O: In diving into worlds beyond us, what have you learned about yourself, as a human being?
Nothing other than what’s obvious and has been stated many times, but the more your mind understands the universe and how much space there is, the more precious life becomes. It just gives me a little bit of perspective on the mundane in my life, and how many things needed to align in order for this mundane thing to happen. For this day to appear. That kind of stuff has just overall affected how I choose to live.
R: I’m continuing with my theme of Atlas and that story arc, but I started the Astronomy series so I could keep returning to space songs, which are inspired by astronomical events. I get to blend my love for film scores and for space, because I’m basically trying to write pieces of music that are written as a score or a soundtrack of sorts to the observable events in astronomy. That’s how I get back into that place of wonder—to write inspired by the magic of the universe.
O: Why do you think people are so captured by the cosmos? What does it say about us?
R: First, it’s incredibly beautiful. But I also think that one of the great sorrows of being human is just how easily things become “normal” to us. Every magical thing that happens—childbirth, becoming parents, getting to witness events in space, or just waking up and knowing that there is going to be a morning—we just get so used to these certainties that aren’t really certainties. We take them for granted.
R: When we look up at the stars, I think it reminds us that life is a gift, and it is precious to get to wake up and experience all these things.
Hopefully it removes you out of that that sense of normalcy: “That’s not normal, there’s a billion stars above us, it’s insane!” That’s the opposite of normal. The sheer size of the universe is so beyond our understanding, so big that our brains can’t even fathom it. We don’t have anything to compare that to. Looking up at the stars is a glimpse into all of that.
Orbiter: You wrote a piece on the Cassini Grand Finale, and you got to experience the satellite’s final moments from NASA’s Jet Propulsion Lab (JPL). Tell us about that.
Ryan: I had just done “Total Eclipse,” and got a call that NASA was gathering musicians to write pieces inspired by the grand finale of Cassini. They invited me, Joe Trapanese, a composer for film and TV, and Sarah Schachner, a composer for video games like Call of Duty and Assassin’s Creed. The three of us wrote a trilogy of Cassini-inspired music, and all three of us got to go JPL and watch the countdown to the finale with many of the people who had worked on the spacecraft. They made a trilogy of music videos, using a ton of NASA footage and real Cassini images. It was really fun, a dream come true as a space nerd.
O: You mentioned space documentaries earlier. Which ones have inspired you?
R: In the Shadow of the Moon (available on Amazon Prime) is one that I really loved. A scene in that film was one of the most impactful moments in writing these songs—a scene where a couple of astronauts said that when they were in orbit, they could hide the earth behind their thumb. [The quotes are from Neil Armstrong and Jim Lovell.] There was some very spiritual experience that came with that—to be able to hide everything you know and love. It gives you a pretty incredible perspective. I like the idea of trying to write the songs from that perspective, even though I myself have not been to space. One day, one day. I don’t know if they let people go with zero training, but I’ll be first in line.
I also watched a lot of Cosmos, the new one with Neil deGrasse Tyson and the original with Carl Sagan. And a lot of different things on Vimeo and YouTube.
O: A lot of your lyrics interweave Big Questions of humanity and our existence. How does your own belief system intersect in your work?
R: One of the things that draws me to faith is mystery, and what better place to find mystery than in the galaxy and in the universe?
Science and faith have never felt like opposing forces to me. They’ve always felt like they should go hand in hand. They should be these beautiful questions being asked and unraveled. In my music, the themes of faith and my personal beliefs come through in an organic way.
R: When I started writing songs at a really young age, I always had the rule that I never force faith into my music, and I would never force it out of my music. That became my guiding light for how faith and how those questions should be incorporated into my songs. My fascination with space and even more earthly topics, like you see on Planet Earth and The Blue Planet—those feel like church to me. They’re a beautiful representation of that mystery. I call it God, and I think there are other names for it, but I always feel this sense of hope. And the more I learn about these themes and topics, it always reinforces my faith.
When the shadow of the moon passed through the United States last August, Ryan O’Neal watched in awe and wonder just like millions of other Americans. But while most of us could only marvel at the cosmic spectacle, and later try to convey what we saw and felt and experienced, O’Neal had composed a song about it.
O’Neal unravels a lot of his creative process in his Sleeping at Last podcast, but ORBITER wanted to dig a little deeper. We caught up with him just before the release of “Super Blue Blood Moon.”
ORBITER: What sparked your interest in astronomy and cosmology?
