Sweet Sweet Music Blog

Odds, the Canadian pop band formed in 1987 in the vibrant musical scene of Vancouver, crafted a unique fusion of power-pop melodies and witty lyrics that garnered them a dedicated fanbase. Following a period of silence, their 2023 release, ‘Crash The Time Machine‘, emerged as a delightful surprise for fans, featuring thirteen tracks of undeniable class, cementing its position as a standout in the musical tapestry of the year.

SweetSweetMusicblog is honored to have a conversation with Craig Northey, delving into the creative process behind ‘Crash The Time Machine’.

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Be sure to catch, ‘Crash the Time Machine,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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

We’d been writing together in different pairings over the few years before the pandemic. There were many finished and partially finished songs just sitting there, so we made a list and got together for about three days to toss those songs around and record all the basic band tracks. That was right before the pandemic locked us all down. We were lucky to have sealed in the group dynamics. Overdubs and vocals were mostly sent in by each member over the internet after that, and we worked together by Zoom and email to finish off the album.

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

Bands usually always make records to please themselves. By that, I mean…if we all love it then it’s worth putting out. As the songs took shape, there was a lot of enthusiasm and encouragement from every member. Nobody was on the fence about anything this time. We all believed in these songs from the get-go.

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

We have been friends and collaborators with Steven Page for a very long time. We had all recently been in our studio with him working on his album, and it just seemed like it was no different than if we were working on our own album. The dynamic remained the same. He understands us in the way a fan of our music does as well as knowing what we are like as people and collaborators. We wondered what it would be like if we played the songs for Steven as they developed to see if his enthusiasm would bring a fresh perspective. We knew he would be respectful of our process. It was really a good idea.

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

 The album was already successful in our minds as soon as we finished it. We know it’s a good record, and we’re happy to have these songs exist in a recorded form that we all like. That said…we’d love it to be heard by millions of people. Our past experiences have shaped the way we envision success. We put the personal satisfaction of creation first, and we have a realistic understanding of what will happen with the commercial distribution of the album and the audience we will reach.

Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?

I feel it’s possible, depending on the person listening, …that the best song we’ve ever written is on this record. I don’t know which one it is! The audience decides that. It’s subjective. In my opinion, it is the best album we’ve ever made, so…the chances are good. We all believe that if we didn’t feel we were doing our best work, we shouldn’t put it out there in the world.

As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?   

It doesn’t come naturally to me. It’s always a struggle to open up. I’ve always tended to make the stories a bit of an open-ended mystery. Those around me may figure things out, but there is a lot of room for interpretation. My favorite painters are impressionists. On this album, I feel I took a big step toward emotional vulnerability and just saying it straight up.

Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?

I can’t make that choice til I’ve met the person. I look up to so many other writers. Let’s start with dinner, then I could get a better idea. I am a frequent collaborator with friends I trust, and I don’t have to stray too far. I can tell you there are three other writers in my band who bring out the best in what I bring to the table. Somehow after they are done with me, the songs sound more like what I would have imagined if I had more talent!

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

Now that there are probably thousands, I can only ever answer these questions with the first images that pop into my head. Odds opening for the Tragically Hip in Vancouver at the Pacific Coliseum (the place I saw so many amazing arena shows as a kid and watched my favorite hockey team) 1995. “King Tut’s Wah Wah Hut” in Glasgow with the Steven Page Trio 2016 — we barely had to sing any words. First show with Warren Zevon (as his band) in the Bearsville Theater Woodstock, NY 1991. It was just too mind-boggling that we were headed out on that journey with Warren. Our heads were crammed with new music, and we were so excited. If you asked me tomorrow, three completely different shows will appear in my head. 

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

Sometimes you’ve already recorded it before you realize it’s ready to record.

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

We have dealt with this by never thinking about it. We figure if we like the music we make, then there are a certain logical percentage of people who may also like it. If it would play on the radios that exist in our heads, then it’s worthy.

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

Lyrics are a package deal. I think all the lines together are the painting. I’m sure a critic might point out which brush strokes were key, but I never think about individual lines. It’s interesting when someone recites a line back to you. It feels different coming from them…that’s good.

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

I don’t claim to know what a hit song is, but I do actually remember when something like this happened. We had written, “Someone Who’s Cool” for the upcoming album “Nest”. We went to San Fransisco for a big open-air gig. KFOG’s “Sky Concert”. The song was just fresh that week, so we decided to add it to the set and see if we could get through it. The crowd went crazy for it, and the reaction was better than the song before it that the sponsoring station was currently featuring in heavy rotation. We all looked at each other and went, “what the hell just happened”. Historically it’s now our biggest song.

With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?

I can’t make you a mix-tape until we at least have dinner.

