Push Puppets is an indie pop/rock ensemble from Palatine, Illinois.

If you are looking for well-crafted and smart Power Pop, don’t look any further!

Sweet Sweet Music spoke with Erich Specht about how Allegory Grey came about.

It’s a fantastic record, treasure it.

^{Release date September 30th}

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

There were several. When “The Bane of My Existence” was written (the first song written for Allegory Grey), I felt I was on to something.

Then when we recorded bass at Gravity Studios with producer Doug McBride helping guide the already nicely arranged bass part that John William Lauler was playing and really getting all of it, I could tell that this album was going to reach new highs.

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

I already feel that the record is a success in that we achieved musically and lyrically what we set out to accomplish – which is making a recording that brings the songs to life in the best possible way. I consider myself to be a slave to the song, and when a song goes to where it feels it should be going, that is success to me.

Beyond that, our hope is that the album will gain us many new fans that will keep the momentum going. That is already happening.

How great is the urge to stay creative? To keep writing songs and lyrics?

That is what I live for. This period of waiting for the release has been difficult – knowing there is so much more that people haven’t heard yet. So to stop dwelling on that, I’ve found that writing songs for the next album is the best distraction. And I’m pleased to say that the follow-up album (likely to be recorded in 2023) is already shaping up to be something special.

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

I often wear my heart on my sleeve and it definitely has led to some discomfort, but I think that’s just part of this trade. I do try to write with characters a little more often these days, which somewhat obscures exactly what is being said, but those who know me can figure it out. In the past I’ve used names that made is immediately clear who I was writing about. In one case I suppose that I really did want that person to know I was talking about her, even though it made it uncomfortable to be around her.

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

• Andy Partridge from XTC. I love the way he crafts lyrics and has such a breadth of knowledge to draw upon.
• AC Newman from the New Pornographers. I’m a big fan. He takes songs in such interesting directions while avoiding being sappy or over sentimental. And all the harmonies!
• Jeff Tweedy from Wilco. I find his prolific output to be inspiring. I’ve been reading many books about songwriting these days – his being one of them – and am empowered in finding that my heroes don’t have any secret sauce and approach it very much as I do.
• Elvis Costello. Lyrically he is so amazing. And for someone with so many great songs, he comes across as fairly humble. Funny story – I have a slice of pizza that Elvis handed me preserved and framed in my studio. I met him using a fake backstage pass.

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

That would have to be when my band from the mid 90s was performing at the South by Southwest Music Festival in Austin. On the way there, we noticed that the safety chain on the trailer was hitting the ground and sparking. When we stopped, we found that the welding had given way, so we just tied it.

Then when we were driving in the fast lane in rush hour traffic in Dallas, the ball of the hitch broke and the trailer was dragging behind us, and the tied chain was all that kept it from hitting the cars behind us.
Then as we were loading in to play at a bar on 6th Street, I slammed my left hand in the door of the van. I was barely able to play guitar, but the show went ok. The next day my entire hand was black and couldn’t move.

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

Pretty much every time I write a song, I think it’s the best thing I’ve ever written and will be loved by the masses.

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 think something that is unique in my songwriting is how the words marry with the melodies. I listen to the words to hear their natural melodies.

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

– “Sometimes the Buds Never Flower” – This is one of those songs that came in a flash. It was the last song written for the album and rather than work on one that I had partially written, I thought about what I wanted to add to the album. I wanted something upbeat and sweet to offset some of the melancholy that is present throughout much of the record. Most of it came within a half hour. I feel that the verses of this song tell a beautiful story that applies to life in general. I did need to ask my mom some questions about flowering trees.

– “There’s No One Else Like Lynette” – I think this song is so much fun. It’s not the most mature song lyrically, but it is focused. I love the way the line “There’s No One Else Like Lynette” is set up with the feel changes and the Tommy James style guitar lick.

– “The Bane of My Existence” – I love the melody of the chorus and how the chord pattern changes for the second half of it. The upright bass supports the retro vibe of the song, and the drum fills at the end kill me.

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

• Wilco – I love the writing and Nels’s amazing guitar playing. Plus they seem like they’d be nice guys.
• Guster – They too seem like great guys to hang with.
• The New Pornographers – I love all the harmony!

