indie

Behind Vital Signs: The Journey of a Restless Songwriter

Posted on by patrickdonders

Now that More Kicks is a thing of the past, James Sullivan, with Vital Signs, has delivered an exceptional record. It’s sophisticated, melodic, narrative-driven, and utterly intriguing! Here is a restless writer at the top of the songwriting game.

You can discover ‘Day Late Dollar Short’ featured on the Best Power Pop of 2024 Spotify Playlist.

James, your record is truly beautiful and diverse. Did refining your sound after More Kicks disbanded come naturally?

Thanks! I actually finished this record before More Kicks ended. We’d finished the second record, Punch Drunk, and everything was at the pressing plant with Dirtnap and Stardumb. So we were sort of planning some touring around that release, but it was all 9-12 months in the future. I’d been writing so much for the two years leading up to that point and I didn’t want to stop. I also knew my lease was running out on the little studio space I rent, so I had about three months before I would have to move out of that.

So it was kind of a no-brainer to just keep on writing and recording. Honestly, I was a little worried about my state of mind without new music actively happening and I was quite burned out from writing so much for More Kicks, so making a new record on my own was an easy decision to make. I didn’t necessarily think it would be another album because there is always a chance that it turns out completely shit. Especially without the tasteful filter of Paolo and Kris (bass and drums from More Kicks) being applied to the songs. But as long as I was writing and recording something new, I knew I would feel okay.

Then I finished the ten songs and Punch Drunk was almost ready, so it was time to go and tour that thing. Vital Signs was done and even mastered, but it was just sitting on my computer. Six months later, I realized I didn’t want to do More Kicks anymore and I even had a completed record ready to go, so I finally got my arse in gear to get it released. I sent it to Stefan at Stardumb to see if he’d be interested – god bless him, he was – sorted out the artwork. Then that all takes a little while again, and here we are.

So the sound was just an amalgamation of physical limitations and the freedom of it not needing to be played by three people on a stage. There are so many limitations when making the record like that on my own. I record everything on an 8-track tape machine so I only have eight tracks to play with. Plus my own limited recording capabilities, I can’t play the drums and I suck at piano so that comes into play as well. Tiny cupboard-sized ‘studio’, loads of noise coming from everywhere in the building. In my head, I was going to make a huge orchestral piece, but that is simply not possible in those surroundings haha.

In terms of refining that sound, I just wanted it to have more space than my previous records. Less frenetic, more textures, a broader feel. I often wish I could embrace jam band aesthetics but that is essentially impossible if you’re playing things on your own and it’s all on tape so you can’t edit anything after recording. Plus, I’m quite a brutal editor of my own stuff, so what starts off in my head as ‘this will be a really long and tedious drone instrumental with almost no melody’ ends up becoming quite a concise pop song.

Your lyrics are captivating. Is writing them a smooth process for you?

Ah well thank you! I would say quite smooth, yes. I usually make a little demo of the song while I’m writing and the lyrics come last. I have nonsense placeholders in there while writing and then figure out what they should actually be once the music is at least mostly structured and worked out.

So I’m usually quite tired by the time it comes to writing the words. I like to write them very quickly and usually about 90% of those tired lyrics are there in the final version – just some tweaks here and there for better phrasing etc. Sometimes I think that might be why I often seem quite sad in the words – I’m just a bit tired by that point.

I usually write the chorus first and work backward to fill in the verses. That seems to help with the flow of setting the scene and the theme, and then getting a good payoff with the chorus. So the second verse can often be difficult because I’ve got a narrative that ‘ends’ with a chorus, but I have to continue the story for the second verse somehow. But yeah, I would say once the chorus words are in place, the rest of the words seem to come quite quickly.

I’m intrigued by ‘Guilty as Charged’. Can you share how that song came to be?

I had already started recording and while I was listening back to what I’d done, it all felt quite unambitious and nice. Exactly this idea of expanding the horizon is where I was going with Guilty As Charged, and also the song which precedes it, ‘Dronify’.