Ryan O’Neal: I’ve been excited about all things space since I was as young as I can remember. I’ve always been fascinated by the idea that no matter where we were on the globe, the beautiful universe above would be a consistent and incredibly inspiring source of light. I’ve always been obsessed with the stars, sci-fi, documentaries about space and NASA—everything space-related I’ve been excited about.
O: We’ll talk about Atlas in a bit, but let’s first talk about your Astronomy series, starting with the total solar eclipse song. What did it mean to you to compose this work for a unique North American solar eclipse?
R: It was good timing because I had the idea to do this Astronomy series, and this was the perfect first event. I drove to Kentucky with some friends and had the most transcendent and beautiful, incredible experience I could have imagined. But I had to write the song before the eclipse, so I listened to different podcasts about previous eclipses. I learned that there are groups of people that follow total solar eclipses around the globe, and they kept talking about it like it was this euphoric experience. [ORBITER interviewed psychologist and eclipse chaser Kate Russo about that “totally emotional” event.]
O: Did you listen to your own song during the eclipse?
R: I’m funny about that. When I feel good about a piece of music or a song before it comes out—if I feel good enough to let go of it, and let it be released into the wild, I can’t listen to it again. Otherwise I’d be second-guessing everything, wishing I had done something differently. I’m just too insecure to hear my own music.
So, I didn’t listen to it during the eclipse, but one of my friends did, and it was kind of awesome. We were in the shadow of the longest point of totality, and since I made the song to fit the exact length of totality, it did sync up perfectly for my friend. He’s my friend, so of course he’s going to say he had a nice experience with that.
Here's what it is: Astronomy is a series of new, mostly instrumental music inspired by upcoming astronomical events. Each year, I'll secretly choose which upcoming observable events in space I'd like to write songs for and without much warning, a song will release on, or near, the date of upcoming astronomical events! The idea behind these songs (in addition to the fun I'll have writing more space music) is to write a soundtrack of sorts for each of these unique and beautiful events going on in the known universe around us. (Plus, I loved the idea of the release dates being determined by the universe!) My hope is that these new pieces of music will celebrate, document and explore the most interesting of observable astronomical events!
Yay!! SPACE!!! Hope you enjoy this new ongoing series of astronomical-event-inspired music!! It'll be so much fun to continue to share these galactic pieces of music with you!
To write and record my "Mother" collection has been a step toward healing for me. I needed to write these songs. I miss my mom so much and though I will be trying to reconcile this loss for the rest of my life, in getting to share this music, I have felt less alone. I have felt hope. Grief, in all its many forms, is absolutely dreadful. But one tiny gift is that it carves out space in us to understand and empathize with one another on an entirely different and richly beautiful level. In a way, grief gives birth to a new kind of love. In remembering my mom and processing grief in these songs, I've caught my first glimpse of that new love. As Mother's Day approaches, whether your mom is with you or not, whether you have a good relationship with your mom or not, whether you are a mom or not – I hope you feel the presence of love, new or familiar. And whatever you're swimming through in this life, I hope these songs can be a friend you along the way. Thank you so much for listening.
— Ryan, via sleepingatlast.com (May 15, 2023)
The artwork for "Mother" was made by one of my mom's and my favorite artists in the universe, Joey Chou. Joey was sweet enough to not only paint this cover for the song in her honor (using her favorite colors, as well as imagery from her favorite place, Hawai'i), but also, when he learned that my mom was sick and spending her birthday in a hospital, he made her a custom birthday art piece. It made my mom so happy and brought many beautiful tears. I am forever grateful for these gifts that Joey has given to my mom, myself and my family. Learn more about Joey and his gorgeous work here!
In “Atlas II,” which has been O’Neal’s main project since 2014, when “Atlas: Year One” released. In the first “Atlas” album, O’Neal focused on the awe inspired by the cosmos. Following that theme, “Atlas II” focuses on involuntary human development. The album encompasses five EPs: Life, Senses, Emotions, Intelligence and The Enneagram of Personality.
The Enneagram EP is the last to appear on the album. There is a song for each of the nine personality types, and each is said to encompass that type’s “redemption,” as it showcases each type at its worst and its best.
To ensure that each song would be imbued with the essence of each type, O’Neal stipulated that the additional guest artists in each song would be of whichever type themselves. Additionally, each song contains what O’Neal refers to as “fingerprints” — short sound clips from his close friends and family of each type, hidden within the song. Where you might hear the faint laugher of children or the sound of trickling water, there is a fingerprint.