‘I consciously decided to sand down some of the jagged edges and make a nice collection of lesser-known pieces that have a more friendly or straightforward approach.’, says Nick Bertling about An Andy Bopp Compendium (reimagined and compiled by Nick Bertling).

The result is overwhelmingly beautiful, a work of art, a great introduction or a most pleasant re-acquaintance.

Nick Bertling explains how this anthology came about.

How would you describe An Andy Bopp Compendium (reimagined and compiled by Nick Bertling)?

I would describe the album as a playful, lighthearted glimpse into the vast world of the records of Andy Bopp.

How did the idea come about, and how did you proceed?

Andy has been part of my chosen family for many years. He’s always been supportive, critical, and brutally honest with me about my work, and I’ve been a fan of his for years. I’ve taken the de-facto role of “archivist” since I’m more familiar with Andy’s back catalog than he is.

As we’re both home recording artists primarily out of necessity, I was allowed access to multi-tracks, and we have a back catalog of work together. I decided to take songs I knew I liked and edit them with no regard for anything other than showing a slightly different approach.

Basically taking a piece of artwork and coloring over it for the pure joy of doing so.

Andy Bopp is a great songwriter and musician. What do you find attractive about his songs? Why did you think it was a good idea to redo the songs, and how did you decide which songs they should be?

Both Andy and I share mid 60’s and 70’s AM radio music as a musical language despite the 19-year age difference. Andy is a tireless songwriter, and he’s always written songs with a few core musical values that we share.

I started by asking Andy about songs he likes of his, and then picked songs I had either multi-tracks that I could remix or alter, or simply used existing mixes to modify the speed, equalization, and pitch. I overdubbed parts where I felt they might help a song keep its momentum and generally tried to have a good time reimagining songs I’d known all along.

You and Andy are both special, a little different from the rest, and certainly not average. Isn’t it complicated when two such personalities have to work together?

The easy answer is “yes, it’s complicated”; however, it’s far more complicated than that. We started working together knowing “things we’d heard” about each other, so we made a pact to be friends above all things.

At this point, we’d both seen and heard enough that we could relate on an almost telepathic level since I was a fan, and I already had my own musical path that wouldn’t be strayed by anything we did together.

When we started the band Alto Verde, we got on like a house on fire. Loudfastchaoticaudiencepummelingvolumelunacyfulltiltwholealbumin22minutes. That’s how we used to do things. At the heart of all of that volume and destruction is a great songwriter.

I consciously decided to sand down some of the jagged edges and make a nice collection of lesser-known pieces that have a more friendly or straightforward approach.

How will the record be released, and when?

Much like all of my academic life, I’ve come unprepared. At this very moment, Andy has several copies with him for the next few shows, and I’ll be sure to coordinate with his label so it can see a proper digital release and a more deluxe cd package.

I told Andy that I think he will gain a lot of extra listeners with this collection; there’s no denying the quality of what’s on offer. He won’t take it from me like that, do you?

I truly hope he does gain some new listeners! He’s one of my true musical brothers, and there are a lot of really sweet moments nestled inside a bag of broken glass. I decided to pick them out and present them like a little art piece. I hope it’s fun for those who are already fans, and maybe a fun little ride for folks who’ve wanted to dive into an extensive catalog of music.

L.A. Mood is the solo project of Melbourne musician Dave Mudie; he is also touring the world as Courtney Barnett’s drummer. “A Print out of the Sun” is the debut record. Incredibly tough and classy Power Pub Glam Indie Pop.

Or: “Charging power-pop, waltzing country and hazy slacker rock, all joined in an unshakably accomplished feel that belies the fact it’s his debut release as a solo songwriter.” – For the Rabbits

How did this record come together?

The album was recorded over two years in a few different locations, including an old school house by the beach where I tracked the drums and guitars. That really bought out the sunny references throughout the record.

I then sent it across to Collin Hegna from BJM to mix in Portland and had the record mastered by Mikey Young.

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

Gaz Coombes

Kurt Cobain

John Lennon

They have an amazing way of writing songs; I’d love some of that to rub off on me.

What’s the gig you will never forget? And why?

We played this year’s Glastonbury Festival and closed out the Park Stage, and it was definitely the best show we’d collectively had as a band; such an electric atmosphere after the last couple of years.

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

T.Rex and David Bowie, in the early 70s, they were both just such a force live.

