As someone who has a deep appreciation for melodies that capture a sense of controlled turbulence, I’ve been fortunate over the past few months. An array of Power Pop albums have been released, carrying a sound that pays homage to the likes of Guided by Voices, The Replacements, and Bob Mould. “You, Me & The Make Three” belongs to this category, and Jerry Lardieri shares the unique journey behind the album and the band in this exclusive interview.

Comprising members from The Brixton Riot and The Anderson Council, The Make Three is a collective that brings together distinct musical forces.

How did this record come together?

Most of the initial songs for this record started coming together during the pandemic. When I was stuck at home for a year, I would spend every morning working out demos for songs before I started work for the day, with the goal of completing a set of songs to pitch to the other guys in The Brixton Riot for our next record. I got through about 40 songs, and after I pulled out the ones that would fit The Brixton Riot the best, I still had a ton to choose from. That was the initial spark that led to The Make Three. Pete and Chris were obvious choices because we had played together many times when The Brixton Riot and The Anderson Council would share bills. The three of us had also done several sessions as an unnamed trio, covering bands like The Replacements, The Cure, XTC, The Lemonheads, etc.

When it finally came time to make the record, we had a hard time getting our schedules to line up. As a result, Chris and I set up a makeshift recording studio at his beach house on the Jersey shore the week after Christmas. We recorded all of the songs for the record over two or three days at most. Once that was finished, I sent the tracks to Pete, and he added bass and vocal parts from his house, while I added guitars and vocals from mine.

None of this is an “ideal” way to make a record, but we were all committed to getting this done and making it work any way that we could. There were tons of plans that went by the wayside due to scheduling, money, and time constraints, but in the end, it turned out well. To be honest, I ended up being pleasantly surprised by how cohesive the whole thing sounded. I think that was directly the result of us knowing each other for so many years and having played together so many times before. Hopefully, next time we will be able to use a more orthodox recording approach.

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

The first time I heard one of our completed songs recorded and mixed, I felt like we were on to something. Interestingly, that song did not make it to the record, but it will probably come out sometime in the future.

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

I started sending things to Pete in very basic forms – sometimes a GarageBand demo, but usually just a voice memo. He is one of the songwriters I respect the most, so I really value his input. Beyond that, we tried to keep things within the band. This was actually the first time where I specifically tried not to share songs with people outside of the band. It’s not that I don’t like their opinions – I actually really do enjoy getting input on songs before they are done – but I did not want to “spoil it” for my friends and for people who have always been supportive of the music I’ve been involved in. I really wanted them to experience the record on the day it came out instead of hearing the songs for the 50th time.

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

That’s a good question. I always try to live by the Steve Albini concept of art versus commerce, where you don’t attach business goals to artistic projects. At the end of the day, you’re still producing a product, and you want that product to perform well, no matter what form it takes – live shows, records, CDs, whatever. That said, at this point in my life, I think success is noted by being able to grow your audience with each subsequent record. There are different career goals that I have, places that I want to play, studios that I want to record at, people that I want to work with. Being able to check those items off my list would certainly feel like success. But really, anytime a new person messages me or approaches me or buys our record or shares one of our songs and identifies with something that we’ve made, that feels like success to me.

Is the best song you ever wrote on this one?

I sure hope not! I think everybody’s always looking to improve with each attempt, so hopefully that bar keeps getting raised with every record.

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

It can definitely be difficult. There are a lot of songs on this record that deal with emotional or personal subjects, but they aren’t autobiographical. The last two years presented a lot of challenges to almost everyone I know, including my friends and family. People we love pass away, and relationships fracture, but our lives continue moving forward. I think this record touches on a lot of those concepts and trying to pick up those pieces and move on. I think it’s the first time I’ve written songs that people could connect with on such a personal level because they’re about things that may have happened in their own lives. They are not overly complex lyrically and they deal with things everyone can relate to.

You can pick 3 co-writers to write new songs with. Who? … and Why?

