In recent years, I’ve delved into numerous Power Pop albums, keeping a vigilant eye on all the releases out there. Amidst this musical exploration, somehow Satisfactionista, a true piece de resistance by Chris McKay, slipped under my radar. It’s peculiar that this masterpiece isn’t a frequent topic among genre enthusiasts. I compare Satisfactionista to Marc Jonson’s “12 in a Room” because they both exude a classic, lost-in-time vibe with their exceptionally crafted songs deserving more recognition.

“12 in a Room” found its audience within the Power Pop community, appreciating its undeniable brilliance. Now, as I uncover Satisfactionista, I believe the time is ripe for this album to find a broader audience as well. Both albums are absolute gems and should be celebrated; it’s worth noting that Satisfactionista has recently been re-released on vinyl, making it a must-have for any music aficionado. I’m genuinely thrilled to have stumbled upon this hidden gem and to have the opportunity to experience its brilliance.

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

Hi, Patrick. Thank you for taking the time to talk to me and spread the word about Satisfactionista! I hope you’re enjoying the music.

After The Critical Darlings’ first album, C’mon, Accept Your Joy, and the shows that followed, it felt like The Critical Darlings were done. I began looking for a new project and met guitarist and vocalist, Joe Orr. He is the one who actually suggested that, instead of a new project, he would be interested in joining The Critical Darlings. With an extra guitar player and vocalist, it really expanded our options before the original pretty strict power-pop, and interest was rekindled all the way around. It took us a while to find the right drummer for the reinvigorated band, but when we did, it suddenly felt like it always should have. I thank Joe for keeping Frank and me in The Critical Darlings. Without him, there would be no Satisfactionista as we now know it.

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

I’m a huge David Bowie fan. When I first heard the song “Aladdin Sane,” my entire sense of the possibilities within music was altered dramatically. The first time I heard it as a teen, I looked over to Amanda (my future wife) and said, “I don’t know who that piano player is or even if he’s still alive, but if he is, we will work together.”

It’s truly surreal to me that it actually happened, but getting Mike Garson to play piano on “Something Unseen” definitely blew the doors wide open. Originally, “Something Unseen,” “An Uncertain Flight,” and “Tonight Never Happened” were going to be on a solo EP since they didn’t really fit the original power-pop style and were a bit more epic. Once we got Joe in the band, though, we let the rules go, and when Joe and Frank heard how the songs were progressing, they suggested we fold them into the album, and I’m so glad they did.

Getting Mike Garson on piano also then led me to get David Barbe (respected producer) on board. He pulled in Drive-By Truckers’ drummer Brad Morgan for “An Uncertain Flight” and “Something Unseen,” which were the first two songs recorded for the album (the first and last songs on the official record, too).

Seriously, I say it often, but where else are you going to hear David Bowie’s most recognizable musician playing with a member of Drive-By Truckers?

When Mike sent me the intro to “Something Unseen” via email and I heard it for the first time, I nearly cried. I’d simply said something like, “I need a piano instrumental about a minute long that starts in B major and ends in D minor to segue between two songs.” I encouraged him to feel free to go all the way back into the feel of songs like “Lady Grinning Soul,” and he came back immediately with that gorgeous intro. I still can’t believe that came from a collaboration in which I was involved. With that, I knew we’d have something special even if no one else ever heard 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?

Honestly, some of it was laziness and a way for the band members to not argue amongst ourselves. We had scores of songs and needed to cut them down to 12 or so. We each had our favorites, so we posted demos for everything on the album except “Something Unseen” (which couldn’t be demoed first), along with quite a few songs that may or may not ever be heard. We did voting averages by numbers, and darned if people didn’t come up with an interesting album that would have been significantly different from what we chose. For example, I really didn’t want “Give Up Town” on the record. I was also not very keen on “Scared Of Myself” or “Worms On The Pavement.” I thought some of the other songs were better. I really wanted a song of Joe’s called “Things Got Weird” to make the cut. I think we would’ve done a great job on it, but we all agreed, so we all bit the proverbial bullet and just went with it as is. I still say I was right about “Give Up Town,” though I don’t mind it now. I will readily admit that I was wrong about “Scared Of Myself” and “Worms On The Pavement.” Both of them wound up being live favorites. I don’t know if I would do another completely non-band-members-by-vote thing again, but I know it made Satisfactionista better, and it did keep us more determined and focused without having to worry about those internal disagreements about song choices.

What do you think of “Worms On The Pavement,” “Give Up Town,” and “Scared Of Myself”?

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

To me, success is about having people hear the music, enjoy it, and for that music to, somehow, make a moment better for the listener. That’s truly about it. If I were more pragmatic, I’m sure I would’ve been more successful on a monetary level, but, for me, it really does come down to the beholder. If the beholder loves it, it’s a success.

I wish it were easier to get the word out there so more people would hear it, but I’m grateful for every person who has tuned into the record and enjoyed it, and I’m glad it’s getting looked over and heard again now.

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?

No, I can unequivocally say that the best song(s) I’ve ever written are not on Satisfactionista. I can, however, say that, so far, Satisfactionista is the best collection of songs I’ve released to date. At the time of its original release, the album certainly would’ve had the best, but I’m honestly not quite sure which “best” that would be. The song I’m most satisfied with at capturing what was in my head versus what came out of the studio is “Sadder Day.” There was a song on the first album called “Phony” that was the band’s most popular live song, but, after Satisfactionista came out, it switched to “Sadder Day” pretty quickly.

As far as my best songs, I just hope my health allows me to release those songs that are waiting to be heard. I have my next album about halfway recorded, and, to me, it’s by far my best collection of songs. If each next record isn’t “the best,” I don’t know if I would bother to make the effort to finish it. Of course, getting a new album done these days is a bit tricky, but I’m really hoping that, sooner than later, those songs will be out there, and I hope you’ll hear ‘em and love 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?

I wouldn’t call it “finding comfort.” “Sadder Day” is sad for me every time I sing it. It was inspired by the death of my father and came to encompass my Grandmother (who died just before Satisfactionista was released and was the reason I play music), an aunt who was struck by lightning and killed during the making of the record, my father-in-law who died right after the album came out, and, even further on, my best friend who died because he couldn’t get the medical care he needed because of the cruelty of the United States health care system. They’re all in “Sadder Day” for me. So it’s not “comfort” at a personal level. It does help if I know that a song reflects what someone else is suffering through and it helps them feel not so alone, but I always feel what went into the song.

That being said, I am pretty wide open emotionally so things are usually easy enough for me to express, even when those expressions may be uncomfortable for myself or others.

