrequited love, and atheism. Davidson’s lyrics are grounded and direct, shying away from the use of synonyms or analogies.

As a songwriter, Davidson is just trying to keep it real. He doesn’t see a reason to cater to avant-garde hipsters for cool points. “I don't see this band as breaking new ground; I think music has merit beyond being groundbreaking and new, and I see this band as a refinement or exploring further the sounds I really loved growing up,” Davidson says. Instead of trying to imagine music for the future, Eastcliff takes pride in tradition. It makes for some of the most gripping, rootsy output currently bubbling up from the California scene. Stay tuned for upcoming singles, recorded with help from Jon Gilbert (Mt. Joy, Flipturn) and increasingly high profile tour dates from Eastcliff.

[Ted Davis]