I would have to say first and foremost would be Elvis Costello. He’s just a master songwriter with no equal. Ted Leo is another songwriter I love. I remember when I first heard “The Tyranny of Distance” and “Hearts Of Oak” – those records completely blew my mind. Picking a third one is tough – I want to say Paul Westerberg, I want to say Bob Mould, I want to say Robert Pollard, but I am going to go with a dark horse – Tim Midyett of Silkworm. I came to Silkworm and Bottomless Pit records quite late, but they made me rethink everything I was playing and listening to. The strange thing is that even though Silkworm is a huge influence on my songwriting, I don’t think it’s very obvious in my songs. No one else has ever made that connection, but there’s something about those records that just hits me right. The best songwriters and records make me want to write songs and play shows. That’s what the Silkworm and Bottomless Pit records did when I first heard them.

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

The Make Three is still very new, so we’ve only played six or seven shows. I guess I’ll always remember the first show; that was at John and Peter‘s, and it was cool getting to play in such a famous room for our first gig. The gig I will always remember was The Brixton Riot opening for Dramarama on the Belmar boardwalk. Hundreds of people lined the beach to see Dramarama, and we were able to play to the kind of audience that they probably see every night. Such a great experience. And then we got to watch them play their hits right on the boardwalk. By the time they got to “Anything, Anything”, everybody was crowded around their equipment and singing together. One of the best nights of my life.

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

I’m not sure there’s a single formula for that. There are songs that we have recorded and re-recorded and re-recorded again, changing them in both large and small ways. So obviously, in those cases, the songs were not ready to be recorded, but we didn’t realize until they were already done. Then there are songs – like “Local Scene” – where we never played it together until we were in the studio, and we were able to nail it in three takes. If you had asked me beforehand if that song was ready to be recorded, I would have said no, but there’s a reckless energy to the version on the record where it seems like it could fall apart at any moment. Sometimes that gets lost when the songs are recorded over and over again.

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

I don’t think we’re all that experimental, but we like to throw in some quirks here and there. For example, on “Against The Tide”, there’s a section that appears after the first chorus that doesn’t appear anywhere else in the song. It’s basically in place of the chorus, so what would you call that? A second chorus? A bridge? Basically, it was a mistake that I made on the demo that I was recording and writing at the same time. When it came time to record the song, we kept it in there. It doesn’t make much sense, but somehow it works. I don’t really think about commercial appeal all that much when it comes to writing songs, which probably sounds kind of funny because the songs on this record are quite poppy. That’s another strange thing – if you had asked me six months ago if we were making a power pop record, I would’ve said no. But there’s no doubt that’s exactly what we did.

Lyrics are often taken for granted. What is the line of text or are the lines of text that you hope listeners will remember? And why?

Of all the components of writing songs, lyrics are the most difficult for me. I don’t think there are any turns of phrase on the record that have that clever Elvis Costello wordplay thing going on, but hopefully, there are no clunkers either. I know you’re referring to something listeners will remember for being great, but there’s the other side of that coin – you always hope there’s nothing so awful that sticks out to listeners every time the song plays.

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

Well, I’m not sure I ever feel that way. When I think of hits, I think of the songs on the radio, and I don’t think traditional radio plays the kind of music that we play. There are definitely moments where I feel like something just clicks the right way. I know when I wrote “Emily Strange”, I immediately sent it to Pete – mostly because I thought I had ripped it off from him and couldn’t figure out which song I lifted it from. People seem to be gravitating towards that one, so I guess that’s as close as you can call one of our songs “a hit”.

Cassettes are back. Which five songs would make your first mixtape?

• Bottomless Pit – “Repossession”
• Momma – “Speeding ‘72”
• Shrag – “Rabbit Kids”
• The Anderson Council – “We’re Like The Sun”
• Air Miami – “Dolphin Expressway”

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

There are good nights and bad nights, but when you’re lucky enough to have bandmates as talented as I do in both The Make Three and The Brixton Riot, and you also like them as people, it’s hard not to have a good time, even when there isn’t much of a crowd. There’s something very special about the connection between the band and the audience at a great show. It doesn’t always happen, but sometimes I like to look around and see who’s nodding their head or tapping their foot or just getting lost in the whole experience.