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

I don’t know that a song is ever really done. It just gets frozen in audio amber in a recording studio at some time during the process and, generally, the songs keep evolving beyond that. Even meanings and motivations change for songs as time goes on, and I believe that’s something that happens with both the performer and the audience.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

I do my best to ignore those rules. I tend to write songs with hooks, but I’m glad to veer off into something more experimental anytime the mood strikes. I believe some of that is evident on Satisfactionista. The first song even is, really, a mid-tempo ballad, but there are elements of dissonance, and while I hope “An Uncertain Flight” is easy on the ears, I also hope it makes the ears bend on occasion.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

Nope, because I’ve never had the luxury of writing a hit song. There are songs that I believe would’ve likely been successful had they been released and promoted by The Music Industry Machine, but “hit” is a strong word for a kid who was raised musically by listening to Casey Kasem’s American Top 40.

On the other hand, I’ve certainly seen moments where a new song is being performed live and the lyric or the music will suddenly hit the crowd and there’s a jolt of a visceral emotion. That’s an incredible feeling of connection with the crowd.

Performing music before an audience holds a unique allure. What aspects of this experience contribute to the excitement and enjoyment for you?

Live performance has always been my communion. Whether I’m on stage or in the audience, for me, it’s about a unique environment where the artist and the audience become this single sprawling symbiotic creature where each influences the other. It’s been a while since I’ve been able to perform live, but it’s been about the only place where I’ve truly felt free and that I’m fully myself.

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

Without getting into specific examples, any time someone tells me that my music changed the course of their lives for the better, that is the best possible compliment. What more could one ask from anything that one does in life?

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

I see myself as completely irrelevant to the music industry. The industry doesn’t care about me and, so far, I’ve had no reason to care about the industry when it comes to my music. I could’ve gone with a small label to release Satisfactionista, but I didn’t want to cut back on the vision for a few extra dollars.

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

I just want to be able to be healthy with my wife, my family, and my friends and be able to continue making music. I hope to finish the next couple of albums that I have already written and get them released in a way that I feel will do them justice. That’s the best possible future for me and doubly so if I find myself back on the stage and feeling that wonderful communion.

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?

Well, I don’t really worry about the digital age for music releases. It just doesn’t speak to me. When I can, I do full production vinyl releases with art, photos, information, lyrics, credits, notes, and whatever else fits the project’s aesthetic.

Those who buy CDs or do digital downloads don’t really seem to be interested in the tangible qualities of it anyway, so I do it for the true vinyl fetishist that needs something beyond audio wallpaper to ignore. I try to put together a full experience with which one can interact. Of course, I do make digital downloads available, but, for current releases, those downloads come with the purchase of the vinyl with full art.

I’m actually surprised to see how many people feel the same. What I’m providing is expensive to make, it takes a long time, it’s hard to put together, and it’s a lot to ask for that attention from an audience, but if someone wants to really experience it? Well, that’s the only way they really can, in my opinion. I make it for the hardcore music lovers, and anyone else that wants to join in more passively is more welcome, but I can’t say I’m targeting them, if that makes sense.

I do try to make music videos for every song whenever I can. I don’t think they should be necessary, but, honestly, people listen more when there’s a visual. I’m trying to finish up videos for Satisfactionista so there will be one for all 18 songs. The goal is, at some point, to have an official album release party where people can watch The Film Of The Album and actually watch the record!

At the vibrant intersection of Pop Punk and Power Pop, the musical prowess of Jagger Holly, helmed by Jay Dee, comes alive. “Rivoltella,” their latest album, is an exuberant tour de force featuring 29 irresistibly catchy songs.

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

We were coming off a Christmas album and a split 10” with The Windowsill. Two things we had never done. The thought of a double album is a huge undertaking, but I knew we had the songs. So, let’s see what we can do.

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

I would say when I was like 14-16 songs in. I knew I had some really good tunes and was writing a few new songs a week. I wasn’t sure if it would become redundant if I wrote 30 songs myself for one record. Could I make them different enough? Or pick my top 14-16 songs and ask Matt if he was also interested in writing half because he had a lot of “not so DeeCrack” songs. So we went for 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 let anyone, but Matt and Marco hear the songs before we record. If I like it, then I think others will as well. There is zero outside influence on our music. The only time people outside of the band hear it is when it’s totally finished. I will send the masters, of course, to close friends while we wait for it to be pressed. And you will never know external things like our politics or religion because they don’t have any influence on anything…especially our music.

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 digging the record and dropping €40 euros/dollars and it selling so well during the pre-sale and selling out when it officially came out was a big deal. It’s been 3 years since we released music. Do people care? Will they spend their hard-earned money? And the most important part for me is after you get the record, do you still listen to it months later? And is it something you go back to? If you do that, then that’s success 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?

You always think the new stuff is your best stuff. I assume most bands do. I like taking chances on tunes. Like the song “Summer Sun” or “Don’t Bore Us” (get to the chorus).

Those songs are different and fun. Not sure how we will pull all this new stuff off as a 3-piece. We will see!

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 never really thought about it. Whatever I write is what’s happening in that moment. Mini time capsules. That’s what albums/songs are to me.

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 personally don’t write a lot with others. Not that I don’t want to but more that it never comes up. I was just in the USA and was writing some stuff with the ol’ Spastic Hearts crew. That is always fun. Bob from the Riptides is someone that I will be bouncing ideas off of in the future as well. Suzi Moon/Drew I would love to write a tune with.

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

We played the worst show of my life at a fest in Italy called “Lost Dog Records Fest”. The fest was great. We sadly showed up at 4 pm and didn’t play till 1 am. So, maybe 20 drinks later, it was the shit show of all shit shows.

Some of the best were PRR 2017 was great. Puke Fest 2018. Had some classic shows in Norway with The Prom Dates. Tours in Brazil with Flanders 72 and Nerdy Jug Heads in Japan were great shows. The best Rock club in the world is in Fort Wayne, Indiana called the Brass Rail. We have had some amazing shows there.

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

When we run out of money, the song is finished haha. You can pick a song to death so when we think we can’t possibly do anything more to make it better- then it’s finished.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

We write how we write. I have the feeling of “if you don’t like it then don’t listen to it” change the station. A lot of music out there. I don’t give any thought of writing a certain way. What comes out is what comes out. If you dig it…cool. If not…also cool.

Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?

Hmmm…I can’t think off the top of my head but The song “Let’s go to the Beach” off of our debut record DJ Free Europe. There is a line that says… “I told my boss I’m never coming back again…the only thing I gotta work on is my tan”.

That’s the way to live.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

The Christmas album hit the hardest for me personally. I thought there were some “hits” on that one. I still flip burgers tho so maybe people’s idea of what is a hit is different than mine.

