Lanny Durbin’s Local Drags showcased their brilliance with two outstanding Power Pop albums, ‘Shit’s Lookin’ Up’ and ‘Keep Me Glued.’ This time around, Lanny felt liberated from the constraints of a specific style, allowing him to surpass his own previous efforts. The resulting masterpiece, ‘Mess of Everything,’ embodies a musical landscape that could have easily been crafted by Wilco after ‘Summerteeth’ or Tom Petty following ‘Full Moon Fever.’ This album resonates with a hint of twang and an abundance of fresh, invigorating musicality.
Lanny Durbin recently shared with SweetSweetMusicblog the creative process behind this transformative musical journey.
Be sure to catch the opening track, ‘Feelin’ in Stereo,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.
Be sure to grab the vinyl edition from Stardumb Records!
Q: How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?
The main difference on this record is that I taught myself to play the drums for it. Getting one of my true drummer friends to do them would have made for overall better playing, of course, but it was sort of a challenge to myself. The songs this time around were a little slower too, so I was able to handle it.
I also wanted a broader sound, more layering. Last record, I wanted as few overdubs as possible. There’s still not a lot on this one, but I brought in friends to do instruments and parts I can’t do, like the pedal steel, the harmony vocals and the really good guitar solos. This record is different overall from prior work for that reason: I didn’t get caught up on if a part or a sound was “punk” at all. Came together pretty well I think!
Q: Within this collection, do you feel that the best song you’ve ever written finds its home?
I’m not one to give myself much credit, but “Call You a Baby” is probably the best thing I’ve written so far, in the sense that I tried something outside of my wheelhouse and it came together really well. “Good For Nothin’” is like that too. Actually surprises myself that it’s me playing those.
Q: As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?
Well, you can hide it behind the fact that you might be writing with a character or it’s a fictional song if you’re afraid of baring emotions. For me it’s usually just me, maybe try to keep it abstract enough to be relatable. I also might not know a song is meaningful to myself until later, if that makes sense. Usually just trying to write a cool tune and then a vibe shakes out from the words I picked. Basically, I’m saying I don’t know!
Q: Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
When there’s a hook and hopefully some good lyrics. That’s it for me really. You can tinker with something as long as you want, but generally for me the best songs are the ones that come together quickly. No science to it. Whenever it feels good.
Q: Can you recall the last instance when you felt the immediate certainty of having penned a hit song?
It being a “hit” is laughable considering the Spotify plays, but I was pretty sure I had a nice tune with “Feelin’ in Stereo” as soon as I recorded the first guitar demo on my phone.
Q: With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?
“Waterloo Sunset” by The Kinks. This is the greatest song ever recorded. I won’t argue it, it just is.
“Tear Stained Eye” by Son Volt. Second best song ever recorded. It puts me in a very particular time and place that I can’t express but I wouldn’t if I could, it’s just mine. One of those life changer songs.
“The Waiting” by Tom Petty. Could cycle a dozen of his songs here but this one just says everything right. Can’t beat it.
“Knocked Around” by Dinosaur Jr., a very calming song for me, even with the heavy tone switch in the middle.
“Indoor Fireworks” by Elvis Costello. He was the first legend I was obsessive over and this is the first quiet country tune that made me wonder if country could actually be cool.
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