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.

Diners operate as the musical guise through which Blue Broderick shares her creations. Mo Troper takes on the role of producer for her latest album, “DOMINO.” The outcome is an album adorned with idiosyncratic, razor-sharp, occasionally comfortably disconcerting, and subtly irresistible Power Pop melodies.

Intrigued by the narrative woven into DOMINO? Look no further, as Blue delves into the story that underpins the album.

How did this record come together?

DOMINO was recorded in August 2022, but its first spark came a year prior, when Mo Troper offered to record and produce a loud and heavy Diners album. Mo’s been a friend for years, but I had always been a fan of his work. I was glad to take him up on the offer! 

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

I’d say, everything felt right as soon as we started rehearsing, but I think the real breakthrough happened on the first day of recording, once we started laying down guitar tracks on top of the drums. That’s when I got a sense of what we were actually doing with this record. I was nervous initially, but quickly the pendulum swung the other way fast and I was bursting with excitement about the new direction.

What’s the best song you ever wrote?

Hmm, keeping in mind that best and favorite are different things, I think my best song might be “Think On This Feeling” off my album Leisure World. It’s one of the few songs of mine that’s story-oriented. Story-type songs are so cool to me and I’m always so impressed when people do them. Aside from that, I think “The Power” would be a runner-up.

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

I had this feeling about a month ago with a new song I wrote! Thank goodness, I love that feeling so much. Really try not to take it for granted. I felt this way about multiple DOMINO songs too. Definitely the title track. 

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

I think performing is a wonderful way for musicians to share the joy and magic of music as well as see the fruits of their labor in a meaningful way. Such an interesting exchange of energy. 

What compliment you once received will you never forget?

Not sure if it’s a compliment, but once, when I was very broke, I was busking on the side of the street and someone gave me $100 and told me, “This is your reminder to do something nice for someone, even if they don’t deserve it.”

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

This record had too many magic moments to count, but I’ll say that anytime Brenden Ramirez touched the guitar, it turned to gold. Also, when I found out the studio’s vending machine carried my favorite energy drink, “Rockstar Recovery: Orange,” I completely freaked out. I’d consider that drink highly unpopular, and I don’t see it too often in stores. The stars aligned for sure.

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

Just beginning, of course!

What’s up for the next couple of months?

Touring mostly! I have dates lined up around the US. I’m also playing bass in the Mo Troper band in the UK in September. Also, I’m planning on demoing out all my new songs so we can get going on the next album!

Sound As Ever, the Australian Indie label dedicated to the ’90s music scene, has just unveiled Greenhouse’s latest offering, ‘Centre of the Universe.’ This album is more than just music; it’s a journey filled with complexities and emotions that have culminated in a stunning collection of alternative pop/rock tracks.

In this exclusive interview, Michael Ormond Robinson, Greenhouse’s frontman, generously shares the story behind the album’s creation. With honesty and openness, he delves into the genesis of this beautiful record, offering insights into the creative process that resulted in powerful, striking, exciting, and intensely melodic songs.

Join us as Michael provides a glimpse into the past, present, and future of Greenhouse, making this interview a must-read for music enthusiasts eager to explore the intricate tapestry of ‘Centre of the Universe.’

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

This was a very long and fraught process. We were courted by major labels in the early nineties, just before the industry had its seismic shift post the release of Nevermind. We’d had some singles that were indie hits in Australia but never managed to get to an album before we evaporated into the ether. We always regretted that but had not been roused into doing anything about it until drummer Glen became gravely ill.

The regret had been especially strong in him, and when he expressed it to us, we were able to share our own and decided to get down to action. We were under the impression that Glen’s illness would be a slow progression, but four weeks after gathering to record demos for the album, Glen was gone. So sudden and shocking. We felt compelled to continue with the project as a kind of tribute. Then we were hit with the first of the series of the Famous Extreme Victorian lockdowns that lasted here through COVID-19. I recorded and produced slowly, one song at a time, at my off-grid studio in the Wombat Forest in the Central Highlands of Victoria. I was learning techniques and gaining experience and expertise in complete isolation.

