‘Without Ya’ may create the impression that Robin Zander handles the lead vocals, but that assumption is actually incorrect, of course. However, The Midnight Callers make no effort to conceal their influences, with Cheap Trick being one of them.

Their sophomore album, Rattled Humming Heart, serves as a heartfelt tribute to the Power Pop sound of the late ’70s and early ’80s. ‘Without Ya’ stands out as one of the many exuberant celebrations found on this remarkable record. Drawing inspiration from Power Pop’s heyday, where the boundaries between infectious pop, fist pumping glam rock, mellow AOR, lively New Wave, and raw rock remained delightfully blurred, The Midnight Callers embrace the same infectious energy and conviction.

This spirit is akin to the self-assuredness displayed, for instance, by Locksley on their masterpiece ‘Don’t Make Me Wait,’ or Rick Springfield when he unexpectedly enjoyed a series of major hits in the mid-’80s.

From the very first track, “New York Tramp,” to the final song, “Colors,” every moment is emotionally resonant.

Marley Myrianthopoulos explains how “Rattled Humming Heart” came about.

How did this record come together?

“Rattled Humming Heart” emerged from our experiences during the pandemic. Many songs on the album began as collaborative Dropbox files that we worked on from home while in quarantine and unable to rehearse. Once we were satisfied with the ideas, we began performing them live as opportunities arose, assessing their natural and enjoyable aspects. Subsequently, we entered the House of Vibes with Kurt Reil to record the album.

How do you determine when a song is complete and ready for recording?

As a band that frequently performs live, the album recording isn’t the final phase of a song; it’s just another step in the process. Songs are never truly “finished.” Most tracks on both albums were played live before being recorded, and even today, we often perform them with variations from their album versions. The decision to record a song stems from recognizing that it could benefit from the full studio treatment to further develop. Even for songs played differently now compared to their album versions, entering the studio to finalize those renditions was crucial for their current state.

How do you strike a balance between experimentation and commercial appeal in your music?

We make an effort not to overly concern ourselves with commercial appeal. Being part of the internet generation, we’ve come to understand that no matter how specialized an interest might be, there’s a community of like-minded individuals out there. Conversely, it’s impossible to create something universally pleasing, so fixating on potential detractors is counterproductive. Naturally, our strong influence from prominent musical artists, who have left a significant mark on their respective styles, contributes to our perspective. We focus on creating music we genuinely enjoy and would want to listen to, without excessive emphasis on the commercial aspect, hoping that it resonates with others as well.

Imagine introducing your music to new listeners with three songs. Which songs would you choose and why?

Selecting only three is quite challenging. Given our identity as a power pop band, our fundamental essence revolves around harmonies and guitars. For showcasing our versatility, we might opt for “Baby Let Me Be,” “Without Ya,” and “New York Tramp.” Alternatively, for a focus on cohesiveness over diversity, we could consider “Baby Let Me Be,” “Girl on the Run,” and “Step!”

What are the plans for the upcoming months?

On August 11th, we are excited to release another new track on “JEM Records Celebrates Ray Davies.” To experience our new songs in a live setting, you can join us at The Parkside Lounge in New York City on August 25th, Cisco Brewery in New Bedford, MA on August 27th, the Roscoe Beer Company on September 2nd, and the Eastern States Exposition on September 30th. Stay tuned for updates on new gigs and projects by following us on Instagram @themidnightcallers and visiting our website: www.themidnightcallers.com. If you attend a show or connect with us on social media, please don’t hesitate to say hello!

Smug Brothers, hailing from Columbus, OH, are gearing up for the release of their latest album, “In The Book of Bad Ideas,” scheduled to drop on September 8. In a recent interview with Sweet Sweet Music blog, Kyle Melton delves into the journey behind the creation of this album.

How did this record come together?

KM: We started tracking in summer 2021 at my old house, doing a couple of sessions there, then my family moved to a new house in a different part of Columbus in August, and tracking resumed in this new space. For most of our 19 years as Sumg Brothers, we’ve recorded mostly at home, primarily on a trusty Tascam MKIII 4-track machine that’s loaded into the computer and sweetened up with overdubs in the digital realm.

During tracking for this new batch of songs, our old guitarist, Scott Tribble, had to bow out due to limited availability with a new job. He’s on a few songs on ITBOBI, but I’m handling most of the guitar duties on this one. We had a huge batch of about 25 songs we were working on from 2021 into 2022, and some of those ended up on the Emerald Lemonade EP we released in December 2022 on cassette. The rest ended up on ITBOBI with at least three iterations of the running before we landed with what is presented on the album.

What was the moment you knew you were onto something?

