Recognizing quality can be straightforward, and Dan Miraldi’s new release, ‘Ulysses‘, is a perfect example. You’ll quickly notice its excellence. With ten tracks that leave you wanting more after just half an hour, it’s a compelling listen. Fortunately, ‘Ulysses’ is the second installment in a garage rock power-pop trilogy that Miraldi is crafting, or so it seems. He delves into this project with Sweet Sweet Music blog, explaining how it all comes together.
You can find ‘Almost Sounds Sincere’ showcased on the Best Power Pop of 2024 Spotify Playlist.
Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?
I spent most of 2022 focusing on the release of my seventh album, Radio Friendly Darling, so recording for Ulysses did not really commence until January of 2023. A few months prior, I had moved to a new apartment and finally had my home recording setup in place. I had four songs fully written as my starting point. I knew that the title track was supposed to open the record. I also had two song fragments that I managed to complete once production began. Then, as often happens when I am recording, new ones start to come to me and I wrote four additional songs that ended up on the album. I wrote a good number of other songs that will likely be saved for an album next year as well, but I thought these ten songs for Ulysses made for a satisfying listening experience.
Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?
I recognize that I am a niche artist. I think my music is accessible and likable, but I have no commercial expectations. The music industry is an abyss. There is no meritocracy. I love rock and roll. I make the records I want to make. My first album came out fifteen years ago. I feel like I have been very consistent at releasing quality music. I have toured and gotten to play shows with some of the big kids, but my greatest musical blessings have been the support of some independent DJs in the Cleveland area as well as SiriusXM. I can get really existential, but for the sake of this interview, I will focus on the positive. I am proud of the records I have made and grateful to anyone who finds their way to my music.
How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?
This will be a long answer unfortunately. I feel like my career and sound can be broken down into three phases with transitional records in between. My first three albums and four EPs are phase one. I was developing my sound trying to pull my retro rock and roll influences with garage rock revival and elements of punk. I was on the road, traveling in a van with my band, really trying to make things happen. Eventually, it was not turning out commercially the way I was hoping and I had to rethink my career and business model. My third album, Chaos Destruction & Dancing, is a transitional record. It was made when I knew I was moving from my hometown of Cleveland to try new things in NYC. It did not come out until a year after I moved to New York.
In phase two, you get to New York-era records – Love Under Fire and then the big one for me Alphabet City 2 AM. I had a period of creative doubt when I first moved here. I wondered if I had already written my best songs, but then I found my voice and confidence. The new city and the friends I was making inspired me. I wrote so many songs, that it provided material that has found its way on to multiple albums. In this second phase, I also made the acoustic Mood Music records and the proto-punk 15 Minutes of Fury which were important, because I was getting comfortable recording myself at home just as the pandemic hit and throughout it.
Coming out of the pandemic, I feel like this is phase three. I did not plan it this way, but I think I am making a garage rock power-pop trilogy. Radio Friendly Darling was part one. I was trying to make something upbeat and comforting as we all had been through a lot during covid. Now with Ulysses, I feel like it rocks a little harder, but it is still fun. Songs I did not get to during Radio Friendly Darling, provided the starting points for Ulysses. While making Ulysses, I wrote a bunch of new songs. I could have technically made a double album, but did not want to go that route. It is tough to get people’s attention long enough to listen to one new song, let alone a whole record. So I set those other songs aside and hope to finish another collection for next year. I am excited to share Ulysses and excited to know that I have another potential album up my sleeve. I am not delusional. I recognize that I have limitations in reaching an audience in these days of algorithms and the oversaturation of tens of thousands of songs being released daily to streaming services. Most people will never hear about it, but that is not what drives me. If I may be so bold, if people like garage rock and power-pop, I am making something special for them. I am going to throw down the gauntlet with this next record. It’s written and probably 75% recorded.
With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?
I am all about the deep cuts.
The Records “I Don’t Remember Your Name.” If you find a copy of the album Crashes by the Records, buy it. It is not available on CD or streaming, but it is great power-pop from the late 70s early 80s. “I Don’t Remember Your Name” has a great Revolver-esque guitar riff, but it has great lyrics about being at a party wanting to go home and not remembering the names of the guests you’ve been introduced to throughout the evening. I identify with it.
Kurt Baker “Anchors Up.” Kurt is a cool guy and I am only beginning to dig into his rich discography. I really enjoyed 2023’s Rock N Roll Club and “Anchors Up” is a highlight. I saw him play it live and it was killer.
Nathan Hedges “Times Are Changing.” Nathan played guitar on two of the Ulysses tracks and is one of my best buds. However, I am including him because he is talented and underrated. He put out his own EP last year in the Americana-rock genre. It’s excellent and “Times Are Changing” is a rockin’ highlight.
The Knack “Can I Borrow A Kiss.” The Knack’s “My Sharona” has my favorite guitar solo in all of rock and roll, but like I said, I like the deep cuts, so I am instead adding “Can I Borrow A Kiss” to the mixtape with the hope that you listen to Knack records beyond their debut. “Can I Borrow a Kiss” is perfect power pop. The song is thoughtfully romantic, but still an infectious listening experience.
Stephen Stills “Singin’ Call.” Stills is my favorite guitarist. I also love his voice. It’s a vulnerable song to be listened to late at night. Kids these days don’t know enough about Stephen Stills. Between 1967 to about 1975, he was on fire as a writer, producer, arrangement and instrumentalist. There are many songs I could point you to, but this has been my go-to over the last couple of years.
Envision recruiting three singers to provide harmony vocals on your next record. Who would you invite, and what qualities do they possess that resonate with you?
I listen to a lot of older rock music, but my favorite singer under the age of 70 is Grace Potter. She is one of the best rock and roll singers out there. I once played a festival she headlined and we shared a golf cart ride together, but I did not have the nerve to ask her to sing harmony.
Graham Nash is one of the greatest harmony singers ever. In his eighties, he is still great. Songs for Beginners is one of the most underrated albums of the 1970s. To sing with Graham would be monumental. I met him when I was 16 and he was very gracious. A few years ago, I reached out to his manager to see if Graham wanted to do a writing session together. The manager politely responded that Graham very solidly booked for the foreseeable future. Maybe I should follow up?
Paul McCartney, because the Beatles are the best and Paul’s work ethic has always inspired me. Assuming I could manage to talk in his presence, singing with him would be an honor. I do not have a Paul story, but I once opened for his son James. It was cool.
Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?
I celebrated the album’s release by performing at the International Pop Overthrow festival in Copenhagen a few weeks ago. I plan on doing more shows likely in the New York City area this summer and fall, both solo acoustic and full band. I will also be returning to my hometown of Cleveland for a reunion show of Dan Miraldi & the Albino Winos, my old touring outfit in September. We have not performed together in five years, but that will be fun.
I will also be continuing to record. I have that power-pop record I mentioned earlier as well as a folky collection that I am still developing into a potential EP.
In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?
The album art was one of the last things that came into place. I record at home and like to make the lighting vibey when recording. I lower the lights and have this “nebula projector” that puts celestial patterns on the ceiling. I was messing around with the projector. I pointed it at myself and then took a selfie. I thought it looked cool and used it for the cover. It was spontaneous, but once it happened, I knew it was right.
The other visuals are coming in the form of videos. My wife, Meaghan, works in film and directed a music video for “Unfollow Me” while we were honeymooning in Barcelona. She is in the process of editing the footage. It is looking cool. The music video is very tongue-in-cheek with the visuals matching the lyrical commentary on social media and how people present themselves. We hope to have it out in the coming weeks.
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