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

It’s the immediacy of the connection and the movement that you can’t get from recording. I’ve said that we do this for ourselves, but the payback is the connection the songs make with people. A few years ago, we did like a lot of bands and performed one of our old albums from front to back over a couple of nights. It was amazing to watch the audience listen to that album while we looked at them all in their smiling and singing faces. One never gets to watch the impact of a full album as a unified work. It was like a test screening of a movie, but after it had already made its connection to the audience.

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

No really. I think there is a dark sense of hope that I have noticed in the music. We tend to laugh a lot and try to honor the chaos and unpredictability of life. We’re just trying to honor the groove and stir things up a bit.

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

I’ve fallen in love with bands by hearing the music that critics deem to be their worst. I would never attempt this. I’d say ask a friend who likes us.

In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?

Surprise me!! Last fall, I got to tour with the Who in the Steven Page Trio. They were amazing to us. Complete synergy. Odds are open for anything!

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

My mom is a professional classical musician. She’s a brilliant player that started me on this path at the age of 4. Initially, I wanted to play the violin like her. By 6, I already knew rock n’ roll was my path. She got me to stick to both things for another 10 years, and then I veered off into a world my parents didn’t quite understand. The best compliment was having her help me one day with a Steven Page orchestral arrangement and feeling like a team. 

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

The pinnacle of enjoyment is never reached. The songs are out there now, and that means we can enjoy them and re-invent them for years to come. We just got 13 more arrows to fire into hearts!

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

We’ll continue to play Odds shows as much as possible. I will continue to play shows with the Steven Page Trio. His new album “Excelsior” is fantastic. Steven Page, myself, Chris Murphy (Sloan), and Moe Berg (the Pursuit of Happiness) have a band called “the TransCanada Highwaymen”. It’s four frontmen for known Canadian bands playing as a rock’n roll combo and blasting out each other’s most loved Canadian radio bangers. In the spirit of that we recorded a Ktel-flavoured covers album of late 60’s and early 70’s Canadian radio hits. The first single is out now on “the services,” and the album will be released Oct 27th. We hope to play more shows going forward. I’ll start writing soon with Rob Baker (the Tragically Hip) for the 4th “Strippers Union” album. Check out “the Undertaking” by Strippers Union. It’s a double album we released during the pandemic.

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

I had an idea for the album cover in my head, so I approached Cam Andrews, who is a Vancouver visual artist, to help put that vision together. We got Rob Baker (see Strippers Union above) to provide the illustrations of the key characters. We created the scene whereupon a gang of urban wildlife come across the site of the crash of a time machine. I suppose that’s a semi-literal manifestation of the title track.

In crafting his latest album, “Collamer Circle,” Justin Levinson joined creative forces with fellow Vermont-based songwriter Ben Patton. The outcome is a delightful compilation of songs characterized by relaxed, inviting arrangements, distinctly echoing influences like Brian Wilson and Elvis Costello. Given the impressive quality of this musical collaboration, it’s difficult to envision that the partnership between these two talented songwriters won’t evolve and flourish in the years ahead.

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Be sure to catch, ‘Tin Foil Hat Parade,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

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

Well, a lot of this album really came together when I relocated back to Vermont from Los Angeles. I was busy being a dad of two little girls, but I knew I needed to remain creative in some capacity. I also felt I needed to shake things up a little and started to consider possibly searching for a co-writing partner. I knew of Ben Patton from my high school years in Vermont and had followed him on social media, admiring his work. I always thought that in a world that made sense, his catalog would be in the American Songbook. That’s how highly I view his songwriting. I reached out to him in an email about getting together to try things out, and we started to click. I had a lot of half-finished songs that were stuck largely because I was so busy at home. The pandemic broke out almost right after we started writing. We kept in each other’s bubble and just cranked out songs. It was great to have a friend and a collaborator. It was a pretty dark time, and I’m not sure I would have survived without him.

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

Yeah, when we wrote our first song called “Then and There,” which I really loved. It was mostly my melody and Ben’s words. I just loved how it came together with the storytelling and a very interesting baroque instrumental bridge.

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

I guess I always had a fantasy of having a co-writer, especially as a huge Beatles fan. I just hadn’t really found the right fit. Ben and I are kind of cut from a similar cloth musically, which worked. I also can find the songwriting process to be lonely, and it’s more fun when you can share it with someone. It also helps you take things to a different place and not write the same song over and over again.

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

Well, truthfully, I just turned 38, so I have a more realistic concept of success than I might have had at 21. My hopes are that the people who hear it dig it. I’ve considered getting into writing for other people and doing more co-writes. That is something I’d like to explore.

Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?

