pop

Back in Flight: Scotland’s Aerial Returns with ‘Activities of Daily Living’

Posted on by patrickdonders

Scotland’s Aerial has finally unveiled their highly anticipated album after a decade-long hiatus. Following the success of their 2014 standout, ‘Why Don’t They Teach Heartbreak At School?’, which featured the stellar track ‘A Great Teenager’ ranking at number 38 on my ‘The Best 100 Power Pop Songs of this Century (2000-2020)‘ compilation, the band returns with ‘Activities of Daily Living’. Once again, they hit the mark, particularly resonating with fans of Teenage Fanclub and Fountains of Wayne, as Aerial continues to thrive in that musical sphere. This latest release offers a delightful array of cleverly crafted earworms, showcasing the band’s trademark wit and charm.

You can find ‘Bad Tattoo’ showcased on the Best Power Pop of 2024 Spotify Playlist.

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

We started writing the album (Activities of Daily Living) about 3 years ago. Covid afforded us time and boredom. If I remember rightly, Mackie (Mackintosh – the other songwriter in the band) set himself a challenge to write a song a week and deliver a finished demo to me every Monday. I think he told me in order to keep himself honest. I decided to do the same thing and then began a pretty frenetic period of writing and exchanging demos, a bit of one-upmanship and an eventual body of songs that was the basis for the album. In the end we took 14 of them into the studio once lockdown was lifted and over a number of sessions, worked with producers Duncan Cameron and Dave McClean at Riverside Studios in Glasgow to record it.

We have worked with Duncan before (on our debut Back Within Reach). He has produced some of my favourite bands – Teenage Fanclub, BMX Bandits, Trashcan Sinatras – and so we trusted him to bring out the best in the songs. We mixed the album with him too and are really happy with the end result. It’s probably our best sounding record.

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

For me personally, I think when I stumbled on the concept of writing a song about wasting time playing video games (Pixelated Youth) – that was one of those moments. It was one of the quickest songs to write for this album. I think I wrote the lyrics in one long, late night session. The theme afforded lots of nostalgic references – power ups on Super Mario, collecting coins on Sonic, game cartridges, dot matrix printers etc. It became a homage to Shigero Miyamoto, the Nintendo programmer who wrote most of those games. I added lots of Game Boy chiptune effects in the final song and I think that fits really well.

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

Well, I only really seek the views of the rest of the band. We have been doing this long enough and I think have a quiet confidence in what each of us does. And we have strong enough relationships that if something isn’t good enough, it will be called out. For the last album (Why Don’t They Teach Heartbreak At School?) we had a ton of songs to choose from – like about 50 or so. Much of the work there was paring it down and choosing what would form the album. This one was different; we wrote for the album. Each of us has a good enough filter such that if a song makes it to the demo stage, it will probably be a contender. We didn’t throw much away.

In fact, we had so much time and recording tools to hand, that the demos are really well produced. That can be problematic as you can then spend too much time in the studio ‘chasing the demo’. In the end we did use some of those original demos as overdubs.

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 am really proud of our previous albums. I think the collection of songs on there really stand up. This is our first one in a few years so I think at the start, success is probably making sure you are not eroding the good work you have done before.

Once you get past that, the concept of success changes. For us, I think success was probably down to two things – getting the songs themselves recorded well and to our satisfaction. And then getting the right label deal. We were quite focused on this one in getting it out on vinyl. And we did that. It is out on Flake Sounds in Japan and we have a limited release of 300 on coloured vinyl – exactly what we were after. The less outcome-focused bit of success for me is getting to spend time as a band in the studio and going on the ride of concept to release. Spending time with your bandmates as you do this is probably the best bit.

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

Oh there are lots of gigs that stand out. For me, when we played T in the Park many years ago – that was really special. It’s the main music festival in Scotland – or it was at the time as it’s moved on and rebranded now – but it’s the one I grew up going to with my friends. To go there as a band and experience backstage, the other bands, the most generous rider we’d ever had – it was great. A real highlight.

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 still think Why Don’t They Teach Heartbreak At School? is a great song and album title. I can say that because Mackie came up with it, not me. It made promotion for that record very, very easy. Most reviewers had their own reflection on the phrase and were hooked. I think we got a lot of listens as a result.

Arguably, it meant that coming up with the title for this album was trickier, but we all gravitated to Activities of Daily Living pretty early on and I think it works well. It fits in with what we were doing when we wrote it. Like everyone, we were stuck in a cycle of eat, sleep, work, repeat over covid – our activities of daily living. That’s ultimately what the album is about.

Aerial’s new album ‘Activities of Daily Living’ is out now on Flake Sounds.

Released on Eco-Mix Coloured Vinyl. Limited to 300 signed & numbered copies.

