Movements’ Patrick Miranda talks growth, ‘No Good Left To Give’ release

Picture of the band, Movements
Movements/Courtesy

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To some artists, releasing music is like publishing a yearbook: A few memories may still be fresh years later, but others just don’t make you feel like the same person anymore. This is an experience that Movements’ frontman Patrick Miranda knows all too well.

After the Orange County band’s most recent album, No Good Left To Give, came out last month, it’s become clear that Movements are in a new chapter, both sonically and lyrically. 

“Since we started writing music when I was like 18, 19 to now, it’s so funny to see things that I thought were important back then versus what’s important in my life now,” Miranda said, now 25, in an interview with The Daily Californian. “So much of the content of our really early music is just stuff that does not apply to me whatsoever anymore.”

For the new record, the band took lessons learned from writing and producing 2017’s Feel Something and created a project more reflective of where it’s at now. No Good Left To Give is thus the product of wanting to step outside of the band’s usual raw sound and experiment with darker yet more traditionally rock tones.

But the album isn’t derived from any one-note source of inspiration. Not wanting to stay “pigeonholed” in any particular scene, the band created a Spotify playlist of everything that led it to produce this compilation, consisting of influences from hip-hop to Adele. Recorded at Studio 4, right outside of Philadelphia, the record reflects a fuller, more instrumentally complex record than what the band has approached before.

“The writing process for me is a lot more involved than just going into a room and putting stuff down,” Miranda said. “I think sometimes that annoys my bandmates because they write song after song after song and then they kind of wait on me to put vocals on them. … It’s kind of funny — we all work a little differently, but I think we all work very well together.”

Although the band members didn’t expect to be producing and releasing an album during a pandemic, they’re sure finding ways to make it work — virtual livestreams, online Q&As and all. Miranda said although the celebratory album release livestream attracted a crowd of approximately 1,500 viewers, the disconnection of not being in the same room still felt as if they were playing to no one in particular. Being in a band in times of social distancing has definitely proven difficult, after all.

“It’s literally the worst thing. Part of me wishes that I had like, an education, so that I could have a normal job right now,” he laughed. “I definitely love what I do and I am so thankful that I dropped out of college and pursued music — because I wouldn’t be here otherwise — but yeah … this puts everything into perspective … I chose a pretty unforgiving career path, and it’s been very apparent this year, you know?”

Before going fully off with the band, Miranda was a student at the Brooks Institute in Ventura, studying to work in documentary filmmaking and photojournalism. He’s invested in Movements for now, but said he would be open to returning to academia in the future to impact students like some of his own high school teachers did. 

“I had two teachers in particular — all the rest can f— off — that really changed my outlook on life,” he said. “That really helped me in what were some of my most formative years, and so that’s something that I’ve always told myself that I would like to do as I get older, eventually become a teacher and hopefully provide sort of the same sentiment for someone else.”

With the band’s music now, however, Miranda is already starting to connect with and impact people. He understands that the new music may not hit everyone in the exact same way that Feel Something or Outgrown Things once did, noting the “I guess they really didn’t have anything good left to give” critiques as his favorite hate comments. But the band is not “Nineteen” anymore, and No Good Left To Give is surely a mark of maturity, new aspirations and transcending genre constructs.

“Two years down the line, when you’ve changed so much as a person — because you will change in two years from now, you will be a different person — maybe you can revisit these songs and feel differently. And again, if you don’t, I don’t f—ing care,” he laughed. “But at the end of the day, I would hope that people connect with (the music) in the way that it connects with myself.” 

Skylar De Paul is the arts & entertainment editor. Contact her at [email protected]. Tweet her at @skylardepaul.