The Covid-19 era presented not just challenges, but an unprecedented and immensely trying time, marked by a confluence of formidable obstacles that impacted individuals, communities, and nations on an unparalleled scale.
However, let’s acknowledge that it offered a distinct opportunity for numerous artists to channel a range of emotions, sparked by the lockdown, into a surge of creativity.
Kurt Baker is a prime example of this phenomenon. In a timely response, he composed some of his most compelling songs during this period. The resulting album, ‘Rock ‘n’ Roll Club,’ represents a musical endeavor that wouldn’t have been possible just five years ago.
In an exclusive interview with Sweet Sweet Music blog, Kurt Baker delves into how this transformative process took place.
Be sure to catch, ‘She Don’t Wanna Be Alone,’ featured on the ‘The Best Power Pop of 2023‘ 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?
“Rock N Roll Club” started in my old flat in Madrid. I had a little studio room that was pretty cool, with a little sunlight shining in. The thing was, we were still on lockdown for months during the pandemic there, so I just started to write demos and bounce around ideas to kill the time. I think every musician and their pet donkey got creative during the pandemic. I wrote some tracks with my buddy Mark O’Flaherty, and then I did a few of my own, and it was all over the place style-wise. Then I came back to the USA and started to write songs with my buddy Geoff Palmer, and Wyatt Funderburk. I kept on writing on my own, too… so finally, I had amassed like forty demo ideas that could somehow make it into an album.
I sent a ton of the demos to Little Steven Van Zandt, who runs the label I’m on, Wicked Cool Records. He was pretty surprised I had so many ideas, but he helped me focus on a good batch of tracks, which would ultimately become “Rock N Roll Club”.
We did a big chunk of the recording at Steven’s studio in New York City, which was just a dream to do… it was right in Manhattan, and we were recording a big rock-sounding album in a big city. The energy was electric. We took the tracks back to our home studios and started laying down overdubs. Deep down, I knew that this record had to be the one; it’s this one or nothing. I put my heart and soul into this one.
We had a bit of a slip-up – midway through the recording of the album, a good bit of the recordings we did were lost. However, it all worked out. I ended up doing all my lead vocals in a one-day recording in Madison, Wisconsin, a place that is very special to me. It was fate that I had to re-record the vocals, and they came out better than ever.
I’m really proud of this album. I’m so happy about it and how it came out. It really has a lot to do with the crew behind it all. Wyatt’s producing and mixing, recording with Geoff Sanoff in NYC… all the guys in the band playing their hearts out on the record. It’s just fucking cool making music with your buds and then having the ability to release it to the world. I’m so grateful.
Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?
I think, if anything, this new record shows that I’m in it for the long haul. There is nowhere to go but forward, and keep on aiming for the stars. I’ve been writing and playing for a while now, and with this new record, I think it’s gonna be the one that really sets a new bar for me, personally because I feel it’s some of my best material, and sonically, the band and just took it to another level. We’ve had the experience to know what works and what doesn’t work.
The pandemic period was a time for us to get back to our roots and what we loved best, and we proved that with the album “After Party”, we’ve refined that sound… we’re older, seasoned a bit, and we are confident in what we do – which is having fun and making upbeat fun songs that make you feel something positive – that is what “Rock N Roll Club” is all about. Maybe you’d say it’s a “mature” record, but that doesn’t mean we are playing slower and softer… it just means our experiences in life and our performances reflect a great life playing music. This album represents that for sure.
Can you recall the last instance when you felt the immediate certainty of having penned a hit song?
Every time I sit down to write a song, the idea is to compose something that could be a potential hit. My song ideas won’t make it into a thought-out composition or eventual recording on the album unless I feel good enough about them that they can stand alone as a great single.
Basically, I just try to write A-sides and top-notch B-sides. My mind is always very singles-oriented. My albums aren’t concept records but more of a collection of singles. I love the idea of a “pop song”, something that is accessible, that has something that almost any listener, no matter their musical taste, can say, “Oh yeah, that’s an earworm”. I’d be doing a grave disservice to my fans to release a song that’s “Filler”, so I try not to ever do that.
If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?
“Anchors Up”, “I Like Her A Lot,” and “Don’t Go Falling In Love”. Those are all nice ones I think are good as an introduction to my music. Story-wise, they collectively tell a tale of a guy who is obsessed with The Beatles, Green Day, and 70’s UK Pub Rock, who likes writing and recording songs for people to listen to and enjoy!
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?
We did do a disco song on this one, so there that. Also, I’ve been listening a lot to Oasis, and Noel and Liam Gallagher really had a huge impact on me. So this record is all over the place stylistically, yet I do feel it’s all held together and flows because, at the end of the day, it’s still the boys in the band. We’ve just expanded our palette a bit. It would be foolish for us not to try and expand our boundaries musically! It’s fun!
Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?
I just try to be myself, have a good time, and enjoy the moments making music with my friends. I love playing gigs and being on stage. I think in my “genre,” there are many groups who lean more on the “Punk” side of power pop/punk, while others are more pop-oriented.
I don’t try to be too experimental, but I also don’t try to be a DIY purist when it comes to record-making. Props to the musicians who make their albums sound like it’s 1977, but for me, I’m 100% steeped in old influences but want to keep the production of my songs modern. I try to find a balanced medium between having a great-sounding record and then also still having some kind of edge that isn’t pristine commercialism. But I don’t have to prove myself to anybody; I know who I am, and I feel good about the music I make, so people can think what they will, but at least I know that I’m having a blast and loving the fact that I’ve been lucky enough to be making rock n’ roll music for most of my life.
Goat Yoga, a musical duo hailing from Brooklyn, New York, comprises Jake Zembrzuski (vocals, guitar, and bass) and Eric Doering (guitar, bass, drums, and backup vocals). Their latest EP, ‘Don’t You Think I Wanna Go?’, follows their 2021 release, ‘Appa’s Lost Days’. This new offering boasts six captivating tracks that will resonate with fans of Mo Troper and Tony Molina, featuring infectious tunes that will leave you pleasantly rattled.
Be sure to catch, ‘Don’t You Think I Wanna Go?,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.
Sweet Sweet Music blog had a conversation with Jake to delve into the genesis of their latest songs.
Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?
We started writing this EP right as my roommate/drummer/renaissance man, and I started moving from upstate NY to Brooklyn. I think the new environment and living together was a great catalyst for songwriting and helped with new ideas
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
We tracked all of the guitars first and then recorded Eric’s drums live for the first time compared to just programming them before. Hearing it back for the first time was a huge highlight.
Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?
If I can listen to this 6 months, a year from now etc., and enjoy it, then I’d consider it a success. The goal is to make music that I’d still wanna listen to down the road and be like hey, this isn’t that bad.
Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?
Mo Troper, Mikey Erg, Steve Ciolek. No one writes better hooks in the business than them.
Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
This is something I struggle with; I don’t wanna sit on songs as long going forward and get way more music out there and off my laptop as demos.
The Small Square is releasing “Ours & Others,” a follow-up to their 2015 self-titled album, on October 31 through Farm to Label Records. The duo, Paul Chastain and John Louis Richardson, recorded the collection at Richardson’s Drum Farm Studio, returning to the same space where they created their debut album.
Paul Chastain, co-founder of Velvet Crush, discusses the unconventional creation of this delightful Power Pop album.
Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?
“Ours & Others” was put together over several months, partially due to John being in the US and me being in Japan. This has become our usual modus operandi.
When we get together at John’s studio once or twice a year, we select songs to work on, usually from unfinished or completed songs in demo form. Some songs start as just bits one of us has been working on or spontaneous ideas. It happens in all possible ways.
On this record, we did pre-plan, starting a few songs with other musicians in the studio with us. Others were started with just the two of us. The things we start at the studio are almost always finished later on, probably because of how I am and because of time constraints. I like to sit with stuff for a bit and figure out what we have to work with.
The record really didn’t take shape until much later, when the initial recording of most of the songs had happened. Of course, we set out with the idea of making a group of songs that would become an album, but we didn’t really know what it would be. I think I had to slowly find it as I worked on completing the recordings.
The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?
It has become almost a hallmark of our process to invite outside contributors to aid and abet us. We find it can give the recordings a different energy or some cool intangible element. These tracks then seem varied (in a good way) from the tracks, with only the two of us performing. Maybe it gives the album a little more width or depth.
This project pushed the envelope of that even further when, at one session, we recorded with and even left some of the writing to an ensemble of great players with whom John had been working at his studio.
Involving the ideas and input of others can crack open some new doors or pull things in directions I may not have thought of going with a given song. An interesting and fun experiment for me, a “band” guy who is used to being part of a specific group of collaborators. It certainly drags one from one’s rut.
As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?
Baring emotions is not very natural for us, I think. In fact, I can’t really think of that when writing. That would likely halt the process. For me to get it down on paper or commit it to recorded media, I have to be immersed in doing it without the thought of what I am doing.
Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?
With my old band, Velvet Crush, we once performed with Roger McGuinn of The Byrds as his backing band. The Byrds were an extremely influential and inspirational band to me and my band. Singing and playing a set with Mr. McGuinn is a fairly surreal memory for me.
Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?
For my part, little or no thought is given to the “commercial appeal” side of things. I try to create the art from the heart, I guess. I really don’t think pandering usually yields the best work, for me, at least.
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?
On this project, I really felt that the visuals were an important, integral part. Once much of the music had been at least partially completed, I had a concept for album artwork which became intertwined with the music as I developed it. It took some time, but I put together what became the Digipak art along with a digital booklet, based on laying images on the floor and photographing them. I liked the homey vibe of that and felt that it meshed with the vibe of the music. Once I started putting these visual ideas together, they became part of the project and seemed to me to be inseparable from the music. I tried to also incorporate the same qualities into the video for the song “Twenty-Third”.
I am not sure, though, how the images complement the music, but I feel that they do. And it’s really all about the feel, isn’t it?
The highly anticipated album titled ‘All Fuller No Filler‘ by Wesley Fuller does not have a confirmed release date as of now. However, enthusiasts can take solace in the two impressive singles released in recent months, which hold significant promise. Delve into the intriguing and unique history behind the creation of this album.
Many, many late nights over the course of about 2.5 years.
I got back from a European tour in early 2019 and needed a break from trying to “make it” in the music scene for a while.
So I focussed on getting back to basics in my personal life. Getting out of sharehouses and into my own flat, getting a new day job. It’s expensive being a solo artist (or just a musician in general), particularly working long hours on a low wage. It was around July/August 2019 that I started tracking the drums for the bulk of the songs I’d written for a new album, at a legendary rehearsal room called “Lighting Lab” in Box Hill. I’d just book the room for an entire 12-hour day for $100, and just bring all my own recording setup. I spent the summer of 2019 and early 2020 polishing off (and I do mean seriously polishing) the rhythm tracks. I spent so many months just playing around with and editing the drums, adding layer upon layer until I got the sound I was after.
But I’d also fallen in love again. So that put recording on the backburner for a few months.
Then the world was thrown into the pandemic mayhem. We were in lockdown for a very long time in Melbourne. Most of 2020 and a lot of 2021, as I recall. I was still working from home 40 hours a week, but it gave me a lot of focused time (late at night) when I could chip away at recording. Every night after work, I’d start what became my second job, which was recording the album. I’d start at about 8pm and work through ’til 2 or 3 in the morning. At least 4 – 5 nights a week. Some nights I’d spend five hours just playing around to get the right reverb sound on a keyboard part, or just tracking a single 12-string guitar line. Some nights I’d keep my work; other nights, I’d scrap it and try again.
As painstaking as that process sounds, it was completely a labor of love, and I enjoyed having a creative project to focus on, to take my mind off the complete shitshow that was the world at the time. There were 2 or 3 songs that I got about 3/4 of the way through tracking and then shelved them. I added on Jacaranda and Worthwhile towards the end of the process, as I was writing them whilst recording the others. By mid-2021, the album was completely tracked. I spent the rest of my year adding final overdubs and mixing it all down into the final product that it is today!
When did you decide to start asking for opinions on the new songs?
In late 2020, I’d tracked about 10 songs for the album in a relatively skeletal form. Basic mixdown with a few overdubs.
I sent those mixes through to one of my closest friends, and my most trusted musical brother, Jamie Turner (Myths, Angie Colman & solo artist).
Jamie provided me with a detailed breakdown of the mix and production/arrangement notes for each track. That was incredibly helpful as it gave me quite a few ideas that I just hadn’t considered.
Examples include adding broken harpsichord stabs to the verses of “Everything Is Strange” and adding a space echo track to the drum solo in “Inside and Out”.
The meaning of success has changed over the years. What would success look like for the new record?
Ideally, I’d like to sell every available copy of the album. I want as many people out there in the world to own the physical vinyl record. Success would certainly look like releasing a second pressing of the album.
Aside from that, just getting as many songs out into the world and into as many ears as possible. I truly believe that there’s something for everyone on this album.
I have friends who predominately listen to avante-garde, post-punk, and metal who’ve messaged me to say, “Hey man, Alamein Line is so catchy, I’ve played it four times today!”.
But it is always a struggle to get noticed, in a very saturated market. You’ve really got to be a relentless self-promoter, and always be churning out new and interesting content.