Each type depicts a different aspect of the same human story — one of redemption. O’Neal spent months on each song as he studied each type with enneagram expert Chris Hueurtz to represent each to the best of his ability. Hueurtz guest-starred on the “Sleeping At Last Podcast” over the last nine episodes as he and O’Neal discuss each of the types with thoughtfulness and depth.
Have you seen or planning to see the documentary "Sleeping At Last: Light Carries On"? I'm not sure I can because it's too expensive for me rn..
I actually was able to see the initial screening up near Chicago! This post has a video I took during the QnA after. After the doc was over, he walked in front of (not on) the stage and played a few songs on the piano and guitar. We picked our own seats upon walking in, so I only regret that I didn’t pick a seat in front of the piano—which was maybe three feet away—despite arriving early……
I recall that, during the doc, I think he at the time was working on Time Lies (Ludus)’s melody, which I thought was interesting to see. It gave a lot of background into his life and into his mind that I enjoyed getting to know, and I really wish I could watch it again, maybe pull some gifs from it..!
Because real-life atoms become molecules, once a handful of my “atoms” are released into the wild, I’ll do a “Molecule Session”, in which I will choose a few “atoms” (perhaps with your help?!) and expand on them, transforming them into something new and different. I’m very excited about what these tiny pieces of music may become!
The very first “atom” is OUT NOW on Instagram, YouTube and TikTok! It’s called “atom 1” and features the always-wonderful, Sharon Gerber on the cello. The music is set to macro footage of my daughter’s mesmerizing new lava…Generally, each new atom will release spontaneously.
…heaps more atoms will release from time to time in the days and years ahead, as this is an ongoing series with no end in sight! I’m so excited about this project and how it encourages me to make music more succinctly and off the cuff and to explore a 1 minute canvas and just have fun, all while weaving in a visual element. Hope you enjoy the start of this project and the first 3 "atoms"!!!!
— Ryan O’Neil, via sleepingatlast.com (Nov 8, 2021)
Atoms are the building blocks of ordinary matter. According to dictionary.com: “anything extremely small”
I am SO excited to introduce you to my brand new series of music called “atoms”: tiny pieces of music inspired by small and beautiful things! When I see something striking, I’ll capture a video of it, then write a short piece of new music for that moment. Tiny film scores, if you will. Basically, I want to musically follow Mary Oliver’s beautiful “instructions for living a life: pay attention. be astonished. tell about it.”
Each “atom” song and video will be roughly 1 minute in length, which compliments our social media digital age (and short attention spans) and will be released spontaneously! First as posts on Instagram, TikTok, YouTube, etc. Shortly after, each “atom” will be widely available on Spotify, Apple Music, etc.
In the same way that seeing something beautiful in the middle of my day feels kind of like an oasis, a tiny chance to catch my breath, the hope for “atoms” is to offer up that same meditative feeling in your Insta timeline or TikTok feed, or in the middle of your next “doom scroll”... or when you’re way deep down a YouTube rabbit hole.
— Ryan O’Neil, via sleepingatlast.com (Nov 8, 2021)
If someone (me) was wanting to start listening to Sleeping at Last, where would they start? There's a LOT of music lol
If you want to know of some of his most representative works, I would listen to his Space 1 + 2 or Enneagram EPs. There a ton of work put into the lyrics and production of those works and I would say they are fairly representative of the energy Sleeping At Last has brought to the table since 2013. I would start there.
I would also recommend watching this short clip where Ryan explains his biggest and most recent project, Atlas, in a nutshell.
There certainly is a lot of music under that moniker! If you want to go the “chaos” route, you could put this 44-hour-long playlist of his entire discography on shuffle and see what grabs you. If you want something more…curated, I have made this 2.5 hour long playlist containing some of my personal favorites <3
That said, if you enjoy Y2K alt rock / emo, I have personally been quite enjoying Ghosts and Capture. His early-middle stuff (mid-late aughts) mixes between alt / indie / chamber pop, and by 2011 I’d say his sound has pretty much matured to his current style. If you like orchestral music, try Astronomy; if you prefer ambient, try Atoms. He has more albums and projects (Mother, Christmas, Covers, Score, Crossovers), but I’ll leave you with that for now :]
Oh, and of course, i recommend listening to my favorite song. I doubt you could guess which one it is ;P
I am so delighted to share my very first "Molecule" with you! What's a Molecule? Definition: "a group of atoms bonded together." Chemistry aside, I'm talking about my "atoms" music project, in which I write tiny pieces of music inspired by tiny moments. Every 15 atoms I write, I'll assemble them into a collection called a "Molecule"- a tiny album. "Molecule 1" is my very first collection of "atoms" and it's out everywhere today!! Hope you enjoy these tiny pieces of my heart.