I was missing live drums on what I’d recorded. My friend Marco had played drums on Day Late Dollar Short and they sounded really nice. So I looped a few bars of him playing that song and just droned a bass riff over the top for four minutes. At this point, I realized I should essentially abandon structure and just go with the drone – so spoken word would be a good idea. I used that a bit on my first record ‘Light Years’ on the song ‘Lea Bridge’ so I liked the idea of returning to that.

I was reading ‘Nickel Boys’ by Colson Whitehead and he described someone as looking like they were ‘upholstered into their suit’. All disheveled and creased. I loved that. So I thought a character piece about whoever that person is would make for a great vignette. I wrote those words so fucking quickly, I’m not sure where it came from. The whole courtroom scene, the grotesque spectacle of a man getting sucked into thin air from within this horrible green linen suit. It really felt so freeing to write like that. A complete stream of consciousness that was absolutely not related to me or my life at all.

Many times I almost deleted that from the record because it felt thematically separate from everything else. If anyone had said to me ‘Erm, I’m not too sure about Guilty As Charged’, I would have definitely just thought, fuck it, and dropped it. But luckily, nobody heard the record except me until it was all finished. I’m glad it’s there.

Creating Vital Signs as a solo project must have been quite different from working with a band. What was that experience like?

Quick, instinctive, a little worrying because there is really no objective voice in the room at all. There is every chance that everything I’m recording is truly awful and I can’t tell because I’m far too close to the whole thing.

So it feels higher risk in one sense, but also lower risk in the sense that I have zero expectations for anything. Nobody is waiting for a James Sullivan solo record. I’m not even waiting for a James Sullivan solo record. I could quite easily finish a set of songs and then just do nothing with them and carry on with my life – as I almost did with these. But then, the ego in me can’t quite resist sharing them with the world in case other people also get a kick out of them.

Your new sound really showcases your vocal talents. Was this something you consciously aimed for?

Not at all, but I really appreciate that. With the self-recorded, straight to tape thing, I have to sing everything from start to finish in one take because I don’t have long enough arms to punch in the recording from where the microphone is in the room in relation to where the tape machine is. So it’s all in one take, or do the whole thing again. Which is mostly how I do it anyway – but this time it’s the only way I can physically do it.

I can definitely sing in tune; I don’t usually have problems with that. So having that one-take restriction probably adds a certain edge or sense of jeopardy to things. It definitely makes it feel more alive and, yep, more real.

What kind of compliment about Vital Signs would make you especially happy?

Christ, that’s quite difficult. I’m one of those dickheads who claims to not care about reviews but then when I get a nice one, I feel really good about it.

I think if people realize that I’m consciously trying new things, that I’m not scared of alienating listeners, that I am really really keen to not repeat myself, that makes me happy. I will scrap entire songs if they feel slightly too similar to something I’ve written before when it would be much easier to just tweak it slightly and record it. In fact, probably that would be an easier thing for listeners to get their heads around. I could have written More Kicks songs forever but I would have known I was cheating myself.

So I think if somebody told me I was a restless writer, that would make me very happy.

The Cynz – Little Miss Lost

Posted on by patrickdonders

Cyndi Dawson and Henry Seiz, fronting The Cynz, collaborate with Jem Records to unveil their latest album, “Little Miss Lost,” produced by Kurt Reil, hitting shelves on March 29th. This release emerges as a potent and deeply personal narrative, chronicling Dawson’s journey to maturity through her poignant lyrics and Seiz’s infectious melodies.

In an interview with Sweet Sweet Music blog, Cyndi Dawson delves into the genesis of “Little Miss Lost.”

You can discover ‘Crow-Haired Boys’ featured 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?

Like all our albums, it was a journey of exploring where Henry and I were at in time as individuals and as writing partners. We don’t have a game plan- we allow things to come together organically. As a long-time friend, he is aware of where I want to go and explore, and as a musician, I also follow his own exploration and weave my words accordingly.

Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?

For myself, once I wrote ‘When We Were in Love,’ I knew we were going to have something special with where our new record would go. The music evolved from an acoustic demo into a song that had a more rocking longing that fit our style.