KM: I was busy working on overdubs and mixing the album when our bassist, Kyle Sowash, called me up and told me we needed to put this out on vinyl with Columbus indie label Anyway Records. He told me it was too good to let it get lost in the shuffle of a self-released CD or cassette. That’s when I think we all knew this one was going to go a little further.

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

KM: For us, it’s always a success just getting the album across the finish line of recording and pressing it up in whatever format. If we can get a few more ears to listen, that’s a different kind of success that we would obviously welcome.

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

KM: I think we defy a lot of norms about recording with how we work since we record at home. The way we work is I demo songs on my phone with just guitar and voice, then I pick the ones I like and show them to our drummer, Don Thrasher, and we set up a session to track together, just guitar and drums with a guide vocal.

Then Sowash adds his bass guitar at his place and sends it back to me. At that point, I’m adding the final vocals and sweetening like percussion, keyboards, and stuff like that. At that point, the song is “finished,” and we put it in the pile to decide what the release is going to be based on how all the songs work together. It’s a bit backward from how a lot of bands tend to work, but this is how we do it.

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

KM: I think if someone were to listen to “Let Me Know When It’s Yes” off ITBOBI, “Hang Up” off Disco Maroon, and “Meet A Changing World” off Woodpecker Paradise, they would have a pretty good sense of whether they’d want to keep diving into the deep end of our catalog.

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

KM: I think we’ve already gone through several layers of fun in recording and getting the album together, getting the vinyl, and getting to listen to it, and now getting into the promo/performance stage. Hopefully, there are a few more layers of fun to be had as we keep going with this new album.

What’s up for the next couple of months?

KM: We’ll be playing a bit more this fall in Columbus, Pittsburgh, and a few other cities nearby where we live. And hopefully, the album continues to attract more new ears. And we’re already busy working on tracks for whatever comes next, so stay tuned…

Joshua Boon, a talented Dutch Hip Hop/Soul producer, is deeply enamored with the music of iconic bands like The Beatles, The Kinks, and The Beach Boys. In the previous year, he treated the world to an EP that left fans craving for more, and now their anticipation is about to be rewarded with the forthcoming release of his full album titled “Voyages,” set to hit the airwaves later this year. As a delightful preview of what’s to come, his latest single, “Something True (Whirligig),” has been unveiled, acting as an extra tantalizing taste of what’s to come.

You released a great EP before, now a full album is coming? What can we expect?

Hi Sweet Sweet Music Blog! The EP was just a teaser for the full album Voyages, coming out the 6th of October.

I think I can now tell the complete story of The Forces. Inspired by the 60s era, including The Beatles, The Zombies, Beach Boys, and more, I hope to capture the diversity of that period. With a hip-hop crate-digger’s outlook, I embrace vintage sounds like vinyl noise and tape hiss.. Voyages aims to transport listeners through memory lane with mind-bending effects, golden melodies, prehistoric synths, unique structures, and dusty English soundbites!

You also work a lot as a hip/hop, soul producer. You can of course hear that in the production of the pop songs. When and how does that combination make you happiest?

Drawing from my background as a psychedelic soul and hip-hop producer, those influences naturally seep into everything I create. Just like the experimental spirit of the psychedelic 60s, I find that good hip-hop allows for the exploration of techniques while maintaining catchiness as the ultimate objective. There’s definitely a power pop side to The Forces, and an experimental psychedelic side as well. I guess if I have both I am the happiest…

When will the record be released?

On the 6th of October. My label Fuel Box Music is going to to the digital release, distributor Clear Spot (Kikagaku Moyo, Electric Moon, and Lamp Of The Universe etc.) is going to do the worldwide vinyl distribution. Oh, and if you buy the album on Bandcamp.com  you will get all the instrumentals for free as well!

I can imagine that you also have certain expectations about how the new music will be received. What do you hope people pick up on?

The core idea is to evoke emotions in the listener- without requiring deep analysis. The songs should speak for themselves. But I aim to resurrect forgotten music concepts and offer a sense of originality that hopefully sets my work apart from what people typically hear. I like the idea that someone stumbles upon my album and is pleasantly surprised.

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The Forces have been receiving critical acclaim for their unique fusion of Beatlesque psychedelia with hip-hop inspired beats. Their self-titled debut EP (2022) was three times featured as ‘New and Notable’ on the Bandcamp.com homepage, and their music was praised as a ‘cohesive and wildly original body of work’ by Plasticmag.co.uk.

Their full album Voyages has been composed, written, and produced by Dutch producer Joshua Boon and features the vocals of Manchester singer Tim Condor, along with more than 20 international musicians. The album also has a contribution of rapper Cavalier, a frequent collaborator with QuelleChris, and a featured artist on Stones Throw’s Quakers II album (2021) and BackwoodzStudioz’ High Bias (2023).

