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I love this interview that just came out recently in Pens Eye View.  These guys really ask some in depth questions!  What would you ask? Let me know in a comment.

Here's the article in its entirety:

It should come as no surprise that PEV appreciates the artist that’s willing to take chances, willing to look outside of their world to sample other styles, approaches and philosophies. Reading the background of classically trained cellist and Juilliard graduate Noah Hoffeld, it may at first come as a surprise that he sat down with us to discuss his new rock based record…but after hearing some answers to only a few questions, it becomes clear that Hoffeld is more than willing to plunge into unchartered waters when properly passing along his message makes it necessary.

While Noah has built up an impressive reputation as a classical artist, his latest music takes a different turn, as described by the artist himself: “My music’s a bit like aliens coming down from space and learning to rock out human style. The combinations of amped guitar with tweaked synth make for sounds you don’t normally hear on planet earth, in any genre.” As you can tell, it isn’t easy to classify the new music Hoffeld is producing, which has made listening to his new record, Play Human, all that more enjoyable! Noah says of the new release, “Play Human is a holy war. It’s a big shout against the tides that threaten to eat us alive. The ideas on the album aren’t new – love your brother, take care of the planet – but they’re set in a modern rock context that maybe isn’t too common anymore. In the sixties and seventies there was a lot of this. I don’t know if it’s as big a theme today.” Click to www.noahhoffeld.com to sample Play Human and learn more about this busy and intense artist – we can’t wait for what comes next. But first, keep reading. There’s still so much more to get into in the answers to the XXQs below.

XXQs: Noah Hoffeld

PensEyeView.com (PEV): How would you describe your sound and what makes you stand out from others in your genre?

Noah Hoffeld (NH): My music’s a bit like aliens coming down from space and learning to rock out human style. The combinations of amped guitar with tweaked synth make for sounds you don’t normally hear on planet earth, in any genre. 

PEV: What kind of music were you into growing up? Do you remember your first concert?

NH: I was into a lot of classical and a lot of rock and pop. One of the first shows that made a huge impression on me was seeing the Bach Cello Suites performed in a cathedral in NYC. It amazed me that one man could make such enthralling sounds and keep the audience wrapped for two hours in a magic spell. 

PEV: What was it like trying to break into the music scene when you first started? What was your first show like?

NH: Well I’ve been performing live since I was about 10 years old in lots of different situations. Most of those early ones involved singing soprano solos with choir!  I enjoyed traveling to different towns to sing and be immersed in the glorious sounds that the choir and orchestra make together. That opens you up!

PEV: What can fans expect from a live Noah Hoffeld show?

NH: Today I play a combination of keyboards, cello and electronics along with my voice. Some of the cello songs involve looping the instrument to create lush layers of string sound – almost like hearing an orchestra. 

PEV: What is the first thing that comes to mind when you step on stage to perform?

NH: I ask myself and God ‘How may I serve?’  It’s a kind of trick I learned from Wayne Dyer. It takes you out of your ego and its little concerns and reminds you of your purpose: to communicate and spread love to the audience. 

PEV: What is the best part about being on stage in front of an audience?

NH: I love the give and take I feel. But it’s also great to feel that my songs which I’ve put so much into are being given voice and are being received. That’s what they were made for so it’s very gratifying. 

PEV: What was your underlying inspiration for becoming a musician?

NH: Being a musician is something that comes from the depths of my soul. It’s always been with me and not something I question the origins of. When I do, I get all fucked up! 

PEV: Thinking back to when you first started out, do you ever look back on your career and think about your earlier days and how you’ve arrived where you are today?

NH: Looking back I see a pretty natural progression: while I was studying classical music, I was always preoccupied with something in pop or rock – that stuff spoke to who I am and what I was going through especially as a teen. I think it’s inevitable that it started coming out of me too, in the form of songwriting and rocking out. 

PEV: What’s one thing we’d be surprised to hear about you?

NH: I like dumplings. 

PEV: What do you do when you hit a brick wall in your writing? What are some methods to get over that?

NH: I find taking a break is the best remedy. Taking a walk or getting some exercise can really free up the brain too. Some of the best ideas come when we’re in motion and when we’re actually NOT thinking about the thing we’re trying to think about. 

PEV: How do you think the industry has changed over the years, since you started out?

NH: Obviously everybody is a lot more tuned into their own little bubble of an experience in their headphones or on the couch. There’s a lot less respect for the communal experience of a live concert, and less sharing in the dialogue about cultural movements like pop and rock. Not surprising considering what’s being put out there by mainstream media is less and less interesting. 

I believe people getting reignited about local shit is where the future is. A grassroots way of connecting folks. As creators, we should look to cultivating relationships we have with our neighbors. This will provide us with a more sustainable income and also help our communities to thrive. Not that we should stop traveling or sharing on the web or anything like that. I just believe that real relationships with listeners and other artists and presenters are what will make the music of the future come alive. 

PEV: What can fans expect from your latest release, Play Human? What was the writing process like for this album?