The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?

They don’t. I don’t create music for others. I write because I feel a sense of urgency to do so. Henry and I write songs we would like to listen to. Of course, we want others to like them too, but it isn’t our motivation. Art is a compulsion. We create art because we have to. Success can take on different meanings as time goes on.

When envisioning success for this new record, what does that picture look like now?

We are successful now. Because we created work we respect ourselves. That’s fulfilling. In terms of financial success? If you expect that in music, you will be immensely disappointed. I see a value artists should get financially but until we respect ourselves and demand that from clubs and music sources we aren’t going to get that.

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?

The best song we have ever written will never be written. If we have written it already, what motivation would we have to continue on?!

That elusive best song is always one song away.

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?

I think that when you have experienced severe trauma in childhood, you either deconstruct as an adult or you find an outlet that helps heal you. I chose the arts in many forms- as a poet, a dancer, a model for artists and photographers, and as a front woman. It was no longer okay to stay silent. And I’ve learned that I don’t have to always focus on my own story. I can create characters that are me but can combine elements of others I’ve observed.

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 honestly only want to write with Henry. Of course, I am asked to write with others time to time, but I always go back to thinking, if I’m going to write a great song then I want it for The Cynz.

Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?

90% stand out. N/A lol

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

I write parts of my life and parts of others. Sometimes I just write a sassy song. People will take what they need from my words. This is also why I don’t include lyrics. How many times have you thought a line in a song was one thing only to find out it was something very different? I think that can change the song’s significance to you and what you needed and got from it.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

‘Crow Haired Boys.’

If I am singing it in the shower, then I know others will!

With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?

1- Patti Smith Gloria

2-MC5-Kick Out the Jams

3-The Struts-Pretty Viscous

4-(The Greg Provost version) Chesterfield Kings- Up And Down

5-Rolling Stones- Stray Cat Blues

Performing music before an audience holds a unique allure. What aspects of this experience contribute to the excitement and enjoyment for you?

The energy exchange between the audience and us. When they are bouncing and singing along it’s magic.

If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?

We have five albums out now. I would find that very difficult to do- pick just three songs. Every album was a particular time and vibe our collective minds were in.

In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?

Toughest question ever. There are so many! Currently, we vibe completely with Slamdinista. I think a tour with them and Palmyra Delran and/or Cocktail Slippets would have the right energy balance. But see? I could name ten others.

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

Women especially come up to me and tell me they feel I’ve spoken to them with my words. They say they wish they had my strength but my strength is on stage. Not everyone gets that space or platform.

Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?

Hah- the next secret project that Jem is putting out- I was completely into the moment recording it. But I cannot say at this time what the track is. With my own songs, I would say one that stands out is Little Miss Lost.

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

I’m not sure what music industry there is currently- particularly for an original rock and roll band. Europe is way ahead of us in that regard. But like anyone pursuing a career doing what they love, I just want the songs to get out. I want these babies to leave the proverbial nest and start making friends with others.

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?

I’ll be honest, speaking for myself. I am very uncomfortable in the ‘after’ phase. The recording process is full-on commitment to the idea that you are exposing your guts and soul. I know I do. If the record should flop it’s not that I’m worried about approval- it’s that I failed at communicating well. What if no one gets it? I’m giving you all my heart. Do you want that? I’m giving everything I have. Do I deserve to be in this position? My insecurities can often cripple me that way. But there’s a strong part of me that realizes I did the best record I could … WE could. Put it out there and let it live its own life.

Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

We are traveling a lot this year so the next couple of months are shows and travel. Shorter road trips are very much my favorite way of touring. I really love my home life and garden and don’t like being away too long.

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 don’t have intentional shifts in style, but I did want to continue the exploration of my past from age 17-present. I used my own experience (with artistic license) to come to terms with who I am today as opposed to Little Miss Lost from the past. But that also meant revisiting love and heartbreak not only I experienced but what I caused others as well.

Albums often involve collaboration with various musicians and producers. Could you shed light on how these collaborations contributed to shaping the album’s identity?