In 2018, my last encounter with Noah Green took place just after The Pretty Flowers‘ release of ‘Why Trains Crash’. Back then, the album garnered considerable acclaim from both critics and devoted Power Pop enthusiasts. However, their latest offering, ‘A Company Sleeve’, featuring twelve incredibly robust compositions, manages to surpass even that infectious appeal.

Drawing comparisons to Tommy Keene’s finest works, I recently found myself making a similar analogy when listening to Tom Curless & the 46%’s new album. That parallel remains just as true here.

However, The Pretty Flowers are more often compared to Guided by Voices, which recently released ‘Welshpool Frillies’, a very good, powerful, melodic, catchy and accessible album. Yet, I dare say that ‘A Company Sleeve’ outshines it in every aspect, making it an exceptional and superior release.

It was a true pleasure to speak with Noah Green again after five years.

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

If you mean opinions from people outside the band, that usually happens when I make a rough 4-track demo and send it to a few close friends, at the same time we’ll be working the song out as a band. Or when we have a good mix of a song from a studio recording that (guitarist/engineer) Jake has provided the band with, I’ll share that with those same friends. I’m always willing to share new stuff that’s not a finished product. 

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

On our last tour we played at Black Water Bar in Portland and we ended with a Wipers cover. Toody from Dead Moon was at the show and she came up as soon as we finished to say how much she liked the show and excitedly spilled beer on some stuff. I love Dead Moon, so that was a memorable one. I know she goes to a lot of shows in Portland and was really there to see The Roxies, but I got the feeling she legit liked us. 

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

I don’t really think about that very much. I consciously try not to pigeonhole our band’s music or try to write songs in the style of ___, and I think that allows us to feel free enough to let the songs be whatever they are and go in whatever direction they go. I don’t feel like the band’s sound is so defined that we can’t play around in different genres. We’re a tiny band and I don’t think people have any expectations of us, so there’s not a lot of pressure to sound a certain way. If commercial success found its way to us, that would be fine/unrealistic, but we’re not looking for it or doing anything with our music that’s not truthful to who we are.  

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

I mean, in a joking way I say that after almost all the songs we write. I like to think our songs are something like other-dimensional hits. Most of the songs I love sound like hits, and should have been, but they weren’t, or weren’t as big as they should have been. It’s also hard to have perspective from the US with the size of a hit from the 80s or 90s in the UK. But Billy Bragg songs, Julian Cope songs, Kirsty MacColl songs, Robyn Hitchcock songs…so many hits.

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

Dear Deadly – Creeper Lagoon

Philip – Life Without Buildings

Another Bubble – Robyn Hitchcock

The Fire – The Sound

Pissin’ in a River – Patti Smith

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

“See How You’re Living” (from Why Trains Crash): I chose this because it’s a rock song that’s a good representation of the band sounding big. We recorded at a different studio than the rest of the songs on Why Trains Crash so it has kind of a different sound to it. It was sequenced at the end of that album, too, and I think with most people’s streaming habits it might have gotten a little lost and underheard, so I’d put in a good word for this song with new listeners.

“Hit Nothing” (from A Company Sleeve) – This is a good example of where The Pretty Flowers is at now and, perhaps, of what our sound is. I think “Hit Nothing” fits comfortably into something like a Pretty Flowers pocket. 

“Wildflowers” (from A Company Sleeve) – This is probably my favorite song on A Company Sleeve. I’m just proud of the kind of journey this song takes from beginning to end and I’d want someone to hear that one. It’s maybe another one that fits into a Pretty Flowers pocket, but it also has a different feel from “Hit Nothing”.

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

We did a west coast US tour earlier this year with The Roxies from Berlin, Germany and I know I speak for the whole band when I say it was one of the best times of our lives. I’d definitely want to tour the world with them. They’re amazing folks. We really want to get to Germany and tour with them on their turf.

If I’m dreaming, I’ll ask if our bands can open and tour with Alvvays. They are such a great sounding live band. I’ve seen them live maybe 5 times and they’re just total stunners. All three of their albums are incredible and they just get better and more interesting with every new one. So an Alvvays / The Pretty Flowers / The Roxies world tour is the dream for 2024.  

What’s up for the next couple of months?

We only had the energy and foresight to book the west coast tour we did with The Roxies in March of this year, which we began booking in August or September of 2022, so we weren’t able to schedule the same kind of tour around the record release. The pressing plant told us our record was going to take 7 months to get pressed, and then it wound up only taking 4 months and we had to move up the release date, which was a good thing, but it made it harder to try and book a run of shows. We played a really amazing record release show in LA at Permanent Records Roadhouse with our friends Sweet Nobody and Easy Dreams. It was a total blast. We’re booking shows here and there now, but no touring is planned right now. We are planning to record some new songs at a house in Laguna Beach in September. That should be fun and a different way of recording for us.

