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.
“I think there’s a perversity to this band, in that we want to make songs that people love, but at the same time they’re asking themselves if they should feel bad about loving them,” says Teddy Gray about his band Wifey.
“Mary Ann Leaves the Band” serves as an irresistible, infectious introduction to this fresh ensemble hailing from Brooklyn, New York.
You can discover ‘Mary Ann Leaves the Band’ 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?
I wrote this song after Carly and I had just wrapped up band practice, and I had a little time to kill as she got ready for work. It was written in about half an hour. A lot of the best songs come immediately, especially dumb pop songs like this. And then I just remember going to bother her at work and pitching it to her. She reacted with an equal amount of glee and horror, which was a pretty good indication that it should be the first single. Seeing people react the same way over and over as we started to play it live cemented it further. I think there’s a perversity to this band, in that we want to make songs that people love, but at the same time they’re asking themselves if they should feel bad about loving them.
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?
Ah yes, the profound vulnerability of Mary Ann Leaves the Band. I think that most Wifey songs don’t really require us to bars our souls, though the mask does slip occasionally. But at least for myself, I’ve never been someone who thinks that a songwriter needs to be autobiographical, or write about their personal lives to reveal who they are. I like writing in character. I feel like the songs I write very rarely come from a place of “Oh, I need to get this off my chest” or “I need to process these emotions,” it’s always more like “Oh, this would be a good idea for a song.” I treat it more like a writing assignment. Which probably sounds really boring, but it’s actually much more fun for me that way. I don’t feel the need to continuously write about my personal life. My life is boring. Most artist’s lives are, although they seem to think otherwise. If Wifey hits it big and suddenly we’re jet-setting around the world, living off coke and red peppers, and freezing our piss like Bowie in 1976, then sure, maybe I’ll feel to compelled to write about that. But for now, I like writing little character pieces about high school marching band. I think it reveals a lot more about Wifey, and our view of the world, than most confessional songwriting does.
Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
When writing a song like Mary Ann Leaves the Band, you can’t sit around tweaking it or think about it for too long, otherwise you’d think better of it and never finish. There are other songs that I sit on for weeks or even months trying to get them just right, and then there are ones like this that just fall out of the sky pretty much completed. For myself at least, you just feel it when a song is done. When the words get across what you want to say, when the chorus hits as hard as you want it to, when all the parts have been ironed out and everything about it is satisfactory, let it be. You could nitpick a song to death and ask yourself “Is absolutely every second of this as good as it could possibly be?” but it’s more fun to just move onto another song.
Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?
I think we’re lucky in the sense that our goal is not to push the boundaries of where rock music can go, or challenge people. We just want to make the catchiest songs of all time. So at least for me, I never feel like I really have to compromise my artistic integrity with Wifey, because pop songs that could be enjoyed by anyone with ears are the kind of songs that I want to be writing anyway, at least for this project. There’s certainly stuff about us that may be offputting to some, like some of the lyrics and subject matter, or the fact that some of our songs are well under two minutes long. But we’re really not doing anything avant garde here. If you like choruses, you should like Wifey.
While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?
We want people to jam to them the way we jammed to our favorite songs back when we were young and shameless. I want people to feel the way I did when I heard “That Thing You Do!” in the backseat of my parents car when I was six, or how I felt hearing “Stacy’s Mom” at 11 (Both Adam Schlesinger songs, RIP). I think a lot of our stuff is maybe more tongue-in-cheek and narrative-driven than most rock music is these days, so I would hope people appreciate those aspects of it. But yeah, I just hope people air-guitar along to us in the car, let it soundtrack their sugar rushes or benders, and get the choruses stuck in their head for weeks until it drives them to madness. Just come to our shows and dance.
Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?
Well, our first EP “Just A Tease” is finished, so we’re just figuring out our release strategy for that now. But it’ll be out sooner rather than later. Other than that, the full album is written (as well as the bulk of albums 2 and 3 lol), so I just hope some label picks us up and gives a zillion dollars so we can record it and take over the world. That’s the plan. If we’re not selling out and soundtracking Taco Bell commercials by this time next year, we’ll be failures.
