In crafting his latest album, “Collamer Circle,” Justin Levinson joined creative forces with fellow Vermont-based songwriter Ben Patton. The outcome is a delightful compilation of songs characterized by relaxed, inviting arrangements, distinctly echoing influences like Brian Wilson and Elvis Costello. Given the impressive quality of this musical collaboration, it’s difficult to envision that the partnership between these two talented songwriters won’t evolve and flourish in the years ahead.

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Be sure to catch, ‘Tin Foil Hat Parade,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

Well, a lot of this album really came together when I relocated back to Vermont from Los Angeles. I was busy being a dad of two little girls, but I knew I needed to remain creative in some capacity. I also felt I needed to shake things up a little and started to consider possibly searching for a co-writing partner. I knew of Ben Patton from my high school years in Vermont and had followed him on social media, admiring his work. I always thought that in a world that made sense, his catalog would be in the American Songbook. That’s how highly I view his songwriting. I reached out to him in an email about getting together to try things out, and we started to click. I had a lot of half-finished songs that were stuck largely because I was so busy at home. The pandemic broke out almost right after we started writing. We kept in each other’s bubble and just cranked out songs. It was great to have a friend and a collaborator. It was a pretty dark time, and I’m not sure I would have survived without him.

Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?

Yeah, when we wrote our first song called “Then and There,” which I really loved. It was mostly my melody and Ben’s words. I just loved how it came together with the storytelling and a very interesting baroque instrumental bridge.

The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?

I guess I always had a fantasy of having a co-writer, especially as a huge Beatles fan. I just hadn’t really found the right fit. Ben and I are kind of cut from a similar cloth musically, which worked. I also can find the songwriting process to be lonely, and it’s more fun when you can share it with someone. It also helps you take things to a different place and not write the same song over and over again.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

Well, truthfully, I just turned 38, so I have a more realistic concept of success than I might have had at 21. My hopes are that the people who hear it dig it. I’ve considered getting into writing for other people and doing more co-writes. That is something I’d like to explore.

Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?

Whew, that’s a tough one. I’m not sure who I’d write with, but if I could have my next album produced by Jeff Lynne, I’d be over the moon. I think I’d have him pick the writers to collab with 🙂

Among the gigs you’ve performed, which one holds an indelible place in your memory, and why does it stand out?

Well, I played a sold-out solo show at the piano at Gramercy Theater in NYC years ago. I was so nervous. I could literally feel the breath of everyone in the audience on my face. I think that one stands out because I just survived. I’m more of a writer than a performer, honestly. I deal with a lot of stage anxiety, and that is another reason I have performed very little in the last 5 years or so.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

Well, lately, I’ve completely let it go. I kinda knew when we tracked “Madeline For The Win” with a double instrumental bridge we weren’t writing for commercial appeal. I love big hooks and lush chords, which is something I can’t escape, but this style, “Power-pop,” to me is just unpopular pop music. It often is too cheesy for the indie rockers and too rocking for the cheese lovers, ha. But it’s what I do, so I can’t think about it too much.

How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?

I think my latest record stuck with more ’60s-style production. I had been really immersed in Pet Sounds and Odessey and Oracle. This new album has a more upbeat Elvis Costello vibe. When I moved to Vermont, I bought a killer Farfisa Combo Organ on Craigslist. The purchase and writing with Ben sort of molded the sound.

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals?

How do they complement the sonic experience you’ve crafted? For the last several years, I’ve been working with Marnika Weiss on all my album art. I love her work. You can check out all her stuff at http://www.marnikaweiss.com. She’s the bomb!