Rob Good and Paul Wiseman had penned a sufficient number of songs to create a complete album. However, just as they were preparing to embark on the recording process, Good surprised everyone by introducing “Hear Me,” an exceptionally energetic Power Pop anthem that raised the creative bar. Encouraged by this newfound inspiration, they proceeded to write three more songs in a similar catchy and hook-laden style. Eventually, they decided to release (an) E.P., which turned out to be a resounding success, showcasing an irresistibly infectious and impressive collection of tracks.

Rob Good happily recounts this tale.

How did this record come together?

The band started out as a quarantine project after I reconnected with Paul. We were both starved for both social and musical interaction and hit it off immediately. When it came time to record, we decided to use our recording budget to outfit our own studio and record ourselves, which allowed us to take our time and really dial in the performances and arrangements.

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

We wrote a full length record’s worth of songs over the course of about a year, but by the time it came to record them we were sick of them and felt we could do better. I brought the song “Hear Me” to Paul one night at the studio and a lightbulb went on. After that, the rest of the songs came together really quickly.

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

When we started the band we never intended for it to be anything but a fun, creative outlet. We thought we might record some songs and show them to our friends and that would be about it. The fact that the record even exists at all and that people we don’t know seem to like it is more success than we ever anticipated. Everything that happens from here on out is success!

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

Not always – to show someone else something you wrote requires that you go to a vulnerable place, but the less you worry about that and the more you trust yourself, the more creative you’ll allow yourself to be. Hopefully people will like it and connect with it, but whether or not you like it is the most important thing. I’ve gone through periods of intense writer’s block when I let myself worry too much about what a theoretical audience might think. I think I’m mostly over that now.

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?

I love lyrics and they’re a big part of what makes me fall in love with a song, but I never know what lyrics of mine people will connect with or if they will mean anything to anyone but me. I like the line about “lonely karaoke nights” from “David Jones Is Dead” – I just think it paints a nice picture.

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

This is our first record, so we were really figuring things out as we went along and there were lots of magical, spontaneous moments. Bobby from Dandy Boy Records co-produced the record with us and has a great ear for performance and vibe. In particular, he helped out a lot with the lead vocals, which I needed because it’s been a while since I fronted a band. I remember having trouble finding the right approach for “I’m Not the Only One,” and Bobby sat me down and broke down lyrics for me, like “here’s what you’re singing about!” I had hardly realized what I was singing about even though I wrote the words. After that pep talk we got the performance that’s on the record in a single take.

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

It’s all fun! We’ll be playing a lot of shows and working on the next record. We have enough songs written for a full length, just gotta get back in the studio and start recording!

Tom Curless has been on a remarkable musical journey, captivating listeners with his recent releases as a solo artist, with The 46%, and alongside Crossword Smiles. As an avid follower of the Sweet Sweet Music blog, it’s no secret that I am a devoted fan of his work. Each new composition brings forth an exhilarating blend of strength, power, and raw emotion, delivered with unwavering confidence and conviction.

In light of these qualities, I often find myself drawing comparisons between Curless’ music and that of the legendary Bob Mould. However, his latest offering, “Speaking in Code,” exudes a heightened level of refinement that aligns perfectly with his artistic evolution. If you were to ask me about the sound of this latest record, my response would be akin to “a superb creation reminiscent of the remarkable Tommy Keene.”

Such an endorsement holds great weight within the realm of music I inhabit. If you haven’t yet had the pleasure of experiencing “Speaking in Code,” I urge you to do so without delay.

In this interview, Curless elaborates on the genesis of his new music, shedding light on its creative origins and inspirations.

“Sorry For You” has a very nice chorus. I can imagine that it has been tinkered with endlessly or did you know exactly what you wanted when you wrote the song?

“Sorry for You” definitely evolved from the demo to the final product. I had the basic structure and rehearsed it with the band. We tried a different rhythm, but it didn’t work. I definitely had that relentless train chugging beat in my head for that song.

When it came to the outro I was thinking it could just gradually ride into the sunset…with lots of overlapping guitars and reverbed vocals, it turned out really nice! I also borrowed a Rickenbaker from Greg from the Hangabouts to give it that chiming guitar thing, which worked so well on that song!!

You have released so much good music in recent years, is songwriting easy for you?

Thank you, I appreciate that. I wouldn’t say that songwriting for me is easy, maybe it has gotten a little easier because I have been working at it for so long. I am always striving to write a GREAT song, and I love that challenge. I do tend to fall into certain patterns and I worry I am repeating myself a bit. This happens after years of writing. It is important to stretch yourself and not fall into one bag.

David Bowie once said “as an artist you should always feel slightly out of your depth, like your feet can’t quite touch the bottom and then you know you are on the right path”. I feel like my next musical thing might venture a little further out from my usual thing.