NH: Play Human is a holy war. It’s a big shout against the tides that threaten to eat us alive. The ideas on the album aren’t new – love your brother, take care of the planet – but they’re set in a modern rock context that maybe isn’t too common anymore. In the sixties and seventies there was a lot of this. I don’t know if it’s as big a theme today. 

Writing it was mostly done as a part of producing – they went hand in hand – so as I was generating new sounds that turned me on, I was coming up with melodies, riffs and parts. Lyrically, the ideas for subject matter would come first and actual lyrics would follow. 

PEV: With all your traveling, is there one area you wish you could travel around and play that you have not yet?

NH: Ireland! I’m hoping to get there during an upcoming UK tour in April. It’s always held a powerful sway over me. 

PEV: How have all your friends and family reacted to your career?

NH: I have a really great and supportive crew. I think some people are a bit nonplussed by my releasing a rock record that’s not even a big cello item. To them I say, that’s ok! I don’t like everything you do either!  But seriously, I’ve had to reach beyond my normal fan base on this one to reach peeps who dig new rock on a daily basis. And that’s an interesting part of the trip. 

PEV: What can we find you doing in your spare time, aside from playing/writing music?

NH: I’m getting more and more into surfing, when I can get to the beach. When I can’t, I’m really focused on my yoga and meditation practice. I found a group called Dharma Punx that helps provide basic meditation lessons to people like me – a bit outside the mainstream. 

PEV: Name one present and past artist or group that would be your dream collaboration. Why?

NH: I’d like to play cello with Jimi Hendrix. Who wouldn’t?! Jimi’s been a huge inspiration to me throughout my life, because he embodies the culmination of both technique and creativity in music. What more can I say? There are no words…

PEV: Is there an up and coming band or artist you think we should all be looking out for now?

NH: Nadia Ackerman is a both a great singer and a very deep songwriter. She’s on all kinds of late night TV and commercials as a vocalist but her solo stuff is kinda flying under the radar. She needs to be heard to be believed. Unreal. 

PEV: If playing music wasn’t your life (or life’s goal), what would you do for a career?

NH: I’d be the Pope. Nice hat, nice house. Cool car. 

PEV: So, what is next for Noah Hoffeld?

NH: I’ve been wondering the same myself. I’ve been thinking of entering a monastery but I don’t think my girlfriend would like that too much! Ha! Maybe a new album? Maybe this one will be more of a cello thing, so my friends and family can enjoy without worrying I’ve gone off the deep end. We’ll have to see. 

For more information, click to www.noahhoffeld.com/.

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Great to be featured in Indie Artist Buzz again!  This piece is hot off the press…..

Late this summer we featured rock cellist Noah Hoffeld in our Indie 5-0 series here on independent Artist Buzz. TODAY we get the opportunity to delve deeper into Noah’s psyche. Below tells us in his own words what the transition from Classical cellist to rock cellist was like:

Moving from Classical into Rock wasn’t easy to do. Though many artists in Rock’s brief history have been inspired by Classical Music, only a few were full-on classically trained.  When I think of it, just a handful come to mind- Zappa, Johnny Greenwood, and that great pianist who plays on Freebird. I’m sure there’s a bunch I don’t know of. In Jazz, there’s Miles who, like me, attended Juilliard. It’s cause Classical Music is a very picky head, almost religious in its worldview. Devotees eschew other music like zealots shun a foreign prophet. Though I’ve known some Classical musicians to use Rock as a muscle relaxant, for one to actually pick up a guitar would be beyond bizarre and would cause everyone, them and anyone in a Marshall Stack’s radius, extreme discomfort. Why? Because from a young age they’re taught to revere Classical compositions like Sacred Scrolls. Then they feel powerless to leave anything worthwhile of their own to the future, beyond their interpretation of what has come before. And when asked to improvise, most recoil in utter dread and shame. Sad, no?

To prison-break that mind-cell takes enormous desire, or overwhelming need, like in my case. If you’ve been to the movies, you know the music teacher determined to make you great or destroy you in the process. After four years of abuse, I wasn’t gonna blaze a mind-blowing solo trail, unseating Yo-Yo Ma. And as I was graduating, cello was just making its way into Rock with geniuses like Nirvana. Perfect timing! In sessions with Rock musicians, I discovered new challenges without the sticky head-trips.

I found being around songwriting was infectious and it wasn’t long before I was writing too. Really just a hobby at the time, I liked the results and the process. I kept at it while observing the means and methods of the masters. My hands on the cello, my ears on the songs: how a lyric was shaped to powerful effect or a turnaround thrust a pre into a chorus. Songwriting is wizardry for sure. Me, the Sorcerer’s Apprentice. 

Now every time I tried to stop, writing came back. I was a surgeon trying to amputate his own arm and it wasn’t gonna happen without a lot of blood. Too much for me to shed and survive. So bit by bit, I learned to record and produce. I made my new LP ‘Play Human.’ Found my Inner Rocker. These days rocking out’s the only way I can fully express myself: The cello is there, weaving in and out of grungy guitars and f’d up synths- freed from the Classical cellblock. And I’m free too, to sail the High Seas of Rock and catch the big bad soundfish who swim the Inner Ear Canals.