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?

It’s always bittersweet to let the record go. At that point we may have heard it from the first note to the last master check…thousands of times?? Then it’s not yours anymore and everyone is gonna judge what you worked on for the past 2 years. You hope for the best but if I like it then usually everyone that’s into us will dig it.

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

We have a lot of studio projects ahead. Hopefully some shows. We are always writing, so we are excited to see what direction we go next.

Can you take us through the creative journey of bringing this album to life? What were the key milestones, challenges, and breakthroughs you experienced along the way?

On this one, Covid was the big one as I said before but not a lot of people know that we were never all in the same room making this record. Actually we have never played one single song together. We did demos and rewrites and sent the tracks to our drummer Marco in Italy. He did the drums there near Venice. Then they were shipped to Austria where Matt and I worked on the rest. It was a new experience but we were handcuffed by all restrictions. In the end, nothing was going to stop this record from being made.

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?

Nothing intentional but always taking chances on new ways to write. Key changes/tempo changes/new instruments. Trying to keep it sounding fresh but still sounding like Jagger Holly.

With this fresh collection of songs, how do you envision connecting with both your existing fanbase and new listeners? Are there specific emotions or messages you hope they’ll resonate with?

If they like the old stuff then they will like this stuff. At the core, it’s what we sound like just on steroids a bit.

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

We keep it a small group outside of the band. Mike DeeCrack did a lot of amazing backing vocals. Vale from The Nuts sings a duet with me. Studio Marco lent a solo on “Kiss Me I’m Sick”. And our buddy Jonas helped a ton on the first and last song on the record. Everything else though was us 3.

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 had the idea to rip off the Beatles “Revolver” cover. Make a version with stuff we like. Came out great and grabbed people’s attention. That’s the hardest part with the millions of bands out there. After that, the music has to win them over.

Good Shade’s latest album, ‘Think Spring,’ is brimming with hooks and infectious choruses. Their sound, reminiscent of Bad Nerves, White Reaper, Lone Wolf, and Local Drags, channels the essence of Power Pop Punk. It’s great!

Shane Natalie has a few thoughts to share about it as well.

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Be sure to catch ‘Think Spring’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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

Everything that I do starts off as a little recording idea on my phone. I generally start to compile ideas that are anywhere from 5 seconds to 2 minutes, recording them as they pop into my head and then walk away from them. Sometimes they are full verses or choruses but rarely an entire song. I like to go back through the ideas and categorize them by key. That makes it easier to combine certain ideas if I can’t go back through and finish an idea if I’m stuck.

After I have a “finished” thought, I take it to the computer to lay down a scratch guitar track with a click track that is mapped out if there are any tempo changes throughout the song. I then go through the fun but the annoying process of miking all of the drums and lay down drum tracks to the scratch guitar and click track, trying to make it all the way through the song if possible without having to cut things up.

Then it’s time to scrap the scratch guitar and record rhythm through amps. Once those are done, I put down a scratch vocal track, then write and record bass that doesn’t clash with the vocal melody, redo the vocals, add lead guitars/synth, etc, backup vox, and then mix!

Takes quite a while when you’re doing it yourself haha.

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

Before this project, I was recording everything with an M-Audio Profire 2626 interface with no outboard gear. It was just a computer, an interface, and a lot of plugins during the mixing process. I hadn’t been a gearhead and knew nothing about signal flow, gain staging, or really any of the ins and outs of incorporating outboard gear into a hybrid workflow.

During lockdown, I started to obsess over outboard compression, EQ, saturation, etc., and started reading a lot about it and texting my buddy Bobby about it a lot because I really wanted to try to incorporate these elements into the recording process. I started buying preamps, compressors, EQs, 500 gear, saturation boxes, etc., just experimenting with different things and selling what I didn’t like and replacing it with what I thought I could use.

After what was an excruciatingly frustrating process, I feel like I got to a comfortable place where I could seamlessly use this gear to record myself. That particular special moment was definitely spending all the time obsessing and tweaking knobs to a point where once something was recorded, I could play it back, and it sounded like it was mixed on the way in. That’s a really cool feeling to feel like, “Oh shit, this sounds better than anything I’ve done, and I haven’t mixed anything or added any plugins.”

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 think when you’re a younger musician, it’s natural to think success is going to be when you’re making money on music and lots of people are really into it. Don’t get me wrong that would be a cool thing, but for me these days, success is just finishing a project and not hating it in the end.

When you’re doing stuff by yourself, I feel it is easy to get wrapped up in the subtle nuances that a general listener is never going to notice. You start being super picky about things, and there are limitless possibilities to what the end result could be. Getting to a point where you can say, “OK, this is good, and there isn’t much more that I can do to change this, AND I like it,” is to be a successful feeling. I have so many unfinished projects by myself and other people, so any finished product is a success.

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?

Being lyrically vulnerable and frankly being lyrically proficient is something that I feel like I always struggle with as an artist. I do feel like this is the first time I have ever written and recorded lyrics that feel potentially relevant to other people and are mostly transparent.

I’ve always tried to hide behind lyrics, writing things that are cryptic and vague, meaning something to me, but other people may think, “What the hell are you even talking about?”. This is definitely a constant journey for me, and I hope with each record that, I become more confident in my lyric-writing abilities. I’m a pretty terrible reader, so I feel like, by default, my writing abilities suffer as well.

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

Oh man, the gig itself was not great, but when I read this question, there was one particular show that came to mind, at least with this band. In 2019 we were on a month-long tour, and we came through Missoula, MT on a Sunday night. It was a ghost town. Nothing was open; no one was around. We had a show scheduled through someone I had randomly hit up through Facebook or Instagram who seemed to be involved in booking shows. The show was booked at a beautiful, huge Federation of Eagles hall that was built in 1899. The stage was red-carpeted, multi-tiered, and would be comfortable housing a Glen Campbell-style big band band with multiple sections camped on each tier. The only people there were a family who consisted of a couple that used to be married, had kids, and now are divorced but are still friends with each other and their new spouses.

The bands were just different iterations of these folks playing anything from Rancid covers to rockabilly love song covers for each other. We still had a great time and sold some merch to these folks but come 8:00, it was closing time. We figured the guy who booked the show would let us crash at his place, but they had promptly left, leaving us nowhere to stay. Missoula is extremely close to Glacier Ntl Park (which we had been to earlier in the day), and it being July, it was peak tourist season. That being said, we looked up hotels that were a minimum of $400-500 for one night which was not going to happen if anything was even available. While we were loitering, killing time, not knowing where to go, some random guy came rolling up to us on a skateboard, asking if the show was over. He said he had been watching a feed on Facebook live and decided to skate on down to the show. Seeing that it was over and we had no place to go, he offered for us complete strangers to come and eat and stay at his house that night. It was this random act of kindness that really stuck out to me more than any show I’ve played. Such a random night.