What is the nicest compliment you have received about ‘Speaking in Code’?

The nicest compliment I got on “Speaking in Code” was that it had some classic “Curless” vibes but it also took a few interesting left turns like the weird “Marquee Moon” guitars on the outro of “Silver Shine”. I was also told that “Sorry for You” had chordal sophistication, which I really appreciated. “Man those aren’t the usual chords!!” Ha ..I am thrilled that several people have picked different songs as their favorite!! It’s not just one song that sticks out, they are all unique, that makes me proud. Mission accomplished.

I think ‘Don’t Shoot the Messenger’ is very special. The tempo, the guitar (solo), the sound, the lyrics, the summer breeze production, the great mix… . I can imagine it was a special moment when you first heard it when it was finished?

“Don’t Shoot the Messenger” is the only piano based song on the record. That had been sitting around for a while and developed slowly. Roger Manning Jr. from Jellyfish/Imperial Drag is playing keyboards, synths and backing vocals on that track and he really pushed it to another level. He is such a great guy and so talented, it was a blast working with him. I added that George Harrison inspired guitar solo and then I felt excited about the track. As you say, once I got that final mix together I felt very proud of it!

During the making of a new record there are always those moments that have been decisive for the end result. What is the moment associated with this record, the moment you would like to remember?

There were a couple moments in the studio that felt special. I am lucky because my band is awesome. Chip Saam and Ron Vensko are a tremendous rhythm section and they have just gotten tighter and more accomplished since we have been playing together over the last 5 years or so. We added Lenny Grassa (who also plays with Popular Creeps) on guitar about midway through the record who jumped in with both feet and contributed a ton in a short time. When he ripped into his solo on “Move Aside” we all looked at each other and smiled as we were laying down the live track as a band…that was a great moment!

Most of the songs on the record are a full band laying down the basic tracks and you can feel that on this one, I really love that vibe! I know a lot of artists now map the drum track to make it perfect and use Melodyne to get the vocals absolutely perfect but I am not into that. If it hurts my sales these days so be it.

To me, there is nothing like a live band playing in a room, with slight mistakes and all… that’s what it’s all about. That is four humans playing real music, not computer generated perfection.

Cameronoise, the band led by Tim Cameron, delivers a captivating blend of instrumental Power Pop. Their music is not only incredibly infectious but also infused with a delightful sense of humor. It might make you ponder whether instrumental music can be funny, but trust me, it definitely can be. Just give a listen to ‘A Henry Shade of Winkler‘ – the very name of which brings a smile to my face and is a testament to their cleverness. It’s impossible to resist getting swept up in the joy of their sound, and before you know it, you’ll find yourself dancing with an ear-to-ear grin.

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

Andy Partridge, Burt Bacharach and George Gershwin. Had you asked me the same question before the pandemic, I probably would have picked Elvis Costello, Joe Strummer, and Billy Bragg, because I was doing the one-man-punk-band, singer-songwriter thing, and lyrics were a big part of that. But since going with a full instrumental project, I’ve started to pay more attention to melody and chord progressions. Even though I always knew those were a vital part of the songwriting process, I’m really embracing them and focusing on them much more now. The chord progressions and overall song structures used by Partridge, Bacharach, and Gershwin are (or were) incredible, and so much more interesting than the usual three or four “same old same old” chords that are overused in so many pop songs.

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

In the 1990s, I was in a “British Invasion” tribute band in Toronto. We played exclusively 1960s songs by The Beatles, Rolling Stones, Yardbirds, Animals, Kinks, The Who, Manfred Mann, etc… One of our regular venues was a pub where the clientele were almost entirely ex-pats from the UK, and were the right age to have been part of the whole Mod-60s-Swinging London thing back home, so they loved us. 

One night in late August 1997 we started the first set of the night and everything seemed normal, although near the end of the set I noticed that the televisions at the far end of the bar had switched from the usual football (or soccer as it’s called in North America) to CNN. The volume was turned down on all the televisions since it was a live music night, so we couldn’t hear what was being said, but the words “Princess Diana Injured” kept popping up on the screen. At that time, Diana would make headlines if she caught the flu, so none of us thought anything of it, and after a few minutes our break was over and we returned to the stage for the second set. 

By the time we finished the second set about forty minutes later, the words on the screen had changed to “Princess Diana Critically Injured”, and the mood in the bar got very sombre. The volume was turned up on the televisions, and as the details of Diana’s car accident slowly trickled in, the audience began slowly trickling out, probably to get home and call family back in the UK. 

