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David Roback

David Edward Roback (April 4, 1958 – February 24, 2020) was an American guitarist, songwriter, and record producer best known as a co-founder of the influential bands , , and , whose dreamy, psychedelic sound helped shape the dream pop genre. Born in to physician George Roback and his wife Rosemary, Roback grew up in the Pacific Palisades neighborhood and graduated from Palisades High School in 1975. After briefly attending college in , he returned to in the late 1970s, where he formed his first band, The Unconscious, alongside his brother Stephen Roback and future member . In the early 1980s, Roback emerged as a central figure in Los Angeles's movement, a neo-psychedelic scene blending rock, folk, and influences, by co-founding with Matt Piucci and others. The band released the album Emergency Third Rail Power Trip in 1983, showcasing Roback's intricate guitar work and songwriting amid swirling, hallucinatory arrangements. He departed after their 1984 EP Explosions in the Glass Palace to pursue collaborations with vocalist , first in the one-off covers project Rainy Day and then co-founding in 1986. Opal's debut album, Happy Nightmare Baby (1987), featured Roback's signature hazy, reverb-drenched guitars paired with Smith's ethereal vocals, establishing a slow-burning, atmospheric style that blended psychedelia, blues, and alt-country elements. Following Smith's departure, Roback recruited Hope Sandoval from the folk-rock group Going Home, renaming the project Mazzy Star in 1989 and solidifying their reputation for melancholic, introspective dream pop. Mazzy Star's breakthrough came with their 1993 album So Tonight That I Might See, propelled by the haunting single "," which peaked at number 44 on the and earned a Grammy nomination for Best Pop Performance by a Duo or Group with Vocals. The band's discography, including (1990), (1996), (2013), and the EP Still (2018), emphasized Roback's subtle production and guitar textures, influencing artists such as and with their blend of vulnerability and sonic expansiveness. Beyond performing, Roback contributed as a , notably on Beth Orton's 1999 album Central Reservation, and composed the score for the 2004 film directed by . Known for prioritizing artistic integrity over commercial pressures, he maintained a low profile throughout his career, rarely granting interviews, yet his work left a profound, understated legacy in . Roback died at his home in at the age of 61.

Early life and education

Childhood and family

David Roback was born on April 4, 1958, in , , to Rosemary Roback (née Hunter), a nurse, and George Roback, a . He grew up in the Pacific Palisades neighborhood on the Westside of , an affluent suburban enclave known for its quiet residential streets and proximity to the . The Roback family home was located just a few blocks from that of the Hoffs family, whose daughter would later become a childhood neighbor and early musical collaborator with Roback and his brother. Roback's parents, both in the medical field, provided a stable household, though no specific artistic inclinations within the family are documented beyond the siblings' later creative pursuits. Roback had a brother, Steven, who shared his interest in music and went on to play bass in bands alongside him, as well as a sister. During his childhood in the and teenage years in the 1970s, Roback developed an early affinity for , drawing inspiration from psychedelic sounds prevalent in , including influential artists like the late-period , , , and . In the late 1970s, he identified with the emerging attitude, which laid the groundwork for his creative inclinations pursued in his teenage years at Palisades High School.

Academic pursuits

David Roback graduated from in in 1975, where he participated in an arts camp that exposed him to creative pursuits early on. Following high school, Roback attended in , beginning in 1975, where he studied , intending to graduate as part of the class of 1979. However, he left Carleton before completing his degree and briefly moved to in the late to immerse himself in the city's vibrant art scene as an aspiring painter. This period marked an interruption in his formal education, driven by a desire to engage directly with contemporary environments. Roback subsequently transferred to the , in the late 1970s, where he studied art through the university's program. His time at , extending into the early 1980s, introduced him to experimental and interdisciplinary approaches in , fostering a conceptual framework that emphasized originality and emotional depth in creative expression. These studies, contrasting with his upbringing in a middle-class suburban family, provided a rigorous academic foundation that honed his appreciation for abstract and atmospheric forms.