How do you decide when a song is finished and ready to be recorded?
Most of the time, it’s once I’ve mapped out the structure of the song in my head.
When an idea hits me, it’s usually the hook of the song. I can hear the song playing in my head like I’m listening to the radio.
So I’ll try and get as much of it down and then map out the structure of the song.
I might be missing a couple of lyrics, or even an entire verse sometimes, but I’m quite impatient.
Quite a few songs on the album were recorded this way. I wrote and or changed the lyrics during the tracking process.
When was the last time you thought, ‘I just wrote a hit!’?
Probably when I was back in high school, and naive enough to believe in that stuff.
But I’ve had plenty of moments when I’ve written something and got a huge buzz of excitement out of it. It still happens! If I start writing something and I’m not getting a huge buzz out of it, I’ll just shelve it. I only want to write instantly catchy songs at this point. Despite the fact they’ll never become a “hit” by modern standards, it’s a never-ending personal quest to keep writing better songs that have some kind of mass appeal.
If you could pick three singers to sing harmony vocals on your next record, who would you ask?
Cass Elliott, hands down, is probably my favorite singer of all time.
Neko Case, is probably my favorite harmony backing vocalist, certainly of the modern era – particularly her work with The New Pornographers.
Lindsay Buckingham (mid-late 70’s era). Always really admired his thin but powerful vocal timbre. It really cuts through a mix.
If you could tour the world with two other bands, who would you ask, and why?
McDermott & North. A rare gem of a duo from Queensland who have this unashamedly soft, indie Britpop sound.
They write really catchy, 60s-influenced songs and harmonize like no other band I’ve seen recently. Like very early Lennon & McCartney style 2 -part harmony chemistry.
They’re currently over in the UK, growing their fanbase and chasing the dream, and I reckon they could be the next big thing.
I’d also bring along my oldest and best mates, a band called Myths (from Perth, W.A). The most talented, humble, and hilarious bunch of musicians that I know. They’ve written brilliant songs for years and never received the credit they deserve (it’s hard in Perth!!). Every time we catch up (I live on the other side of the country), we just make each other laugh the whole time.
What’s up for the next couple of months?
I’ll be shooting another film clip at the end of September. I believe there’s another single from the album to be released, possibly in October or November.
Aside from that, maybe another live show or two here in Melbourne in the Spring. I really enjoyed the last one. I’ve got a fantastic band, and I love hanging out with them.
Then I’m off to Europe in December for a holiday. We’ll see what happens beyond that!
Odds, the Canadian pop band formed in 1987 in the vibrant musical scene of Vancouver, crafted a unique fusion of power-pop melodies and witty lyrics that garnered them a dedicated fanbase. Following a period of silence, their 2023 release, ‘Crash The Time Machine‘, emerged as a delightful surprise for fans, featuring thirteen tracks of undeniable class, cementing its position as a standout in the musical tapestry of the year.
SweetSweetMusicblog is honored to have a conversation with Craig Northey, delving into the creative process behind ‘Crash The Time Machine’.
Be sure to catch, ‘Crash the Time Machine,’ featured on the ‘The Best Power Pop of 2023‘ 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?
We’d been writing together in different pairings over the few years before the pandemic. There were many finished and partially finished songs just sitting there, so we made a list and got together for about three days to toss those songs around and record all the basic band tracks. That was right before the pandemic locked us all down. We were lucky to have sealed in the group dynamics. Overdubs and vocals were mostly sent in by each member over the internet after that, and we worked together by Zoom and email to finish off the album.
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
Bands usually always make records to please themselves. By that, I mean…if we all love it then it’s worth putting out. As the songs took shape, there was a lot of enthusiasm and encouragement from every member. Nobody was on the fence about anything this time. We all believed in these songs from the get-go.
The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?
We have been friends and collaborators with Steven Page for a very long time. We had all recently been in our studio with him working on his album, and it just seemed like it was no different than if we were working on our own album. The dynamic remained the same. He understands us in the way a fan of our music does as well as knowing what we are like as people and collaborators. We wondered what it would be like if we played the songs for Steven as they developed to see if his enthusiasm would bring a fresh perspective. We knew he would be respectful of our process. It was really a good idea.
Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?
The album was already successful in our minds as soon as we finished it. We know it’s a good record, and we’re happy to have these songs exist in a recorded form that we all like. That said…we’d love it to be heard by millions of people. Our past experiences have shaped the way we envision success. We put the personal satisfaction of creation first, and we have a realistic understanding of what will happen with the commercial distribution of the album and the audience we will reach.
Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?
I feel it’s possible, depending on the person listening, …that the best song we’ve ever written is on this record. I don’t know which one it is! The audience decides that. It’s subjective. In my opinion, it is the best album we’ve ever made, so…the chances are good. We all believe that if we didn’t feel we were doing our best work, we shouldn’t put it out there in the world.
As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?
It doesn’t come naturally to me. It’s always a struggle to open up. I’ve always tended to make the stories a bit of an open-ended mystery. Those around me may figure things out, but there is a lot of room for interpretation. My favorite painters are impressionists. On this album, I feel I took a big step toward emotional vulnerability and just saying it straight up.
Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?
I can’t make that choice til I’ve met the person. I look up to so many other writers. Let’s start with dinner, then I could get a better idea. I am a frequent collaborator with friends I trust, and I don’t have to stray too far. I can tell you there are three other writers in my band who bring out the best in what I bring to the table. Somehow after they are done with me, the songs sound more like what I would have imagined if I had more talent!
Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?
Now that there are probably thousands, I can only ever answer these questions with the first images that pop into my head. Odds opening for the Tragically Hip in Vancouver at the Pacific Coliseum (the place I saw so many amazing arena shows as a kid and watched my favorite hockey team) 1995. “King Tut’s Wah Wah Hut” in Glasgow with the Steven Page Trio 2016 — we barely had to sing any words. First show with Warren Zevon (as his band) in the Bearsville Theater Woodstock, NY 1991. It was just too mind-boggling that we were headed out on that journey with Warren. Our heads were crammed with new music, and we were so excited. If you asked me tomorrow, three completely different shows will appear in my head.
Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
Sometimes you’ve already recorded it before you realize it’s ready to record.
Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?
We have dealt with this by never thinking about it. We figure if we like the music we make, then there are a certain logical percentage of people who may also like it. If it would play on the radios that exist in our heads, then it’s worthy.
Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?
Lyrics are a package deal. I think all the lines together are the painting. I’m sure a critic might point out which brush strokes were key, but I never think about individual lines. It’s interesting when someone recites a line back to you. It feels different coming from them…that’s good.