The new gorgeous artwork by Tim Damitz was inspired by building blocks; each block contains texture from the videos that accompanied each "atom" single. All 15 atoms were mastered by the ever-talented, Chris Bethea. Anytime you hear gorgeous cello, that's always-wonderful, Sharon Gerber!
— Ryan O’Neil, via sleepingatlast.com (Oct 13, 2023)
Val Sutton says, "To say that Sleeping at Last is the future of college rock is to make a magnanimous wish for the posterity of rock and roll. We can only hope that more music of this quality is what we should begin looking for." Sleeping At Last do an erratic-climaxes emo thing with clean, passionate vocals.
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Febuary 7th 2001 | Tangzine.com | Matthew Ralph
"Capture"
"Anyone who has listened to Mineral or the band they derived their sound from (I'm not even going to say the name), will listen to Capture with the word derivative floating around in the back of their mind. As negative as that may sound, it is completely unavoidable and in the case of Chicago's Sleeping at Last, not a totally negative statement.
Led by Ryan O'Neal's powerfully controlled vocals that keep from sounding completely whiny and out of key, Sleeping at Last play pretty post-hardcore music that is, comparisons aside, impressive. Playing "guts out" music that builds and crashes as gracefully as the waves on the shore of Lake Michigan, O'Neal's words are as soothing as they are drenched with honesty. Almost all of the songs deal in some way with letting go, giving up the pain and sorrow within and crying out for something greater and more powerful. In "April," he sings, "I close my eyes trusting you/ With every desire to balance now/ The air is perfect, tonight/ The rain, like tears, falls upon my hands/ Carry me."
A few years ago, sensitive hardcore kids would be eating this up. But even now in the vast sea of bands playing music in this vein, Sleeping at Last shows signs of rising above the muck to create something worth more than just the time it takes to review a record."
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November 24th 2000 | The Chicago Tribune | Andy Argyrakis
"Local Heroes"
One of reasons the Wheaton-based band Sleeping At Last excels is that each of the three members of the band is intuitively able to grasp what the other two are thinking. In the case of singer and guitarist Ryan O'Neal and his brother and drummer for the band Chad O'Neal, such powers probably arose because the brothers were home schooled together for most of their childhood. Ryan, 17, and Chad, 20, both think that studying together has contributed to their closeness and to the group's polished sound. "We would get done with our school work earlier in the day then others our age," recalls Chad. "As we got older, we spent our days writing songs and playing music together." The brothers got serious about their talent in early 1998 and asked bass player Dan Perdue, 19, to round out the band. "A lot of garage bands start out trying to mirror the sound of another group," Purdue notes. "Right from the beginning, we were committed to feed off our own creativity." The band's individuality was evident on the group's debut recording, the 1998 EP "There's a Quiet Understanding," which sold nearly 3,000 units. The group recently released its first full length disc, "Capture," and the disc's leadoff single, "Mended Heart" is getting airplay. "One of the pitfalls that cripples most new bands is the fact that they find a formula that works for them in the beginning of their careers, but then they stick with that formula forever and wind up not going too far," Perdue says. "Our band wants to constantly move forward and never stick to one sound or one trend." And unlike many newcomers, they know exactly what they want when it comes to a record deal, something they envision happening soon. "we're really interested in having a creative license to continue playing songs that are from our hearts," Ryan adds. "We like being involved in all aspects of our band, from where we play to what our merchandise looks like"
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October 24th 2000 | (The Phantom Tollbooth) | Zik Jackson
"Capture"
Chicagoland indie rock band Sleeping at Last takes their name from Psalm 62:1, where the soul finds its rest waiting on God. However, their sound is anything but sleepy. Taking musical cues from such groups as Switchfoot, Sunny Day Real Estate, Sixpence None the Richer and supergroup U2, Sleeping at Last endeavors to make their mark on the indie alt-rock scene.