Playing my own tunes gives me a deep satisfaction I never knew possible. I know Classical Music will always be in my heart. And I’ll always practice it to stretch my cello chops. Who knows? Maybe someday I’ll return to the Classical stage and perform. But for right now I’m happy rocking out, cello-shredding my days away for the Gods of Rock n’ Roll on High.

- Noah Hoffeld

Visit Noah’s website and Twitter to keep up to date with everything going on in the cellist’s world.

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Great to be featured this month in M Pire Magazine.  Here's the piece in its entirety, followed by a free stream of the album in question….

Noah Hoffeld's passionate love songs and power ballads deliver his message that now is the best time for us to breathe and tune into who we are. Now in his debut album Play Human, he comes from the heart in eleven new songs that sing that message home. The soulful maturity of this rock record belies the fact that Hoffeld comes from a life in Classical Music. But playing Classical was never everything to Noah. Before graduating from Juilliard, he began pushing the limits by improvising, bringing rock and pop to the cello, and asking questions that would push his career beyond the ordinary.

Play Human follows on the heels of his single, 'One Family,' created for Martin Luther King Day 2015. The song was inspired by the intensity of current events and by what Noah calls "the ever-growing imperative of Dr. King's Dream." The vocal, set to piano and strings, rallies against abuses of power and backpedaling of the civil rights train. The self-produced song and music video were an internet success, shared by over 100 people in their first week on Facebook. Noah's musical life is varied, alternating producing and touring his own music, playing featured cello for the likes of Renee Fleming, Philip Glass, Bebel Gilberto, and Brad Mehldau, recording cello solos for films like The Skeleton Twins (Kristin Wiig and Bill Hader), Experimenter (Peter Saarsgard), and for Showtime's Happyish and an upcoming HBO miniseries. And he's a composer himself, currently attached to two indie films in production. He enjoys arranging and producing other artists and his productions recently earned him a place on the endorsed artist roster of hallowed Moog synthesizers.

In addition to rocking out on guitar and keys, Noah plays what he calls Cello-Rock. He sings while playing cello, creating pulsing, rhythmic patterns on the strings with the bow, and adds vocals to ambient layers of looped cello and drum programming. 'Same Old Song' - the first single off Play Human- is a cello-based romp dedicated to the grooves he grew up on. Noah takes us back and lures us into our own musical memories with the infectious beat of this pop-rock tune. Hoffeld performs powerful and intimate solo concerts, singing from the cello, piano and guitar, while incorporating electronics, live looping and beat production, as well as explosive full band shows. All the performances include mesmerizing instrumental numbers plumbing the emotional bounds of his cello playing. Critics say his songs and shows have "depth and soul" (The Berkshire Eagle), are "moving and haunting" (SeeDance.com) and are "filled with expressiveness and warmth" (Tablet Magazine).

Growing up in a home that valued the arts turned Noah towards cello, piano and voice at a very early age. But it was his parents' eclectic listening habits that formed him. "Mom and Dad were both fanatical about art and classical music and they both worked in the arts, but they listened to all sorts of things. On any given day I was equally likely to soak in a Mozart Serenade as I was to be getting down to a new cut by Michael Jackson. I sang in the Metropolitan Opera Boys' Choir and went to pre-college at Juilliard on the weekends, but at night I was devouring records by Bowie, Lou Reed and the Beatles." All those influences find a home in Play Human.

The debut LP, produced by Hoffeld and mixed by Mark Plati (Bowie, The Cure, Philip Glass) is the culmination of his musical searching and deeply held beliefs. "I always wanted to share my view of things through the cello, purely through sound. But I came to a certain place where I realized using lyrics was going to be necessary. I had some very specific things I wanted to say. I couldn't stop playing for playing's sake but I needed to add another dimension to the picture." After graduating, he started to write songs. And spurred on by an intense need to communicate to a broader audience than just Classical fans, he taught himself to play guitar and bass, and to produce tracks to make those songs come alive.

A longtime devotee of yoga and meditation, Noah believes in the power of reflection to create the change we're looking for in our lives, and he takes to heart Gandhi's 'Be the change that you wish to see in the World." The title song 'Play Human' incites us to take a bigger view of life, and to stand up for our brothers and sisters. The chorus shouts out, 'Why don't we all play human for a change? Loving each other shouldn't be out of range." And the thrashing 'Role of Rock' insists that saving the World is the purpose Rock was born for.

Noah has been in a photo spread with supermodel Iman and taught cello to James Taylor. And he's a surfing novitiate at Brooklyn's Rockaway Beach.

Noah recently released his single "Same Old Song", and already received high praises. Baeble Music says the debut song has an "irresistible 80's feel", and declares that "Noah Hoffeld's "cello rock" is the new sound you never knew you needed."

Web/Social Media Links: http://www.noahhoffeld.com

Enjoy the free album stream and please follow me on SoundCloud! Have a beautiful one…..