Can you recall the last instance when you felt the immediate certainty of having penned a hit song?
I don’t claim to know what a hit song is, but I do actually remember when something like this happened. We had written, “Someone Who’s Cool” for the upcoming album “Nest”. We went to San Fransisco for a big open-air gig. KFOG’s “Sky Concert”. The song was just fresh that week, so we decided to add it to the set and see if we could get through it. The crowd went crazy for it, and the reaction was better than the song before it that the sponsoring station was currently featuring in heavy rotation. We all looked at each other and went, “what the hell just happened”. Historically it’s now our biggest song.
With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?
I can’t make you a mix-tape until we at least have dinner.
Performing music before an audience holds a unique allure. What aspects of this experience contribute to the excitement and enjoyment for you?
It’s the immediacy of the connection and the movement that you can’t get from recording. I’ve said that we do this for ourselves, but the payback is the connection the songs make with people. A few years ago, we did like a lot of bands and performed one of our old albums from front to back over a couple of nights. It was amazing to watch the audience listen to that album while we looked at them all in their smiling and singing faces. One never gets to watch the impact of a full album as a unified work. It was like a test screening of a movie, but after it had already made its connection to the audience.
While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?
No really. I think there is a dark sense of hope that I have noticed in the music. We tend to laugh a lot and try to honor the chaos and unpredictability of life. We’re just trying to honor the groove and stir things up a bit.
If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?
I’ve fallen in love with bands by hearing the music that critics deem to be their worst. I would never attempt this. I’d say ask a friend who likes us.
In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?
Surprise me!! Last fall, I got to tour with the Who in the Steven Page Trio. They were amazing to us. Complete synergy. Odds are open for anything!
Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?
My mom is a professional classical musician. She’s a brilliant player that started me on this path at the age of 4. Initially, I wanted to play the violin like her. By 6, I already knew rock n’ roll was my path. She got me to stick to both things for another 10 years, and then I veered off into a world my parents didn’t quite understand. The best compliment was having her help me one day with a Steven Page orchestral arrangement and feeling like a team.
With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?
The pinnacle of enjoyment is never reached. The songs are out there now, and that means we can enjoy them and re-invent them for years to come. We just got 13 more arrows to fire into hearts!
Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?
We’ll continue to play Odds shows as much as possible. I will continue to play shows with the Steven Page Trio. His new album “Excelsior” is fantastic. Steven Page, myself, Chris Murphy (Sloan), and Moe Berg (the Pursuit of Happiness) have a band called “the TransCanada Highwaymen”. It’s four frontmen for known Canadian bands playing as a rock’n roll combo and blasting out each other’s most loved Canadian radio bangers. In the spirit of that we recorded a Ktel-flavoured covers album of late 60’s and early 70’s Canadian radio hits. The first single is out now on “the services,” and the album will be released Oct 27th. We hope to play more shows going forward. I’ll start writing soon with Rob Baker (the Tragically Hip) for the 4th “Strippers Union” album. Check out “the Undertaking” by Strippers Union. It’s a double album we released during the pandemic.
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?
I had an idea for the album cover in my head, so I approached Cam Andrews, who is a Vancouver visual artist, to help put that vision together. We got Rob Baker (see Strippers Union above) to provide the illustrations of the key characters. We created the scene whereupon a gang of urban wildlife come across the site of the crash of a time machine. I suppose that’s a semi-literal manifestation of the title track.
In crafting his latest album, “Collamer Circle,” Justin Levinson joined creative forces with fellow Vermont-based songwriter Ben Patton. The outcome is a delightful compilation of songs characterized by relaxed, inviting arrangements, distinctly echoing influences like Brian Wilson and Elvis Costello. Given the impressive quality of this musical collaboration, it’s difficult to envision that the partnership between these two talented songwriters won’t evolve and flourish in the years ahead.
Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?
Well, a lot of this album really came together when I relocated back to Vermont from Los Angeles. I was busy being a dad of two little girls, but I knew I needed to remain creative in some capacity. I also felt I needed to shake things up a little and started to consider possibly searching for a co-writing partner. I knew of Ben Patton from my high school years in Vermont and had followed him on social media, admiring his work. I always thought that in a world that made sense, his catalog would be in the American Songbook. That’s how highly I view his songwriting. I reached out to him in an email about getting together to try things out, and we started to click. I had a lot of half-finished songs that were stuck largely because I was so busy at home. The pandemic broke out almost right after we started writing. We kept in each other’s bubble and just cranked out songs. It was great to have a friend and a collaborator. It was a pretty dark time, and I’m not sure I would have survived without him.
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
Yeah, when we wrote our first song called “Then and There,” which I really loved. It was mostly my melody and Ben’s words. I just loved how it came together with the storytelling and a very interesting baroque instrumental bridge.
The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?
I guess I always had a fantasy of having a co-writer, especially as a huge Beatles fan. I just hadn’t really found the right fit. Ben and I are kind of cut from a similar cloth musically, which worked. I also can find the songwriting process to be lonely, and it’s more fun when you can share it with someone. It also helps you take things to a different place and not write the same song over and over again.
Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?
Well, truthfully, I just turned 38, so I have a more realistic concept of success than I might have had at 21. My hopes are that the people who hear it dig it. I’ve considered getting into writing for other people and doing more co-writes. That is something I’d like to explore.
Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?
Whew, that’s a tough one. I’m not sure who I’d write with, but if I could have my next album produced by Jeff Lynne, I’d be over the moon. I think I’d have him pick the writers to collab with 🙂
Among the gigs you’ve performed, which one holds an indelible place in your memory, and why does it stand out?
Well, I played a sold-out solo show at the piano at Gramercy Theater in NYC years ago. I was so nervous. I could literally feel the breath of everyone in the audience on my face. I think that one stands out because I just survived. I’m more of a writer than a performer, honestly. I deal with a lot of stage anxiety, and that is another reason I have performed very little in the last 5 years or so.
Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?
Well, lately, I’ve completely let it go. I kinda knew when we tracked “Madeline For The Win” with a double instrumental bridge we weren’t writing for commercial appeal. I love big hooks and lush chords, which is something I can’t escape, but this style, “Power-pop,” to me is just unpopular pop music. It often is too cheesy for the indie rockers and too rocking for the cheese lovers, ha. But it’s what I do, so I can’t think about it too much.
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?
I think my latest record stuck with more ’60s-style production. I had been really immersed in Pet Sounds and Odessey and Oracle. This new album has a more upbeat Elvis Costello vibe. When I moved to Vermont, I bought a killer Farfisa Combo Organ on Craigslist. The purchase and writing with Ben sort of molded the sound.