Available at: https://aerial.bandcamp.com/album/activities-of-daily-living

Exploring The Black Watch’s Unique Sound: Inspired by The Beatles and Lutheran Hymns

Posted on by patrickdonders

In addition to The Beatles, John Andrew Fredrick indicates that he is inspired by Lutheran hymns. That may explain The Black Watch’s unique sound: jangle pop, which is a bit dark, sometimes eccentric, but never ordinary. “The Morning Papers Have Given Us the Vapours,” which is brand new, is beautiful and intriguing and sounds contemporary. However, the latter does not appear to have been a deliberate goal in itself. We hear more about this in an exclusive interview with Frederick himself.

Are you consciously adjusting your sound to keep your music modern, or is that not a concern for you?

We rarely, if ever, think in terms of “how will this go down with indie fans.” Not that that is an arrogant or oblivious approach: it’s just that I try to please myself first, thinking “I have impeccable taste; so if it makes me jolly and feel moved somehow, then it MUST be good.” Who knows, though? We never ever chase the current sound, as it were. I think that madness lies that way.

“What’s All This Then” is such a fresh and youthful song. Could you tell me what inspired it?

“What’s All This Then” is a sort of send-up of love songs in general and my own in specific. How many times have we uber-romantics said “I’ve never felt like this about ANYONE!” Knowing full well we’re fooling ourselves. Full fools fooling the fools that are US! Haha.

“There and Here” has a Dark Wave/Post Punk vibe. But when I describe it that way, I wonder if it’s just a typical journalistic observation. What are your thoughts on this?

I forgive writers and punters for categorizing music; if that makes things more palatable, there you go. Notwithstanding that, I am really pleased with the guitar sounds the engineer, Kevin Dippold, got on that one. I do not think of us as a “big guitar sound” sort of band; but we LOVE a lot of those—The Chameleons UK, early U2, The Strokes, et alia.

You make creating music sound effortless in a good way. Do the melodies still come naturally to you?

Well, the melodies I often attribute to two influences: the Beatles and Lutheran hymns. I went to church religiously till I was nineteen. Pun! Haha. I admire really twisty melodies like what Mark Hollis did with the immortal Talk Talk, so perhaps a bit of twistedness twists into my stuff. I like catchy stuff—with a twist. (Sorry: couldn’t resist!).

When I listen to your records, I always feel like I’m part of a journey, rather than being shown an endpoint. Quite poetically worded, don’t you think?

A journey or TRIP (term I prefer) really is among the highest compliments that could be paid one. Heroic Roger Waters opined that “in the finished article, the only thing that matter is if the song MOVES you,” so I reckon you could say that that’s an INTERNAL journey!

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.

Kate Clover – The Apocalypse Dream

Posted on by patrickdonders

Kate Clover’s highly anticipated album, “The Apocalypse Dream,” is slated for release on April 5th, 2024. With the hauntingly beautiful and powerful single “Damage Control” already making waves, this record promises to captivate listeners.

Kate Clover shared how she discovered her artistic voice while crafting her second album, enabling her to create music that resonates deeply with her vision, free from the constraints of external opinions.

You can discover ‘Damage Control’ featured on the Best Power Pop of 2024 Spotify Playlist.

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

The moment I stopped caring what other people thought and was myself. I had to find myself a bit while starting this project. I didn’t know yet ,so I through myself out into the world to see what I was made of. I found my voice.

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 write for myself, I feel that’s how you have to work if you’re making honest art. You can’t chose what people like about you or what resonates. It just happens. I like to eliminate that control and let people I trust or who’s taste I regard tell me what they like. By that point, it’s good to hear the feedback. Success, outwardly in the music business is a popularity contest decided by other people. So why not start from the beginning. Before anything is out.

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 like this question because people project their own expectations onto artists a lot. Success to me, is waking up and loving what you do. Being able to play music and create songs that resonate with others. I’m not doing this to be graded, make money (although a nice perk) or fulfill my ego. It’s something that feels natural and I want to be able to share it with others. Truly, connecting to other people is success to me.

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?

You’d think that would be the case but I’ve found that it’s the easiest way to bare your soul. You can say how you are feeling in anyway you’d like. A poetic phrase could have a deeper meaning to you that no one else would understand. Of course feeling vulnerable can be uncomfortable but you got to stand behind it if it’s honest. I trust that. You have to at a certain point because if your self conscious you’re not being an artist. Art is communicating what’s unspoken. So if you feel it, say it. Express it. That’s the point to me. If you’re being honest you shouldn’t be afraid.

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?

Ric Ocasek, he was a master at writing pop songs. I loved the arrangements of his work as well. Minimal yet melodic. Too bad he has passed, it would’ve been great to hear more music from him.