The Joe Cockers Mad Dogs and Englishmen tour would have been brilliant.

What compliment you once received will you never forget?

You’re my favorite drummer – Jim Eno from Spoon said that to me one night, and I’ll never forget it; he’s an amazing drummer and producer, so that was super nice.

Indian Summer, the second record released by Chris Lund this year, is an ode to the days when life was a little less complicated. Eleven hard-rocking Power Pop songs that make you long for the time when you drank a beer with friends and listened to Cheap Trick, Thin Lizzy, and Van Halen.

Indian Summer is the second record you released this year. How did that happen?

I wanted to do a new Lund Bros record (Across State Lines) to reboot things after the disappointment of all the reunion shows we had booked that got canceled due to the Covid pandemic.  Also, Sean and I hadn’t put out a true studio record in about six years, though we did have the Live records and Remasters and Rarities in the interval. I thought we were well due to getting a studio album out there and it contained many of the songs we would incorporate into our live set. Being unable to play live post-pandemic due to my brother, Sean, being in WA and me having recently moved to AZ, a record was simply the best and quickest way to get back on the radar. 

Regarding the solo record, I usually have more songs written than I can put out at any one time, so I had enough material to do both projects. I had a bit of mixing still to do on the Indian Summer tracks, but that came together rather quickly.  Additionally, the songs on my solo record were very much part of a concept/theme personal to me, so I felt a solo record was appropriate. I am very happy with both records.

Is Indian Summer an ode to the time when life was less complicated, and why did you want to sing about this period right now?

Yes, absolutely. I put my mind back to the time of my teenage years to come up with a lot of these songs. “Time Runnin'”, about the last day of school and meeting up with a girl, is a perfect example. I suppose it is a nostalgic take on life as I remember it as a teenager, when the most important things were Rock and Roll, girls, hanging out with your buddies, and looking cool. 

The whole tech thing, especially after it increased during Covid, has been a real soul-killing thing for me and a lot of people I suspect. The loss of many record stores, clubs, bookstores (and even shopping malls, for that matter) is such a shame.  This is what modern teens are missing – places to celebrate youth and congregate. I don’t believe online gaming and online relationships come close to replacing those former cultural meccas of youth. 

For me, the Indian Summer concept boils down to an extended summer, where you get that extra bit of time to enjoy it and the freedoms it offers.  Symbolically or by analogy, I feel like that is where I am at this point in my life.  I’m a bit older now, but I now have my Indian Summer, a second coming of the golden age of youth, so to speak. I still have a good amount of time to make good music, feel cool, and get back to the simpler pleasures.  I came up with the title to this record several years ago before I wrote any of the songs. That set my songwriting in a certain direction and within a given set of parameters, namely the  Indian Summer theme.  Usually, it’s the other way around, where the album title is imposed on a group of songs afterward.  It was interesting to have the discipline to stay on theme in writing for this album. I think the songs benefited from it.

You sound so young, Chris. Your voice doesn’t seem to age. Many singers have to adjust the emotion and energy of songs at some point as the singing becomes more difficult.

I have heard that I sound young, and I think it’s kind of cool. I am grateful that is the case.  I’ve never had any trouble getting what I want on the recordings in the studio.  The only thing that can be challenging is getting ready for live shows after a substantial hiatus or break from playing live. That requires rehearsals, getting the vocal chords in top shape, and working out the phrasing, so you are comfortable in performance – ready for long sets and multiple shows.  As a result, I approach preparation and rehearsal in a very workmanlike manner to avoid any of those potential issues.

I hear the influences of Cheap Trick and The Knack, and the twin guitar on Please Me reminds me of Thin Lizzy. Did I hear that correctly? And how have these bands influenced you?

Yes, you heard it right for the most part.  Cheap Trick and Thin Lizzy are both heroes of mine. More specifically, the guitars on “Please Me” may have been inspired by the kind of approach Brian May of Queen might take – harmonized leads in three parts with neo-classical lines. Thin Lizzy does the harmonized guitar thing very well, too. Their Black Rose record is amazing. 

Vocally, I must say that  Robin Zander has been an influence on me. John Lennon and Allen Clarke of the Hollies were too.  Cheap Trick and the Beatles were always favorite bands of mine, and I don’t mind that those influences may sometimes be apparent in the music.  Just as the Beatles influenced Cheap Trick, we all have our heroes. The Raspberries were also a big influence for me along the way. Van Halen, too, as far as my use of the whammy bar on some of the harder rockers and even the songwriting.  My Stratocaster is all over this record – things like” Down the Line”, “Mary Jane” and “Military Girl” for example.

