Toby S. Reeves is an Indiana-based songwriter with deep family roots in bluegrass and a passion for cinematic, story-driven music. His creative output spans two distinct but complementary projects: Backroad Folk (solo, acoustic-driven storytelling) and Dark Matter Rhapsody (prog/cinematic rock).
His recent albums, Lantern Light and The Painter of Invisible Colors, both received “Outstanding” reviews and showcased his fearless approach to odd time signatures, genre-blending, and narrative depth. With new singles “Masks Are Mandatory” and “The Zombie Electric” leading into The Doppelganger Trials (Oct 31), Reeves continues to push boundaries while staying true to his slogan: “Serve the song.”
Where are you from?
Indianapolis, Indiana
How long have you been making music?
Since childhood. I wrote my first song, “Love Bird,” at 16 for a talent show- complete bomb. I promised myself I’d never write another straight romantic love song after that. Besides, there are too many songs about love and exes that live in Texas. So, overall, over 45 years writing, and more formally these past few years across two lanes: solo as Toby S. Reeves and my concept band Dark Matter Rhapsody (DMR). And not one of them a love song…..
How many songs /albums have you released to date?
Dozens of singles and several albums. Most recently, Lantern Light (Backroad Folk) and The Painter of Invisible Colors (DMR)—both received “Outstanding” reviews at Music Review World.
Can you tell us about your latest release and the background/inspirations behind it?
The Painter of Invisible Colors (DMR) is a narrative album about a reclusive artist who discovers a palette of “invisible” hues that reveal human emotion. The story lets each track function like a scene: themes of empathy, identity, and creative courage unfold across cinematic prog, orchestral lift, and intimate, human moments. I wanted it to feel less like a collection of songs and more like a guided gallery walk—motifs recur, textures evolve, and the emotional stakes rise until the finale. I build in little easter eggs—melodic callbacks, hidden textures—so repeat listens reveal more of the world.
How have/did you end up in the music industry?
Brick by brick. I bought one of the first personal computers as they came out in the 1980s. I wasn’t really fond of playing video games on computer back then (I preferred video game parlors). So, I started writing music with Cakewalk, a MIDI keyboard and some acoustic instruments like flute, piano, and drums. That’s when I wrote “Eight O’Clock Blues.” Marrying computer-based tools with acoustic instruments (flute, drums, trumpet, violin, piano) gave me a broad palette to make music happen. I write constantly, self-release, and treat each album like a world fans can enter.
What do you think of the music industry in 2020 when the coronavirus pandemic hit?
It accelerated the DIY shift—direct fan connection and digital collaboration. Tough on the personal touch, but it democratized creation.
Who do you think is the most influential artist?
Genesis and Yes for structure; Queen for theatricality; ELO for melody; Nightwish/Epica for symphonic scope; Steve Hackett for taste and imagination.
Who have you collaborated with so far in your career?
A small circle of musicians and engineers—and inside DMR, my narrative alter, Rex Narratus, who anchors the storytelling voice.
How do you think you differ from other artists?
Story comes first, and I’m not afraid to experiment—odd time signatures, genre-blending, and whatever serves the narrative. If the song needs symphonic sweep, I’ll go there; if it needs a raw acoustic whisper, I’ll strip it back. The rule is: do what best drives the story home.
Who will you love to have a collaboration with?
Steve Hackett, Trevor Rabin, or the orchestral teams behind Nightwish/Epica. On the folk side, a cinematic-acoustic blend with someone like Mumford & Sons. I’d love to collaborate with my Dad, who is 87 and still playing acoustic and electric guitar on some Backroad Folk music.
What was the first album you bought as an artist?
My parents got me a 10-album set spanning classical, jazz, and jazz fusion- that planted the seed for my symphonic leanings. The first albums I bought were Genesis (the Supper’s Ready era), Styx’s Crystal Ball, and ELO’s Out of the Blue. Those records taught me arrangement, hooks, and dynamics.
What’s your favorite song at the moment?
“The Color That Burned” from Painter—it feels like the album’s heartbeat. I’m also excited about “Masks Are Mandatory” (out Oct 3) for its tense, cinematic build, and “The Zombie Electric” (Oct 10) for its dance-leaning, xenoglam energy (think Thriller).
If you had to sell your music collection tomorrow, what album/track would you leave in your draw?
Can I keep two? Nightwish’s Imaginaerum and The Alan Parsons Project’s Tales of Mystery and Imagination.
What is your favorite quote/saying?
“Serve the song.” If I do that, the arrangements and production choices follow.
What other hobbies or interests do you have?
I’m a lifelong coin collector and financial-history nerd- what I call Monetology. I also love hiking Indiana backroads (a lot of Lantern Light came from those walks), and digging into art and myth for story ideas. I’ve written a best selling business fiction book a few years ago, but music is my passion.
Tell us more about your upcoming project or this new project?
The Doppelganger Trials (Dark Matter Rhapsody) is a psychological, cinematic prog album about identity and the versions of ourselves we hide from. It blends symphonic textures, odd meters, and modern edge to keep tension high but musical. Lead single “Masks Are Mandatory” drops Oct 3, with two more singles through October. The xenoglam single, The Zombie Electric, not attached to Doppelganger but released around the same time, goes live on Oct 10. Expect easter eggs, recurring motifs, and a narrative arc you can follow start to finish.
What’s in the pipeline after this project?
Resonance Without Words — a fully instrumental, prog-forward celebration of the early masters; rolling out six singles from late Nov 2025 → Mar 2026, with the album in March 2026.
Coins Don’t Lie — a two-volume concept exploring money’s journey from ancient mints to digital ledgers, slated for late 2026.
Along the way: select videos, interview features, and a few experimental singles in my hybrid genres (Hollerstep, Solmara, Xenoglam) when the story calls for it.
Follow Toby S. Reeves Online
Twitter: https://x.com/tobyreeves
Facebook: https://www.facebook.com/tobysreeves and https://www.facebook.com/DarkMatterRhapsody/
Instagram: https://www.instagram.com/dark.matterrhap/
YouTube: Channel 1 and Dark Matter Rhapsody
Website: https://indieheritage.com
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