The debut album Capture is one of those rare indie projects that one can listen to repeatedly without tiring of it. Happily, it’s not a recording that has to “grow” on the listener before being palatable. Between skillful musicianship and fairly tight production, Sleeping at Last achieves a professional sound that is slick yet not overproduced.
Sleeping at Last is composed of brothers Ryan O’Neal (17) and Chad O’Neal (20), with longtime friend Dan Perdue (19) on bass. Chad provides rock solid drums while Ryan is the principal songwriter, guitarist, vocalist, and occasional keyboardist. The band has been together for about 2-1/2 years, and while youthful, this is no teeny-bopper band. Though they are probably not headed for instant stardom with this indie release, neither should they be ignored. A hard-working young band with promise, Chad O’Neal says that though they would like to be signed someday, “We are waiting for a good contract and most importantly on God.” Meanwhile, the band mostly plays weekend concerts in the Chicago area.
Capture opens with a song called “Thanks for the Memories” which has a sincere, U2 sound as it talks about appreciating memories with a friend in life. Other topics dealt with on the CD include love, God, love, trust, and love. While Ryan O’Neal’s light, breathy voice is somewhat reminiscent of Charlie Peacock, it is more like Ian Tanner of The Awakening (anyone remember them from the late eighties?). Though the lyrics tend toward the vague and ambiguous “You,” the music is what catches the listener’s attention. Highlighting the talents of these young musicians are the tracks “The Thief” and closing tune “The Strength It Takes to Recover,” both instrumentals.
At times anguished, at times dolorous, Sleeping at Last slides into the spotlight with a raw, garage band sound on a well-produced album of alt-rock for the college crowd. Don’t let this one catch you sleeping.
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October 12th 2000 | From Judson College News source "Outlook" | Loni Ihnots
"Capture"
Gracing some of the most popular stages in the Chicago area, such as The Fireside Bowl, the Metro, Heart & Soul Cafe and even our own Judson campus, Emo band Sleeping At Last has garnered quite a reputation among the indie music scene. September 26ths marked the date of the first full-length release
Capture. This album displays Sleeping At Last in top form. Their new material, such as the title track "Capture," shows great growth musically. Even old favorites, such as "Until I Saw The Sea" and "Like Autumn," have been re-mixed musically for a more mature, soulful sound than was heard on the band's earlier EP. Guitarist, Vocalist and lyricist Ryan O'Neal continues to reflect emotions that connect with the listener and draw them into the music. "Although my words failed, you knew what I was trying to say. And though my hands weak by sorrow, still would never let go of this memory" This is a portion of "Love Never Fails" and just a sample of O'Neal's eloquent songwriting. However, arguably the best track on Capture is Sleeping At Last's venture into the realm of instrumental music with "The Thief". Emo music is driven by passionate, often mournful lyrics and by music that matches this tone. It was a pleasure hearing a track that showcased the trio's musical abilities.
Capture is an obvious display of hard work that goes beyond just the music. The good production and graphics on the album add to the quality of the release. Don't be surprised if the Chicago music scene is boasting another signed band in the near future. Sleeping At Last shared the stage with the famed Gloria Record for their CD release show. Though they were the opening band, much of the crowd was composed of loyal fans. Those there to see Sleeping At Last were not disappointed. Their live show reflects the same mood as the album and seemed to be well received by the audience. Having seen them perform several times in the past year, I was impressed by the attempt of movement on stage and O'Neal's slight more than usual interaction with the crowd. Overall, this band certainly seems to be going places.
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April 2nd 2001 | Julia Kaye | Flying Dump Truck Magazine
Sleeping At Last
Every so often something comes along in this city by the lake that makes you feel like, hey, it's not all that bad. Something that puts the bounce back into your steps even though you haven't felt your feet since November. Now, add Sleeping at Last to that list.
WAIT! Stop the presses! (Sever the internet connection?) I bet you're thinking, "Yeah, Julia, great. Every time you go to a gig you have to write about something. Blah, blah, blah, get out of the library." But before you hit the back button on your browser, consider this: The members of Sleeping at Last, a three-piece from Wheaton that burst onto the music scene two years ago offering a fresh and optimistic rock sound, are ages 17, 21, and 21.
That means guitarist/vocalist Ryan O'Neal can't get into the Smart Bar, provided he has the desire. Sleeping at Last may have earned thunderous applause and whistles at their bewitching March 11th Metro show, but don't expect a load of debauched party animals. Watching them for an hour before Kill Hannah, I realized that maybe some sort of balance can exist in Chicago music - for all our drama, our harsh emotions that crawl under your fingernails and sting just as painfully as the wind barrelling up Clark Street on a Sunday night - sometimes it helps to simply, as they themself say, "Trust in love."