Where You Goin’? sounds just a little different from the rest, a little more psychedelic. How did that song come about? And how did the outro of that song come about?

“Where You Goin’?” is one of the few songs on here that dates back a few decades – the 90s, actually.  I always kept it around, planning to use it on a future record because I thought it had a good chorus and some interesting guitar. The ending was originally part of another song – notice the key change.  I wanted some kind of modulation at the end and the piece of the other song seemed to fit well. Particularly on the last few records I have used some synthesizer. I thought this song lent itself to some spacey wild sounds so I used the Korg in the breaks and on the outro. The key change combined with the synth give it a kind of sci-fi vibe, taking the song into another dimension as the record fades out. 

It’s kind of funny; when we performed this song live years ago, long before it was recorded, I used to use a violin bow on the guitar in some of the sections that now have the synth.

With Emerald Green, The Click Beetles release their best record. It’s all right, the songs, the (movie) atmosphere and the beautiful guitar sound on Green.

Dan Pavelich talks about how it came to be.

How did this record come together?

The songs were written over the last year. I do a simple demo of vocals, guitar and bass. Van listens to it for a while and then we add his drums. I take his drum tracks and start a new recording on top of that, paying more attention to getting my final parts the way I want them.

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

I’m always interested to hear what people think of my songs. I start trying to get feedback from friends as soon as we start the mixdown.

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

For me, success is breaking even and not going into the hole financially. If Emerald Green does that, I’m happy. If it makes enough to partially fund another project, I’m ecstatic.

How great is the urge to stay creative? To keep writing songs and lyrics?

Creating something out of nothing, and seeing it develop, gives me the same thrill now that it did 30 years ago. It’s always amazing.

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

When I was younger, maybe, but I’m 55 now. It’s easier to roll with the punches without getting a chip on my shoulder. Most of the time now, I write from the point of view of a character, so, it’s not usually about me, or my life.  

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

Jim Ellison, Pat DiNizio, Matthew Sweet, Susanna Hoffs….so many!  

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

Another band I play in, The Bradburys, was doing a small theater show. Cliff Johnson of Off Broadway came on stage and sang their big hit, Stay In Time with us, and it sounded fantastic. We also played The Beatles’ version of Bad Boy and Badfinger’s No Matter What. For four guys from the Chicago area, it was quite a night.

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

On this new album, I think the lead-off song, Modern Girl, is one of the best I’ve written in a while.

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

1. Roll To Me – Del Amitri

2. That Thing You Do! – The Wonders

3. You Might Think – The Cars

4. What Girls Want – Material Issue

5. Sorry – The Smithereens

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

I don’t play live anymore. My hearing is going steadily downhill, so I try to avoid noisy environments. There’s also a sensitivity that makes most movies so loud to me that I have to wear earplugs. Around the time I decided to stop doing shows, we weren’t really getting many gigs that would tolerate original music anyway.

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 love to be able to sit people down in front of a good stereo system and listen to Emerald Green all the way through, but people just don’t listen to music like that anymore.

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

Modern Girl, Natalie Would and Goodbye Margot, all from Emerald Green. I spent a lot of time on them and I think they’re three of my best.

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

Probably Material Issue and The Smithereens. There’s a lot of similarities in our collective DNA.

What compliment you once received will you never forget?

I’ve had several of my musical heroes tell me that they really like my songs. It doesn’t get better than that.

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

Probably recording at Shoes’ studio. Jeff & Gary both sang background vocals on songs by The Bradburys. We also had Ted from Material Issue in to play bass!

What place do you occupy in the music industry?

I don’t think I’m in the music industry, really. The artists, DJ’s, bloggers and fans of the kind of music The Click Beetles and The Bradburys play, are more of a community. We’re all kind of fans of each other.

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

Shoes. No contest.

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

The fun is just beginning! It’s always fun seeing which songs people react to.

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The Click Beetles:

Dan Pavelich – Vocals, Guitars, Bass, Keys
Van Dyke Brown – Drums & Percussion

Over the past few weeks, I’ve played Jacky, my favorite song from The Kryng’s new record Twelve Hymns to Syng Along, endlessly.

