Juan Pablo Mazzola, also known as Baby Scream, crafted a collection of exquisitely melodic, nearly acoustic tracks that are both cutting and delicate, creating an intimate listening experience. These songs drew inspiration from musical and lyrical influences such as Alex Chilton, Chris Bell, John Lennon, and Radiohead. Initially penned for his personal expression, the Spanish record label Exile Records was profoundly captivated when they had the privilege of hearing them. Their immediate desire to release “Castell de Pop” was fueled by this fervent enthusiasm, which is not hard to comprehend. The album possesses that rare quality which envelops you entirely—a musical journey capable of consuming your attention. It’s the type of album you might find yourself playing consecutively eight times on a Sunday morning, only to then retreat back to the comfort of your bed. Once these melodies have been absorbed, the day simply refuses to unfold in any other way.

How did this record come together?

I usually write and record songs just for the hell of it.

What happened in this case was that I wanted to make an album and keep it to myself, so basically that’s what I did.

This was not going to be released until the guys from the label approached me.

What was the moment you knew you were on to something?

I believe when the people from Exile SH Magazine asked me if I wanted them to release the album, it was kinda surreal.

I’m not saying that I consider this album a big thing or something, but definitely, it touched some people, to the point where they felt like putting it out.

When did you decide to start asking for opinions on the new songs?

I treasure everybody’s opinions, especially from those who care about this Power Pop thing, so I’m always contacting them.

As a matter of fact, that’s how the people from the label found out about this unreleased album because I sent it to Juanjo Mestre.

The meaning of success has changed over the years. What would success look like for the new record?

In my world, if the people from the label get to sell every copy, that’s a huge success.

I have a very humble career. I’m playing solo gigs most of the time. It’s like fighting windmills.

Is the best song you ever wrote on this one?

I don’t think so, no.

That’s always the latest one, lol.

As an artist, you choose to show your emotions to the world. Is it always comfortable to do so?

At this point, I guess it is. I was never good at writing about fictitious stuff.

I write surreal poems and stories, and even when I’m doing that, I use some of my personal information.

You can pick 3 co-writers to write new songs with. Who? … and Why?

Paul Westerberg – Because he’s like the best one ever.

John Lennon – Because he was raw.

Desmond Child – Because I’d like to become a millionaire, haha.

What’s the gig you will always remember? And why?

When I played a gig in Bodo, Norway.

It was a solo gig, at a football match, in between terms.

6000 drunk guys and 24/7 sun, bizarre to say the least.

How do you decide when a song is finished and ready to be recorded?

I guess when I don’t want to add anything else, but on the other hand, I believe every single song is unfinished.

How do you balance experimentation with commercial appeal in your music?

Well…the commercial appeal thing is probably hard to find in my stuff.

Production-wise it’s okay, but it gets nasty when it comes to getting the name out there and promoting the songs.

Also, we have to consider the fact that my kind of music is no longer suitable for commercial use, or at least that’s my take on it.

Not that I wouldn’t like it to be used in a commercial or something, I’d love that!

I just don’t know how to get there.

Lyrics are too often taken for granted. What is the line of text or are the lines of text that you hope listeners will remember? And why?

There’s a song called “Spirits,” it’s about dying and still feeling everything, like 100% consciousness.

There’s a line that goes “I got nothing to worry about, I’m floating around, if I never get lost, I’ll never be found…around me, around the stars.”

I often write about existentialism.

When was the last time you thought ‘I just wrote a hit!’?

A couple of weeks ago, ha.

I’m working on some new songs with a killer keyboardist. He’s also from my country, Argentina.

His name is Ezequiel Gruber, and he produced a few of the new songs.

There’s this new song that I wrote called “H” that I just love.

Cassettes are back. Which 5 songs would make your first mixtape?

“Come Pick Me Up” – Ryan Adams

“Something Moved” – Frehley’s Comet

“Guitar Man” – Bread

“Bus Stop” – The Hollies

“Here We Go Again” – John Lennon

Playing music in front of a crowd. What’s all the fun about?

You get the attention!

It’s all about being liked. Back in the day before social media, there was this thing about people trying to accomplish stuff.

While on stage you get to be listened to (or at least that’s the idea) and liked for what you really are.

You can’t control the way people ‘hear’ your music. But if you could make them aware of certain aspects, you think, set your songs apart. What would they be?

To be honest with you, I believe my songs are made for the broken people.

I wish I could say something different, but I’d recommend my music for those who struggle with the big “?”, if you know what I mean.

Way too many mysteries; it’s almost impossible not to question everything.

Suppose you were to introduce your music to new listeners through three songs. Which songs would those be and why?

1. “Mars” (Monsters ep) – I’m always playing this one live. I wrote this for my dad when he was very sick.
2. “Jokes” (Life’s a Trap) – This one’s about missing the people you love. Sometimes you miss somebody and it gets hard to call them because life gets in the way, you know? We live in this madness where we can’t stop and say the things we’d like to.
3. “Power Pop Crush” (Baby Scream) – This is basically a love song, but it sounds just like I thought it would. I produced this one with Muddy Stardust (Chris Robinson Brotherhood) in L.A. I wish I could put together a band like the one we used for that album.

If you could tour the world with two other bands, who would you ask, and why?

The Jayhawks and The Replacements, because I’m a huge fan of those bands and the whole Minneapolis Scene.

That would be like Heaven.

What compliment you once received will you never forget?

A woman in New Zealand got “Baby Scream” tattooed on her arm.

She sent me the picture, and I was like, WTF.

She said that she had been listening to my “Ups and Downs” album, and basically, that touched her to the point where she felt like getting the name tattooed.

That was huge to me.

Those magical moments when you’re working in the studio. Which moment was the most magical?

Definitely back when I was younger, like in my early 20s, there was this vibe, almost like magic that you can’t describe.

I made some good friends; there was this studio in Buenos Aires. I used to go all the time.

Also, it was awesome when Eric Dover (Jellyfish, Alice Cooper) came to Muddy’s Studio in L.A. and recorded backing vocals and some guitar, that was insane.

What place do you occupy in the music industry?

I’m another brick in the wall, perhaps irrelevant when it comes to notoriety, but if it weren’t for guys like me, there would be no Spotify or Recording Studios, lol.

If you could pick three singers to sing harmony vocals on your next record, who would you ask?

Gary Louris, Art Garfunkel, and Muchas Hormigas (my wife).

The record is done, the music is out. Is the best fun done now or is it just beginning?

I’m on a flight, caught in a storm, right in the middle of the trip.

It was sunny when the plane took off, and it will be sunny in the end.

What’s up for the next couple of months?

We’ll finish the new album with Ezequiel Gruber, and hopefully, we’ll play a few gigs here and there.