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

Elusive, so true, haha I’ve honestly never had the opportunity to record in a studio, have someone else say, “That was good, let’s move on,” or had a timeline for completion on anything I’ve done. I think these parameters would probably assist in feeling like you HAVE to finish something and probably push people to try their hardest for time and money’s sake.

I feel like anyone who records themselves understands that there is a mind-numbing amount of time and energy going into constantly changing things throughout the process, and the key has to be just knowing when to call it. For me, there is no “ready to record it” form since it’s generally all going in recorded as its first form.

I don’t sit around my house playing the songs as I maybe should; instead, I just start throwing things into my phone and computer and see where the process takes me. The hard part is knowing where to stop, but I do think having outboard gear and settling on the mindset of, “ok, I’m going to obsess on what it sounds like going in, and whatever happens, I’m keeping that” prevents that burnout of relying on polishing a turd down the road. That’s where you can really lose the magic of creating music.

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 don’t really have specific lines that I hope people will remember as much as I hope that by becoming more confident with my lyric-writing abilities and by being more vulnerable, lyrics will resonate with people and be as meaningful to them as they are with me.

Performing music before an audience holds a unique allure. What aspects of this experience contribute to the excitement and enjoyment for you?

To be completely honest, playing shows causes me more anxiety and fear these days than joy and excitement. Don’t get me wrong, I still like doing it, and maybe if I did it more frequently, those feelings would subside, but pretty much any time there is an upcoming show, I am freaking out beforehand and can’t wait for it to be over with. I would ultimately love to have more frequent practices and another guitarist playing live in order to create a more in-depth live performance and not just a fast, 3-piece punk set.

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

I think one of the biggest compliments an artist can receive is when people are singing along to your songs because they’ve taken the time to engage with the lyrics, and it must mean something personal to them in order to be chanting them back at you while you’re playing. This is such a small, under-the-radar project that I can count on one hand how many times this has happened, but whenever it does, it is such a cool feeling that I appreciate so much.

Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?

After spending years learning how to navigate all of the outboard gear I’ve accumulated and learning how to patch everything together, gain stage it, combine it with other gear, and experiment with different sounds, it is truly rewarding to be able to listen back to something you just recorded and feel like it is sonically ready to be put out into the ether. So much of my previous recording processes were spent on thinking, “I’ll fix that later,” and while I don’t think having outboard gear is necessary with today’s technology and emulation software, it’s fun to use, and I feel like it gets one to a finished product closer without the reliance on plugins.

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

I currently see myself more as someone who would rather assist others with their projects by recording them. I’m going to keep recording my own music, but I don’t have much interest in grinding and grinding the way a lot of people are out there doing it in order to reach some kind of musical success. I’m happy with my music and am always open to growing and expanding the audience of who hears it, but I’d like to do so in a way that is honest and feels right for me.

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?

That’s really hard to say. I go back and forth sometimes about this because that’s just kind of the nature of the beast. I feel stupid about it, but sometimes I think, “Man, I spent so long on that, and no one gives a shit about it,” but then again, I’ve received some really nice feedback from people that I either don’t know or people that I know and respect their opinions more than anything.

My initial thought was disappointment based on numbers that I can see in relation to streams, audience, etc., but I think I need to remember that the enjoyment should be in the writing and recording process, not who hears it.

That being said, I can say that I feel really lucky and grateful to anyone who has been kind with regard to this record, and there are hopefully some cool things to come in the not-too-distant future 🙂

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

I’m currently working on some demos to give out to someone who has expressed interest in hearing what I’ve been working on next. I would love to see where that takes me if they are interested in the new material, but at the end of the day, I’m just excited that they are interested in the recording and want to hear more. It can feel deflating when you finish an album, but this puts wind in my sails, and I’m excited to just keep rolling with my music endeavors.

‘Non, Merci!’, the inaugural track of ‘Rest it Straight,’ the fresh EP by The Mother Z’s, has ingrained itself in my mind with its irresistibly catchy tune. It’s been a constant dance in my thoughts for weeks. This song weaves a tale of the struggle to utter the word ‘no,’ enveloped in an infectiously lively DIY Guitar Pop melody, further enhanced by its evocative French title. These elements combine to form a delightful prelude to the EP’s remaining five songs, all of which exude the same infectious joy.

Andy and Becca Palmer, the sibling duo making up The Mother Z’s, embarked on their musical journey with a vision to blend Punk and the Motown Sound. This journey has now resulted in an amazing new EP that I highly recommend to any enthusiast of quirky, playful, and melodious pop music.

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Be sure to catch ‘Non, Merci!’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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

Andy: We were inspired to make this record for a few reasons. First of all, it’s been 10 years since we ended the Z’s in 2014, and a lot has happened since then, both in our personal lives and in the world! Becca moved across the country, and we both got married and had kids… a lot has changed, and that’s not even mentioning anything that’s happened in the world since then. I was actually writing these songs with the Z’s in mind between 2021 and early 2022 – still very much during the pandemic. I think the pandemic – like for a lot of people – got both of us reflecting on the past and thinking about the (uncertain) future. I was looking back and remembering good times when Becca and I were playing shows and able to spend time as siblings and as bandmates as The Mother Z’s.

The Mother Z’s have always been about fun and resilience, so I was inspired to write in that vein as a reaction to an atmosphere of negativity and fear that I felt had been all around me, really since 2016. I was just tired of it and wanted to kick off the sheets, so to speak, and do something fun. My wife was pregnant, and I had all of this hopefulness in spite of the pandemic, etc., that I wanted to express, while acknowledging the not-so-good things and the uncertainty I felt. The title of the album, “Rest it Straight,” encapsulates this idea too. The phrase is an inside joke between Becca and me that stems from a panicked kayaking trip. It basically means to hang on, stop paddling, and let the current take you for a minute, even if you feel uncertain.

I tend to write differently for The Mother Z’s than when I’m writing songs for my solo project, and I think it just made sense to bring back The Mother Z’s – one of the most fun projects I’ve been a part of with one of my favorite people in the world – as a way to do something positive and hopeful… the only catch was that Becca had moved across the country from Chicago to Portland, and she was pregnant by the time we decided to record. So, we had to figure out a way to record remotely. I recorded my parts in my living room in Chicago and sent Becca the tracks. In a race against time, before her son was born, Becca recorded her parts in her coat closet in Portland, OR. We mixed her tracks together and then sent each completed track to Sumthins Recording in Joliet, IL, for final mixing and mastering. We’re pretty happy with how it turned out!