The raw, pure, and straightforward emotion is simply irresistible.

The Kryng is a Dutch Garage Pop band. Arjan Spies of The Kik is a band member, but Mark Ten Hoor writes all songs, and each song is… well … a hymn to singalong.

Great record!

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

When I heard The Beatles as a child, I thought, “I want that too”. I started thinking up songs relatively young before I could even play guitar.

How great is the urge to stay creative? To keep writing songs and lyrics?

The necessity is quite high because it has always been a big dream of mine and still is to write songs and record them and play them with a band

How did this record come together?

The three of us go into the studio, and in a relaxed atmosphere, we devise the arrangements for the songs I supplied. We often play those live, and later the vocals come over it, as well as percussion and other effects. This is how it has always been with the recordings we make in Rotterdam.

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

We get great reactions, reach an audience, sell some records, and play some gigs we enjoy.

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

A good example was when I wrote The Kryng’s debut single, “Baby What You Want”. At that time, I listened to a lot of folky garage punk, and this was a result of that. I certainly hope to have moments like this many more times.

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 separately. What would they be?

The combination of sensitive songs with a raw garage sound; indie rock combined with 60’s beat/punk.

What compliment you once received will you never forget?

I always like it when people think the songs are good or original. Fortunately, I’ve had that compliment more than once.

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

John Lennon, Roger McGuinn, and Lou Reed, because these guys have influenced me and my songs and taste in many ways.

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

As I mentioned, it would be nice if we sold some records and could play some gigs. By the way, we can be found in the studio regularly and record all kinds of old and new ideas from me. At the beginning of September, we will spend another day with Arjan’s Teepdek in Rotterdam.

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The Krying is:

Mark Ten Hoor: Guitar & Vocals
Peter Kroes: Bass, Guitar, Mellotron, Backing Vocals
Arjan Spies: Drums, Guitar, Piano

CROSSWORD SMILES is a new band, and it’s a new sound even for the the deeply respected Michigan-based guitar-pop stalwarts at its core. The band was quietly formed two years ago by TOM CURLESS, formerly of Your Gracious Host and currently enjoying solo success, and CHIP SAAM, best known as the bassist for The Hangabouts and Curless’s backing band The 46%.

PRESSED & IRONED, release date September 16, is the band’s beautiful debut. No frills, just ten beautiful songs, with sharp lyrics, for example about how gossip and backbiting can shape relationships in small-town America.

The message of This Little Town is clear. I was curious if there was a specific reason to write the lyrics like this?

Tom Curless:  The lyrics were written by Chip so I will let him take this one. My favorite line is “where people talk behind the back of their hands”, as this represents all the gossip that often flies in every town across the USA, I am sure we have all experienced that, and I believe there is a lot of “Keeping up with the Joneses” in the lyric as well. The darker side of apparent idyllic suburban town life, that was my take on it, but Chip can expand further.

Chip Saam: The lyrics for this one were inspired by real life experiences with a town here in Michigan, although obviously it could be applied to places everywhere. It’s a commentary on the tried-and-true idea that just because things look great on the surface, it doesn’t mean there aren’t some awful things going on behind the scenes. According to some bandmates, I seem to be good for at least one story song for every record I’m involved in.

Perhaps, because there are musical similarities, I thought, it’s a little sneer at John Mellencamp’s glorification of little America. Nonsense?

TC: There was no sneer at John Mellencamp to my knowledge, musically we were going more for later era Go-Betweens on this one. However I never thought of it, but you are right at times it also sounds a little like something that could have been on Lonesome Jubilee!

CS: There was no intentional sneer at anyone, we are just not that sinister, Ha Ha! – I will say that fiddle part, which definitely has a John Mellencamp vibe, is something that both of us heard in our heads while writing the song – but it was an Amanda Brown thing from The Go-Betweens and not a Lisa Germano bit from a Mellencamp song.

I find the wonderful summery, almost mellow, atmosphere striking. Were you looking for a specific sound?

TC: We did have some intention of making a very direct, simple and “clean” record, and we started the majority of songs on acoustic guitar, so that had some influence. Let’s put it this way, the distortion pedals did not come out much on this record. Ha! We just wanted a very streamlined, direct and clean record as much as possible and I think we achieved that to an extent.