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

I try not to get in the way of how people hear our songs. If someone likes our music because it reminds them of something they like, that’s fine – I don’t have to agree with them, and I don’t have to necessarily like the artist they’re referencing. I’m just happy to have somebody enjoy anything I’ve done. I think as an artist, that’s all you can do – put things out in the world and let people decide for themselves what they mean to them.

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

Sticking with just the new album, I’d probably go with “Black Cloud”, “Parts Unknown”, and “Sweet Carolina Blue”. I think those three songs distill three sides of what the band is about. “Black Cloud” is very obviously rooted in the Dinosaur Jr. sound. I’m such a huge fan of J Mascis and Dinosaur Jr., and I really wanted a few moments on the record with that big crazy guitar sound. One of my friends told me that the “chugga chugga” parts in “Black Cloud” remind him of Iron Maiden, which is pretty funny but also makes a lot of sense. For “Parts Unknown”, I was trying to go for more of a Chris Bell-style song, but I think it might’ve been lost in translation. That one ended up being a little more shoegaze-y and distorted, like something from “Bandwagonesque”. “Sweet Carolina Blue” is very much a Bob Mould/Sugar-style song. I found the original demo the other day when I didn’t have any words, and I named it “Mould Song”. Hopefully, these influences are more subtle to the listener than they are to me.

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

The Brixton Riot and The Anderson Council. What could be more fun than touring the world with your buddies?

What compliment you once received will you never forget?

J Robbins once told us that we had “more hooks than a tacklebox.” Any compliment from J Robbins is one I won’t forget.

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

Those moments definitely happen, but it’s almost comical how much of recording is just monotonous tasks: tons of takes, troubleshooting, winding and unwinding cables, adjusting knobs, etc. You are definitely shielded from a lot of these things when you get to work with an engineer, but lately, most of my recording experiences are DIY. For me, the most magical moment is when the record is done. I am a terrible finisher of projects. There were a lot of times where I didn’t think this thing was going to happen, and I’m just really glad that it did.

What place do you occupy in the music industry?

Auditory janitor.

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

I’m blessed to have Peter Horvath in this band. He could sing the phonebook and make it sound great. I saw First Aid Kit perform live this summer, and the Söderberg harmonies are just gorgeous.

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

That’s a really good question. It should really be the beginning, but I think the way that we all consume music has changed our personal relationships with records. When I was younger, I would buy a record, and that would be the only new record I’d have for at least a month, maybe more. You got to know them intimately and played them over and over again until they were memorized. Now I feel like there’s pressure to already move on to the next thing. But that’s also fun too, starting to talk about what comes next.

What’s up for the next couple of months?

We’ve got some shows coming up with more on the way, maybe a video, but we’ll see. I’d much rather work on music than a video. Both The Make Three and The Brixton Riot have ’90s covers on an upcoming Mint 400 Records compilation album, so I’m excited for that to come out. I’d love to do some live sessions for the record; I like watching things like the KEXP sessions on YouTube. There’s also a set of songs that we recorded when we made the record that haven’t been finished, so that might come out as an EP a little further down the line.

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Juan Pablo Mazzola, also known as Baby Scream, crafted a collection of exquisitely melodic, nearly acoustic tracks that are both cutting and delicate, creating an intimate listening experience. These songs drew inspiration from musical and lyrical influences such as Alex Chilton, Chris Bell, John Lennon, and Radiohead. Initially penned for his personal expression, the Spanish record label Exile Records was profoundly captivated when they had the privilege of hearing them. Their immediate desire to release “Castell de Pop” was fueled by this fervent enthusiasm, which is not hard to comprehend. The album possesses that rare quality which envelops you entirely—a musical journey capable of consuming your attention. It’s the type of album you might find yourself playing consecutively eight times on a Sunday morning, only to then retreat back to the comfort of your bed. Once these melodies have been absorbed, the day simply refuses to unfold in any other way.

How did this record come together?

I usually write and record songs just for the hell of it.

