I Thought I Knew

Zach Sprowls

"I Thought I Knew" is Zach Sprowls' second studio release under his own name, following "All Beginnings are Hard." It shows the same maturity and restraint of his debut, fitting comfortably in the vein of expressive neoclassical pianist-composers of our time, such as Max Richter, Hania Rani, and Ólafur Arnalds. Like theirs, Zach's is a cinematic

"I Thought I Knew" is Zach Sprowls' second studio release under his own name, following "All Beginnings are Hard." It shows the same maturity and restraint of his debut, fitting comfortably in the vein of expressive neoclassical pianist-composers of our time, such as Max Richter, Hania Rani, and Ólafur Arnalds. Like theirs, Zach's is a cinematic and natural voice shaped by life and place.

Moved by the tragic death of a beloved community member, Zach took to the piano to set down this piece as an artifact of grief. For him, a witness to life's fragility, the melody surfaced like bedrock hours after the loss. In the coming days, he built a song of honesty and renewed hope on top of that foundation. In the final work, you can almost hear a statement–that the cost of meaning is fragility, that the beauty of life is in our delicate present, not our imagined future.

To the core piano track–a Baldwin upright in Zach's family room–members of the U.S. Army Strings recorded Zach's string arrangement at Cue Recording Studio in Falls Church, VA. The collaboration is apt, augmenting the skill of each musician with the indivisible beauty of a masterful composition.

Those who know Zach understand that these works are as steady as he is. These two releases are undoubtedly the first of many in his promising career.

Read more…
0:00/???
  1. 1
    I Thought I Knew 3:48
    0:00/3:48

Composed and produced by Zach Sprowls. Mastered by Clyde Rosencrance of Republic Audio Studios.
Piano and synths: Zach Sprowls / Violin 1: Marlisa del Cid Woods / Violin 2: Charles Gleason / Viola: Caroline Castleton / Cello: Hrant Parsamian Cover art by David Hayward 

Special thanks to Alex Righter for coordinating and engineering the string recording session at Cue Recording Studios in Falls Church, VA, and for his thoughtful feedback which saved me from a huge mistake. Clyde Rosencrance, producer extraordinaire, who generously gave up hours to help me grow as a producer and mixer and who ultimately made the song sound good. Timothy Zieger, my best friend and gifted writer, who wrote my artist and song bios and who makes me and my music sound better than it is. David Hayward whose art and videos have validated my struggles and given me hope and direction for healing. Marlisa Woods who got all the best string players together and who always lights up at the opportunity to play my music. Aaron Huie, long lost friend, who took pics and videos and always inspires me. And for my wife, Beth - without her nudge this song (and the songs that follow) would still be hidden away on my hard drive.

“For international audiences, Scranton, Pennsylvania is where the US Office is set; no other references can be made. However, fans of modern neoclassical may be able to reference Zach Sprowls, a composer of straightforward, silver-screen-ready gentle and inspirational music that has an eye on the experimental. With a tool-kit of a close-up acoustic piano, mourning strings, and subtle electronics, Sprowls' slow and patient music is never dull, and the focused track ends before any welcome is worn out; there's a weightless quality to this gushing instrumental piece as it connects with the truths of the human condition through simple musical phrases and a communicable structural prognosis to the uncertainty of knowing.”

— No Transmission