Pete Shelly, again what a songwriter. He could write hooks in the most angular of chord progressions.

Ray Davies, he can write any type of song masterfully.

4th one, Joe Strummer. Oh man, for so many reasons hahaha.

SOFTJAW – Pleased With Me

Posted on by patrickdonders

“Pleased With Me” stands as the irresistibly catchy debut single by SOFTJAW, hailing from Long Beach, California. Serving as a vibrant ode to the golden era of Power Pop, the track channels the spirit of influential bands like The Nerves and Cheap Trick.

In a musical landscape where acts such as Young Guv, The Whiffs, and The Prize pay homage to these iconic predecessors, SOFTJAW joins the ranks, affirming that the genre is indeed very much alive and thriving.

Sweet Sweet Music blog graciously provides a platform for the band to introduce themselves.

You can discover ‘Pleased With Me’ 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?

Dustin: Once Tanner and I got together for this project, the songs started taking shape right away. A few weeks later, we recruited Vinny and Dan, played a few shows, and hit the studio. It happened really quickly.

Tanner: I met Dustin at the local bar, and he dead ass came up to me and said he wanted to start a power pop band, and he wanted me in it because I rock so goddamn hard, and something along the lines of “you’re too badass to not be in a band with me,” and I was all, “you’re right”… Just kidding, I was wearing a Big Star shirt, and he asked if I liked The Nerves. I said, “that’s like a top-five favorite of all time.” Everything just got easier when Vin and Dan hopped on; it felt like they really made it a heavy-hitting group, and I’m so stoked to rock with these fellas.

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

Dustin: The fact that we sounded pretty good right off the bat was it for me.

Tanner: It was probably when Dustin and I started singing together the first time we practiced; it’s not easy to find other rockers who wanna sing their ass off and harmonize like we do, and it was pretty instant that I knew this was gonna be fun.

Vinny: I knew when I heard the demos the songs were great, but hearing how good they sound live is pretty wild. I’m mostly talking about the harmonies. It’s always pretty amazing. The guys are pop freaks.

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

Tanner: To quote White Reaper, “if it makes the girls dance, the boys will dance with ’em.”

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

Tanner: To be quite honest, all I want to do is rock and roll; whatever lets me do that more is a success to me.

Dustin: Same; I just want to play rock and roll music.

Vinny: A million bucks (each) in Spotify streaming royalties and performing at the halftime show for Super Bowl XXXXXVII.

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

Dustin: We don’t really put a ton of thought into it. Once we’ve played the song at a show, it’s alive and ready to be printed.

Vinny: I always try to err on having a song be too short rather than too long. Someone can always repeat a song that’s too short, but if they skip a song halfway through, then you probably overstayed your welcome.

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

Dustin:

  • The Nerves – “When You Find Out”
  • Teenage Fanclub – “Sparky’s Dream”
  • The Lemon Twigs – “My Golden Years”
  • Brower – “Where Is The Magic?”
  • The Gants – “I Wonder”

Vinny:

  • Pavement – “Gold Soundz”
  • Pavement – “Harness Your Hopes”
  • Pavement – “Frontwards”
  • Pavement – “Kentucky Cocktail”
  • Pavement – “In the Mouth a Desert”

Tanner:

  • “On Top of the World” – Cheap Trick
  • “Starry Eyes” – The Records
  • “Thorns and Roses” – Exploding Hearts
  • “No Substitute” – The Shivers
  • “Somewhere to Fall” – The Uni Boys

These are absolute smash hits that get everyone jumping and moving.

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

Dustin: Slade and XTC would be killer. The Who is up there as well for me.

Vinny: I dunno, I’d love to watch DEVO every night for 4-5 weeks, but I could see them being assholes to the opening band. Tenacious D seemed to have a pretty good vibe when I saw them soundcheck. Maybe them and Guns N’ Roses for intentional and unintentional comedic relief.

Tanner: I’m on a giant Cheap Trick kick, in particular the Heaven Tonight record, so probably them but during that era. I would love to tour with Vacation from Cincinnati; I saw them play when I was on my first U.S. tour, and they are the nicest and most rowdy boys; their songs rip face. Touring Japan with the Uni Boys would be sick too and should totally happen.

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

Dustin: At our last show, someone compared us to MC5, which is insane.

Vinny: “Good set.”

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

Tanner: SOFTJAW is gonna be the band you can’t get out of your head, big, phat, and catchy! No fooling around with this rock and roll shit; we are taking over the planet, baby, all in the name of rock.

Envision recruiting three singers to provide harmony vocals on your next record. Who would you invite, and what qualities do they possess that resonate with you?

Dustin: John, Paul, and George. I learned all of John’s vocal parts as a kid. That’s how I learned how to harmonize.