CS: First off, thank you for noticing! There was a deliberate attempt to make this a more direct sounding record. We had some specific ideas about keeping things relatively clean and uncomplicated. Some of the more atmospheric parts of the record are my favorite parts and the three main outside participants on the record – Joel Boyea, Greg Addington, and John Lowry – are responsible for some of them.

After I had heard the album ‘normally’ a few times, I listened to it through headphones during a walk through Utrecht. Then an extra world opens up with beautiful guitar melodies, soft harmony vocals and sharp lyrics. Is that a compliment or not?

TC:  I would say that is a compliment. There are a lot of layers of vocals and various things that slide in and out of the mix and I think you hear more of that when you immerse yourself in it with headphones. I would recommend that to everyone, headphone listens are the best!

CS: Definitely a compliment. While we wanted the record to be more direct, we also wanted listeners to discover things after 10 listens that they hadn’t heard before. Tom is an incredible singer – his layers of vocals with doubling and harmonizing are something magical to witness in the studio. The handful of guest guitar spots from Greg Addington and Joel Boyea were exactly what we asked of them – they’re real pros. Finally, anytime anyone notices lyrics, well, let’s just say that’s a songwriter’s dream listener.

How did the two of you collaborate to get the result that makes both of you happy?

TC: Making this record was easy and fun. Chip and I collaborated a lot on the writing, we would get together with guitars and either he would have the idea or it would be mine and we just chipped in here and there on each others songs. We were not too precious about it, whatever was best for the song. In the end we just called all of it co-writes because the majority of it was true collaboration. I want to say we had a lot of great “other” friends, musicians and collaborators who helped to make this record what it is: Joel Boyea recorded and mixed it beautifully, we recorded most of it in his living room! He also contributed some beautiful guitar work. Greg Addington also was a key contributor on a few tracks, acting as an engineer and helping us to record a few tracks. He jumped in and added some very key elements. Making this record was a great experience and I hope that comes out in the songs. Finally, we are so grateful to be part of the Big Stir label, Rex and Christina there work hard and are doing an excellent job with this record…it is in good hands. We are glad you are enjoying it!

CS: While each of the songs on the album started as an idea that one of us brought to the table, after that it was true collaboration. Musically especially, we bounced different song structures and ideas off each other in multiple songwriting sessions – this continued while we were in the studio recording the songs. For the most part, lyrics were left to the initial songwriter. Fortunately, we both checked our egos at the door and, I’d like to think, had the song’s best interest at heart. We’re both proud of these 10-songs and are glad that Big Stir Records is behind getting the music out to people.

Finding the right words and providing them with an appropriate and beautiful melody seems easy for Nick Frater lately. Earworms came out last year, and now Aerodrome Motel is again filled with many Power Pop crown jewels. How does he do that?

No Hard Feeling is a somber song. Are sad songs harder to write than happy ones?

No Hard Feelings is one of the ‘character songs’ I’ve been exploring. It’s a sad song, but written from the perspective of the couple within the song; There’s so much potential to write through the eyes of others, but more than that, I think it sometimes makes a song more accessible.

The mood of songs I write can sometimes be deceptive and contradictory. Sad melodies tend to come easier, but it’s writing the darker side into my more upbeat sounding songs that is more of a challenge. I seem to get a bit of credit for writing upbeat catchy songs, which kind of surprises me, as the lyrics are often much darker than they first seem.

There’s some quite bold arrangement ideas in No Hard Feelings, with a tape-loop of a single note of strings playing unchanged throughout the song. Most of the time it is in harmony, but when the chords shift it adds a slightly menacing film-soundtrack tension. When combined with the baritone guitar, it gives me goosebumps! A sonic experiment that turned out pretty well!

Aerodrome Hotel is your second release in a short time. Wonderful, such an abundance of inspiration?

I seem to have stumbled into a very productive songwriting period so am just running with it while the songs keep coming…and they still keep coming!

At the moment I quite like the thrill of the empty page, starting from nothing and just seeing what arrives from the ether.

My ear and mind are quite tuned in to picking up ideas at the moment, and I have tried not to labour too long over them once they arrive. I have quite a disciplined work schedule, with family life and a day job, have limited time each week for music….so I make it count. Any music making time I’ve normally thought through in advance what needs to be done, and I just do it.