Just as we were preparing to start our last set of the night, the words “Princess Diana Dead” filled the screen, and we were left wondering what to do. After a brief discussion with the bar manager it was decided that we should play and try to cheer everybody up. The first song of that set was supposed to be ‘Drive My Car’, but we decided that was a bad choice under the circumstances, so we quickly substituted the next Beatles song from later in the set, which was ‘One After 909’. As I counted the song in for the band I looked out and saw several people sitting at their tables crying. Or at least they were crying until we sang the first few lines of the song which included lyrics like “My baby says she’s driving on the one after 909… Come on baby, don’t be cold as ice…”, at which point we started to get some angry stares. We made it through another couple of songs and then decided that cheering everyone up was a losing battle, so we ended the show there.

The volume was turned back up on the televisions then, and by that point the blame for Diana’s crash was being placed on the paparazzi who’d been chasing her. A few minutes later I was at the bar waiting to get paid for the gig and happened to be standing next to one of the regulars, a fellow named Al. Al had been in the Scots Guards, so his loyalty to the Royal Family was unwavering, and even though he was well into his 60s he was still a physically imposing figure. He immediately started cursing “It was those goddamn pavarottis!”, and suddenly I had a vision of a bunch of opera singers running after Diana’s car. The weirdness of the night finally got to me, and I had to do everything in my power not to start giggling at the absurdity of it all.

A couple of months later I contacted the bar to see about playing there again, but the bar owner said that the drink sales were really poor the last time we played there (the night of Diana’s death), so he’d maybe call us if he had an opening. Which he never did.

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

I think maybe there are two types of experimentation: one that’s strictly experimentation for the sake of showing off how much one can experiment, and the other that breathes new life into a song by breaking a few cliches and inventing a new idea that becomes a hook or an earworm. I try to throw in experiments that will compliment the song, and catch the listener’s attention and hopefully make them say, “oh that was cool!”.

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

When I was 16. Apparently I was mistaken.

What compliment you once received will you never forget?

“I like your sideburns!”, which doesn’t sound like anything special, but you should have seen the girl who said it.

What’s up for the next couple of months?

I’ll keep plugging ‘A Henry Shade of Winkler’ here and there, and I’ve already started recording the next album, which will probably arrive sometime in January.

DAVE COPE AND THE SASS – KILLER MODS FROM INNER SPACE

It appears that all those who have listened to Julee (released in 2022) are in agreement that Dave Cope and the Sass is a band deserving of more recognition. Their songs exhibit a remarkable quality, infused with a captivating blend of ’70s nostalgia and British Invasion vibes that define Cope’s distinctive sound.

With their new album, Killer Mods From Inner Space, they are expected to make a significant breakthrough, as everything that was already exceptional on Julee is further elevated on this latest release. The opening track, “Seemed Like A Good Idea At The Time,” not only features a catchy melody but also boasts a sing-along-worthy chorus. It’s undeniably infectious.

When it comes to lyrics, if you appreciate clever one-liners such as “I take drugs to keep from getting high” from the song “Butterfly Heart,” then you’ve stumbled upon your new favorite lyricist in Cope. He effortlessly incorporates this kind of thought-provoking wisdom into his repertoire.

The album takes unexpected turns as well, with “Start” presenting an unconventional ballad that encourages listeners to cherish their loved ones. The slightly kitschy performance is easily overlooked when considering the undeniable truth behind the message. Following “Start” is “Peeping Tom,” which provides a stark contrast by showcasing Cope’s ability to channel the early years of Nick Lowe rather than resembling a Ben Folds rendition of a Billy Joel song.

“More” exudes a delightful glam rock vibe, while “Season of Love” showcases Cope’s soft rock prowess through his tender head voice. The album’s variety in sound and vibe is a welcome addition, but what truly stands out is Cope’s consistent ability to craft excellent songs across this spectrum. It is highly recommended to promptly give Killer Mods From Inner Space a listen and appreciate Cope’s talent firsthand.

THE MIDNIGHT CALLERS – RATTLED HUMMING HEART

‘Without Ya’ may create the impression that Robin Zander handles the lead vocals, but that assumption is actually incorrect, of course. However, The Midnight Callers make no effort to conceal their influences, with Cheap Trick being one of them.

Their sophomore album, Rattled Humming Heart, serves as a heartfelt tribute to the Power Pop sound of the late ’70s and early ’80s. ‘Without Ya’ stands out as one of the many exuberant celebrations found on this remarkable record. Drawing inspiration from Power Pop’s heyday, where the boundaries between infectious pop, mellow AOR, lively New Wave, and raw rock remained delightfully blurred, The Midnight Callers embrace the same infectious energy and conviction.

This spirit is akin to the self-assuredness displayed, for instance, by Locksley on their masterpiece ‘Don’t Make Me Wait,’ or Rick Springfield when he unexpectedly enjoyed a series of major hits in the mid-’80s.