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

Andy & Becca: We actually reference this in a song on our new album, “Sheboygan.” Over the years, The Mother Z’s have invited friends to play bass with us live as a special guest (we normally perform as just an acoustic guitar and a small drum set-up). On one occasion at a Halloween show in Sheboygan, WI, Andy’s friend Pat joined us to play and sing “Monster Mash.” The stage was really small, and Pat, apparently channeling the Misfits’ version of the song, burst into singing so suddenly that he almost knocked Andy off of the stage. Andy had to jump down to avoid being hit by Pat’s bass and spent the rest of the song by himself on the floor. We still crack up when we remember it, and it’s definitely become one for the history books.

While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?

Andy & Becca: (Andy) I think what sets our songs apart, first and foremost, is the sibling dynamic in the writing and performance of the songs. I like to write little duets where Becca and I are in conversation with each other, like on the song “Rest it Straight,” where we kind of go back and forth, trading verses and talking to each other, and sometimes giving each other a bit of a hard time in the lyrics like in Becca’s line to me: “you gotta come down to earth sometimes.” We hope it feels like you’re in on a conversation or inside joke between us. I also am really influenced by Motown music – the hooks and the fun energy, so I hope that comes through too.

(Becca) I think what sets us apart – especially live – is the amount of energy we bring, despite performing mainly as an acoustic two-piece band. We both grew up listening to pop-punk and punk rock, and I think that’s the kind of energy we bring to a live show, which is kind of that element of surprise. We’d get on stage, opening for a rock band, and people would think we were going to be a mellow acoustic project, but, we would kind of sneak attack them with our songs and our energy on-stage. I also really like our bro-sis harmonies and banter.

If tasked with introducing your music through three songs, which ones would you choose, and what story do they collectively convey to new listeners?

Andy & Becca:

Our songs have always been a mix of fun, attitude, nostalgia, and hopefulness. We think these three are great examples if you’re new to the Z’s:

Dead Weight – this has a lot of that Mother Z’s-style rock n’ roll attitude (with a sense of humor)

Sweater Weather – this is a good example of some of our more wistful, nostalgic tunes

Holy Smokes! – this one has our signature brother/sister back-and-forth and some of those Motown hooks we love!

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?

Andy & Becca: The Mother Z’s started with plans for a much bigger sound than we originally ended up with. Andy wanted to start a pop-punk Motown band after college. When we started singing together, at first, we were just practicing and having fun, but sort of in keeping with that DIY use-what-you’ve-got mentality, we ended up going on as an acoustic duo. Something about it just worked. But while we started off kind of lo-fi and acoustic, I think we both wanted to try a bigger sound. We did that on our records “Permanent Collection” and “Rock & Roll Time Machine,” which featured a full drum kit and electric instrumentation. They were fun projects, but we think “Rest it Straight” is really the best of both worlds. We kept some of what we liked about our “big sound” on songs like “Non, Merci,” but we mostly went back to our minimalist roots with the acoustic guitar, Becca’s patented 1-2 beat on a small drum set-up, and a focus on the vocals. We think this is the best version of The Mother Z’s’ sound.

In recent times, a fresh wave of Power Pop artists has surfaced, crafting their unique sonic palette. Their music embodies catchy melodies and gentle choruses that offer familiarity, yet it’s the subtly unsettling and oddly discomforting delivery that infuses a sense of urgency. Mo Troper and Tony Molina paved the way, and, among others, Diners and Goat Yoga follow suit in this vein.

The Creepy Crawlies also align with this movement. Their latest album, ‘Weeds,’ epitomizes disturbing beauty. Chris Donlon’s storytelling style reminds me of both Ray Davies and Scott Miller, inviting listeners to delve into the narratives with intense engagement.

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Be sure to catch, ‘Frozen Lake,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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

I sheepishly say that it took over ten years to finally bring this record to life. In some ways, I’m just a slow-moving animal. I was always the last person to turn in a timed essay in class. And working on my own at home in the nooks and crannies of my life with no label and no deadline, I had the luxury and curse of unlimited time to take with it.

It’s funny cause I wouldn’t say it’s a particularly complicated album production-wise. I purposely tried to limit my palate to mostly two guitars, bass, drums, and one or two sampled instruments and synthesizers. My original concept was to have one totally unique instrument/sample for each song, like the kids sledding at the start of “Frozen Lake” or the train whistle in “Evil Twin”. I didn’t totally stick to this, but I think the spirit of this idea is embedded in the album. I wanted an almost timeless “rock” sound with a touch of the uncanny.

While working on the album, I got married, and my friend Kate who sang on our last album, “Get Buried!” bought a Wurlitzer to play Daniel Johnston’s “True Love Will Find You in the End” during the ceremony. It turned out it was too much of a burden to transport the Wurlitzer back to their apartment in SF, so I ended up storing it at my place, and I quickly realized its warmth was the missing piece to the album.

Once I added the Wurlitzer to most of the songs, I was able to get serious about finishing. Over the pandemic, I had more time to finesse the mixes, and for the last step, I found my mastering engineer Ryan Schwabe through his work on Mo Troper’s MTV, an album I really love. In fact, it’s been kinda amazing to witness this mini power-pop resurgence happen over the last few years, and hopefully, my power-pop adjacent album can be a small part of 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?

I’m not sure if it’s my best, but a song I’m really proud of is “Further from the Fairytale”. I really pushed myself musically to try to make something that felt epic, immersive, and hypnotic that grew from a more straightforward power-pop song. I was listening to a lot of My Bloody Valentine while working on the song, and one night I had a fit of inspiration and wrote and recorded the whole long outro guitar solo in a couple hours. Then over a long time, I kept adding layers and layers, and it was so hard to mix, but I’m happy with how it turned out.

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?

Like a lot of musicians and songwriters, I find it’s often easier to convey emotions through songs. I love the emotional catharsis of songwriting, and I find living in my own creations is comforting. It’s a strange compulsion to want to share this with the world, and yet here I am, both proud and profoundly embarrassed.

While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?

While my songwriting is pulled from my life, I feel I often take on the perspective of a character who embodies a more extreme version of something I may be feeling or someone who doesn’t even necessarily see themselves that clearly. I’ve been interested in the idea of the unreliable narrator in song form for the past few albums.

If tasked with introducing your music through three songs, which ones would you choose, and what story do they collectively convey to new listeners?

I think I’d say listen to “Get Buried!” from the album with the same name, as well as “Frozen Lake” and “Weeds” from the album Weeds. “Get Buried!” is the celebration of denial, “Frozen Lake” is the bubble starting to burst, and “Weeds” is the acceptance of all the skeletons and confusions of life.