I’ve got next year’s album pretty much written, and we’ve started recording sessions. That is looking like a double concept album, because, well, somebody needs to being doing that sort of nonsense, and it may as well be me.

But fear not, there are several other side-projects I have either finished, mastered and pressed or well under way. So there are likely to be a few treats over the rest of the year.

I think your albums have changed. It all sounds a bit looser and less thought-out. That’s meant as a compliment. Is it for you too?

Don’t worry, I know what you mean. Having completed ten albums my approach has hopefully evolved a bit with each one. My very early ones were arranged in minute detail, with a lot of the parts scored out on paper before anything was ever recorded. That allowed for some pretty ambitious material like The Sombrero Fallout Suite – a nine movement song-cycle.

However I think the songs I’ve been writing more recently, especially the last three or four records, have been different as most started from a vocal hook, rather than an incredibly complicated chord sequence. I still like to keep songs interesting for the listener, and deceptively tricky to learn for my band, but there must be something inherently catchy if a song can arrive just by whistling it around the house.

I’ve also tried to be a bit more disciplined in the arrangements. Most of my favourite records don’t have millions of guitar parts or overdubs. Even the stuff we think of as complicated was recorded on 16 track or 24 track. It’s a learning process but having bravery to mute parts that seemed essential when writing such as the piano, seems to have really helped to open up some space in the song.

Maybe less is more after all!?

Stuck in My Ways and Dancing with a Gertrude are both Power Pop Crown Jewels. You probably already knew that while recording, or does it not work that way?

Lyrically I’m very proud of the way both those songs turned out. Very different songs, with Stuck In My Ways about adult male mental health challenges, and Dancing With A Gertrude being about extinct baby names. But both of them surprised me when the lyrics popped into my head.

I think every songwriter has a few moments in songs where the lyrics might be a challenge, and we’re forced into the occasional dubious rhyming couplet. But oddly, the words to both arrived fairly quickly and fully formed….and having typed up everything for the album notes, I think they stand up to scrutiny pretty well.

A recent conversation with a friend led to the conclusion that a lot of songs these days are very focused on the self. Whereas so much of the songs of the 60/70s were outward looking, as both Such In My ways (despite the title) and Dancing With A Gertrude are. Maybe that’s what helps those songs to be catchy?

When you wrote the lyrics for White Courtesy Telephone, did you know it had to be a country ballad?

Probably from being so immersed in the production side of things as well as writing, I tend to hear the final arrangement as I’m writing. From the moment the piano part and melody arrived under my fingers I heard it as a country-waltz. It ended up being very low in the final mix but there’s also an ancient Welson analogue drum machine in there too. I love songs that aren’t to a rigid click track, so was playing the song and manually turning up and down the speed on the drum machine.

The way the song builds does end up moving very far away from a typical country song and becomes almost Queen meets Beach Boys but with a wash of echoed drums and sonic mayhem. I’m not really selling that am I!? Maybe changing analogies, it starts in the desert, builds to a musical storm on the beach, then ebbs away as the tide goes out.

A founding member of late 90s guitar pop cult favorites, Gladhands, and lead singer/songwriter/guitarist for Chapel Hill- based The Stars Explode (2007-2017), DB Edmunds begins a new chapter in his musical journey, this time as a solo artist. Life’s Wild Ride, his debut EP, drops on 9/9/22!

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

I’m not sure I’ve ever truly thought I was “onto something!” But I have always believed in the power of a good melody and great hook, so whenever I come up with those combined with strong lyrics, I’m happy.

How did this record come together?

Started it in the fall 2019, the Before Times, and like so many things these last two years, it evolved and mutated in the wake of the global pandemic. Intended to do the whole record in an actual recording studio, my old digs at Overdub Lane where I worked with Gladhands some 25 years ago. But alas, Covid forced me to finish it at home and via trading files with the very talented Brian Dennis, who fleshed all the tunes out with his brilliant guitar and keyboard magic.

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

Some airplay on key stations in various markets – which to my delight, has already started to happen, at WXPN in Philadelphia; some nice reviews in major outlets and online; people showing up at live gigs. I have very modest expectations. But I do keep waiting for the call from Harry Styles to open dates on his 2023 leg…ha ha!

How great is the urge to stay creative?  To keep writing songs and lyrics?

