Famous for its singular spirit and drive, the great state of New Jersey has long been a hotbed of musical innovation. From Bruce Springsteen to My Chemical Romance to Jack Antonoff to SZA, the Garden State has produced a rolling field of talent that has shaped the landscape of popular music more than once.
Today, that legacy lives on in the form of the DIY and independent music scenes. With the proliferation of easy-to-access music production software, today’s producers and engineers are largely self-made, recording their own bands and mixing/mastering their own work, initially out of necessity, but then eventually out of ease and a desire for an extra level of control over their output.
That’s where people like Adam Cichocki come in.
Cichocki is a long-standing member of the New Jersey music scene. He properly started his musical journey as the drummer of former Equal Vision Records band Gatherers. Now the owner of Bayonne, NJ’s Timber Studios, Cichocki has had a major hand in revitalizing the new grunge wave that’s been taking over the alternative music space.
Between opening a second Timber location and welcoming a baby girl into the world, Cichocki’s life has changed in many ways very quickly. Still, he found time to sit down and talk with us about the history of Timber, what it’s like to run a studio, his process when working with up-and-coming artists, and how to stay creative and curious.
Drew Van Buskirk: For those who may not know you, who is Adam Cichocki? Break it down for us.
Adam Cichocki: I’m a record producer, mixer, mastering engineer, and multi-instrumentalist. I’ve been making records for 10+ years and have had the opportunity to work across a ton of genres to help shape my craft and my taste.
When I first started, it was more about figuring things out: recording bands primarily and passing off mixing and mastering to someone else who I admired. But as I progressed, I started learning those skills myself out of necessity and curiosity.
Being a musician made that easier since I was already writing and working on demos for my personal bands and I had a ton of musician friends in the area. We would play shows with and become close with super talented people so I got to work on a ton of projects back to back early on to cut my teeth and get the practice in.
DVB: You play multiple instruments, correct?
AC: Yeah! I started on guitar when I was about eight. Played violin for a few years, bass, and a bit of piano. Later on, when my band couldn’t find a drummer, I decided to learn drums myself. I locked myself in a room for months with a metronome and jamming to a bunch of songs I loved -it became an obsession. Now, I get to be involved in every aspect of record-making, from writing to engineering to producing. I love being more than just an engineer — I want to be a creative force alongside the bands I work with and be as much of a member that the band will allow me to be.
DVB: That’s great. Do you think that kind of all-in mentality is more common on the East Coast?
AC: I do. The East Coast has a work ethic that’s very much “figure it out and do whatever you need to to make it happen.” A lot of people here start out playing in bands, recording out of necessity, and then eventually take on all aspects of the making of a record. It’s definitely a gritty, do-it-yourself mentality. I feel like some of LA has a different vibe, more network-focused, more collaborative which is awesome. But on the East Coast, especially early on, a lot of people are just grinding away andbuilding their own thing I think.
DVB: Let’s talk about Timber Studios. How did that come to be?
AC: Timber Studios started in my parents’ basement around 2010. I didn’t even have a name for it at first, it was just “Come record at Adam’s house.” (laughs) I officially named it Timber Studios in 2013 when I went full-time. The name was inspired by these giant evergreen trees outside my parents’ house; kind of a play on the word “timbre” as well. I’ve since moved locations and now have two beautiful studios in Bayonne NJ; they’re built on a foundation that started so small and modest and now have had bands from all over the world come and make amazing records here.
DVB: Love that. So, was Gatherers the first band you recorded, or were there others before that?
AC: Gatherers was one of the first serious projects. That was around 2011, before Timber was official. I was still figuring out my engineering style while also learning how to be a proficient drummer since it was my first time drumming in a band. A lot of learning curves all at once haha.
DVB: Do you remember the first project you recorded that wasn’t your own band?
AC: Yeah, I think it was a band called Hodera, a really cool group from Jersey. I met Matt from that band at a show, and we started working together. That turned into recording multiple records, and one of their songs ended up blowing up on Spotify, charting alongside massive artists and going viral. It was surreal to see something I had my hands on move in that way.
DVB: That’s wild! Do you feel like moments like that helped establish you?
AC: Definitely. Seeing something you worked on reach a wider audience than you’re used to is validating. It also reinforces the importance of capturing something real—music that resonates with people.
DVB: Soul Blind is another up-and-coming band that you started working with early on. How did you get connected with them?
AC: I met Finn from Soul Blind probably back in 2016 or so, he was in a band called Daisychain at the time. We did some songs together and from there, I got involved with Soul Blind by mastering one of their early EP’s. Years later we reconnected when my good friend Jon Markson got hit up to do their EP and he brought me into the fold to co-produce and make the record with them. It was amazing to reconnect with Finn and get to know and collaborate with the rest of the band. It also became the first of many projects Jon and I have done together. I value him greatly as a collaborator and twin brainiac haha.
Soul Blind is really in their own lane and have such a fresh take on the genres they tap into. Their sound really clicked for me and we all worked really hard to make some amazing songs together.
DVB: It seems like grunge is having a moment again.
AC: Yeah, people are hungry for unfiltered and engaging music. I think there was a time where everything that was coming out was so rigid / doctored and perfect, that now hearing a band just absolutely rip in an authentic way that reflects the way they kill it live, people are connecting . Soul Blind captures that energy so well.
DVB: What’s your approach when working with a band like that?
AC: It’s about letting them be themselves but helping refine their vision in whatever ways that needs to happen. Every band has a sound they’re chasing in their heads, and my job is to help them get there in the most fulfilling way possible.. Collaboration is key — I don’t just want to be an engineer hitting ‘Record’. I want to be actively shaping the record with them as much as they’ll let me.
DVB: What do you think makes a great record?
AC: Capturing emotion. A record should feel alive. That comes from creating the right environment in the studio where the band feels comfortable pushing themselves. Technical skills are important, but at the end of the day, music is about feeling.
DVB: How do you stay inspired?
AC: Working with different artists across a lot of genres keeps me inspired. I also try to listen to a lot of different music and get out of my comfort zone, stay curious, and constantly learn new techniques. It’s important to keep growing.
DVB: Any advice for aspiring producers?
AC: Keep it dangerous and trust your gut. Be patient, keep learning, and surround yourself with people who challenge you and inspire you.
For more information on Timber Studios, visit their website.
