Behind the Scenes of “Circle Falls”: Q&A With Baltimore Indie Artist Jupie

[Editor’s Note: In this special musical edition of Baltimore Writers Club, Baltimore native and indie artist Jupie (Julius Unger Bowditch) is interviewed by his friend and colleague Infinity Knives (Tariq Ravelomanana). Jupie is celebrating the November 28 release of his new single and music video, “Circle Falls.” The short animated work is a collaboration between Jupie and artist Peggy Fussell, mother of one of Jupie’s best friends since preschool, Grace. In fact, Tariq and Jupie met at a wrap party Jupie attended with Grace for a film Tariq’s roommate produced. And Fishbowl literary editor Marion Winik (me) worked with Peggy Fussell on a regional travel story back at the turn of the century. Friendships and alliances between local creative artists are what the Baltimore Writers Club series is all about.]

Tariq Ravelomana: How did you get started in making music? What were your initial passions and influences? 

Julius Bowditch: I come from a family of music people. My parents are super cool badass rock musicians and I lived in a van with them until I was two. I grew up around a ton of great music ranging from Nirvana to OutKast to Gorillaz to Neutral Milk Hotel to Devo. Really all over the place, but all awesome.

I started writing music in high school but the first time I wrote a song that I felt was ‘good’ was in my sophomore year of college. I was always into vocals and harmonies and started playing bass in seventh grade, but writing hadn’t come as naturally to me. In college I became friends with all these talented musicians and started figuring out what I wanted to do as a writer.

I began producing my own music the year after I graduated college. I was playing bass in a band as my main thing and when it disbanded I started demoing out all these songs and sent them to the producer that band had worked with. I ended up recording an EP with him and through that process realized that I didn’t want crisp studio sound that builds on the exclusion of sounds around the music — I wanted what I was making in my bedroom. 

I’m sure plenty of good producers would roll their eyes at the setup I had (and frankly still have). But I felt like the rawness of the bedroom sound and the inclusion of external sounds was the best format for the songs I was writing. Ever since, I’ve been figuring out production as I go and working with talented mixers and masterers like Gabe Goodman, Tommy Ordway, Allen Tate, and Justin Pizzerferato to get my songs where I want them to be.

TR: Tell us how you came to find your unique voice.

JB: I have always been interested in music’s ability to capture and express emotion in ways that words alone can’t. You can listen to Bach and feel the sadness without a word being said. I also love when a lyricist can write something personal and intimate but do it in a way that so many other people can relate to and make their own. The relationship between artist and listener is so fascinating.

A huge part of my journey was moving to New York for college and meeting a ton of music people. I emulated a lot of musicians I admired in the indie rock world as I tried to find my own voice. My first record was deeply inspired by Lomelda, Porches, ARTHUR, Girlpool, etc. As I’ve progressed I have found inspiration in different projects, including bands I played in. I played bass for Sipper for a few years and was hugely inspired by Joey’s songwriting and production.

TR: What challenges have you faced in composition and production?

JB: Lack of experience, lack of gear, and stubbornness. I wanted to do it all myself but didn’t let anyone teach me how to do it. When I started recording my first EP “Deep in the Seat” I didn’t even own an interface. I have songs on that EP that I recorded with a Yeti USB mic. The bass and electric guitar were all acoustic run through Garageband plugins. To record the drums, I had a friend hold my computer and mic in the corner of the room while I quietly played. Luckily, my friend Gabe who mixed it got the rawness to sound more intentional, but it was definitely a steep learning curve. 

TR: Talk about the creative process for your new record, Brick Hill, due out in January, and “Circle Falls,” the single that premieres today.

JB: For my new record, I was inspired by moving back to my childhood home in Baltimore from Chicago during the fall of 2020 with my little sister. I felt really stuck but also really grateful. I hadn’t lived in Baltimore since I was 11. Over the course of the following months I wrote and recorded the majority of Brick Hill and then spent the following year tweaking the recordings. I worked with my close friend Tommy Ordway, who co-produced and mixed Brick Hill, to get the production where I wanted it to be and made a record I’m really proud of. Justin Pizzoferrato did an amazing job mastering as well. In the background, you can hear the sounds of Druid Hill Park and 83 and the light rail, which makes it feel uniquely Baltimore.

The first release from the album is the “Circle Falls” video, animated and directed by the remarkably talented graphic artist Peggy Fussell. I actually went to preschool with Peggy’s daughter, Grace, and we’ve been close friends ever since. When I finished my new record, I sent it to Peggy and asked if she would have any interest in making a music video for me. I told her she could pick whatever song she wanted and she chose “Circle Falls.” When she sent me her first cut of the video I was floored. She made such a deeply Baltimore video that fit the song like a glove. I am so grateful to have such a  beautiful piece of art connected with a song that is really special to me. 

TR: Are you performing anytime soon here in Baltimore?

JB: I am! I will be celebrating my record release on January 12 at Metro Gallery! I have a lineup of amazing local musicians who will be playing and it will be a great time. Everyone should come, please!

Watch Circle Falls here.
Find Jupie online here.
Jupie’s Spotify here.