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?
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’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.
Lava Fangs’ forthcoming album, “Sub Auroram,” is introduced by the irresistibly catchy single “Where Did She Go.” Jamie Coghill and Andrew Horne delve into their experiences crafting what they describe as the challenging process of creating their sophomore record.
You can discover ‘Where Did She Go’ 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?
Jamie – “Where Did She Go” is the lead single from our “difficult second album” … It’s an expression I’ve heard many times since becoming a fan of music as a kid. For the most part I pooh-poohed such a silly expression; How can a second album be difficult? As a fan of music I can think of many bands whose second album is an all time favourite. As a musician, being allowed the opportunity to make ANY album is a privilege and should be immune to such trivialities as being difficult!
As a middle aged musician at the dusty end of several careers in bands who *almost* got somewhere, I can now look on that expression with the road-worn experience of having been involved in a few “difficult second albums” myself. It’s remarkable and lucky really for any band to be around long enough to make it to the second album. The first album is full of excitement and the momentum of being a fresh new band and having a backlog of songs you’re eager to get out into the world and establish your sound with. The follow up album feels the pressure of having to live up to that effortless enthusiasm and momentum the first album had. The first album comes together instinctively, almost as if by accident. The second album has to be planned and meticulously thought out – yet it’s still supposed to somehow sound “fresh”.
The Lava Fangs “difficult second album”, Sub Auroram didn’t start out difficult. In fact we had almost all of the songs written and demoed within a year of releasing our debut. But then the world hit a speed bump that no bands have had to endure in the past – a bloody global pandemic! By the time we were finally able to get together and begin recording it had been a difficult couple of years and we’d all had COVID. I was still getting over it when we went into the studio with Paul Maybury (Rocket Science/The Pink Tiles) to track guitars, bass and drums to 24 track tape. We then spent the next year overdubbing and mixing it ourselves whenever our schedules allowed.
Listening to “Where Did She Go” now, I’m thankful that none of that “difficulty” comes through. It’s just as fresh and exciting as if it were from our debut record. Having four contributing songwriters gives Lava Fangs a fairly unique and diverse sound that only a handful of other bands share (readers of this blog are no doubt aware of Canada’s Sloan … can you think of any others?). For the most part Lava Fangs write songs individually then bring them to the band to add our combined flavour with arrangements, lyric and backing vocal suggestions, but “Where Did She Go” is one of our rare collaborations. Drew (guitar/vocals) brought us a song that we all loved but something was missing so I wrote some lyrics, a vocal melody and a pre chorus to tie all Drew’s bits up into a finished sounding song. I’m very proud of it as a group effort.
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
Andrew – when I start to write a song, my process is stumbling across a few chords or melodies that I think sound cool. For “Where Did She Go” the initial verse chord progression sounded great to my ears. Then I tinkered with it till it was ready to present to the band.
From there, the band decides if the song has merit to continue. Jamie added a pre chorus and vocal melody so I guess it had legs!
Sometimes when you are deep in the process with a song it’s difficult to see outside of what you are doing. You have to shut out your inner critic and appreciate what you have created. For me, I find that once the band has given the song a thumbs up I can sit back and be proud of what we have done. The separation of time certainly helps too.
The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?
Jamie – Sweet sweet validation!! We all crave it don’t we? Especially on an artistic level. Is it really art if nobody appreciates it? Actually yes, but validation is also nice. As far as other people’s opinions contributing to my own creative process, I think it’s an intangible influence. I don’t write a song thinking about what people might say or think about it, I prefer the creative spark to come naturally and take shape instinctively and then decide whether or not I think it’s worth sharing with the world. Other people’s opinions only serve to encourage me and give me the confidence to keep making music – which is important and helpful, but not essential.
