Every so often, a hidden gem emerges in the indie soundscape that demands our full attention. Nick Boeder’s latest offering, “In This Dream,” is precisely that kind of discovery.
“In This Dream” was born of emotional turmoil, yet masterfully converted into something both constructive and artfully engaging. Rather than overwhelming the listener with its inner conflicts, the song builds a welcoming sanctuary that feels equal parts comforting and deeply intriguing.
From its first delicate notes, “In This Dream” unfolds with grace, easing the listener directly into Boeder’s personal musical world. As the vocal performance enters, it takes on a chant-like character that feels quietly hypnotic. There is no apprehension; instead, the delivery provides a calming presence that lulls you into a meditative state.
Surrounding the vocal foundation is an expansive, panoramic rhythm carrying a timeless weight, as if echoing from a forgotten past or a distant future. Complemented by authoritative cello arrangements, Boeder merges these rich auditory layers into an unforgettable listening experience.
Behind the captivating arrangement lies a story rooted in transition and personal reflection. Written in a Chicago bedroom back in 2010, the composition took shape shortly after Boeder returned to his hometown following a five-year stay in Taos, New Mexico. The piece lay dormant in Boeder’s memory for nearly a decade before resurfacing in his thoughts, prompting him to finally bring it to life.
At its heart, “In This Dream” navigates the delicate territory of memory, kinship, and the sharp ache of looking back at past wounds. Yet while the narrative confronts loss and heartbreak, it ultimately points toward restoration and personal renewal.
Captured during an intensive single-day session at The Blasting Room in Fort Collins, Colorado, the recording was guided by multi-instrumentalist producer Chris Beeble alongside guest vocalist Sarah Joelle, drummer Shane Zweygardt, pianist Owen Ostermueller, and cellist Phil Norman. Together, the collective captured the song’s nostalgic soul while giving it a polished, cinematic flair.
Although early obstacles revolved around finding steady bandmates or accessible studios, relocating to the Colorado mountains in 2019 led him to discover The Blasting Room. That studio alliance transformed his creative direction, eventually leading to representation with Sweden’s Rexius Records.
Boeder did not initially see music as a path for himself. He spent his early years drawing and making his sisters laugh, but it was not until he discovered the guitar at 25 that songwriting became part of his life. After college football and a period when he felt uncertain about his direction, he began putting songs to paper and continued writing as his life took him elsewhere.
Alongside his work as a Licensed Clinical Social Worker, Boeder has spent twenty-five years working with teenagers and families in different communities, including inner-city Chicago and reservations in New Mexico. He credits that experience with honing his songwriting craft. He continues to work in human services while pursuing doctoral studies in performance psychology, and he remains focused on writing and recording music, with hopes of eventually getting his work into film.
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