Drums were recorded remotely from the USA and played by Nik Hughes, currently of Bush, bass from Melbourne, and all the lead guitar parts were recorded on short stop-offs at the studio while Johnny, the guitarist, was completing regional wine deliveries. (This allowed him to…sort of…be acting within the letter of the law.) This all took place over eighteen months, quite a while.

I sent my monitor mixes to Barny Barnicott in Kent, UK (also locked down in his studio), and he agreed to mix the album at Blue Bell Hill. It was mastered in London at Streaky Studios, and Sound As Ever decided they’d like to release the album back home in Australia.

We all learned a great deal about patience and persistence over the two-and-a-half-year process. We had a lot of goodwill that we were able to call on and a lot of luck. The lockdowns were a killer, but they enabled us to work with Nik and Barny…..

And now it’s out there in the world. I hope Glen likes it.

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 don’t think there’s any point in making music as a one-way process. If you make music and release it just to say, “hey, look how good I am,” you’ve missed the point. It’s the conversation that creates the meaning; without it, it’s just masturbation. Empty, meaningless. Music demands opinion because it’s an active thing; a back-and-forth communication where minds and bodies share, accept, or reject what’s being transmitted or received. It’s definitely the audience that decides what’s worthy or not.

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?

There is a very different type of exhilaration when a record is released. It’s a highly anxious moment heightened by the unknown. There is an absolute excitement in having finished the creative process of writing, recording, production, and the art of putting the music and the physical album together. For that moment when your creation is first in your hand and concrete and tangible, it’s a tremendous high; but it’s a fleeting high because then you have to hand it over. It doesn’t belong to you anymore, and doesn’t matter a damn what you think of it or how proud of it you are. You throw it into the abyss of public opinion and hope to get a reaction that somehow echoes your own feelings about the work. I think the process of creating and releasing pop music is either a search for an intellectual or visceral connection with the community or an expression of separateness from it. Both attempt to make statements about the world we live in and what it all means through communication…So essentially, you must launch it to find out who you are and where you fit.

So I reckon you’re right about it being a pinnacle….but for me, it’s heaps more complicated. Lol. I find the most enjoyment in the process of creation or performance, but there is definitely a thrill in knowing that your work is now out there in the world. I’m such an anxious wreck that I don’t get to enjoy it as an exciting phase; I experience it less as a sort of release and more as a what’s-next moment….probably so I don’t stress about the response to the album. It’s the way I cope, I guess….I’m sure there are better ways.

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

We are so looking forward to heading out live with a bunch of shows to launch the album. We are hitting capital cities and our hometowns. We are lucky enough to be supporting Happy Mondays on their Australian tour, so we are going to be in some big venues in parts of the country that we’ve never played before. We can’t wait!

Then right after that, we are off to the UK for shows in England and Scotland. We have a show with Inspiral Carpets while we are there and a Friday night spot at the massive 3-day Indie festival, Shiiine On. We have some vague plans for an Australian and New Zealand tour in the New Year that we are really hoping come to fruition. We haven’t stopped writing either, so recording again is a definite!

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?

I’m really glad you asked about the visuals. They are really important to me. Always have been. I think there’s a degree of synesthesia that goes on with album art. If you get it right, you can almost hear the music in the artwork. It can really inform a punter on a level beyond the purely visual. Album art is a bonus in a sense that it allows another medium for the message.

I was a big fan of the 4AD label from England. Their album art was extraordinarily evocative. It sang. It resonated all on its own. I’m always drawn to that kind of synergy. I wanted to do my best to achieve something approximating their achievement. It is a similarly useless pursuit to just have a cool picture. It’s meaningless, a wasted opportunity to convey meaning, to say something beyond the literal, to touch people in a more profound way. I think you have to try.

I don’t know if I succeeded in creating a visual style that speaks of the music or conveys the essence of it…or not. I think I married how our music makes me feel with a visual representation of that feeling. I hope it communicates that marriage.