This album had a few producers and outside contributors, but ultimately the majority of the work was done at House of Vibes with Kurt Reil from The Gripweeds. I very much have a say in how songs end up, as does Henry, but for this album, I was open to let go of some of my control I have in the past.

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 cover art was created by the artist Rene Moncada and his wife Joann. It is a photograph of myself at 17 modeling a string dress sculpture on Wooster St. in Soho, in front of his loft and gallery. They create most of our covers and my poetry book covers. I was his model at 17, and I always have him involved in creative and artistic parts of our finished products.

The back cover is a current photograph of me by the terrific photographer Sherry Rubel.

It’s past to present. The inside are photographs by Sherry and Johan Vipper.

All of it represents the sonic experience of the album and its themes.

Top 25 Power Pop Hits of 2024: Unveiling the Best Songs Yet!

Posted on by patrickdonders

In 2024, Power Pop enthusiasts are in for a treat! Immerse yourself in the ever-expanding collection of now just over 100 top-notch tracks on The Best Power Pop of 2024 playlist.

Keep your ears tuned to and follow this Spotify playlist as we consistently add fresh soon-to-be classics every week.

From the plethora of amazing tunes, we’ve distilled the cream of the crop—the top 25 tracks of the year so far are now, at least for this week, reigning supreme at the top of the playlist.

Their position is likely to be challenged as we speak, so stay tuned for updates!

01 The Reflectors – All the Way Down

02 Rob Carroll – just about had it!!!

03 The Jellybricks – All About You

04 Wifey – Mary Ann Leaves The Band

05 Softjaw – Pleased With Me

06 Brent Seavers – Of Poetry

07 The Follies – Square Peg Round Hole

08 The Lemon Twigs – My Golden Years

09 The Prize – One Day at a Time

10 Spencer Segelov & Great Paintings – Don’t You Know?

11 Wesley Fuller – The Velvet Affair

12 Paul Collins – I’ m The Only One For You

13 The Real Numbers – Lucy’s in Love

14 Eyelids – Bound to Let You Down

15 Sorry Darling – Sorry Darling

16 Luke of Ulysses – Car Trouble

17 The Maureens – Stand Up!

18 Hoorsees – Artschool

19 Extra Arms – I Don’t Wanna Surrender

20 Steve Rosenbaum – Blurs Somewhere

21 Liquid Mike – K2

22 Lava Fangs – Where Did She Go

23 Ward White – Continuity

24 Kate Clover – Damage Control

25 The Second Summer – Something

Rob Carroll – just about had it!!!

Posted on by patrickdonders

Rob Carroll has recently produced an incredible tune that truly resonates with me, evoking strong echoes of “That Thing You Do!” It exudes the same vibrant energy and freshness. Both tracks are undeniably catchy, embedding themselves in your mind for days on end. Prepare to be enchanted and unable to shake it off – you’ll simply adore it.

You can discover ‘just about had it!!!’ featured 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?

So this song “just about had it!!!” is the first release from my new EP. I have been sitting on 50-100 songs I’ve written over the last few years and finally decided to start putting as many as possible out into the world. I wrote these songs myself, as well as played all of the instruments and recorded and mixed everything. It is a very satisfying process to do all the work myself, but it is time consuming and hard to remain objective.

The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?

As much as I love pop music and hope to reach as many people as possible with my music, I rarely write with external perspectives in mind. I take into consideration things that might make a song more streamlined (length, chords, density, etc) but rarely write from a place where others are guiding the decisions. That being said, I definitely rely on friends and peers for feedback and take their critiques to heart. I may not always agree, or even follow their advice, but I always listen to it. Wearing all of these hats can make you lose objectivity. Even if I feel their idea is not right for the current song, there have been many instances where I’ve implemented their advice and ideas into new songs I write.

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’m a professional musician full-time. I already make a living from music and in many ways have found certain forms of success. For that reason, the meaning of success for my original music comes in the form of its completion. Having a finished product that I am proud of is what I look forward to most when creating. If streams and followers are gained along the way that’s amazing, but reaching the finish line each time (in a better, more efficient way) is what I strive for.

Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?

The ready-to-record stage is actually the easy part for me. When I write I typically try to get “the bones” of a song out first. This means at least a verse and chorus with a melody. If I can get a bridge by this stage as well, that’s awesome. The music tends to be easier and quicker for me, so I will often hunker down and force out some form of lyrics at this point as well. Lyrics have gotten easier over time, but I need to have them in place. If I don’t, the song will sit in my voice memos and often be forgotten. Having lyrics, melody and form for a song complete will ensure that I know that song is ready and find the time to record it. Once I start recording, that’s typically where the infinity of decisions can bog me down. I tend to move fast, but if I’m not careful the arrangement stage can really slow me down.

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

It’s funny because, as a listener, I really don’t care about lyrics. They can’t be egregiously bad, but most of the time I’m not listening to them. As a writer however, I do tend to obsess over my words, meter, rhymes, etc. I want to be proud of what I’m writing, but I also want listeners to be moved as well. It would be nice if listeners enjoyed my lyrics, or thought they were well written, but what is more important to me is that they can relate to the ideas and emotions. If they can make a connection to my music through the words then I’ve done my job.

Performing music before an audience holds a unique allure. What aspects of this experience contribute to the excitement and enjoyment for you?

Being a performer for a living, I get many chances to connect with audiences and thrive off of this feeling every week. It’s even more amazing when you are playing for an audience of people that are interested specifically in you and your music. So often music is relegated to a background role at bars, restaurants and parties. When you get the chance to lock in with a crowd and perform your own music… there is really nothing quite like that.

While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?

I love awesome harmony, pop music and good songwriting. If people associate those things with my music I’d be incredibly happy.

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?

As I mentioned before, it is definitely the culmination of a lot of hard work. To be able to look back on a finished release is a great feeling. It’s also the start of two different phases. One is trying to build a connection between your audience and this new batch of music. The other is building momentum and energy to start this whole process again from the ground up. Every time you go to record it feels like the first time. Sure, you’ve learned so many things and have gotten better and faster but staring at the blank project session I always seem to think, “can i do this again? Do I still have the ability?” It’s always intimidating but there’s no better feeling than pushing through that and creating more music.

Jordan Jones talks about his new album “And I, You.”

Posted on by patrickdonders

Unlike some artists who prefer to maintain a consistent sound throughout their careers, Jordan Jones is not bound by such constraints. His recent release, “And I, You,” on Lolipop Records, deviates significantly from its self-titled predecessor.

This captivating newcomer presents a richly orchestrated pop sound, drawing clear influences from the meticulous songwriting styles of Brian Wilson and Burt Bacharach. However, Jones transforms these influences into a contemporary sound, creating a modern album that can be readily likened to the acclaimed works of artists such as Michael Rault or Jonathan Rado.

You can discover ‘Love Song of J’ featured on the Best Power Pop of 2024 Spotify Playlist.

The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?

The only competitive bone in my body comes out when writing music. Mike Collins (Drugdealer) and I basically lived together through the pandemic and while he was writing his new record, I was writing mine so we would go back and forth sometimes until 6 or 7 A.M. discussing ideas and notes and chords and changes to make each other’s songs come together. When he would bring me his latest idea, it was usually (and obviously) really fucking good so I couldn’t wait to leave the room or pull his iPhone speaker away from my ear and run to my piano to write something as good if not better. His opinions were and still are important to me. Nobody else’s though.

Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?

People playing the record at any type of social gathering. If somebody can listen to “Promise You Forever” and realize that they aren’t alone and that things pass. When the label needs to press a lot more copies. These things are a success to me at the moment.

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?

“Love Song of J” is probably the best song that I’ve written up to this point. This record creates a nice atmosphere for it so yeah I guess you can call it a home. Maybe an apartment.

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?

I’ve never even noticed it. I don’t use my vulnerability in creating music. I usually save that for times when my music can be useful once it’s completed. I’ve always felt extremely comfortable making and performing music. The comfort I’m on a journey for is accepting praise. That I will never handle naturally.

Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?

When you just can’t see out the windshield of it any longer. You can keep going but it’s too dangerous and ultimately detrimental and you’ll just need to start backtracking to clean it up because you’ve over complicated things.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

The first time I heard the playback of the “Love Song of J” demo (which back then was just called “F Song”) I knew I had done something really special, at least special to me. Then I showed that demo to some very important people to me and the response was overwhelming. They validated my feelings, I needed that. At that point I really wasn’t concerned if the public latched onto it or made it a “hit” because I was already satisfied.

In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?

My dream is to tour with Spiritualized. It would just work.

Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?

One of the musicians I hired for my record release show last weekend just complimented me on how professional I was as a band leader. That was really striking and pleasing.

Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?

First are all the moments I would hum or play individual notes on the piano for the string part I had envisioned to Emily (cellist) and Laena (violin & viola) and they perform it and watch it work perfectly. As someone who doesn’t read or write music, that direct communication from your brain’s idea coming to life and with such immediacy, made me physically numb. Second was watching Molly Lewis (whistle) perform while recording “Love or Lose”.

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

Scoring film and producing records is something I would really like to do.

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?

I really hope I never I never reach any type of pinnacle in music.

Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?

Finding management or some sort of representation. Booking really special shows. I’m also going into the studio to start on the 3rd record later this month.

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?

Having my good friend Andrew Peters shoot the album photos was crucial. I believe his talent will be a really important part of drawing people in with that beautiful cover photo. Christopher Deloach’s gorgeous portrait painting for the “Listen” digital single art was a complete success too. I believe when you hear “And I, You” and see all this sensitive and slightly mysterious art, you’ll further understand the mood of the record. I’m really lucky to have these artists in my life.

USED – Sensationalize (Q&A)

Posted on by patrickdonders

The German guitar pop band USED, comprising the twin talents Marco and Dario, delivers ‘Sensationalize,’ a rich double CD boasting 18 tracks that traverse both electric and acoustic realms, each resonating with its own greatness. While echoes of Fountains of Wayne, Teenage Fanclub, and the finest of The Lemonheads may occasionally surface, they’re unnecessary; the moment the music begins, its world-class quality speaks volumes. To me, ‘Sensationalize’ stands as the coveted gem of 2023. Embark on a treasure hunt and discover its brilliance!

Marco and Dario explain.

Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?

During the pandemic, we were busy working on new songs in the studio.

Our first plan was to record new singles, but in our creative process, more and more songs appeared, and we finally felt the urge to release a new album.

In the process of recording, we nearly lost our files because of technical issues. So it felt really good in the end when we finally finished the album with a big relief and a smile on our faces.

Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?

One of our early gigs was with an amazing audience at a club in Germany, and we jumped into the crowd.

It was the first and only time we did stage diving.

Another great moment was at a small venue when a woman started crying and was really touched by one of our songs.

Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?

Writing a song can be really quick sometimes but can also take ages.

If we play the song live and feel comfortable with it, it’s usually ready to be recorded.

With every studio visit, we try not to repeat ourselves too much musically, but if it feels right, it is right.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

We never record something just because it’s commercial.

We like good melodies and hooks but also music that is a bit more sophisticated.

Our aim is always to create songs that have artistic and commercial tendencies.

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

Some of our songs have words that mean a bit more to us than other songs. For instance, the opening track “I don’t care” of our new record:

“Nervous looks, but I’ve got to keep moving.”

“Everybody keeps a secret deep inside.”

We don’t like telling people what to believe in when they listen to our lyrics. In other words, not telling people what’s right or wrong.

It really makes us happy if there is a line or a whole song that someone likes and can relate to.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

We were hanging out with a friend in his flat, guitars in our hands.

Finally, we came up with a guitar lick, and a few minutes later, we had the la la melody.

We immediately looked at each other and said, “This is a good one.”

It ended up as the song “Eleven Days.”

Another time we felt it was when we wrote the chorus of “Even the Stars Die.”

“Baby, you’re so disco” and “Let me see you shine, another glass of wine” felt brilliant.