What happened in this case was that I wanted to make an album and keep it to myself, so basically that’s what I did.

This was not going to be released until the guys from the label approached me.

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

I believe when the people from Exile SH Magazine asked me if I wanted them to release the album, it was kinda surreal.

I’m not saying that I consider this album a big thing or something, but definitely, it touched some people, to the point where they felt like putting it out.

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

I treasure everybody’s opinions, especially from those who care about this Power Pop thing, so I’m always contacting them.

As a matter of fact, that’s how the people from the label found out about this unreleased album because I sent it to Juanjo Mestre.

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

In my world, if the people from the label get to sell every copy, that’s a huge success.

I have a very humble career. I’m playing solo gigs most of the time. It’s like fighting windmills.

Is the best song you ever wrote on this one?

I don’t think so, no.

That’s always the latest one, lol.

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

At this point, I guess it is. I was never good at writing about fictitious stuff.

I write surreal poems and stories, and even when I’m doing that, I use some of my personal information.

You can pick 3 co-writers to write new songs with. Who? … and Why?

Paul Westerberg – Because he’s like the best one ever.

John Lennon – Because he was raw.

Desmond Child – Because I’d like to become a millionaire, haha.

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

When I played a gig in Bodo, Norway.

It was a solo gig, at a football match, in between terms.

6000 drunk guys and 24/7 sun, bizarre to say the least.

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

I guess when I don’t want to add anything else, but on the other hand, I believe every single song is unfinished.

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

Well…the commercial appeal thing is probably hard to find in my stuff.

Production-wise it’s okay, but it gets nasty when it comes to getting the name out there and promoting the songs.

Also, we have to consider the fact that my kind of music is no longer suitable for commercial use, or at least that’s my take on it.

Not that I wouldn’t like it to be used in a commercial or something, I’d love that!

I just don’t know how to get there.

Lyrics are too often taken for granted. What is the line of text or are the lines of text that you hope listeners will remember? And why?

There’s a song called “Spirits,” it’s about dying and still feeling everything, like 100% consciousness.

There’s a line that goes “I got nothing to worry about, I’m floating around, if I never get lost, I’ll never be found…around me, around the stars.”

I often write about existentialism.

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

A couple of weeks ago, ha.

I’m working on some new songs with a killer keyboardist. He’s also from my country, Argentina.

His name is Ezequiel Gruber, and he produced a few of the new songs.

There’s this new song that I wrote called “H” that I just love.

Cassettes are back. Which 5 songs would make your first mixtape?

“Come Pick Me Up” – Ryan Adams

“Something Moved” – Frehley’s Comet

“Guitar Man” – Bread

“Bus Stop” – The Hollies

“Here We Go Again” – John Lennon

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

You get the attention!

It’s all about being liked. Back in the day before social media, there was this thing about people trying to accomplish stuff.

While on stage you get to be listened to (or at least that’s the idea) and liked for what you really are.

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

To be honest with you, I believe my songs are made for the broken people.

I wish I could say something different, but I’d recommend my music for those who struggle with the big “?”, if you know what I mean.

Way too many mysteries; it’s almost impossible not to question everything.

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

1. “Mars” (Monsters ep) – I’m always playing this one live. I wrote this for my dad when he was very sick.
2. “Jokes” (Life’s a Trap) – This one’s about missing the people you love. Sometimes you miss somebody and it gets hard to call them because life gets in the way, you know? We live in this madness where we can’t stop and say the things we’d like to.
3. “Power Pop Crush” (Baby Scream) – This is basically a love song, but it sounds just like I thought it would. I produced this one with Muddy Stardust (Chris Robinson Brotherhood) in L.A. I wish I could put together a band like the one we used for that album.

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

The Jayhawks and The Replacements, because I’m a huge fan of those bands and the whole Minneapolis Scene.

That would be like Heaven.

What compliment you once received will you never forget?

A woman in New Zealand got “Baby Scream” tattooed on her arm.

She sent me the picture, and I was like, WTF.

She said that she had been listening to my “Ups and Downs” album, and basically, that touched her to the point where she felt like getting the name tattooed.