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

I received a comment on my “Yolk of Love” YouTube page from someone who said that they were listening to the song and thinking about their long-term relationship and trying to decide if they were going to keep living together and that the song was bringing them some melancholic comfort and I was blown away by their vulnerability in sharing that and that the song had struck them enough to make that comment. It strikes me as a perfect example of the alchemy of music to take a situation that can be agonizing and not something I’d wish anyone would have to go through and make a point of connection around it.

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 made by my wife, Lou Donlon, who is an incredible artist. When I saw this particular drawing she had made of a figure sitting with a head and torso completely covered in a thicket, I knew almost immediately that I wanted to use it as the art for this collection of songs that I was already planning on calling “Weeds”.

There’s a tension of vulnerability and mystery in the art that I could really relate to, and it seemed just perfect, like this feeling of “oh, this was always meant to be the cover”. It made me really excited to finish and release the album.

Another visual aspect I knew I wanted to try for this album was creating more lyric animations for the songs. Visuals are so important for things like Instagram, TikTok, and YouTube, and I wanted to extend my interest in animation into visuals for my music. There’s a full animated lyric video for “Yolk of Love” that’s a combination of my wife’s artwork and my hand-drawn animations that was satisfying to make.

You can detect influences from Springsteen, a touch of The Clash, elements reminiscent of The Bottle Rockets and Nick Lowe, blended with a hint of English pub rock. The amalgamation of these sounds forms a reassuringly confident atmosphere. Dogpile on the Rabbit recognizes that their strength lies in echoing the ambiance of a lively Friday night at the pub, and that essence permeates their music. It’s a blend of joy and wisdom, delivered in a single satisfying gulp.

Bruce Hanson (guitar, vocals) and Brian Stabile (also on guitar, vocals) elaborate.

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Be sure to catch, ‘Tricks of Light,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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

Bruce: The band formed in 2019, and we recorded a few tunes as singles in 2020. But with the pandemic shutdown, we had to postpone plans for recording a full album until April 2023. We recorded the initial tracks at Shorefire Recording Studios in Long Branch, New Jersey, with Joe DeMaio as our engineer, in one 20-hour marathon weekend session. We then recorded overdubs at my home studio in Hightstown, New Jersey, over the next couple of months and mixed and mastered it there as well.

Brian: We are a pretty energetic live band, so we wanted to capture the feel of the full band playing live in the marathon session at Shorefire. From then, we decided on what tracks were best and would fit in with what we thought may be an entertaining full-length order for an album. We then focused on a few songs at a time and mixed in with some late nights and some liquid gold on the rocks, the effect of which cannot be minimized here; we got it together.

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

Bruce: For me, it was Brian’s song, “Running Partner.” The initial tracks from Shorefire sounded great, but as Brian and I worked on it further at my place, it transcended into something indescribably great. There’s a subtlety and complexity of emotion evoked by the lyrics … it’s not maudlin, but it’s wistful and longing yet also optimistic at the same time. And we managed to amplify those emotions musically.

Brian: For me, it all felt so frictionless, the whole experience. There was minimal disagreement, and it felt as if our ears were tuned to the same sonic frequencies. I dunno; maybe it was the bourbon!

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

Bruce: We’re under no delusions that this album is gonna land us a Madison Square Garden gig, lol. But success at the level we operate at is comprised mainly of getting as many people as possible to hear our music, whether that’s through the album or through live performances that the album will, with luck, help us secure. Where it goes from there is anybody’s guess …

Brian: It’s funny; a while ago, I saw the Killers. At the time, they had success but were not an arena band yet, and as they walked off the stage, the drummer came to the mic and said, “Tell your friends,” and then walked off. I thought that was so cool because we just want people to hear it, to get the same enjoyment we do from the music, as we have doing it.

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?

Bruce: Brian is much better at conveying open emotions in his lyrics than I am. I tend to be more elliptical, and more obtuse. But I think those two approaches create multiple dimensions to the band’s overall work, which allows the audience a variety of entry points into our music.

Brian: That’s why I enjoy this album and this band. Although we both write differently, there are multiple dimensions to the songs, but because they are done by the same people, it’s almost like a band playing a variety of covers that you’ve never heard before.

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?

Bruce: Well, we’re old as dirt, we’ve been doing this forever, but we’ve only just begun.

Brian: Well said, partner!

The Covid-19 era presented not just challenges, but an unprecedented and immensely trying time, marked by a confluence of formidable obstacles that impacted individuals, communities, and nations on an unparalleled scale.

However, let’s acknowledge that it offered a distinct opportunity for numerous artists to channel a range of emotions, sparked by the lockdown, into a surge of creativity.

Kurt Baker is a prime example of this phenomenon. In a timely response, he composed some of his most compelling songs during this period. The resulting album, ‘Rock ‘n’ Roll Club,’ represents a musical endeavor that wouldn’t have been possible just five years ago.

In an exclusive interview with Sweet Sweet Music blog, Kurt Baker delves into how this transformative process took place.

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Be sure to catch, ‘She Don’t Wanna Be Alone,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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

“Rock N Roll Club” started in my old flat in Madrid. I had a little studio room that was pretty cool, with a little sunlight shining in. The thing was, we were still on lockdown for months during the pandemic there, so I just started to write demos and bounce around ideas to kill the time. I think every musician and their pet donkey got creative during the pandemic. I wrote some tracks with my buddy Mark O’Flaherty, and then I did a few of my own, and it was all over the place style-wise. Then I came back to the USA and started to write songs with my buddy Geoff Palmer, and Wyatt Funderburk. I kept on writing on my own, too… so finally, I had amassed like forty demo ideas that could somehow make it into an album.

I sent a ton of the demos to Little Steven Van Zandt, who runs the label I’m on, Wicked Cool Records. He was pretty surprised I had so many ideas, but he helped me focus on a good batch of tracks, which would ultimately become “Rock N Roll Club”.

We did a big chunk of the recording at Steven’s studio in New York City, which was just a dream to do… it was right in Manhattan, and we were recording a big rock-sounding album in a big city. The energy was electric. We took the tracks back to our home studios and started laying down overdubs. Deep down, I knew that this record had to be the one; it’s this one or nothing. I put my heart and soul into this one.

We had a bit of a slip-up – midway through the recording of the album, a good bit of the recordings we did were lost. However, it all worked out. I ended up doing all my lead vocals in a one-day recording in Madison, Wisconsin, a place that is very special to me. It was fate that I had to re-record the vocals, and they came out better than ever.

