The Dobermans Release 'Nothing On The Internet' and Connect With Us to Share the Story Behind the Groundbreaking Album
- STAFF
- Aug 13
- 8 min read
By: Staff
'Nothing On The Internet' is a stunning sonic journey, masterfully blending raw emotion and unfiltered truth.
In a world where noise drowns out the truth, one artist dares to stand apart. We spoke with the enigmatic creator behind Nothing On The Internet, an album that shakes the very foundation of what music can be in today’s digital age. Born from raw emotion and a burning need to expose the chaos of our media-driven world, this latest release from The Dobermans is nothing short of a revelation. With themes of gaslighting, manipulation, and coercion, the artist dives deep into a world spiraling out of control, delivering a sonic landscape that is at once captivating and unsettling.
As the layers of sound unfold, it becomes clear that this is not just another album, it is a commentary on the collective experience, a meditation on our time. But what drives the creative force behind these uncompromising tracks? What influences shaped this ambitious project? And how does one person craft an entire universe of music, recording it all in the comfort of a personal studio?
In our conversation, we uncover the intricate processes behind Nothing On The Internet, from the instruments meticulously crafted by hand to the themes that haunt each song.
Prepare for an intimate look into the mind of an artist whose voice is as haunting as it is necessary. Read on to discover the story behind the sound that will echo long after the final track fades.
Begin Interview:
Hello The Dobermans, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more intrigued to get a deeper look into both your brand and your personal and professional inspirations.
Q. We loved Nothing On The Internet, it's an absolutely astounding musical creation. Each song has a creative identity and blueprint. The musical expressions of each instrument are highlighted differently in each song, so the album doesn't have that "generic" repeated track sound. The vocals are harrowing and yet rhythmic. Honestly, it's probably a standout album of the year for us. On top of all that, it’s also introspective and that makes it iconic already.
What was the turning point when you transitioned from music being more of a hobby or side project to sharing it with a worldwide audience, setting the stage for the powerful and viable career we’re witnessing now?
A. Well, thank you so much for giving it a listen. Music and art have always been in my blood, sort of. My mother was a professor of art for years, my brother has worked in classical music since he was a teenager, and my father was giving guitar lessons by the age of fourteen. I picked it up early too, but it was more difficult for me. I ended up teaching myself by ear for the most part. I played in bands and was on a small record label in college, writing songs here and there. But a few years ago I felt like I should get all the ideas I had down on recordings. That in turn became The Dobermans. I shared the music publicly with the intent to improve, and that is still the aim. Always learning, always improving.
Q. Can you tell us how you landed on the title of Nothing On The Internet as the album’s name? Was this title the first choice or was it an evolution?
A. It wasn't the first name I came up with. At first it was going to be "Wouldn't Want To Live There". Then it was going to be called "Hopeless". I decided "Nothing On The Internet" encapsulated the feeling I had.
Q. "Nothing On The Internet" presents a raw and unfiltered approach to the world today. What inspired you to take such a direct, no-holds-barred approach with this album, especially in an era of curated social media and trends?
A. Yeah, I've never been one for trends. Sometimes people do things that I like. But to follow a cultural shift without question is just not in me. The direct approach is more in my nature. It's more efficient.
Q. You’ve mentioned that the album is a reflection on a world spiraling out of control through the lens of media. How do you personally navigate the constant noise of social media and news, and how does that influence your creative process?
A. I've never had a problem with the variety of the internet. It's its growing banality and corrosiveness that's the problem. Social media feels more and more to me like visiting a circus or zoo. People are becoming abstractions of themselves. Caricatures. It appears from the outside that they conflate validation with self worth. On social media there's no time to rest. Nothing satisfies. It's just an endless dopamine drip and cash grab. I've heard that 51% of the internet is now clogged with bots and AI too. Whether we notice or not, we are losing touch with our humanity.
Q. In an age where music can often feel influenced by prevailing trends, you’ve stated that The Dobermans’ sound aims to be free of these biases. How do you balance staying true to your artistic vision while still connecting with listeners who may be caught up in current cultural moments?
A. To thine own self be true. The balance for me is that the artistic vision holds 100% of my attention. And if an audience wants to find me, they are welcome to do so.
Q. The album is about themes like gaslighting, manipulation, and coercion. How do you approach writing about such heavy themes without falling into a sense of despair or hopelessness in the music itself?
A. Yes, well. Like I said, the album was almost called "Hopeless". But I'm not hopeless. Humanity is very rugged and adaptable. They will course correct when they know they have to. Those who have the most sensible plans for the future will prevail. A few albums ago I had a song called, "Pure Love Will Take Over". That's how I feel.
