The DIY ethos of adapting and thriving as surrounding frameworks change has been a hall mark of Richard’s time as a musician.
Richard became enamoured with drums when he saw bands performing on TV as a youth. At the age of five, things began to click on some level for Richard. A couple of years later, Heyman would get a full drum kit and start banging away at the age of 7. A natural curiosity for all aspects of music took hold at that point. This prompted Richard to then begin to learn the ins and outs of piano and guitar.
Percussion came relatively easy to Richard but that was not the case with guitar. This could be discouraging for some and others could be dissuaded from trying to learn any further. Richard kept at it though and with that “do it yourself” kind of mindset, started to find a strong voice on guitar. It couldn’t have hurt though that Richard got to observe players like Link Wray perform up close.
Richard played drums for Link a few years back and would just soak in all of the information available to him. Richard was acutely aware of how link formed chords, how he used his hands to evoke the sounds he did, and absorbed this to apply to his own playing. Even beyond Link, it was clear that Richard was now jamming with people he used to watch on TV. Those people who were in the spotlight and were placed on some kind of pedestal were now all of a sudden peers in the art of jamming.
Another prolific musician who gave props to Heyman was Brian Wilson. Brian has, in past, mentioned to Richard while playing live that his drumming was really great. To have these kind of compliments from such high caliber musicians could cause some to rest on their newly acquired laurels. Richard is clearly not of that ilk.
This attitude of constant learning also reveals itself in his recording technqiues. Heyman is regarded as one of the progentiors of the home recording/ bedroom recording style and aesthetic. Some might have seen the sonic/ physical limitations as stressful and unnerving. Richard went the opposite route and noticed the vital creative energy that could come from operating in a limited way. Bedroom recordings are now an oft-used sonic aesthetic but that was not the case when Heyman began recording at home. There was no clearly established framework so a slot of trial and error materialised. Richard was a home recording artist back before the days of endless tracks and pro tools, keep in mind. Using eight tracks caused him to map out exactly what he wanted to do. Richard developed a more efficient, methodical approach in his playing from these experiences. Also, it marked another instance of Richard stepping into a brand new realm with that DIY fervor. Richard is always learning and believes that “to listen is to learn”.
There’s a sonic story that unfurls in Richard’s latest record and gives some glimpse into his learning curve as an artist. Incognito is Richard’s own unique voice but with surface area dressings that come from punk, Bob Dylan-esque storytelling, and new wave leanings. The undeniably high energy style of all of those ’77 punk records he loved is still an energy Richard tries to project through his own recordings. After a big label experience earlier in his career proved disillusioning, Richard has found a renewed vigour in distributing music himself. Things like crowdfunding efforts and internet radio for his last few projects have proved fruitful for Heyman. Yet again another instance of stepping outside his comfort zone to try something completely new and figure it out with a fresh mind frame.
Richard’s strong respect for the LP format makes Incognito a well paced listen. There are touches of acoustic folk, funk, and garage rock all throughout but things roll forward in a beautifully, well thought out manner. A cerebral offering with clear underlying structure but never to the point where it compromises the unbridled fun, emotive qualities of the tracks. Despite my thoughts, which are also echoed by many listeners, Richard doesn’t check out reviews. He had an interesting insight as to why he doesn’t look at them. Heyman described this notion of if the reviewer loves one record but then hates your next, both should create commensurate feelings inside of you. If you really buy into what it means to win an award, you fall victim to the follies of potentially being a neglected nominee at a later juncture.
That being said, I wager a bad review would not dissuade Richard. A musician who constantly adapts and maintains a vital awareness of the ever evolving methodology of being a career musician. To grow and get better is to try new things and push your boundaries. Whether it’s grabbing a guitar as an established drummer or recording at home with minimal tape/ know how, Richard walks the walk with the oft referenced DIY mindset as a career artist.