I’m really proud of this album. I’m so happy about it and how it came out. It really has a lot to do with the crew behind it all. Wyatt’s producing and mixing, recording with Geoff Sanoff in NYC… all the guys in the band playing their hearts out on the record. It’s just fucking cool making music with your buds and then having the ability to release it to the world. I’m so grateful.

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 think, if anything, this new record shows that I’m in it for the long haul. There is nowhere to go but forward, and keep on aiming for the stars. I’ve been writing and playing for a while now, and with this new record, I think it’s gonna be the one that really sets a new bar for me, personally because I feel it’s some of my best material, and sonically, the band and just took it to another level. We’ve had the experience to know what works and what doesn’t work.

The pandemic period was a time for us to get back to our roots and what we loved best, and we proved that with the album “After Party”, we’ve refined that sound… we’re older, seasoned a bit, and we are confident in what we do – which is having fun and making upbeat fun songs that make you feel something positive – that is what “Rock N Roll Club” is all about. Maybe you’d say it’s a “mature” record, but that doesn’t mean we are playing slower and softer… it just means our experiences in life and our performances reflect a great life playing music. This album represents that for sure.

Can you recall the last instance when you felt the immediate certainty of having penned a hit song?

Every time I sit down to write a song, the idea is to compose something that could be a potential hit. My song ideas won’t make it into a thought-out composition or eventual recording on the album unless I feel good enough about them that they can stand alone as a great single.

Basically, I just try to write A-sides and top-notch B-sides. My mind is always very singles-oriented. My albums aren’t concept records but more of a collection of singles. I love the idea of a “pop song”, something that is accessible, that has something that almost any listener, no matter their musical taste, can say, “Oh yeah, that’s an earworm”. I’d be doing a grave disservice to my fans to release a song that’s “Filler”, so I try not to ever do that.

If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?

“Anchors Up”, “I Like Her A Lot,” and “Don’t Go Falling In Love”. Those are all nice ones I think are good as an introduction to my music. Story-wise, they collectively tell a tale of a guy who is obsessed with The Beatles, Green Day, and 70’s UK Pub Rock, who likes writing and recording songs for people to listen to and enjoy!

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 did do a disco song on this one, so there that. Also, I’ve been listening a lot to Oasis, and Noel and Liam Gallagher really had a huge impact on me. So this record is all over the place stylistically, yet I do feel it’s all held together and flows because, at the end of the day, it’s still the boys in the band. We’ve just expanded our palette a bit. It would be foolish for us not to try and expand our boundaries musically! It’s fun!

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

I just try to be myself, have a good time, and enjoy the moments making music with my friends. I love playing gigs and being on stage. I think in my “genre,” there are many groups who lean more on the “Punk” side of power pop/punk, while others are more pop-oriented.

I don’t try to be too experimental, but I also don’t try to be a DIY purist when it comes to record-making. Props to the musicians who make their albums sound like it’s 1977, but for me, I’m 100% steeped in old influences but want to keep the production of my songs modern. I try to find a balanced medium between having a great-sounding record and then also still having some kind of edge that isn’t pristine commercialism. But I don’t have to prove myself to anybody; I know who I am, and I feel good about the music I make, so people can think what they will, but at least I know that I’m having a blast and loving the fact that I’ve been lucky enough to be making rock n’ roll music for most of my life.

Goat Yoga, a musical duo hailing from Brooklyn, New York, comprises Jake Zembrzuski (vocals, guitar, and bass) and Eric Doering (guitar, bass, drums, and backup vocals). Their latest EP, ‘Don’t You Think I Wanna Go?’, follows their 2021 release, ‘Appa’s Lost Days’. This new offering boasts six captivating tracks that will resonate with fans of Mo Troper and Tony Molina, featuring infectious tunes that will leave you pleasantly rattled.

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Be sure to catch, ‘Don’t You Think I Wanna Go?,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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Sweet Sweet Music blog had a conversation with Jake to delve into the genesis of their latest songs.

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 this EP right as my roommate/drummer/renaissance man, and I started moving from upstate NY to Brooklyn. I think the new environment and living together was a great catalyst for songwriting and helped with new ideas

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

We tracked all of the guitars first and then recorded Eric’s drums live for the first time compared to just programming them before. Hearing it back for the first time was a huge highlight.

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

If I can listen to this 6 months, a year from now etc., and enjoy it, then I’d consider it a success. The goal is to make music that I’d still wanna listen to down the road and be like hey, this isn’t that bad.

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?

Mo Troper, Mikey Erg, Steve Ciolek. No one writes better hooks in the business than them.

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

This is something I struggle with; I don’t wanna sit on songs as long going forward and get way more music out there and off my laptop as demos.

The Small Square is releasing “Ours & Others,” a follow-up to their 2015 self-titled album, on October 31 through Farm to Label Records. The duo, Paul Chastain and John Louis Richardson, recorded the collection at Richardson’s Drum Farm Studio, returning to the same space where they created their debut album.

Paul Chastain, co-founder of Velvet Crush, discusses the unconventional creation of this delightful Power Pop album.

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

“Ours & Others” was put together over several months, partially due to John being in the US and me being in Japan. This has become our usual modus operandi.

When we get together at John’s studio once or twice a year, we select songs to work on, usually from unfinished or completed songs in demo form. Some songs start as just bits one of us has been working on or spontaneous ideas. It happens in all possible ways.

On this record, we did pre-plan, starting a few songs with other musicians in the studio with us. Others were started with just the two of us. The things we start at the studio are almost always finished later on, probably because of how I am and because of time constraints. I like to sit with stuff for a bit and figure out what we have to work with.

The record really didn’t take shape until much later, when the initial recording of most of the songs had happened. Of course, we set out with the idea of making a group of songs that would become an album, but we didn’t really know what it would be. I think I had to slowly find it as I worked on completing the recordings.

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

It has become almost a hallmark of our process to invite outside contributors to aid and abet us. We find it can give the recordings a different energy or some cool intangible element. These tracks then seem varied (in a good way) from the tracks, with only the two of us performing. Maybe it gives the album a little more width or depth.

This project pushed the envelope of that even further when, at one session, we recorded with and even left some of the writing to an ensemble of great players with whom John had been working at his studio.

Involving the ideas and input of others can crack open some new doors or pull things in directions I may not have thought of going with a given song. An interesting and fun experiment for me, a “band” guy who is used to being part of a specific group of collaborators. It certainly drags one from one’s rut.

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?

Baring emotions is not very natural for us, I think. In fact, I can’t really think of that when writing. That would likely halt the process. For me to get it down on paper or commit it to recorded media, I have to be immersed in doing it without the thought of what I am doing.

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

With my old band, Velvet Crush, we once performed with Roger McGuinn of The Byrds as his backing band. The Byrds were an extremely influential and inspirational band to me and my band. Singing and playing a set with Mr. McGuinn is a fairly surreal memory for me.

Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?

For my part, little or no thought is given to the “commercial appeal” side of things. I try to create the art from the heart, I guess. I really don’t think pandering usually yields the best work, for me, at least.

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?

On this project, I really felt that the visuals were an important, integral part. Once much of the music had been at least partially completed, I had a concept for album artwork which became intertwined with the music as I developed it. It took some time, but I put together what became the Digipak art along with a digital booklet, based on laying images on the floor and photographing them. I liked the homey vibe of that and felt that it meshed with the vibe of the music. Once I started putting these visual ideas together, they became part of the project and seemed to me to be inseparable from the music. I tried to also incorporate the same qualities into the video for the song “Twenty-Third”.

I am not sure, though, how the images complement the music, but I feel that they do. And it’s really all about the feel, isn’t it?

The highly anticipated album titled ‘All Fuller No Filler‘ by Wesley Fuller does not have a confirmed release date as of now. However, enthusiasts can take solace in the two impressive singles released in recent months, which hold significant promise. Delve into the intriguing and unique history behind the creation of this album.

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Be sure to catch, ‘Back to Square One,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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How did this record come together?

Many, many late nights over the course of about 2.5 years.

I got back from a European tour in early 2019 and needed a break from trying to “make it” in the music scene for a while.

So I focussed on getting back to basics in my personal life. Getting out of sharehouses and into my own flat, getting a new day job. It’s expensive being a solo artist (or just a musician in general), particularly working long hours on a low wage. It was around July/August 2019 that I started tracking the drums for the bulk of the songs I’d written for a new album, at a legendary rehearsal room called “Lighting Lab” in Box Hill. I’d just book the room for an entire 12-hour day for $100, and just bring all my own recording setup. I spent the summer of 2019 and early 2020 polishing off (and I do mean seriously polishing) the rhythm tracks. I spent so many months just playing around with and editing the drums, adding layer upon layer until I got the sound I was after.

But I’d also fallen in love again. So that put recording on the backburner for a few months.

Then the world was thrown into the pandemic mayhem. We were in lockdown for a very long time in Melbourne. Most of 2020 and a lot of 2021, as I recall. I was still working from home 40 hours a week, but it gave me a lot of focused time (late at night) when I could chip away at recording. Every night after work, I’d start what became my second job, which was recording the album. I’d start at about 8pm and work through ’til 2 or 3 in the morning. At least 4 – 5 nights a week. Some nights I’d spend five hours just playing around to get the right reverb sound on a keyboard part, or just tracking a single 12-string guitar line. Some nights I’d keep my work; other nights, I’d scrap it and try again.

As painstaking as that process sounds, it was completely a labor of love, and I enjoyed having a creative project to focus on, to take my mind off the complete shitshow that was the world at the time. There were 2 or 3 songs that I got about 3/4 of the way through tracking and then shelved them. I added on Jacaranda and Worthwhile towards the end of the process, as I was writing them whilst recording the others. By mid-2021, the album was completely tracked. I spent the rest of my year adding final overdubs and mixing it all down into the final product that it is today!

When did you decide to start asking for opinions on the new songs?

In late 2020, I’d tracked about 10 songs for the album in a relatively skeletal form. Basic mixdown with a few overdubs.

I sent those mixes through to one of my closest friends, and my most trusted musical brother, Jamie Turner (Myths, Angie Colman & solo artist).

Jamie provided me with a detailed breakdown of the mix and production/arrangement notes for each track. That was incredibly helpful as it gave me quite a few ideas that I just hadn’t considered.

Examples include adding broken harpsichord stabs to the verses of “Everything Is Strange” and adding a space echo track to the drum solo in “Inside and Out”.

The meaning of success has changed over the years. What would success look like for the new record?

Ideally, I’d like to sell every available copy of the album. I want as many people out there in the world to own the physical vinyl record.
Success would certainly look like releasing a second pressing of the album.

Aside from that, just getting as many songs out into the world and into as many ears as possible. I truly believe that there’s something for everyone on this album.

I have friends who predominately listen to avante-garde, post-punk, and metal who’ve messaged me to say, “Hey man, Alamein Line is so catchy, I’ve played it four times today!”.

But it is always a struggle to get noticed, in a very saturated market. You’ve really got to be a relentless self-promoter, and always be churning out new and interesting content.

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

Most of the time, it’s once I’ve mapped out the structure of the song in my head.

When an idea hits me, it’s usually the hook of the song. I can hear the song playing in my head like I’m listening to the radio.

So I’ll try and get as much of it down and then map out the structure of the song.

I might be missing a couple of lyrics, or even an entire verse sometimes, but I’m quite impatient.

Quite a few songs on the album were recorded this way. I wrote and or changed the lyrics during the tracking process.

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

Probably when I was back in high school, and naive enough to believe in that stuff.

But I’ve had plenty of moments when I’ve written something and got a huge buzz of excitement out of it. It still happens! If I start writing something and I’m not getting a huge buzz out of it, I’ll just shelve it. I only want to write instantly catchy songs at this point. Despite the fact they’ll never become a “hit” by modern standards, it’s a never-ending personal quest to keep writing better songs that have some kind of mass appeal.

If you could pick three singers to sing harmony vocals on your next record, who would you ask?

Cass Elliott, hands down, is probably my favorite singer of all time.

Neko Case, is probably my favorite harmony backing vocalist, certainly of the modern era – particularly her work with The New Pornographers.

Lindsay Buckingham (mid-late 70’s era). Always really admired his thin but powerful vocal timbre. It really cuts through a mix.

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

McDermott & North. A rare gem of a duo from Queensland who have this unashamedly soft, indie Britpop sound.

They write really catchy, 60s-influenced songs and harmonize like no other band I’ve seen recently. Like very early Lennon & McCartney style 2 -part harmony chemistry.

They’re currently over in the UK, growing their fanbase and chasing the dream, and I reckon they could be the next big thing.

I’d also bring along my oldest and best mates, a band called Myths (from Perth, W.A). The most talented, humble, and hilarious bunch of musicians that I know. They’ve written brilliant songs for years and never received the credit they deserve (it’s hard in Perth!!). Every time we catch up (I live on the other side of the country), we just make each other laugh the whole time.

What’s up for the next couple of months?

I’ll be shooting another film clip at the end of September. I believe there’s another single from the album to be released, possibly in October or November.

Aside from that, maybe another live show or two here in Melbourne in the Spring. I really enjoyed the last one. I’ve got a fantastic band, and I love hanging out with them.

Then I’m off to Europe in December for a holiday. We’ll see what happens beyond that!