Ryan's benevolent, sincere vocals frame the powerful guitar lines on Sleeping at Last's album "Capture," which was released in September 2000. Add the drums of his older brother Chad O'Neal and the basslines of Dan Perdue, and you've got an album which fuses the impossible: Gentleness with strength, passion with power. The title track oscillates between lyrical cascades and fleeting guitars, while "A Mended Heart" seems on the verge of something between regret and rage. It's this emotion which separates Sleeping at Last from the general emo fare out there: The ability to never get so caught up in what they're playing that they disconnect from the initial meaning and get tangled up coming back down to earth. Though firmly rooted on this earth, Sleeping at Last want to get their audiences thinking about the ethereal and the spiritual, and to make their own interpretations as well.
But before "Capture" there was "There's a Quiet Understanding," an independently-released four-song EP that sold over 2500 copies within the eighteen months it was in print. And before the festivals and the venues there was the Sleeping at Last website, created in January 1999 and still running today at www.sleepingatlast.cjb.net. When I logged on, the counter registered 31,400 hits in a little over two years. Not bad. The website contains, among other things, a comprehensive (and frighteningly long) list of every band with which Sleeping at Last has played. It is the first and foremost place to receive updates on where you can find them live.
And it should be mentioned that while the boys of Sleeping at Last may be devoutly Christian (a recent article in the Wheaton Sun bids them as "God's Greatest Garage Band"), their music doesn't preach or proselytize. "We want to touch as many people as possible with our music," Ryan says. "I think we all feel that music is a strong way to communicate. A lot of people relate to it." And that's regardless of your beliefs. I'm not Christian and I didn't detect any religious message, though if you are you can probably pick it out. Chad O'Neal remarks, "We don't want to play just for churches, and we don't want to play just for clubs and bars. We play for a lot of people who would never set foot in a church." Indeed, with an average of two shows a week for the past two years, Sleeping at Last can go from playing for free in their church one night to gigs at Chicago spots such as the Metro, Fireside Bowl, Double Door, Schuba's, Elbo Room, and Thurston's the next.
Their faith has spared them from entering the life of rock-and-roll debauchery (they don't drink or swear), a quality desperately needed nowadays. In fact, I was ashamed that after their March 11th show with Kill Hannah I had to walk up to Ryan in knee boots and a dog collar, sweaty and smelling of who knows what. "Uh, hi, my name's Julia Kaye and I run a webzine..." Sleeping at Last: The antidote to not only the drug-indulgence but also the snobbery of the Chicago music scene.
And still this brings up the question: Is one's passion for music all too different from a religious fervor, anyway? Think of all the concerts you've been to where the person next to you has been lost in his or her own world, swaying a bit, eyes shut tight, allowing the feeling to take over. No resistance. There's no need.
Hearing a bunch of glammed-up kids shriek, "You're hot!" at Sleeping at Last, who paid little heed but rather concentrated on their music as if deep in prayer, I'd say that the answer to that question is no.
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12/01/00 | The Wheaton Sun | Dawn Klingensmith
God's garage band | Sleeping at Last captures local music scene with live performances, new CD release. Sweet dreams
It was the middle of the night when Chad O'Neil slipped out of bed, unlatched the door of his ocean-side hotel room and wandered down 30-some flights of stairs to sea level. Hawaii is every bit as enchanting at night as it is in the daytime, but its nocturnal charms were lost on Chad.
He was still in the clutches of sleep.
"I sleepwalk when I'm nervous," he says.
Fitful sleep runs in the family. Chad's younger brother, Ryan, chatters incoherently when his head is on the pillow.
We're passing time backstage at Chicago's Metro nightclub, where Chad, Ryan and bassist Dan Perdue will perform in a showcase of local bands. Chad, the drummer, admits to having a case of nerves, but says he slept soundly the previous night.
"It hasn't happened for four or five years," he says, reflecting on his somnambulant strolls.
It's fitting, then, that the name of the band — a Christian group with secular appeal — was inspired by Psalm 4:8: "I will both lay me down in peace, and sleep: for thou, Lord, only makest me dwell in safety."
The band: Sleeping at Last.
The message: Jesus rocks.