Vinny: Man, honestly, Dustin, Tanner, and Dan are all insanely good at harmonies. Why go out for burgers when you’ve got steak at home?

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

Dustin: Bunch of new songs and recordings. Lots of shows planned.

Vinny: SOFTJAW mini-tour/album, becoming so famous.

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

Tanner: The way I see it, I’m the young gun in the band; everyone has some insane chops, and I have the most respect for the boys, so I always feel like I gotta push to keep up with these dudes. Working with Dustin and writing these tracks has definitely put a fire under my butt. Dustin comes to me with a demo that sounds like a masterpiece, and I send him shitty voice memo demos; the skill and ease that he puts out tracks makes for a healthy competitive energy; I’m always trying to write the next catchy riff or jolly chorus, and that drive keeps me moving. Ala Paul and John or Buzz and Woody.

Dustin: We balance each other out with our songwriting styles for sure. When Tanner picks up a guitar and starts singing, it’s instantly rock and roll, and he writes killer jams. Kid’s got the magic.

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?

Tanner: My girlfriend and I designed the single covers; she is a wizard with editing, and I love her very much, and I’m just soaking up ideas from what’s around or what I rock with.

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.

Nick Frater presents The Rebutles 1967​-​1970 (Q&A)

Posted on by patrickdonders

Nick Frater shared with Sweet Sweet Music blog, “I’m going through quite a productive songwriting period at the moment, and melodies seem to arrive thick and fast.” This creative burst has culminated in the creation of two exquisite albums, adding an extra sparkle to the musical landscape of 2024. November saw the release of ‘Bivouac,’ landing it in the Top 10 of The 50 Best Power Pop Albums of 2023. Now, right after Christmas, ‘Nick Frater presents The Rebutles 1967​-​1970‘ pays homage to The Rutles, often considered the ‘ultimate’ Beatles tribute. It’s quite a journey, isn’t it? Below, Frater delves into the mechanics and origins behind this musical endeavor.

A surprise release so late in the year. What’s the story?

“The Rebutles / 1967-1970” has been a little side project I’ve been working on this year, as a follow-up to my last ‘secret’ album, “Nick Frater presents The Rebutles: Ron, Dirk, Stig and Barry the Solo Years, Vol 1,” which I included as a CD in the first 200 Earworms LPs.

I thought releasing it on an unsuspecting world on Boxing Day was the perfect poetic nod to Magical Mystery Tour, which was first shown on Boxing Day 1967. What I’ve learned through doing this is that Boxing Day isn’t really a thing in the USA! I received several messages from friends and fans in the States asking what the hell I was talking about, in the various hints and clues I was putting out in the run-up.

I’ve read a lot of positive reactions. Do you have an explanation for this so soon after the release?

I’ve been quite taken aback by how well “The Rebutles /1967-1970” has been received! I guess people still love, as I do, the idea behind The Rutles. As a HUGE Beatles fan and Rutles fan, creating the songs for my original tribute (is that a thing?) was a lot of fun to do, and I hope that translates into a fun listen. For years, I’ve been wanting to try something very, very ’60s psychedelia, and this was the perfect excuse. Getting great feedback from some of my favorite bands has been wonderful.

I’m so curious about how the concept came about and how far you think you can go if you want to continue it?

As with most great ideas, The Rebutles started off as a joke with friends in the pub—the idea of what The Rutles would have done in their solo careers. The idea stuck with me, and I started writing the first album. It turned out that my musical friends were VERY into the idea and helped to turn it into a reality. Having started at the end of the story of The Rutles/Rebutles, the only place to go was backward and do a prequel. Although things start to get a bit meta; like that bit in Back to the Future where the characters on different timelines mustn’t ever meet! Never let conceptual sense get in the way of a good song.

Did you consciously start writing songs in this specific style for this project or does something like this arise organically?

I’m going through quite a productive songwriting period at the moment, and melodies seem to arrive thick and fast. So writing The Rebutles came more from ideas for song titles. “Loose Tea In Disguise” came early on, and the song pretty much wrote itself. That said, I think there are still some moments that pull the heartstrings in just the right way, like “Come Get Your Tea.” I think it has a nice bittersweet feel; it’s a favorite for me.

You wrote to me a while back, jokingly or not, that the best record of 2023 had yet to be released. You knew you had something good on your hands, didn’t you?

From the enthusiasm of the musicians who helped me record the songs, I had an idea that The Rebutles might be an enjoyable listen. It was always going to be an odd move to release two concept albums a month apart, and right at the end of the year, but hopefully, between Bivouac and The Rebutles, listeners have found something to enjoy. There are lots of things in the pipeline for 2024, including a new ‘normal’ album. It’s well underway and called “Oh Contraire!” (you read it here first!), so it might get released in time for the best of 2024 lists.