From the very first track, “New York Tramp,” to the final song, “Colors,” every moment is emotionally resonant. This album feels like the perfect mixtape to kickstart your summer vacation.

LLOYD COLE – ON PAIN

Back in 1984, I used my own pocket money to purchase ‘Rattlesnakes,’ the impressive debut album by Lloyd Cole and the Commotions. That initial encounter left me hungry for more, but as time went on, I somewhat lost touch with Cole’s musical journey. Nonetheless, I can’t recall a single holiday since then without a mixtape, self-burned CD, or Spotify playlist featuring the title track of ‘Rattlesnake’ and the timeless gem ‘Perfect Skin.’ The narrative-driven lyrics, the captivating jangle of the guitars, and the carefree melodies of those songs have remained utterly irresistible.

In recent years, I’ve been making up for lost time, eagerly delving into the wealth of records that followed his debut. And there have been quite a few. Collectively, they form an exceptionally rich body of work, with one standout example being his collaboration with The Negatives, which I find equally captivating as his first offering.

Just last week, Cole unveiled his latest creation, ‘On Pain.’ In recent years, he has made notable adjustments to his sound, shifting towards a greater incorporation of synthesizers over the familiar strums of the guitar. The lyrics have also become less verbose, embracing a more concise approach. My children drew comparisons to The National, while I found hints of David Sylvian or The Blue Nile. The overall effect is undeniably refreshing. Cole has always been an artist whose words and voice exude believability from the very first note, even though he adamantly advises against placing complete trust in him on the opening track. One of the standout songs, “The Idiot,” boasts a captivating atmospheric quality that immediately grabs attention. It’s possible that Cole has truly honed his new sound here, reaching its pinnacle.

C’MON C’MON – THE CRACK AND THE LIGHT

Belgian band C’MON C’MON creates enduring pop music that resonates in the same league as Teenage Fanclub, Nada Surf, and Toad the Wet Sprocket. Their exquisite blend of delicate melodies and pleasing vocals evokes a timeless quality. In their debut album, “The Crack and The Light,” the level of production is so impeccable that it’s difficult to fathom it as a first offering. The sheer excellence of the music is nothing short of awe-inspiring.

LANE STEINBERG – HEADSPACE

I listened to Headspace for the first time on my 40-mile commute to work in Haarlem, and by the time I arrived, I felt like I had gone on a world tour and made more friends than a popular Instagram influencer. Whether it’s the lively personalities or the vivid locales, Steinberg’s creations are bursting with richness and vibrancy.

The album’s sound has been characterized as a fusion of Burt Bacharach, Brian Wilson, XTC’s Andy Partridge, and Ben Folds, incorporating a laid-back, Sunday morning production style that gives the songs ample space to unfold.

Headspace is undoubtedly a pinnacle in Lane Steinberg’s career, a shining example of his exceptional talents and a testament to his ability to continue to produce remarkable music even in the later stages of his career.

Belgian band C’MON C’MON creates enduring pop music that resonates in the same league as Teenage Fanclub, Nada Surf, and Toad the Wet Sprocket. Their exquisite blend of delicate melodies and pleasing vocals evokes a timeless quality. In their debut album, “The Crack and The Light,” the level of production is so impeccable that it’s difficult to fathom it as a first offering. The sheer excellence of the music is nothing short of awe-inspiring. Jorrit Hermans, the lead singer and guitarist, sheds light on the creative process behind this remarkable achievement.

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

When our producer Alex Newport told us he liked our first demos and could hear the finished result we could create together. The this became true when we heard back his first mix. That was a special moment.
Second moment was when we approached legendary music manager Stephen Budd in London and he told us the record was really really good and wanted to work with us.

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

It just came naturally that we shared demos with people we respected and admired and got their feedback on the songwriting. We took it from there and then it simply got out of hand and here we are…

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

If we can touch people’s hearts when they listen to the record, that is enough for us. We’re here to create something beautiful and that’s the only metric of success we allow ourselves to live and work by.

Is the best song you ever wrote on this one?

Definitely not. I think as a songwriter when you feel you’ve done your best song, well, then you’re done.

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

No it is not, in fact it’s very awkward since we’re 3 quiet, soft-spoken, contemplative, shy guys who love making power pop music together while having a laugh and a joke. But our fans support us and that gives us the confidence to come forward with our work.

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

When all 3 of us feel that it ticks the right emotions, has the proper feel, hook, melody and harmony to it and – most importantly – we we cannot leave out anything more, only then have we reached the conclusion of our songwriting process. While we do that, a song gets demoed and reworked maybe 10 or 15 times before we get to the final arrangement for pre-production. By now, I think we feel quite well when we have something that’s good enough and ready to record.

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

Nice question. Simple answer: we do not. We never care about commercial arguments or consequences. We only write, sing and play the music we love to. This we aim to do as righteously as possible.