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? For the last several years, I’ve been working with Marnika Weiss on all my album art. I love her work. You can check out all her stuff at http://www.marnikaweiss.com. She’s the bomb!
Lanny Durbin’s Local Drags showcased their brilliance with two outstanding Power Pop albums, ‘Shit’s Lookin’ Up’ and ‘Keep Me Glued.’ This time around, Lanny felt liberated from the constraints of a specific style, allowing him to surpass his own previous efforts. The resulting masterpiece, ‘Mess of Everything,’ embodies a musical landscape that could have easily been crafted by Wilco after ‘Summerteeth’ or Tom Petty following ‘Full Moon Fever.’ This album resonates with a hint of twang and an abundance of fresh, invigorating musicality.
Lanny Durbin recently shared with SweetSweetMusicblog the creative process behind this transformative musical journey.
Be sure to catch the opening track, ‘Feelin’ in Stereo,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.
Q: 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?
The main difference on this record is that I taught myself to play the drums for it. Getting one of my true drummer friends to do them would have made for overall better playing, of course, but it was sort of a challenge to myself. The songs this time around were a little slower too, so I was able to handle it.
I also wanted a broader sound, more layering. Last record, I wanted as few overdubs as possible. There’s still not a lot on this one, but I brought in friends to do instruments and parts I can’t do, like the pedal steel, the harmony vocals and the really good guitar solos. This record is different overall from prior work for that reason: I didn’t get caught up on if a part or a sound was “punk” at all. Came together pretty well I think!
Q: Within this collection, do you feel that the best song you’ve ever written finds its home?
I’m not one to give myself much credit, but “Call You a Baby” is probably the best thing I’ve written so far, in the sense that I tried something outside of my wheelhouse and it came together really well. “Good For Nothin’” is like that too. Actually surprises myself that it’s me playing those.
Q: As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?
Well, you can hide it behind the fact that you might be writing with a character or it’s a fictional song if you’re afraid of baring emotions. For me it’s usually just me, maybe try to keep it abstract enough to be relatable. I also might not know a song is meaningful to myself until later, if that makes sense. Usually just trying to write a cool tune and then a vibe shakes out from the words I picked. Basically, I’m saying I don’t know!
Q: Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
When there’s a hook and hopefully some good lyrics. That’s it for me really. You can tinker with something as long as you want, but generally for me the best songs are the ones that come together quickly. No science to it. Whenever it feels good.
Q: Can you recall the last instance when you felt the immediate certainty of having penned a hit song?
It being a “hit” is laughable considering the Spotify plays, but I was pretty sure I had a nice tune with “Feelin’ in Stereo” as soon as I recorded the first guitar demo on my phone.
Q: With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?
“Waterloo Sunset” by The Kinks. This is the greatest song ever recorded. I won’t argue it, it just is.
“Tear Stained Eye” by Son Volt. Second best song ever recorded. It puts me in a very particular time and place that I can’t express but I wouldn’t if I could, it’s just mine. One of those life changer songs.
“The Waiting” by Tom Petty. Could cycle a dozen of his songs here but this one just says everything right. Can’t beat it.
“Knocked Around” by Dinosaur Jr., a very calming song for me, even with the heavy tone switch in the middle.
“Indoor Fireworks” by Elvis Costello. He was the first legend I was obsessive over and this is the first quiet country tune that made me wonder if country could actually be cool.
Vocalist and bass player Timmy Lee and beat-maker Susan Bauer Lee unite as the musical force Bark, bringing a fusion of sound rooted in DIY American indie culture. Currently residing in Water Valley, MS, their genre-defying music draws from garage rock, power pop, and other diverse influences like heartland vibes and the British sonic invasion. Their latest creation, the aptly named album “Loud,” presents ten tracks with catchy tunes, alluring harmonies, and melodies that feel both fresh and strangely familiar from the start—music that easily captures the heart.
Albums often involve collaboration with various musicians and producers. Could you shed light on how these collaborations contributed to shaping the album’s identity?
Tim: In the case of this record, this was the first time we worked with Matt Patton and Bronson Tew at Dial Back Sound. We’d met both of them when they showed up at gigs we played near them, and they’d told us about their studio. They’d made an album for The Great Dying called Bloody Noses and Roses that we’re both big fans of, so I think that’s what led us in their direction.
I’m always interested in seeing what kind of results you can get working with different people, so it just seemed natural to me. When we showed up at the studio, Matt asked if we had any ideas about how we wanted to go about making the record, and we just told him they were in charge. We were there to see what they brought to the table, so it was a lot of fun sitting back and letting someone else steer the ship.
Basically, we recorded the songs live in the studio then Matt and Bronson (and Schaefer Llana, who was an assistant engineer and sang some) came up with most of the overdub ideas. I think Float was the first song we tracked, and once we added the electric sitar, I knew this wasn’t going to sound like the other Bark records.
When I’ve been in the “producer’s chair” for Bark records, I tend to think of overdubs in terms of low tones and darker sounds since we’re essentially a bass guitar and drums band. Matt definitely took things in the direction of higher tones and brighter sounds. To me, that was the biggest difference and part of what makes the results so cool.
Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
Tim: In the past, we usually just banged out the songs in rehearsal and went with whatever arrangement felt natural in the moment, but starting with our last record, Terminal Everything, we spent more time playing the songs for a longer period of time and trying different approaches to the arrangements or lyrics. More often than not, our songs tend to get played live a good bit before we go into the studio, so that really helps you figure out if it’s ready or not.
Could you share the journey of bringing this record to life?
Tim: Our previous record, Terminal Everything, was a very personal album that was written and recorded in the weeks and months after Susan and I both lost a parent (within 10 days of each other) and we lost several good friends, fellow artists, even pets. And in the aftermath of that record, I told somebody that I didn’t know if I’d ever have any more songs in me. I honestly felt completely tapped out.
But, in time, we both started coming up with a few songs here and there. Soon, we found ourselves getting excited about this batch of songs and having fun playing them. Then, the pandemic happened, and all our gigs got canceled.
Since we’re married and have a rehearsal space in our home, we were able to keep writing and playing new songs. Before we knew it, we had enough for an album.
The people we normally would have recorded with weren’t in a position to let people into their home/studio, so we ended up reaching out to Matt about Dial Back and figured out a way for us to come in and treat it like a pod situation.
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
Tim: For me, it’s actually been the time since the record has been released and seeing some pretty strong responses from people who’ve heard it. Since we kinda sat on it for a while before releasing it, I think I’d kinda started taking the record for granted. But seeing how folks are reacting to it has been pretty gratifying.
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?