Musical career

Early involvement in Paisley Underground

David Roback emerged in the Los Angeles music scene around 1981 as part of the movement, a loose collective of bands drawing from , , and 1960s influences like and . This scene, centered in clubs like , emphasized reverb-drenched guitars and melodic experimentation, providing a to the prevailing and sounds. Roback's entry was shaped by his recent return from college in , where his art studies had honed an experimental approach to composition that he began applying to songwriting. In 1981, Roback co-founded the with his brother Steven Roback and college friend Matt Piucci, serving as guitarist and primary songwriter alongside the others. The band quickly became a staple, blending intricate guitar textures with introspective lyrics. Their debut album, Emergency Third Rail Power Trip, released in 1983 on , showcased Roback's contributions, including sole writing credits on tracks like "I Look Around" and "Carolyn's Song," which highlighted his emerging style of hazy, atmospheric . He left the group shortly after the album's release in 1983 to pursue other projects. In 1984, Roback assembled the one-off supergroup Rainy Day, featuring members from fellow Paisley acts like , , and , to cover folk-rock and psychedelic classics from the 1960s. Produced by Roback and released on , the self-titled album paid homage to influences such as and , with Roback contributing guitar and arrangements to tracks like "I'll Keep It with Mine" and "Just Like a Woman." The project underscored the interconnectedness of the Paisley scene but remained a singular effort without further recordings. Toward the end of 1983, Roback formed the short-lived band with , formerly of , marking a pivot toward dreamier, more subdued soundscapes influenced by and ambient elements. Active through 1985, the duo—augmented by drummer and briefly guitarist Juan Gomez—released a limited 7-inch single in 1984 featuring "Free of the Feeling" and "Cry Yourself to Sleep," issued under the Clay Allison name via the Bucketfull of Brains fanzine. They followed with a 12-inch EP in 1985, credited to , David Roback, and , but the band's output was minimal, consisting of live performances and these recordings before evolving into .

Formation of Opal

Following the release of Clay Allison's 1984 single, Roback, Smith, and Mitchell renamed the group after Gomez's departure, continuing as a trio. This shift occurred amid the band's growing ties to the music scene, as they signed with the British label and released the "Northern Line" 12-inch EP in 1985, which reached number 17 on the Independent Singles Chart. The EP's hazy, psychedelic sound reflected influences from their transatlantic exposure, including recording sessions and promotional activities in the that shaped Opal's emerging aesthetic. Opal's sole studio album, Happy Nightmare Baby, arrived in 1987 via Rough Trade in the UK and in the US, marking a pivotal release in the neo-psychedelic landscape. Produced by Roback at studios including Sound Solution in , the record featured co-writing credits shared between Roback and Smith across all tracks, with Roback handling guitar, keyboards, and backing vocals alongside Smith's lead singing. Standout songs like the title track "Happy Nightmare Baby," with its swirling, hypnotic riff, and "Supernova," a brooding showcase, highlighted the album's eight tracks, blending melodies with extended jams. Roback's distinctive work and production emphasized reverb-drenched atmospheres, drawing from his roots while foreshadowing elements through distorted, immersive textures. The band's tenure ended around 1988 amid personal and creative tensions, culminating in Smith's abrupt departure during the Happy Nightmare Baby promotional tour. This split dissolved , though it paved the way for posthumous compilations like Early Recordings (1989) on Rough Trade, which gathered pre-album EPs and outtakes to preserve their collaborative legacy.

era

In 1989, David Roback formed in with vocalist , evolving the project from the remnants of his previous band after its disbandment. Roback served as the band's primary songwriter, guitarist, and producer, collaborating closely with Sandoval—who handled lead vocals and occasional co-writing—to craft their signature sound of hazy, psychedelic characterized by reverb-drenched guitars, slow tempos, and ethereal atmospheres. This aesthetic drew from Roback's earlier influences in the scene, emphasizing meditative, swirling textures that evoked a sense of introspection and otherworldliness. Mazzy Star's debut album, , arrived in 1990 via , introducing their blend of folk-tinged and sparse arrangements on tracks like "Halah" and "Blue Flower." The follow-up, So Tonight That I Might See, released in 1993 on , expanded their palette with more polished production while retaining the dreamy haze, highlighted by the single "." Roback's guitar work and production choices, including layered reverb and subtle slide techniques, defined the album's immersive quality. The band's commercial breakthrough came with "Fade into You," which peaked at No. 44 on the in 1994 and reached No. 3 on the Tracks chart, propelling So Tonight That I Might See to status and introducing to a wider audience. To support their growing profile, Mazzy Star toured extensively in the United States and throughout the early to mid-1990s, delivering intimate live performances that captured their atmospheric sound through dimly lit stages and extended improvisations. Their third full-length, , emerged in 1996, featuring even more subdued, swan-song-like introspection in songs such as "Flowers in December," before the duo entered a prolonged . Following , Mazzy Star largely withdrew from the public eye, entering an extended hiatus from the late 1990s through the amid personal pursuits and creative shifts, with no new full-length releases until the . They resurfaced sporadically with the EP in 2013, offering four tracks of their familiar vaporous elegance, including the single "." The EP Still followed in 2018, providing two additional pieces that maintained Roback's evocative production style amid the band's intermittent activity.