‘Produced by Stiff’s Dave Robinson and with guests Earl Slick and Terry Edwards, the Carlisle quintet’s second album rocks Dexys-level dynamism: Motown dancers, E Street shuffles, baritone ‘bom boms’, stirring brass and ballads laced with romance and humour’., writes MOJO Magazine.

Absolutely, Fly The Flag is truly an exceptional album, and I share the same sentiment. It exudes a lively and danceable vibe. In fact, it’s the kind of album that gets me grooving and celebrating.

As the band readies itself for the upcoming tour in the Czech Republic during October and November, I have a conversation with Jonny Foster.

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

This is a good question – the best songs spark excitement and interrupt everything we’re doing. This is a sign to record the song. Musically, however, a song is never really ready to commit to tape. You don’t want to be in a position where you are entirely comfortable with it. The aim is always to have a general roadmap so that when you are in the studio, there’s an atmosphere that allows the magic to happen, to take a detour down the backroads. Something you didn’t expect. Nothing’s worse than somebody in the studio knowing exactly how it should go. That’s too scientific, too mathematical. We want to create music, and there’s never the right time to create. You work with what you’ve got.

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

We focus on neither. Good music is pretty universal, and as music fanatics, we can settle on any genre the song lends itself to. That’s an organic route. Music becomes unbelievable when the band doesn’t believe in it. So we are happy focusing on our own path and trusting our passions. This is the earnest answer, and I’m afraid our upcoming single might have something different to say. It’s called “Hits a Go Go!”

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?

I’d like people to hear the music—the rhythm, the melody, the harmony. Each of us playing against one another, singing straightforward songs about our wants and needs. That’s what we’re here to do, right?

What place do you occupy in the music industry?

There is no music industry. We live in a world of stats where music is the marketing aid to increase streaming figures. When was the last time you heard the ‘industry’/the labels talking about music? They’re all too busy taking holidays and promising the world.

Is this only the beginning, or is the best fun had now the record is done…

Only the beginning – this record marks us all as songwriters, and that’s an exciting prospect. We’ve got a busy run of gigs coming up and look forward to the music taking on new life along the way, inspiring new songs and stories. Anyone who tells you they’ve ‘found their sound’ is a liar. This record is us, fast-paced and laced with a determination to write and always become. We don’t want to land now. As I say, it’s only the beginning.

Out of the blue, The Summertimes emerged with their self-titled debut album, brimming with vibrant, infectious, and lively Power Pop tunes. The entire Power Pop community came together to sing its praises, and rightfully so. While debates about the essence of Power Pop persist, there’s no room for such discussions when it comes to this remarkable Australian gem. This album is destined to find favor among countless enthusiasts and connoisseurs.

In an interview with the SweetSweetMusic blog, David Challenger shares the intriguing origin story of the band.

How did this record come together?

A friend called Paul Hannigan had just launched his new record label (Rank and File Records) and was looking for his first act. He asked me, and after thinking about it, I decided that if it was a 50/50 partnership with David Beniuk, an old friend and former bandmate, then it’d be worth a shot.

David agreed, and we then rounded up a bunch of really impressive Australian musicians like Ash Naylor (The Church), Stephen O’Brien (Tumbleweed), and Steve Bull (Icehouse) to play on the album. And the cherry on top was getting one of the country’s most highly awarded producers, Paul McKercher, to sit behind the desk. We were really flattered and humbled that they liked our songs enough to participate.

Is the best song you ever wrote on this one?

Probably, though the actual track might change depending on what day you ask me! I’ve always thought our current single, “Inside,” was pretty good. And also “My Beautiful Girl Harbour,” which is extra special as it was the first co-write that David Beniuk and I ever did. So probably one of those two.