Described as "indie alt-rock" (independent, alternative rock 'n' roll), the Wheaton-based band has impressed critics with its "raw, garage-band sound" and "slick yet not overproduced" debut album.
A reviewer from Judson College, where the band once performed, wrote, "Don't be surprised if the Chicago music scene is boasting another signed band in the near future."
The band's musicians are indisputably gifted, but uncovering those talents, getting them to jell, was nothing short of a miracle.
"To capture this moment
Is to let go of the last."
— "Capture" by Sleeping at Last
Forming a band wasn't a lifelong dream of the brothers O'Neil. Growing up, Chad, 20, and Ryan, 17, had little in common, and their musical tastes were as different as sound sleep and amphetamine-induced wakefulness. While Ryan tuned into the latest alternative rock bands, Chad listened to country crooners.
Chad was an athlete and planned to pursue a collegiate hockey scholarship. Ryan was more cerebral.
The principal songwriter, guitarist and vocalist for Sleeping at Last, Ryan took up the guitar four years ago simply because it "looked cool."
"When he first started playing," Chad recalls, "we all thought it was just a phase because he'd always take something up and drop it within a week."
Instead, Ryan taught himself some popular Nirvana songs and began to write his own material. He eventually assembled a ragtag band.
The following year, Chad received a drum set for his birthday. He'd only had it a week or so when Ryan asked him to play in an upcoming show. His regular drummer had beaten a retreat.
Chad's response "Why not?"
After all, he'd seldom been on skates when he joined his first hockey team, but he'd since become a standout skater.
Later, longtime pal Dan Perdue, whom the brothers had met through a church youth group, brought his talents on bass guitar.
Thus, Sleeping at Last was born much like the Savior himself — with a manger-load of divine intervention.
"When we play, it's amazing how God plays through all of us," Chad marvels. "I can totally feel it, like he's playing through me. It's hard to explain. It's cool."
"I place these days into your hands.
I am your child."
— "Until I Saw the Sea" by Sleeping at Last
"To say that Sleeping at Last is the future of college rock is to make a magnanimous wish for the posterity of rock 'n' roll," HM Magazine's Val Sutton has written about the band.
Sleeping at Last can't be hemmed in by the Christian-rock genre. The gospel message conveyed on the band's album, "Capture," isn't overt, but is accessible to those inclined to apprehend it.
Songs such as "Mended Heart," "April" and "Until I Saw the Sea" include lyrics that could just as easily address a lover as Jesus Christ.
Even "Like Autumn," the one song that addresses the Lord by name, might sound like a mainstream love song to a secular audience: "Oh, God, when I ask you / 'Why do you love me?' / I will try to understand / The silence that whispers reason."
In the CD-liner notes, the band gives thanks first and foremost to "Our salvation, Jesus Christ (for your countless blessings and unconditional love)" but also credits "The Simpsons" and McDonalds' extra-value meals for making the CD come to life.
Perhaps this is why "Capture," produced by Doran Stambaugh and James Scott of Wheaton's Watershed studios, sells by the hundreds at live shows and receives air time on radio stations from coast to coast, including Chicago's popular Q101 alternative rock station.
"We want to touch as many people as possible with our music," Ryan says. "I think we all feel that music is a strong way to communicate. A lot of people relate to it. We want our music to serve as a good first impression of God."
"We don't want to play just for churches, and we don't want to play just for clubs and bars," Chad adds. "We play for a lot of people who would never set foot in a church."
"I close my eyes trusting you
With every desire to balance now."
— "April" by Sleeping at Last
In some venues, such as the Metro, a bar and stage replace the altar, and the idea of a higher power applies only to the sound emanating from the speakers.
At the CD-release show, where Chad is recalling his sleep-walking misadventures, bands are routinely given all the beer they can swig. The Metro employee who turns up with a tub full of Budweiser longnecks looks flabbergasted when the band turns it away.
Neither Dan nor the O'Neil brothers swear or drink. Confessing their greatest acts of childhood rebellion, Chad and Ryan can only come up with the time they butchered each other's hair as kids.
"We did it with those Crayola safety scissors," Chad recalls. "Those things are pretty sharp."
In the backstage bathroom, the band is exposed to bathroom graffiti that reads, "Satan wuz here" and "All hail Satan."
"My ex-girlfriend didn't understand why we play in bars," Chad says. "She thinks they're morally bad and that would rub off on us. But you can't reach people any other way. You can't 'save' people who are already Christians."
