Nick Frater has demonstrated his ability to craft exceptional pop songs over an extended period. Take, for instance, “Aerodrome Motel” (from 2022) or “Earworms” from 2021. His knack for creating not just beautiful melodies but also for prolific songwriting is evident. In his latest release, “Bivouac,” released via Think Like A Key Music, Frater presents 23 new songs, all exuding the delightful essence reminiscent of the styles of Wings, Rundgren, and Lynne.

Frater delves into the creation process behind “Bivouac,” a project that assembled an impressive ensemble of stars.

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Be sure to catch ‘Boom and Bust’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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You mentioned ‘Bivouac’ has a rich history. How did that come about?

The creation of Bivouac was a rather peculiar process. I accidentally reused a musical idea—specifically, the mellotron string section in both “The Town of Opportunities” and “Little Sister Moon.” Additionally, I had multiple approaches swirling in my head for the arrangement of “The Town of Opportunities,” so I decided to explore them all.

One thing led to another, and before I knew it, I had what you hear on the album. Almost every song seamlessly flows into the next. I also revisited some of my classical training, resulting in the record opening in Sonata form, with recurring motifs, ‘hero instruments,’ and structural and harmonic symmetry. Yet, I aimed for it to maintain a rocking quality throughout.

The story behind the lyrics is similar. I initially wrote about fifty verses for “The Town of Opportunities,” intending to craft a concept album around the decline of post-industrial Britain. However, I trimmed it down along the way, turning some songs into instrumentals. There’s a fine line between concept albums and musical theatre, and that’s a line I didn’t want to cross!

Your team is stellar. Did you plan it out or did the team grow naturally?

I’ve been fortunate to meet and collaborate with incredibly talented musicians! (Macca, if you’re reading this, give me a call!)

The sessions for Bivouac were quite adventurous, often involving 5-6 musicians tracking live in the same room, intentionally mimicking the process used in many of my favorite records. However, it requires skill; there’s no “undo” button working that way!

Playing at IPO Liverpool each year was a significant catalyst in forming a somewhat steady band. Meeting numerous great songwriters and musicians in person was fantastic—I even ended up playing nine shows in two days, with five different bands!

The echoes of The Beatles and ELO are unmistakable in your work. Is it freeing to showcase your inspirations so openly?

Part of the joy of making music is translating the sounds from my head into your ears. Given my extensive listening to The Beatles and similar artists, their influence naturally seeps into my work. I particularly admire Jeff Lynne’s productions, like Free As A Bird/Real Love.

In “The Town of Opportunities” (part 2), we actually recorded a Jeff Lynne ‘guitar choir’—his trademark approach to acoustic guitars—where several guitarists strum the same thing at once, double-tracking it. Try it next time with six guitarists in a room… instant ELO!

Moving to Think Like A Key Music for the release of ‘Bivouac’ must feel like a thrilling transition?

I’m still very much a part of the Big Stir family, and there are exciting plans for 2024. I usually create 2-3 albums a year—some self-released, some on a label. With so much happening in the Big Stir calendar, we couldn’t manage a 2023 release. I’m already about four albums ahead of Bivouac!

Interestingly, I had been recording with many artists on Think Like a Key recently, even playing keys for Ex Norwegian at The Cavern this year. It seems chance and fate conspired to bring Bivouac to the world through this route.

I’m thrilled to be label mates with Novelty Island, probably the most exciting band in the U.K. right now, and also with R Stevie Moore, which is mind-blowing! Now THAT is a collaboration I’d love to do.

Completing the backing vocals for ‘Boom and Bust’ must have brought immense joy. How did it feel when it was done?

Haha, that’s probably a question for Roger Manning! He’s an incredible person to work with, very supportive of musicians at all levels. I’ve collaborated with him on several songs in recent years, and he generously shares his expertise, especially on creating those Queen-esque harmonies. Apparently, my songs are more challenging than his big-name session gigs—a compliment I’ll gladly accept!