Andrew – I concur with Jamie on this one, validation spurns us (me) to continue on with creative pursuits. With any creative venture self-doubt rears its head constantly. Any positive words from respected peers/friends goes a long way. This affirms that what you are doing is worth pursuing and to trust in your instincts.
Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?
Jamie – This is so very true and a great observation! My measure of success when I was in my twenties is very different from how I feel today. For me, this album is already a big success even before it’s released! The fact that Wally and Jo from Cheersquad Records and Tapes were willing and enthusiastic to work with us to release it on their label is a success Lava Fangs haven’t achieved before. Having the opportunity to release 2 digital singles leading up to our second full length album on vinyl is a huge achievement for us. If people like it once it comes out in May (and maybe buy a few copies of the LP), it will just be icing on the cake. A big delicious success cake!
Andrew – At this stage in my/our musical journey, respect from my peers is how I’d like measure success. Having Cheersquad Records and Tapes deeming Lava Fangs worthy of release feels pretty successful to me.
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?
Jamie – Our coming Album, Sub Auroram, feels like a more mature and thoughtful collection of songs to me. It’s definitely our best album as a whole. Personally it’s going to be hard to top “Line Up For A Broken Heart” and “I’m No Good For You” from our debut LP. Those songs came to me unexpectedly from out of nowhere and I’m very proud of them and may never write anything better than those two. Sub Auroram and its songs may not feel like it has the one-two punch of our exciting and energetic debut LP but it definitely has way more musical depth and is arguably a much stronger collection of songs. [See my solo project The Jimmy C and the movie soundtrack for Brides Of Satan for the best song I think I’ve ever written: “Learning To Live To Death”!]
Speaking for the rest of the band though, I’d say probably YES! Wesley’s “Lost For Words” is an excellent song for our newest/youngest songwriter (they haven’t been writing songs as long as the rest of us) and I expect even better songs are in their future. Drew’s “Photograph” is a stunningly mature song and I wish I’d written it. Stu’s songs on this album are also very very strong but my favourite of his songs is “Spitting Nails” from Sons Of Lee Marvin’s Minimum Underdrag LP from a few years ago. Look it up, you won’t be disappointed.
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?
Andrew – Feeling inadequate is a rich vein to mine for lyrical themes. Hiding your true meaning behind metaphor, double speak and just plain lyrical nonsense says I’m not all that comfortable wearing my heart on my sleeve…just yet.
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?
Jamie – I’m pretty lucky to already have three top shelf collaborators in Lava Fangs, but my three fantasy favourites would be:
1) Andy Partridge. He’s easily THE BEST songwriter in music history. XTC are a sorely underrated band and Andy’s humour mixed with emotional depth and massive talent are just incredible. His angular approach to guitar is amazing too.
2) Jeff Lynne. The immensity of Jeff Lynne’s genius will never be appreciated because ELO got too popular. People dismiss ELO as mainstream disco fodder (less so in recent years) but it’s clear why he got to work with the remaining Beatles in the 90s and all those legends in the 80s. If I could be transported to 1970 and replace Bev Bevan in the late era Move/fledgling ELO with him and Roy Wood, I’d be in creative heaven! Such a creative time and Jeff’s vocal harmonies and arranging are pop perfection!
3) There’s so many others but I think I’ll pick Roland Orzabal. Pop genius and Tears For Fears’ “Everybody Loves A Happy Ending” album is a proper masterpiece. He’s often very sincere in his music and not afraid to risk it all artistically.
And I’ll kick myself for not choosing Gruff Rhys, Lee Hazlewood, Andy Sturmer (Jellyfish), Jay and Chris from Sloan (and Pat and Andrew), and Max Comaskey from Dirty Fences – how much fun that would be!!!!
Andrew – Again I find myself concurring with Jamie about being spoilt with 3 excellent collaborators. Each time one of the ‘Fangs’ presents a new song or idea I’m excited to see what they’ve come up with. That’s a pretty cool place to be! And, knowing that my band mates will interpret my ideas in a particular way influences the way I write. Absolutely!