Later productions and solo endeavors

Following the hiatus of Mazzy Star in the late 1990s, David Roback shifted his focus toward production and collaborative work, contributing to several notable recordings for other artists. He co-produced and mixed tracks on Beth Orton's third studio album, Central Reservation (1999), including the single "Stolen Car," infusing the record with his signature atmospheric textures that echoed the dream pop sensibilities of his earlier band work. In 2004, Roback wrote and produced original songs for actress Maggie Cheung's character in Olivier Assayas's film Clean, such as "She Can't Tell You" and "Down in the Light," which Cheung performed on screen; Roback also made a cameo appearance as himself in the movie, portraying a studio owner. His production style on these projects emphasized subtle, reverb-laden arrangements, drawing from Mazzy Star's influence to enhance the introspective mood of the artists involved. In the mid-2000s, Roback provided contributions to British folk musician Bert Jansch's album The Black Swan (2006), appearing on tracks like "When the Sun Comes Up" and adding ethereal layers to Jansch's acoustic-driven sound. This period marked Roback's increasing preference for behind-the-scenes roles over live performance, as he relocated to around the late 1990s and early 2000s, where he immersed himself in experimental endeavors. There, he collaborated with local musicians and composed original scores for art installations, producing ambient, site-specific pieces that remained largely unreleased or limited in distribution, reflecting a turn toward non-commercial, immersive audio art. By the 2010s, Roback's production work continued to evolve through selective partnerships, including co-writing, arranging, and producing for Mazzy Star's (2013), handling arrangements and instrumentation while maintaining his emphasis on collaborative, low-key creation rather than front-stage presence. He also contributed slide guitar and co-production to Aidan Connell's side project The Daybreakers on the track "Wylde Ones," recorded prior to his death and released posthumously in 2022. These efforts underscored Roback's role as a mentor and sonic architect in smaller, intimate settings. Amid Mazzy Star's revival, Roback served as the primary composer and producer for their 2013 EP, handling arrangements and instrumentation while maintaining his emphasis on collaborative, low-key creation rather than front-stage presence.

Personal life and death

Relationships and privacy

David Roback maintained a notably private personal life, with limited public details emerging about his relationships and family. He shared a long-term creative and close personal partnership with that began in the late and was characterized by its intensely low-profile nature; their collaboration remained shielded from media scrutiny, reflecting Roback's preference for discretion in intimate matters. Roback was married to Hedi Raikamo, a Finnish fashion designer, with whom he resided in Norway and London for many years before quietly resettling in Brentwood, Los Angeles, around 2015. The couple's life together was kept largely out of the public eye, consistent with Roback's reclusive tendencies. He is survived by his wife, as well as his mother, Rosemary Roback, a brother named Steven, and a sister, Diane, though details about his family dynamics were scarce during his lifetime. In terms of friendships, Roback shared a lifelong connection with , stemming from their shared childhood in Brentwood and early artistic pursuits together, that evolved into an enduring platonic bond; Hoffs described him as a "mischievous child and a friend" despite his enigmatic public persona. He also maintained ties with peers from the music scene, such as , though these relationships were marked by Roback's elusive demeanor, making him difficult to know even among close associates. Roback's commitment to was evident throughout his life, as he avoided the spotlight and gave minimal interviews, often letting his music communicate on his behalf rather than engaging in personal disclosures. Described by friends and observers as famously reclusive and enigmatic, he lived quietly in , prioritizing solitude and artistic independence over public visibility. This approach extended to keeping significant personal challenges, such as his health issues, hidden from even those closest to him.