That was huge to me.

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

Definitely back when I was younger, like in my early 20s, there was this vibe, almost like magic that you can’t describe.

I made some good friends; there was this studio in Buenos Aires. I used to go all the time.

Also, it was awesome when Eric Dover (Jellyfish, Alice Cooper) came to Muddy’s Studio in L.A. and recorded backing vocals and some guitar, that was insane.

What place do you occupy in the music industry?

I’m another brick in the wall, perhaps irrelevant when it comes to notoriety, but if it weren’t for guys like me, there would be no Spotify or Recording Studios, lol.

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

Gary Louris, Art Garfunkel, and Muchas Hormigas (my wife).

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

I’m on a flight, caught in a storm, right in the middle of the trip.

It was sunny when the plane took off, and it will be sunny in the end.

What’s up for the next couple of months?

We’ll finish the new album with Ezequiel Gruber, and hopefully, we’ll play a few gigs here and there.

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

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

How did this record come together?

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

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

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

What’s the best song you ever wrote?

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

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

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

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

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

What compliment you once received will you never forget?

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

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

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

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

Just beginning, of course!

What’s up for the next couple of months?

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

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

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

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

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

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

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

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

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

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

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

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

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

With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What place do you occupy in the music industry?

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

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

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

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

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

How did this record come together?

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

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

Is the best song you ever wrote on this one?

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

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

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

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

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

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

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

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

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

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

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

How did this record come together?

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

What would success look like for the new record?

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

Is the best song you ever wrote on this one?

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

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

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

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

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

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

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

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

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

How did this record come together?

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

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

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

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

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

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

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

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

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

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

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

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

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

That, and the solo in Could You Would You.

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

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

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

What’s up for the next couple of months?

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

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

Tamar Berk has skillfully crafted a profoundly exquisite masterpiece with her latest release. Her lyrical explorations consistently delve into the deeply personal, while her musical prowess elegantly transcends the confines of any single genre.

The unveiling of her new album ‘tiny injuries,’ on August 18th, offers a mesmerizing blend of styles, from a Julie Cruise-esque ballad to synth-driven pop/rock reminiscent of Belinda Carlisle—just two among the captivating spectrum presented. Each facet radiates with brilliance, wholeheartedly embracing authenticity throughout.

In an exclusive interview gracing SweetSweetMusicblog, Tamar Berk maintains a refreshingly candid sincerity, reflecting the very essence of her artistry.

Did crafting “tiny injuries” lead you to a deeper self-discovery, given your deliberate choice of a less conventional path and your penchant for personal expression in your albums?

Yes. When I write lyrics, I let the pencil take over and go deep into my subconscious, just finding rhythm in the words and letting my mind and heart lead. When I look back at the lyrics, I’m often shocked at how wise and honest my unconscious mind is. It’s painfully truthful and hard to digest, but I decided not to edit myself.

When I was younger, I was more deliberate and planned with my lyrics, I think because I was self-conscious. But now, I just let it out, and afterward, I end up learning so much about what’s really going on in my head, and I believe the listener can feel this and connect more.

The eclectic fusion of music styles in “tiny injuries” contributes significantly to its excellence. Was the absence of self-imposed constraints a deliberate artistic decision on your part?

I wanted to have more fun layering and adding more synths and keyboards. Since I am a pianist first, I tend to find the coolest riffs and parts on my synths, and this time around, I didn’t want to hold back. If I wanted to hear an 80s synth in a song…I just let it be!

I think, at times, some songs really presented some dilemmas because I had so many little hooks on synth, piano, and guitar that the process of picking and choosing which ones served the song felt painful! I always want EVERYTHING in the song, and that doesn’t always work.

Haha. But, yes! I felt less constraints on this album!

Each cover photo you select seems to carry a purpose. Could you share the significance behind your choice of a school photo for this album?

There is a lot of significance to that photo. To begin, it was taken the same year as my journal entry that appears in the last track of the album “If I could fix one thing.” I was a ballerina at the time, and every day I would leave school early and go downtown to ballet classes and rehearsals. I walked around like a zombie in high school and was tired all the time.