However, in no particular order these folks would be cool to pen a tune with –
• Kim Salmon & Spencer P Jones I’m cheating and making them a package deal. At the top of their game both could write songs with interesting & unique musical content and lyrics. Their songs have great depth & humour all in one go. Both absolute treasures in the Australian music alumni.
• Harry Vander & George Young. I could add them to this list for the Easybeats alone however they went on to churn out great songs in any style you liked (as long it was rock, pop or disco) for decades.
• Lee Hazlewood. Do I need to elaborate? [Jamie – HELL YEAH LEE HAZLEWOOD!!!!]
Honourable mentions of Gene Clark, Alex Chilton, Beck, Dolly Parton, T Swift (I think you’d get a bang-up working lunch with T Swiz is all)
Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?
Andrew – The one we are about to perform in a drainage ditch at a rouge ‘generator’ skateboard party I think will be pretty memorable.
Or, that time I played support to Arthur Lee. What made that special? Arthur Lee!!
Jamie – In bands other than Lava Fangs, I got to drum in front of thousands of people at Melbourne’s Arts Centre forecourt playing AC/DC songs for an exhibition opening … that was pretty cool … but not as cool as the time I was playing at a tiny pub in Adelaide and threw my drum sticks above my head and walked off stage when a guy grabbed my arm and pointed to the dart board behind the drum kit with my sticks balancing perfectly on the ledge above! One in a million chance.
Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
Jamie – I feel like I’m pretty good at this, but it’s not necessarily a skill. It’s pure instinct for me. It’s finished when I can’t hear anything wrong or missing. It helps also to be time poor, both with Lava Fangs and my solo music as The Jimmy C, it’s about getting the most out of limited time. It’s actually an advantage to have kids and work stopping you from spending days and days on one song and never feeling fully satisfied because it won’t meet your expectations. If you have a set amount of time to get it done, it’s done when the time runs out!
Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?
Jamie – Commercial appeal? Never heard of it! Be true to your art – but pick a lane. Write the best kind of song you can within the parameters of your chosen style or genre. I’ve never had commercial appeal but I do try to write accessible songs. I respect the craft of songwriting and so don’t get too experimental within a song itself, but I really enjoy experimenting with genres and the structure of an album as a whole.
Andrew – Never tried. Making stupid noises with a memory man is more fun than being appealing commercially.
Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?
Jamie – See “She’s So Cool” from our Unclarity EP from last December. Some of my most profoundly silly lyrics. I’m very proud to have the word “precipitation” feature in the chorus backing vocals.
I think Stu probably has the greatest gift for turn of phrase and cleverness in his lyrics within the Lava Fangs band. Go check out some Stu songs in our back catalogue.
Can you recall the last instance when you felt the immediate certainty of having penned a hit song?
Jamie – I have never, and will never write a “hit”, but I have written a few songs that I think can stand up along side the music I love as a music fan – and it’s an incredible feeling when you’re rising to that level. It’s always a surprise to me when I finish writing or recording a song that doesn’t sound shit! If I can write a song as good as the worst song by my favourite bands then I know I’m achieving something very rare.
Andrew – I write shit songs all the time…oh right you said hit song. I’ll let you know.
With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?
Jamie – I sure do love curating a good mixtape/CD/playlist! I’m surrounded by cassettes all day every day so they’re still a very familiar medium for me.:
• The Last Plimsoll by Stackridge – a pop opera masterpiece! Complex, richly musical and a tune you can whistle!
• Cybele’s Reverie by Stereolab – It’s vintage Yéyé pop with 90s indie cred … cracking track!
• Harold Faltermeyer’s theme from Fletch – just to catch the listener off guard! It’s so 80s and synthy and arguably way better than Axel F.
• Fade Away by Sloan – Jay Ferguson’s Action Pact album closer. It’s a real hidden gem in the Sloan catalogue and it hits me right in the feels.