Susan: I’ve been in charge of the graphics since the mid-‘90s, starting with a few Tim Lee solo records, through the Tim Lee 3, and to Bark. Honestly, until Terminal Everything (2019), the art had usually been about a cool image and rarely had any connection in an obvious or symbolic way to the songs. The cover for Terminal Everything was 100% connected to the songs in obvious and symbolic ways. The record label, Striped Light, was also a letterpress shop, and we wanted to hand-print the covers. I learned how to cut linoleum and was able to translate a very specific image in my head to paper, to linoleum, to press. With LOUD, I think the cover became more about the two of us, rather than having a connection to the songs… two words, two dogs (salt & pepper shakers), two transistor radios, and two buzzards. Between 2019 and 2022, we had dealt with a pandemic together, recording in an unfamiliar space together, and a giant move back home together.
New York City’s band, MOVIE MOVIE, was formed in early 2022 by Derek Davidson and includes ex-members of the bands Twin Guns, The Electric Mess, and The Above. The band features Andrea Sicco (lead vocals, guitars), Frank Caira (backup and harmony vocals, 2nd guitar live), Alan J. Camlet (drums and percussion, vocals), and Derek himself (bass, keyboards), who draws inspiration from the memorable melodies and catchy choruses of Tom Petty, Bruce Springsteen, and Mark Knopfler while crafting the songs for “Storyboards.” Personally, I detect the echoes of the English New Wave scene from the mid-80s in the music as well. This blend of influences has transformed “Storyboards” into a remarkably delectable and easily approachable album. I love it.
How did this record come together?
“MOVIE MOVIE” was originally intended to be a one-off project to record some of my own songs while waiting for my main band, The Electric Mess, to regroup coming out of the pandemic, though we never really did. I was eager to get back into the studio and do something on my own. Andrea, Alan, and I went into Alan’s studio, Hoboken Recorders, with Alan drumming and engineering, and we recorded the 5 basic tracks live that would eventually become our “Now Playing” EP. It came together easily, with the lead vocals and all the guitars done in that one weekend, most of it in one day. Frank and Alan added vocal overdubs, and Dave Amels (Reigning Sound) sent me some great keyboard parts, and it was done within a few months. We were thrilled with how the recordings turned out, how smoothly everything went, the band chemistry… and then the positive reaction to it. The whole experience exceeded all our expectations.
I was still quite inspired, mostly encouraged by how easy it all was. In the time before the EP even came out, I wrote and demoed another 9 new songs, hoping to capture the same magic. I already had the title “Storyboards” and even the track order set when I sent out the demos. Everyone was game to keep it going, and Andrea had a couple of tunes to add this time. We had one rehearsal and then recorded the basic tracks for 11 songs live in one day. These tracks would all make it onto “Storyboards” (Topsy-Turvy, LP/CD).
I kept one song off, “What the World Needs Now (Is Not Love),” and that was eventually added as a 6th bonus track on the 12″ vinyl version of the “Now Playing” EP (Ghost Highway Records/KOTJ). It helps that we all know each other very well, over 10 years, from our previous bands: The Electric Mess, Twin Guns, and The Above.
We’ve played on many bills together and hung out socially. We all get along great, and it’s nice to work with such talented musicians who bring so much to the table, not to mention always being prepared and professional.
As an artist, you choose to show your emotions to the world. Is it always comfortable to do so?
It’s very comfortable for me because I’m not the one singing the songs and being the front person. Most people don’t suspect the bass player wrote most of the songs; it’s generally assumed the lead singer or guitar player, or a combination of the two, are the ones who wrote them.
So, I don’t worry about showing my emotions; Andrea will probably get the credit. I haven’t pushed him too far with any lyrics he wasn’t comfortable singing yet, and thankfully he isn’t afraid to come off sensitively at times and show some emotion in his vocal delivery when needed. Frank and Alan also have expressive voices. Sometimes, upon hearing a playback, I might get a lump in my throat!
You can pick 3 co-writers to write new songs with. Who? … and Why?
I guess I would have happily run some ideas by Tom Petty, and maybe ask Springsteen for arrangement suggestions. And Mark Knopfler might be able to show me a few new chords. They were all in mind in some ways when I was writing for this band and musical approach, and the sound of their records was an inspiration in the studio, and even some of the arranging, specifically the addition of piano on some tracks.
There are other influences, of course, and we cover a wide range of styles, but really I just want to write solid, melodic, well-structured, and hopefully interesting rock and roll songs for this band.
How do you decide when a song is finished and ready to be recorded?
This is the first band I have been in, where I write the majority of the songs. In The Electric Mess, I was one of three songwriters and had only so many slots to fill on a record. MOVIE MOVIE came about at a time, during the pandemic, when I got rather proficient with Garageband. So, I always make detailed demos, with guitars, bass, drums, some keys, and the basic vocals I can manage to croak out as a guide. Most importantly, the structures are all there. So, when I introduce them to the band, they are already completely arranged songs that we follow closely, and there are very few questions when it comes time to rehearse them and record in the studio.
There’s no months of gigging, playing the same songs over and over live, nor endless weeks of rehearsals working out songs and parts. For me, that is the beauty of this band and what keeps the recording process fresh. Once the demos are done and the band has them, the song is ready, as far as I’m concerned. We recorded 16 songs—an EP and a full LP—even before we had our first live show.
A few weeks ago, we recorded the basic tracks for another 10 songs I wrote for our next album, again with only one rehearsal.
When was the last time you thought ‘I just wrote a hit!’?
There are some songs we recorded that I can imagine as “hits,” like “No Long Goodbyes,” blasting out of someone’s car stereo while driving by, or people lying on the beach listening to the radio, with the DJ saying, “that was MOVIE MOVIE with…” Kind of a cliché!
The one specific song I wrote that I thought, “That’s a hit!” was our holiday song, “Another Holiday.” From my original demo, I could picture it getting played every year around the various holidays. The official recorded version was even better than I could have hoped, but it still captured what I heard in my original demo. I know it’ll never be “White Christmas” for popularity, but I think it’s catchy. Whether it ends up becoming a seasonal holiday favorite, is yet to be seen. It’s one of Andrea’s favorites. We have a pretty fun video for it.
What compliment you once received will you never forget?
In 2014, I was delving into a drummer Jim Gordon rabbit hole, listening to his playing and also reading stuff about him on the internet. One piece on him that came up was by the great Andy Newmark, another drummer whose playing I always loved—Sly Stone, John Lennon, Roger Waters, Roxy Music, etc. So, I sent him an email regarding the article, and about some of his playing. The Electric Mess had just come out with our third album, “House on Fire,” so I included a link to the Bandcamp for the hell of it. He replied with a nice, long, friendly email, but didn’t mention my band. Minutes later, he sent another email:
“Just listened to some of your stuff on Bandcamp. Sounds great. High energy, for sure. Your bass playing sounds great. Smokin’ baby!!”