I was also very sick in that photo battling a serious eating disorder and truly hating myself. Some might be interested to know that the back cover art of the album pattern is the actual pattern taken from that journal.

Your adept use of visuals on social media is apparent. Is it primarily an avenue for creative expression, or does it serve as the primary means for promoting your music to a wider audience?

Actually, it serves as both. I’ve always wanted to be a music supervisor, and so I create these little movies, and then I pick and choose my songs to accompany the visuals. It makes me happy and also lets me share my songs in a more creative way.

Given the unpredictable nature of listeners’ reactions to “tiny injuries,” have there been instances of unexpected responses that caught you by surprise?

Yes! I just recently got a very long and personal email from Marian Gold from the band Alphaville that told me “tiny injuries” was a revelation for him! At first, I thought it was someone impersonating him, but he actually bought the album!

Also, friends and fans that have my other two albums email and send me notes about their favorite songs on the album, and it’s ALWAYS DIFFERENT! I think that’s amazing, and as a songwriter, it makes me feel like I can write more than one song that connects with people.

When stumbling upon a band completely new to my ears, whose inaugural album resonates with echoes reminiscent of both Sloan and The New Pornographers, an irresistible compulsion pulls me to the very edge of my seat. Even after countless spins, that initial exhilarating sense of anticipation remains undiminished. “Agitator” stands as a testament to a splendid auditory experience, with its radiant sonic tapestry often drawing more pronounced parallels to Built to Spill rather than the more apparent influences that reverberate within me. This serves as a definitive testament to the realm of top-tier Indie/Power Pop craftsmanship.

Intriguingly, Daniel Forrest provides a deep dive into the inception and meticulous construction of the enthralling composition titled “Agitator.”

How did this record come together?

I never stop writing songs, but at a certain point, it feels like the right time to collect them and record them. This time that point was obvious because I knew 6 months out that I’d be moving to so-called Vancouver, BC, Canada (xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) territory) for graduate school. Danielle Farley, Brian Thomas, David Dean, and I spent the summer of 2021 recording.

We spent a few days with Sean Riley at Studio North, tracking drums and bass. Then we tracked guitars and vox for a few days up at Danielle’s family cabin in the Pocono Mountains of PA. Tim McMonigle and Andrew Silverman spent a day tracking drums and bass with me at Studio North with Sean Riley a few weeks later too.

I kept filling in bits and pieces here or there at home until Scoops Dardaris started mixing in August 2021, and he mastered everything before winter that year. So grateful for those^ folks’ creativity, time, and dedication to the project – y’all are the best!!

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

No, but it’s getting easier and easier to do the more comfortable I get with myself. My early songs were always about other people. Then, they were about big, sometimes impersonal ideas. Now, I’m trying to channel those big ideas and hopes for a better world through my own emotions.

Not knowing how people will receive it can be scary, but it’s also a huge privilege to be able to open up to other people about my feelings and have them listen.

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

I don’t know about a “hit”, but I’ve been trying to open up about my new song ideas earlier in the process with friends and family to get some feedback. Recently, I wrote a song inspired by my friends’ stories when they visited from Philly.

After they went home, I shared it with my partner, friends here, and our next visitors from Philly, and I felt something special every time. Who knows how it’ll translate on a recording and to listeners, but those first times playing a song to friends and family matter just as much to me.

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

Adrienne Lenker (Big Thief, solo), Emily Massey (Slow Pulp), and Al Menne (Great Grandpa, solo; though, we lucked out because they already sang harmonies on a few songs on Agitator!! Thanks again, Al!)

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

For me, it’s about connecting with people in real-time, knowing it won’t ever be recreated. You never know how people will respond, and no two performances are alike. Sometimes, I feel super ready to go; other times, I’m more anxious and reserved. But I keep doing it because every few live sets, I really connect with someone in the audience, or maybe I just get a big adrenaline boost. There’s always something to take away. I think I learn a lot about people from the way they react to our playing and my dumb comments on stage, and it makes me a better person.