• And lastly; More Than He’ll Have To Give by John D. Loudermilk – Just a beautiful gentle simple song about never being better than others but being the right person for someone. Could be swapped with Waiting For Someone by The Tokens from their incredible concept album Intercourse.
And all the songs I haven’t mentioned are causing me great pain … Homefront Cameo by Cotton Mather, Change For The World by Charles Bradley, King Kong by The Jimmy Castor Bunch, Ladybird by Tears For Fears … ouch! Let me dub you a 10 tape collection on C-90s!
Andrew – Ahhhh the mixed tape. The romantic calling card of yesteryear!
I’d have to include songs by The Stooges (Ashetons only please!) ok ok I’d pick Dirt from Funhouse. Nancy Sinatra would deffo feature! But what song? Sugar Town for a subtle drug reference, ‘Boots’ is way too obvious; Summer Wine I think would be a great choice but then again Bang Bang is bloody ace! Can we get a cheer from the back for Billy Strange and his arrangement of that song??
Big Star has always a place on such tapes, and I’d wager lots of people first heard Big Star in this format. Thirteen would be a great addition if your intent was to woo.
What’s that three? Two more to go.
Always a big fan of Australian 80’s indie music I’d have to include the Beasts of Bourbon or Scientists (don’t ask me to pick a song) and before you flip that tape over lets hear from Redd Kross – I saw them steal the show (over the Hoodoo Gurus) with a rendition of ‘Jimmy’s Fantasy’ so that one!
While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?
Jamie – Definitely the fact that we four Fangs all contribute songs and arrangements and ideas to each other’s songs. Many bands have a dominant songwriter and other members who are just happy to play their part. With us you get four different flavours and sets of influences which I think diversifies us thematically and stylistically from most other bands.
If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?
Jamie – Ouch, yet another “Sophie’s Choice” … I have to mention “Line Up For A Broken Heart” because I wrote it and I’m very proud of it. It’s the main track that makes people consider us a power pop band. The other side of Lava Fangs is our “garage surf rock” side. A good example of this is a song you’ll have to wait until May to hear when our new album comes out; “Dancing For Satan” – a song that shows our silly side co-written by Wesley (bass/vocals) and Stu Manchu (guitar/vocals). My third and difficult final choice is “Where Did She Go”, our current single. Those three should be enough to convince anyone that we’re worth listening to and then people can look deeper into some of Stu’s garage punk tracks or Drew’s melodic 70s rock, Wesley’s indie pop … and our more moody and contemplative moments … and there’s so much more coming in May with our Sub Auroram LP!
In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?
Jamie – I’d love to share a stage with Dirty Fences from New York. Their energy and antics would make for such a fun night. I’d also love to play with Canada’s Sloan even though they’d make me feel completely inadequate because they’re so amazing musically … If this were a time travelling fantasy I’d play with Jellyfish in 1993 and look even more inadequate. But what a story I’d have to tell!!
Andrew – Mudhoney & Mudhoney. Call it a life ambition.
Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?
Andrew – I could not tell you of one instance of a creative stand out, we have many.
Creative epiphanies keep you coming back to the practice room when your regular life leaves you beat. It’s those times working on a great song or someone comes up with a cool part that is immediately apparent; that’s the magic that keeps you coming back time and time again.
Jamie – We giggle a lot in the studio. It’s lucky we handle most of our production and recording ourselves or we’d thoroughly piss people off.
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?
Jamie – Our first EP, 2017’s Black Rain, was a very noisy DIY garage affair, but still has a few hints of melodic evolution to come. Our Debut LP added the power pop flavours to the garage and punk and also introduced more thought to the production and arrangements with more vocal harmonies and musical textures. Our new album sounds more mature still in production and song writing. We still capture some frantic garage energy in places but we’ve evolved to give the concept of melody a little more respect. Our next project will probably rebel from this thoughtfulness and devolve into noise rock chaos … onwards and sideways!!
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