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

There are too many to mention. One that sticks in my mind was a gig I actually played at (with David, in a former band) in our hometown of Wollongong. We were supporting a great Australian act called Weddings, Parties, Anything (WPA). The room was full, and it was a cracking show. But at some point, my bass guitar strap came off in the middle of a song, and I was struggling to keep playing while getting it sorted. Then this rough, dodgy-looking bloke walked on stage and helped me fix it. It wasn’t until WPA started an hour later that I realized, to my eternal shame, the feller who helped me was none other than WPA’s singer, Mick Thomas.

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

I’ve always liked the nervous energy that I get when playing to an audience. It’s utterly different from public speaking, which is horrendous and best avoided. It’s a joy to belt out songs live, especially with a Rickenbacker 330 around your neck and a Vox AC30 powering everything behind you, and just being part of a group that’s (hopefully) producing this wonderful noise on stage.

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

Hard to choose just two… I’d certainly be happy with, say, Teenage Fanclub and Paul Weller. It’d be the sort of tour where the best part of the show was when you finished your set and sat sidestage and just listened, close up, to such high-end acts. TFC’s gorgeously melodic chime and harmonies, and Weller’s brilliant artistry that spans from 1977 to now. Magnificent!

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

There were loads, but just in general, pretty much every time after we did a take of a song was special. And me thinking, I can’t believe how good these guys are. They were just nailing it every single time.

Not sure if it counts as magical, but one of the more interesting moments was when our album was almost ruined by a potentially catastrophic fire. Okay, probably a bit of an exaggeration, but after we’d finished all the rhythm section tracking, and David was doing his vocals a few days later, smoke started pouring from one of the consoles. Our producer Paul McKercher and I were scurrying about looking for fire extinguishers as the smoke thickened. Luckily, it settled down after we shut it off and it cooled. Through all of this, David just kept singing in his booth, oblivious. To be honest, we probably would have let the bastard burn if things really got out of control. Every man for himself!

“Emerging from Rockford, IL, Half Catholic stands as a captivating guitar pop ensemble. While their Spotify bio succinctly captures this essence with ‘Half Catholic is a mid-western guitar pop group,’ my intrigue deepened after immersing myself in their latest EP, ‘Art In Heaven.’ This collection boasts five exquisite tracks reminiscent of Guided By Voices’ style—a true auditory delight. Eager to unveil more layers of their artistry, I had the privilege of engaging in a conversation with John Tallman, the multifaceted talent behind vocals, guitar, and keyboards.”

How did this record come together?

We had planned to record a larger batch of songs than what we ended up with. It didn’t take long to recognize that the five we went with were stronger songs, and we’d be better off just releasing them. Our drummer, Jacob, recorded his drum parts at his house, and I recorded myself (John – guitar and vocals), Dan (bass), and Hayden (lead guitar and backing vocals) at my house little by little over the course of a few months. Eventually, we concluded that we were happy with the results, so we sent it off to Studio 601 in Austin, TX for mixing and then for mastering at Mystery Room Mastering. My twin brother, Joe Tallman, created the artwork, completing the process.

What would success look like for the new record?

We really just want people who may enjoy it to find it and hopefully become fans of our music. There’s a lot of music out there, and so much of it is really good. Just getting someone to actually listen is an accomplishment. If we can break even on CD and cassette sales, I’d consider that a success! Ideally, we’d get more people on board with what we’re doing so that by the time we follow up with another release, they’ll be ready and waiting.

Is the best song you ever wrote on this one?

I think at one point or another, I probably thought every song on the EP was the best I had written up until that point. But part of what keeps me excited about music is always trying to find something even better. It’s hard to be objective about these things, so I’ll probably have to reassess in a few years and see how I feel.

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

Vulnerability is a big part of songwriting; you’re really putting yourself out there, even if it isn’t necessarily a personal song. I used to be self-conscious about it and deflect when asked about song meanings, but I’ve come to embrace the vulnerability. It’s important to be open to emotions and feelings while in the early writing phase and then fine-tune later on. It’s not always comfortable, but it comes with the territory.