Just before they go on stage, the band members bow their heads and pray.
"I just pray that you can have your hand on us tonight and make us play well," Chad says.
Ryan: "Thank you for everyone who came out. Thanks for bringing them here safely. I pray that they get a message out of what we play tonight."
Dan: "What a privilege it is to play here tonight. I pray that we can focus on worshiping you tonight and not ourselves."
The crowd makes it difficult for the band not to get a big head. A half-moon of loyal fans and instant converts forms around the stage. Some are in a state of rapture. When it's all over, a line forms for autographs.
"That's always nice," Chad says, "but it feels weird, like we shouldn't be doing it. But whenever we get all high on our horse, God works out a way to make us humble again."
"Every time we have a good show and I'll be thinking I'm really cool, I'll suddenly trip and fall in front of a bunch of people or something," Ryan adds.
But tonight, the band doesn't fall flat on anything.
"They were pretty nervous," says Kim O'Neil, Chad and Ryan's mom and the band's manager. "They never thought they'd ever get to play here, let alone have their CD-release party. But we've done really well. We had a lot of people praying for us."
The prayers seem to have paid off. The band still does its share of free shows in high schools, churches and coffee houses, but it also books gigs in Chicago hot spots — the Metro, the Fireside Bowl and the Hard Rock Cafe to name a few.
"These sketches of heaven
Light our eyes with grace."
— "Love Never Fails" by Sleeping at Last
The band's early success has brought Chad and Ryan, who admit they didn't use to be close, together for a common cause. It also has cemented the brothers' friendship with Dan.
While this camaraderie is apparent backstage, some say it's lacking in the band's otherwise passionate live performances.
One of the few criticisms aimed at Sleeping at Last is that band members don't interact playfully with one another or the audience (although Chad, so shy as a teen that he couldn't order his own food, says he makes a conscious effort to do both.)
If indeed the criticism is valid, it could be that the musicians are busy interacting with God.
An earth-bound cherub dressed in second-hand grunge clothes, Ryan raises his eyebrows and extends his body skyward when hitting high notes. He looks as if God is giving him a tug toward heaven.
Chad says he catches girls making googly eyes at his brother, but Ryan seems too caught up in the music to notice. Often, his eyes are closed, making him appear to be deep in prayer.
But their rapt concentration could also be taken for Gen-X distraction. Dan's absorption with his bass is fascinating, and Chad's erratic sucking and chewing — he always keeps gum or mints on hand to prevent him from making "stupid faces" — makes for an intriguing contrast to his perfectly rhythmic percussion.
The combination is magical. The band's signature sound is sometimes as gentle as dew settling on a sun-warmed window, other times as manic as hail on a tin roof. Like a rousing sermon — or a really super rock song — the band's music moves from elegance to obstreperousness and never loses its sincerity.
None of this is lost on female fans. One posted an e-mail to the group's Web site, dubbing Dan a "magical hottie."
But would-be groupies will be saddened to learn that Dan has a girlfriend, Ryan seems nonchalant about girls and Chad doesn't intend to engage in so much as a kiss until after he's married.
"I am held together
By promises."
— "Mended Heart" by Sleeping at Last
The group's fan base isn't limited to those of the female persuasion. Once, when the band was bumming around, Chad caught a guy staring at them.
"We didn't know what was going on," he says. "We thought maybe he was going to beat us up or something. But he came up and said, 'Are you guys from Sleeping at Last? You guys are awesome.'"
Another male fan, posting an e-mail on the band's Web site, described the group's formation as a modern-day biblical Genesis: "God carved three men out of ice, giving one a drum kit, one a bass, and the other a guitar and the voice of an angel. This sound is truly heavenly."
The ice metaphor is not particularly apt.
Though Dan is a little stand-offish, the trio is about as chilly as hot cocoa. If God had a hand in the musicians' making, he more likely carved them from Midwestern soil. While their sound may be heavenly, their personalities are down-to-earth.
Perhaps that's why Chad used to relate to country-and-western music.
His former favorite, Garth Brooks, has a theory about unanswered prayers. Because God's assessment of our wants and needs is clearer than our own, prayers that seem to go unanswered actually are, in the end, "some of God's greatest gifts," as the Brooks song goes.
If Sleeping at Last fails to make it big, it will be for a reason, the band believes.
"God does things on his own time," Ryan says. "You have to place your trust in His judgment."
But if God sees fit to deliver success, He'll not catch this band sleeping.
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