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

The fun to perform on stage is in being able to engage and connect with the audience and create your temporary bubble together with the people, knowing that it will fade away after the show.

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?

Surely the vocal harmonies and the hooks, especially in the middle-eights we write.

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

These days, we’re particularly fond of Eyelids, and of course, opening shows for Teenage Fanclub or Nada Surf would be a privilege for CMON CMON.

What compliment you once received will you never forget?

An American radio DJ once introduced CMON CMON with, ’The rock’s pretty hard but maybe your mom likes it?’

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

When Alex pushed me on the vocals night after night, lifting me up and pushing me to sing better and better and I could hear what he made me do and it was just magic. He worked me so hard and I was totally dead after those two weeks of singing but it was all worth it.

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

The fun just starts over because we’re already writing the follow up album to “The Crack and The Light”. We just love working on songs and crafting them to perfection. Or at least, to our definition of what is a perfect pop song.

What’s up for the next couple of months?

Promoting the album, preparing to tour and writing, writing, writing.

Råttanson, the Swedish Garage/Power Pop band, recently released their 5-song EP, “Trebled Region,” after evolving from a solo project to a four-piece group. With roots in Flen, near Stockholm, their rock’n’roll sound carries a unique charm.

Henrik ‘Råttanson’ Aspeborg, filled with pride for their accomplishments, recently shared the story behind Råttanson’s EP with the Sweet Sweet Music blog.

How did this record come together?

You know, Råttanson started out as a solo project, but just before the COVID pandemic a trio was formed and played a couple of live gigs. While waiting for things to get back to normal we decided to add another member to get that classic four-piece configuration with two guitars, bass and drums. The solo project records were aimed at sounding like a band with four members anyway. In the fall 2022 we were finally able to get into the studio and cut five tracks over a weekend, songs that were written in 2020-2021. Trebled Region is the first release of Råttanson as a four-piece band, and we are very satisfied with the final outcome. I should add that all members originally are from the small town Flen about an hour’s drive from Stockholm, and there is something special about the rock’n’roll coming from that particular little burgh.

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

We were all excited to do something together. The material was well-rehearsed but you never know if it’s going to work until you press the recording button. However, we had a real good time in the studio. Thanks to Jörgen “Jugglo” Wall the sessions were so much fun and relaxed. We nailed the songs and everything went very smoothly. The music was basically recorded “live” using very few overdubs. I think this captures the energy of the band. The sound is also crisp with crunchy guitars since we and all love treble. I mean, we thrive in the Trebled Region haha.

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

A success for us I guess would be to reach a wider audience, to be heard all over the world, to be added to playlists, get opportunities to release more records, to be able to get some more gigs. Would be cool to play live in for instance Spain, UK or the US. If we could do that it would be a huge success. Any profit above break-even would be considered a financial success.

Is the best song you ever wrote on this one?

How do you know? The EP contains five great songs that I’m really proud of, but I’m particularly fond of “Fighting the Good Fight”. It is kind of a simple and direct power pop song and it sounds classic in a way. It’s not easy to write those simple ones. As for now I think it is definitely one of the best songs I have written.

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

New songs are tested by the band. If everyone is happy with how a tune sounds when we rehearse it then it is basically ready. Likely we give the arrangement a final touch before heading to the studio.

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

I wouldn’t say that we experiment a lot and I don’t think we really have much of a commercial appeal. I wouldn’t mind if I’m wrong about the latter though. Now of course we do try things out but we pay respect to rock’n’roll tradition. That said, we are not about revival. We do our own thing blending different guitar-based genres.

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?

I must say that I’m pleased with the title “My Head Is a Troubled Region”. It is worth some attention,   isn’t it?

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

 A few old faves we won’t get tired of.

I Can’t Pretend – THE BARRACUDAS

Baby It’s You – PHIL SEYMOUR

She Does It Right – DR FEELGOOD

Help You Ann – LYRES

Shake Some Action – FLAMIN’ GROOVIES

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

“Go Where You Feel the Most Alive” – shows the wild in-the-face garage rock side of the band.

“Fighting the Good Fight” – an example of the power pop-style of Råttanson.

“How Many Days Till Summer” – punky surf pop inspired by the Ramones/the Barracudas/the Undertones/the Eastern Dark is also something we enjoy.

What place do you occupy in the music industry?

The Trebled Region.

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

Being in the studio is fun, but we also love playing live. One thing for sure, I won’t miss spending so much time on promotion as you have to when you self-release your music. It feels like my head is a troubled region. Pretty soon I hope I can spend that time on writing future hits instead.

What’s up for the next couple of months?

We are entering the great era of Råttanson and we expect a lot of success, but we are also in a desperate need for a new rehearsal space.