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

There’s a lot of time and detail in the arrangements and production. We work and rework parts all the way until we send songs to be mixed. With three-minute pop songs, it can be easy to overlook some of the details, but I would hope that those who appreciate that sort of thing will pick up what we’re putting down. Melody, harmony, and dynamics are what we’re all about.

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

We fully plan on continuing to put music out and to play shows all over the place. We’ve been enjoying the shows around the release and being able to celebrate our work. We have some music videos coming out shortly, which will be pretty cool. We’ve already got a batch of songs in various stages of writing, so I think we’ll start the process for what comes next in the new year, but who knows how long it’ll be until we’re actually ready to release something. Hopefully, sooner than later!

The most recent musical release by the power pop trio hailing from Perth is titled “Could You Would You.” Rinehearts, the talented group behind this single, has set the stage for their upcoming album, “Full Bloom,” which is slated for release later this year. Adding to the excitement, the album has been expertly produced by none other than Dom Mariani – a true maestro known for his skill in crafting the rich, resonant, and rock-steady Power Pop sound.

In a conversation with Benny J Ward, he delves into the creative genesis of “Full Bloom,” detailing his personal journey of growth throughout the recording process. He also provides insight into the remarkable collaboration with the accomplished Mariani.

How did this record come together?

The beginning of this album was really a series of events that kind of rolled into each other. We planned on approaching our second album in the same way we did the first, hang out together, write, play them together, and critique them like most bands do. We had a stack of recordings/ demo’s nearly finalized and ready to go. We thought it was on its way to being finished and was going to be our second album.

However, as fate would have it, we were playing a show with DM3, and after our set, Dom Mariani approached us and said how much he dug the songs. He asked if we would be interested in him doing some producing for us, and of course, we said yes.

From there, we spent time chatting with him about where the songs were at, some were great, some needed work, so we went back to the drawing board and workshopped them in great detail. Once we were all happy with the song structures, we got in the studio together. The recording sessions were unlike anything we’d done before and on another level of detail and effort.

There were equal parts sticking to the plan and leaving room for experimentation, which sometimes brings out those magical parts you didn’t know were going to happen.

Once we had the music recorded, we spent some time down south of WA with our friend James Newhouse who made us the world’s strongest coffee and mixed the album.

It was all an incredible experience and one we won’t forget.

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

1. Could Your Would You: This has everything in it we love as a band, rich harmonies, catchy melodies, ascending and descending chords, a psych 12-string bridge/solo part, and it just has that uplifting feel to it.

2. Goodness: Garage rock and roll with amazing backing vocals. Stone’s/ Velvet Underground/Jesus and Mary Chain kind of feel with honky tonk piano. So much fun.

3. Falling Down: This, to me, is one of the more classic songs, songwriting wise I feel it’s really strong, and the parts go together perfectly. It’s pure melody, and one of those songs, even if just played on an acoustic guitar, is solid.

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

For me, it was the very first recording session doing the first takes of drums, just to see the whole thing kicking off, and after all the pre-production, it felt amazing that it was becoming a reality and we were underway, the vibe amongst all of us was huge, and we were so happy to be in it together.

The studio was overlooking the ocean, and I just remember feeling really fortunate to be there and doing it.

That, and the solo in Could You Would You.

This was at a time when I’d been learning so much, watching the engineering/producing part of things. I had started my own studio (Pink House Studio) right around then, and this particular part I recorded myself. I spent so much time trying to get it right. The crossover of watching and then applying the knowledge has been a pivotal moment for me.

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

Both! It was the best fun, and now we get to get out there and share the record with everyone. We have learned so much. Going forward, we’ve got so many ideas and know exactly how to approach recording. Now is the time we can enjoy the fruits of our labor.

What’s up for the next couple of months?

The next few months are going to be super busy. We have our album launch shows/tours coming up throughout October/November in Australia, and the album comes out on October 13th on our label Cheersquad Records.

We also got about 30 songs partially written that we’re doing pre-production on for our 3rd album. We’re going to self-produce and record this album ourselves, and we’ve already started to lay down some ideas. Exciting times indeed!