Q. We loved the real and raw musical instrumental performances. What beautiful musicianship and artistry you display. How have you managed to conquer so many instruments so beautifully?
A. Thank you very much. What a nice thing to say. My answer would be lots of editing. That, and I let the mistakes guide me.
Q. With this album being your 7th full-length release, how do you feel your sound has evolved over the years? Are there any significant changes or new directions you’ve taken creatively with Nothing On The Internet?
A. I'm always trying new things. My first love musically is classic punk rock. On "Nothing On The Internet" I let that out a bit more.
Q. You’ve stated that creation is always better than regret. How do you view failure or missteps in your artistic journey? Have you experienced any moments that shaped this ethos for you?
A. Mistakes will irritate a proud person, but educate a humble one. Procrastination will achieve nothing. I feel that it's better to keep going and improve over time with something to show for it. I've always liked when bands would release painfully early works or unfinished pieces. It shows their journey. It tells its own story. So I have tried to do that as well.
Q. In your music, you often express complex emotional landscapes. What role do you think music plays in helping people understand or process these emotions, especially when they feel overwhelmed by societal pressures?
A. Lately, the importance has been placed on the industry of music and I'll add film; the money people make from them. But the real importance of music and film is in its cultural impact. If you take the last 122 years or so, from "The Great Train Robbery" of 1903 until now people have changed so much. Our minds have become far more elastic in terms of spacial acuity, problem solving, imagining, and communicating in general. I have to attribute that to entertainment, because books were around for thousands of years, but civilization did not expand in the same way. These media can be highly damaging as well. I would suggest to be very careful about what you watch and listen to, because it will become your reality.
Q. "Nothing On The Internet" is described as having no modern filter—do you think there’s a growing trend in music and art to actively resist trends or commercial pressures? What role do you see yourself playing in that? Do you feel there is a corporate pressure or goal within this to suppress freedom of true expression?
A. There is so much music out there that I can't detect a single trend or its effect. By and large I would say no, most people are trying to capitalize on their musical offerings and that is their pressure. Businesses do not want to suppress freedom of true expression if they know what is good for them. Right now they are trying to replace all jobs with AI. But it's not actually AI. It is a series of programs, usually crawlers and collators that companies trust to interact with customers. One of the things I do here is help companies innovate with ideas. I can see the holes in their marketing and products. And I have made millions and sometimes billions of dollars for companies with my ideas. I have split multinational corporations' stock with my ideas. And I can tell you that you do not want to replace and alienate your workers with a mindless AI. You want the richest workforce you can possibly have, because they are the innovators. Communism and Socialism failed because the standard of living was untenable for most of the population.
Q. With such a deeply reflective theme, how did you approach balancing the personal with the universal? Do you feel Nothing On The Internet speaks more to your own experiences, or is it a broader commentary on society?
A. More of it is relatable than personal in my opinion, but it's for the listener to decide for themselves. I would say that more of it is a broader commentary.
Q. Where does the magic of your music production begin? Do you kick things off in your home studio, or do you team up with an outside producer? And when it's time to wrap things up, do you handle the mixing and mastering yourself, or bring in someone to help perfect it?
A. This album start to finish was me working in the home studio. At times I have had some help from Dan Konopka, the drummer of OK Go, who is a masterful mix engineer. But this time I did it myself, learning new techniques, implementing new plugins, etcetera.
Q. After reading about how creative you are, we were wondering—there is a lot of technology available today. Some artists have described it as overwhelming or too much. The current climate of music is growing with computers being more prominently used for both creation and correction. Do you feel this has a positive or negative impact on the end result for music?
A. Technology is great. I'm not an analog purist or anything. I think it's giving people access to creative productions more than ever before. I project it being a net positive.
Q. Outside of music, who or what has had the biggest influence on your personal growth or artistic perspective?
A. Film has been very important.
Q. And finally, what’s next? We can't thank you enough for sharing these intimate details! Can you give us the inside scoop on your upcoming projects and what fans should be excited about? We'd love to be the first to share the news!
A. I intend to continue with music, or maybe something else creative. I haven't decided. Thank you all at Cage Riot for these interesting questions. The name of your publication got me thinking. And I would like to leave you with this... The hypercube is a cage. The desire to escape it is a cage. Look at the hypercube unfolded... You have to sacrifice your desires, sacrifice your ego, and diffuse your sense of self with all that is in order to 'escape'. God bless.
The Dobermans, thank you so much, we appreciate you taking the time to talk to us!
End Interview
We’re happy to have shared The Dobermans’s exciting journey with you and uncovered such inspiring insights about their creative process.