“Smokin’ baby!!” from Andy Newmark? I’ll take it. Even if he was just being supportive and encouraging, I do know he took the time to listen to some tracks based on new Bandcamp plays.
What’s up for the next couple of months?
We’re going to keep working on the 10 new recordings, with overdubs and mixing. We need to start learning a handful of songs from “Storyboards” to add to our current live set, which is already pretty long, in preparation for our upcoming tour in Spain in early November. Songs we haven’t played at all since we first recorded them back in July 2022.
In Spain, you’re expected to play for over an hour, and then they also usually won’t let you off stage easily without playing some encores. Alan and I toured Spain three times with The Electric Mess, Andrea also toured there with Twin Guns, and Frank has played shows in Europe with his previous band, The Golden Grass, so we all know what to expect, and it’s best to be prepared with more than enough material.
Spain tour dates: 3/11 Valladolid TBA 4/11 Ourense Rock Club 5/11 Ponferrada Cocodrilo Negro 6/11 TBA 7/11 Madrid Funhouse 8/11 Valencia Loco Club 9/11 Zaragoza Sala Zeta 10/11 Leon Babylon 11/11 TBA 12/11 TBA
As someone who has a deep appreciation for melodies that capture a sense of controlled turbulence, I’ve been fortunate over the past few months. An array of Power Pop albums have been released, carrying a sound that pays homage to the likes of Guided by Voices, The Replacements, and Bob Mould. “You, Me & The Make Three” belongs to this category, and Jerry Lardieri shares the unique journey behind the album and the band in this exclusive interview.
Comprising members from The Brixton Riot and The Anderson Council, The Make Three is a collective that brings together distinct musical forces.
How did this record come together?
Most of the initial songs for this record started coming together during the pandemic. When I was stuck at home for a year, I would spend every morning working out demos for songs before I started work for the day, with the goal of completing a set of songs to pitch to the other guys in The Brixton Riot for our next record. I got through about 40 songs, and after I pulled out the ones that would fit The Brixton Riot the best, I still had a ton to choose from. That was the initial spark that led to The Make Three. Pete and Chris were obvious choices because we had played together many times when The Brixton Riot and The Anderson Council would share bills. The three of us had also done several sessions as an unnamed trio, covering bands like The Replacements, The Cure, XTC, The Lemonheads, etc.
When it finally came time to make the record, we had a hard time getting our schedules to line up. As a result, Chris and I set up a makeshift recording studio at his beach house on the Jersey shore the week after Christmas. We recorded all of the songs for the record over two or three days at most. Once that was finished, I sent the tracks to Pete, and he added bass and vocal parts from his house, while I added guitars and vocals from mine.
None of this is an “ideal” way to make a record, but we were all committed to getting this done and making it work any way that we could. There were tons of plans that went by the wayside due to scheduling, money, and time constraints, but in the end, it turned out well. To be honest, I ended up being pleasantly surprised by how cohesive the whole thing sounded. I think that was directly the result of us knowing each other for so many years and having played together so many times before. Hopefully, next time we will be able to use a more orthodox recording approach.
What was the moment you knew you were on to something?
The first time I heard one of our completed songs recorded and mixed, I felt like we were on to something. Interestingly, that song did not make it to the record, but it will probably come out sometime in the future.
When did you decide to start asking for opinions on the new songs?
I started sending things to Pete in very basic forms – sometimes a GarageBand demo, but usually just a voice memo. He is one of the songwriters I respect the most, so I really value his input. Beyond that, we tried to keep things within the band. This was actually the first time where I specifically tried not to share songs with people outside of the band. It’s not that I don’t like their opinions – I actually really do enjoy getting input on songs before they are done – but I did not want to “spoil it” for my friends and for people who have always been supportive of the music I’ve been involved in. I really wanted them to experience the record on the day it came out instead of hearing the songs for the 50th time.
The meaning of success has changed over the years. What would success look like for the new record?
That’s a good question. I always try to live by the Steve Albini concept of art versus commerce, where you don’t attach business goals to artistic projects. At the end of the day, you’re still producing a product, and you want that product to perform well, no matter what form it takes – live shows, records, CDs, whatever. That said, at this point in my life, I think success is noted by being able to grow your audience with each subsequent record. There are different career goals that I have, places that I want to play, studios that I want to record at, people that I want to work with. Being able to check those items off my list would certainly feel like success. But really, anytime a new person messages me or approaches me or buys our record or shares one of our songs and identifies with something that we’ve made, that feels like success to me.
Is the best song you ever wrote on this one?
I sure hope not! I think everybody’s always looking to improve with each attempt, so hopefully that bar keeps getting raised with every record.
As an artist, you choose to show your emotions to the world. Is it always comfortable to do so?
It can definitely be difficult. There are a lot of songs on this record that deal with emotional or personal subjects, but they aren’t autobiographical. The last two years presented a lot of challenges to almost everyone I know, including my friends and family. People we love pass away, and relationships fracture, but our lives continue moving forward. I think this record touches on a lot of those concepts and trying to pick up those pieces and move on. I think it’s the first time I’ve written songs that people could connect with on such a personal level because they’re about things that may have happened in their own lives. They are not overly complex lyrically and they deal with things everyone can relate to.
You can pick 3 co-writers to write new songs with. Who? … and Why?
I would have to say first and foremost would be Elvis Costello. He’s just a master songwriter with no equal. Ted Leo is another songwriter I love. I remember when I first heard “The Tyranny of Distance” and “Hearts Of Oak” – those records completely blew my mind. Picking a third one is tough – I want to say Paul Westerberg, I want to say Bob Mould, I want to say Robert Pollard, but I am going to go with a dark horse – Tim Midyett of Silkworm. I came to Silkworm and Bottomless Pit records quite late, but they made me rethink everything I was playing and listening to. The strange thing is that even though Silkworm is a huge influence on my songwriting, I don’t think it’s very obvious in my songs. No one else has ever made that connection, but there’s something about those records that just hits me right. The best songwriters and records make me want to write songs and play shows. That’s what the Silkworm and Bottomless Pit records did when I first heard them.
What’s the gig you will always remember? And why?
The Make Three is still very new, so we’ve only played six or seven shows. I guess I’ll always remember the first show; that was at John and Peter‘s, and it was cool getting to play in such a famous room for our first gig. The gig I will always remember was The Brixton Riot opening for Dramarama on the Belmar boardwalk. Hundreds of people lined the beach to see Dramarama, and we were able to play to the kind of audience that they probably see every night. Such a great experience. And then we got to watch them play their hits right on the boardwalk. By the time they got to “Anything, Anything”, everybody was crowded around their equipment and singing together. One of the best nights of my life.