I would die without being able to continue creating music. It is truly my lifeblood.

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

Not always, but songs can be misleading – sometimes they are impressionistic in nature, not literal. Mine are a mix of both…but I’m not telling which songs are which!

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

Wow, that’s a tough one. Most obvious choice would be my life-long inspiration Paul Weller. Secondly I would say McCartney, because, I mean…duh! Amy Winehouse would have run a close 3rd…or Bowie…😢

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

Playing the Warfield Theatre in San Francisco, opening for Ben Folds Five at the height of their success with my band Gladhands was a thrill. As far as seeing a gig, #1 might always be seeing Jeff Buckley live on the early leg of his Grace tour, December ’94.

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

I have thought that a few times over the years and never been right! Ha ha! So I don’t wanna jinx myself on this record…

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

Look, I love recording and being in studios. But there is nothing quite like feeding off the energy of a crowd. It’s a communal experience based on mutual love of good music and creative expression.

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

I honestly think the first three songs on my new EP are a great introduction to my music, the range of styles it encompasses, the focus on strong melodies and killer hooks.

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

Definitely Paul Weller & his crew, simply because he’s been a hero and personal inspiration of mine since I was a teenager. Would have loved going on tour with Foo Fighters because I saw them on their first American tour in a small club and again in 2017 in an arena and just loved their energy and positivity. I started my musical life as a drummer, so Dave and Taylor have also been huge influences. Like many, I was completely gutted when Taylor died.

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

Too many to mention since I’ve been making records for a long time now! But if I had to pick one from the sessions that produced this debut solo EP, I would have to say listening to playback of Side By Side – at a very high volume – after I had layered all the vocals on the choruses. My producer and I were pretty jazzed at how things were starting to sound at that point.

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

Well, the fun is just beginning because the EP drops in a couple weeks, on September 9th! I can’t wait to share it with the world. That said, and as I mentioned earlier for the question about playing in front of an audience, as much as I love performing, I do think one of my happiest places is recording music and sculpting the songs in a real studio, not at home in front of a computer, but in a space dedicated to the art of making records. And yeah, I still call them records and still buy most everything on vinyl! Which is partly why the EP is available on gorgeous ocean blue 180 gram vinyl!

Slack Times is a Birmingham-based jangle pop band featuring Chris McCauley (guitar, vocals), Will Stewart (guitar, vocals), and Stuart Norman (guitar). They craft melodic, guitar-driven songs that draw from a range of shared influences including early Athens, Georgia pop.

This new release is a compilation of three EPs entitled “Carried Away” (includes 6 brand new songs plus the 8 songs included on their previous EPs released in 2021 “At The Blue Melon Rendezvous” and “Up Here”.

Chris McCauley talks about having three guitars on every track, vocal stylings, and a desire to tour Europe next year.

How did this record come together?

We were motivated to record songs once they were written and ready, so that meant we’d often end up in the studio with 3-4 songs instead of 10 or more. We embraced that approach and recorded three EPs in two years. After finishing the third EP, we thought combining all of the tracks on one 12” LP would be interesting. Thankfully, Meritorio Records liked the idea and agreed to release everything. We’re super grateful to Meritorio.

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 think the guitar interplay is really engaging—we have three guitars on all of the tracks and each one is offering something different. The acoustic (Chris) often drives the rhythm, while the two electric guitars (Will and Stu) interact and intersect in unexpected ways. A close listen with headphones reveals a lot of swirling moments. 

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

Can’t Count on Anyone, I’m Trying, and A Blast. These tracks encapsulate our sound, ranging from jangly pop to more reflective, dreamy stuff. Also, these songs highlight the variations in our vocal stylings, which is also interesting. The chorus on Can’t Count on Anyone is the one time where you hear both vocal approaches collide. 

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

We aspire to tour Europe in Spring 2023 and hope to continue expanding our fan base (in Alabama and beyond). We are still a very new band, so we’re always seeking ways to share our tunes with more people. We’ve also written several new songs, so we may get the chance to release some new stuff next year. So, we’ve had fun so far, and we hope to continue that trend. 

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

I’d say one of my favorite moments was when our engineer, Bronson, added the tambourine to I’ m Trying. I’ve always appreciated auxiliary percussion, but I’ve never seen it elevate a song so quickly. It was pretty great to watch and witness.