Health decline and passing

In the late 2010s, David Roback was diagnosed with metastatic cancer, a he kept entirely private, sharing it only with a small circle of immediate family and avoiding disclosure even to longtime musical collaborators. This secrecy aligned with his reclusive personal life, which limited awareness of his health struggles among associates. Roback died on February 24, 2020, at his home in , , at the age of 61. His mother, Rosemary Roback, confirmed to media outlets that the was metastatic cancer, marking the first public revelation of his condition days after his passing. The news was initially announced on February 25, 2020, by a representative for , who provided no details on the cause or circumstances of his death, prompting widespread surprise and tributes from the music community. In the immediate aftermath, Roback's loved ones requested privacy, with no public memorial service planned, underscoring the family's desire to honor his preference for seclusion even in mourning.

Artistic style and legacy

Signature sound and influences

David Roback's signature guitar playing was characterized by a hallucinatory quality, achieved through extensive use of reverb, delay effects, and subtle layering that created immersive, dreamlike textures. In his work with Opal, tracks like "Fell from the Sun" featured slide guitar drenched in echo, evoking a heat-haze effect that blurred the lines between melody and ambiance. This approach extended to Mazzy Star, where his velvety tones and reverb-heavy production contributed to the band's narcotic blues sound, as heard in the fuzz and fog of their debut album She Hangs Brightly. Roback's songwriting blended elements of psychedelia, folk, and shoegaze, drawing on 1960s influences such as to infuse his compositions with psychedelic textures and introspective depth. His expertise with the Velvet Underground was evident in projects like the 1984 Rainy Day covers album, which included their songs alongside other era-defining acts, reflecting a deliberate nod to those roots. As a key figure in Los Angeles's psychedelic revival, Roback emphasized extended jams and hazy, reverb-soaked explorations within the neo-psychedelic scene. In production, Roback favored atmospheric builds that allowed instruments to meander and swell with quiet purpose, evolving from the jangle pop of his Rain Parade days—marked by brighter, acoustic-driven tracks like "Carolyn's Song"—to the more meditative, cavernous soundscapes of Mazzy Star. This progression incorporated psych-blues guitar squalls with restraint, alongside folk-inspired chiming guitars and sparse drums, creating swirling tapestries of sound in albums like So Tonight That I Might See. For instance, in Mazzy Star's "Fade Into You," his techniques produced a hypnotic, late-night atmosphere that exemplified this refined evolution.

Cultural impact and tributes

David Roback's contributions to through exerted a lasting influence on indie artists, particularly in crafting hazy, emotional soundscapes that evoked introspection and melancholy. Critics have highlighted how this aesthetic directly informed the style of , whose albums like (2014) draw on the ethereal, reverb-drenched guitars and whispered vocals pioneered by Roback and . Similarly, contemporary acts such as have echoed Mazzy Star's atmospheric blend of and , drawing inspiration from the band's immersive textures in modern . Roback's work also played a key role in the alternative rock landscape, offering a subdued, psychedelic to the era's grunge-heavy sound and helping to diversify the genre with introspective tracks that resonated beyond mainstream radio. This foundation contributed to the of and , where bands revived Roback's hazy sonic palettes amid a renewed interest in 1990s indie aesthetics, influencing the broader scene. Following Roback's death on February 24, 2020, tributes poured in from collaborators and media outlets. , his longtime partner, shared her grief on the band's page, stating, "It’s been a few days since I lost my dear friend and I am devastated… Thank you all for the love." members, with whom Roback co-founded the band in 1981, recalled his conceptual vision; guitarist Matt Piucci described him as "always a top-down kind of guy — you know, a conceptualist... his ability to connect with people and figure out how to get that sh– done," while keyboardist Will Glenn noted their collaborative naming process as emblematic of Roback's creativity. remembered Roback for crafting "dreamy pop songs back in the '90s" that contrasted sharply with the era's louder rock acts, emphasizing his unique place in . lauded 's output under his guidance as "inward and deep," evoking "the murmur and sigh" of emotional twilight rather than energetic rock. Roback's legacy endures through Mazzy Star's cultural footprint, particularly the 1993 single "," which has become a hallmark of and one of the most frequently licensed tracks in , symbolizing and faded romance. This popularity has spurred reissues, including vinyl editions of debut album (1990) in 2023 and 2025, and (1996) in 2023, ensuring accessibility for new generations and affirming his foundational impact on alternative genres.

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