How do you decide when a song is finished and ready to be recorded?
I’m not sure there’s a single formula for that. There are songs that we have recorded and re-recorded and re-recorded again, changing them in both large and small ways. So obviously, in those cases, the songs were not ready to be recorded, but we didn’t realize until they were already done. Then there are songs – like “Local Scene” – where we never played it together until we were in the studio, and we were able to nail it in three takes. If you had asked me beforehand if that song was ready to be recorded, I would have said no, but there’s a reckless energy to the version on the record where it seems like it could fall apart at any moment. Sometimes that gets lost when the songs are recorded over and over again.
How do you balance experimentation with commercial appeal in your music?
I don’t think we’re all that experimental, but we like to throw in some quirks here and there. For example, on “Against The Tide”, there’s a section that appears after the first chorus that doesn’t appear anywhere else in the song. It’s basically in place of the chorus, so what would you call that? A second chorus? A bridge? Basically, it was a mistake that I made on the demo that I was recording and writing at the same time. When it came time to record the song, we kept it in there. It doesn’t make much sense, but somehow it works. I don’t really think about commercial appeal all that much when it comes to writing songs, which probably sounds kind of funny because the songs on this record are quite poppy. That’s another strange thing – if you had asked me six months ago if we were making a power pop record, I would’ve said no. But there’s no doubt that’s exactly what we did.
Lyrics are often taken for granted. What is the line of text or are the lines of text that you hope listeners will remember? And why?
Of all the components of writing songs, lyrics are the most difficult for me. I don’t think there are any turns of phrase on the record that have that clever Elvis Costello wordplay thing going on, but hopefully, there are no clunkers either. I know you’re referring to something listeners will remember for being great, but there’s the other side of that coin – you always hope there’s nothing so awful that sticks out to listeners every time the song plays.
When was the last time you thought ‘I just wrote a hit!’?
Well, I’m not sure I ever feel that way. When I think of hits, I think of the songs on the radio, and I don’t think traditional radio plays the kind of music that we play. There are definitely moments where I feel like something just clicks the right way. I know when I wrote “Emily Strange”, I immediately sent it to Pete – mostly because I thought I had ripped it off from him and couldn’t figure out which song I lifted it from. People seem to be gravitating towards that one, so I guess that’s as close as you can call one of our songs “a hit”.
Cassettes are back. Which five songs would make your first mixtape?
Bottomless Pit – “Repossession”
Momma – “Speeding ‘72”
Shrag – “Rabbit Kids”
The Anderson Council – “We’re Like The Sun”
Air Miami – “Dolphin Expressway”
Playing music in front of a crowd. What’s all the fun about?
There are good nights and bad nights, but when you’re lucky enough to have bandmates as talented as I do in both The Make Three and The Brixton Riot, and you also like them as people, it’s hard not to have a good time, even when there isn’t much of a crowd. There’s something very special about the connection between the band and the audience at a great show. It doesn’t always happen, but sometimes I like to look around and see who’s nodding their head or tapping their foot or just getting lost in the whole experience.
You can’t control the way people ‘hear’ your music. But if you could make them aware of certain aspects that you think set your songs apart, what would they be?
I try not to get in the way of how people hear our songs. If someone likes our music because it reminds them of something they like, that’s fine – I don’t have to agree with them, and I don’t have to necessarily like the artist they’re referencing. I’m just happy to have somebody enjoy anything I’ve done. I think as an artist, that’s all you can do – put things out in the world and let people decide for themselves what they mean to them.
Suppose you were to introduce your music to new listeners through three songs. Which songs would those be and why?
Sticking with just the new album, I’d probably go with “Black Cloud”, “Parts Unknown”, and “Sweet Carolina Blue”. I think those three songs distill three sides of what the band is about. “Black Cloud” is very obviously rooted in the Dinosaur Jr. sound. I’m such a huge fan of J Mascis and Dinosaur Jr., and I really wanted a few moments on the record with that big crazy guitar sound. One of my friends told me that the “chugga chugga” parts in “Black Cloud” remind him of Iron Maiden, which is pretty funny but also makes a lot of sense. For “Parts Unknown”, I was trying to go for more of a Chris Bell-style song, but I think it might’ve been lost in translation. That one ended up being a little more shoegaze-y and distorted, like something from “Bandwagonesque”. “Sweet Carolina Blue” is very much a Bob Mould/Sugar-style song. I found the original demo the other day when I didn’t have any words, and I named it “Mould Song”. Hopefully, these influences are more subtle to the listener than they are to me.
If you could tour the world with two other bands, who would you ask, and why?
The Brixton Riot and The Anderson Council. What could be more fun than touring the world with your buddies?
What compliment you once received will you never forget?
J Robbins once told us that we had “more hooks than a tacklebox.” Any compliment from J Robbins is one I won’t forget.
Those magical moments when you’re working in the studio. Which moment was the most magical?
Those moments definitely happen, but it’s almost comical how much of recording is just monotonous tasks: tons of takes, troubleshooting, winding and unwinding cables, adjusting knobs, etc. You are definitely shielded from a lot of these things when you get to work with an engineer, but lately, most of my recording experiences are DIY. For me, the most magical moment is when the record is done. I am a terrible finisher of projects. There were a lot of times where I didn’t think this thing was going to happen, and I’m just really glad that it did.
What place do you occupy in the music industry?
Auditory janitor.
If you could pick three singers to sing harmony vocals on your next record, who would you ask?
I’m blessed to have Peter Horvath in this band. He could sing the phonebook and make it sound great. I saw First Aid Kit perform live this summer, and the Söderberg harmonies are just gorgeous.
The record is done, the music is out. Is the best fun done now or is it just beginning?
That’s a really good question. It should really be the beginning, but I think the way that we all consume music has changed our personal relationships with records. When I was younger, I would buy a record, and that would be the only new record I’d have for at least a month, maybe more. You got to know them intimately and played them over and over again until they were memorized. Now I feel like there’s pressure to already move on to the next thing. But that’s also fun too, starting to talk about what comes next.
What’s up for the next couple of months?
We’ve got some shows coming up with more on the way, maybe a video, but we’ll see. I’d much rather work on music than a video. Both The Make Three and The Brixton Riot have ’90s covers on an upcoming Mint 400 Records compilation album, so I’m excited for that to come out. I’d love to do some live sessions for the record; I like watching things like the KEXP sessions on YouTube. There’s also a set of songs that we recorded when we made the record that haven’t been finished, so that might come out as an EP a little further down the line.
Sweet Sweet Music Blog 