Whew, that’s a tough one. I’m not sure who I’d write with, but if I could have my next album produced by Jeff Lynne, I’d be over the moon. I think I’d have him pick the writers to collab with 🙂

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

Well, I played a sold-out solo show at the piano at Gramercy Theater in NYC years ago. I was so nervous. I could literally feel the breath of everyone in the audience on my face. I think that one stands out because I just survived. I’m more of a writer than a performer, honestly. I deal with a lot of stage anxiety, and that is another reason I have performed very little in the last 5 years or so.

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

Well, lately, I’ve completely let it go. I kinda knew when we tracked “Madeline For The Win” with a double instrumental bridge we weren’t writing for commercial appeal. I love big hooks and lush chords, which is something I can’t escape, but this style, “Power-pop,” to me is just unpopular pop music. It often is too cheesy for the indie rockers and too rocking for the cheese lovers, ha. But it’s what I do, so I can’t think about it too much.

How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?

I think my latest record stuck with more ’60s-style production. I had been really immersed in Pet Sounds and Odessey and Oracle. This new album has a more upbeat Elvis Costello vibe. When I moved to Vermont, I bought a killer Farfisa Combo Organ on Craigslist. The purchase and writing with Ben sort of molded the sound.

In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals?

How do they complement the sonic experience you’ve crafted? For the last several years, I’ve been working with Marnika Weiss on all my album art. I love her work. You can check out all her stuff at http://www.marnikaweiss.com. She’s the bomb!

Lanny Durbin’s Local Drags showcased their brilliance with two outstanding Power Pop albums, ‘Shit’s Lookin’ Up’ and ‘Keep Me Glued.’ This time around, Lanny felt liberated from the constraints of a specific style, allowing him to surpass his own previous efforts. The resulting masterpiece, ‘Mess of Everything,’ embodies a musical landscape that could have easily been crafted by Wilco after ‘Summerteeth’ or Tom Petty following ‘Full Moon Fever.’ This album resonates with a hint of twang and an abundance of fresh, invigorating musicality.

Lanny Durbin recently shared with SweetSweetMusicblog the creative process behind this transformative musical journey.

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Be sure to catch the opening track, ‘Feelin’ in Stereo,’ featured on the ‘The Best Power Pop of 2023‘ Spotify playlist.

Be sure to grab the vinyl edition from Stardumb Records!

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Q: How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes? 

The main difference on this record is that I taught myself to play the drums for it. Getting one of my true drummer friends to do them would have made for overall better playing, of course, but it was sort of a challenge to myself. The songs this time around were a little slower too, so I was able to handle it. 

I also wanted a broader sound, more layering. Last record, I wanted as few overdubs as possible. There’s still not a lot on this one, but I brought in friends to do instruments and parts I can’t do, like the pedal steel, the harmony vocals and the really good guitar solos. This record is different overall from prior work for that reason: I didn’t get caught up on if a part or a sound was “punk” at all. Came together pretty well I think!

Q: Within this collection, do you feel that the best song you’ve ever written finds its home? 

I’m not one to give myself much credit, but “Call You a Baby” is probably the best thing I’ve written so far, in the sense that I tried something outside of my wheelhouse and it came together really well. “Good For Nothin’” is like that too. Actually surprises myself that it’s me playing those. 

Q: As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort? 

Well, you can hide it behind the fact that you might be writing with a character or it’s a fictional song if you’re afraid of baring emotions. For me it’s usually just me, maybe try to keep it abstract enough to be relatable. I also might not know a song is meaningful to myself until later, if that makes sense. Usually just trying to write a cool tune and then a vibe shakes out from the words I picked. Basically, I’m saying I don’t know! 

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

When there’s a hook and hopefully some good lyrics. That’s it for me really. You can tinker with something as long as you want, but generally for me the best songs are the ones that come together quickly. No science to it. Whenever it feels good. 

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

It being a “hit” is laughable considering the Spotify plays, but I was pretty sure I had a nice tune with “Feelin’ in Stereo” as soon as I recorded the first guitar demo on my phone. 

Q: With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?

“Waterloo Sunset” by The Kinks. This is the greatest song ever recorded. I won’t argue it, it just is. 

“Tear Stained Eye” by Son Volt. Second best song ever recorded. It puts me in a very particular time and place that I can’t express but I wouldn’t if I could, it’s just mine. One of those life changer songs. 

“The Waiting” by Tom Petty. Could cycle a dozen of his songs here but this one just says everything right. Can’t beat it. 

“Knocked Around” by Dinosaur Jr., a very calming song for me, even with the heavy tone switch in the middle. 

“Indoor Fireworks” by Elvis Costello. He was the first legend I was obsessive over and this is the first quiet country tune that made me wonder if country could actually be cool. 

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https://www.instagram.com/localdragsband/

https://localdrags.bandcamp.com

https://www.stardumbrecords.com

Vocalist and bass player Timmy Lee and beat-maker Susan Bauer Lee unite as the musical force Bark, bringing a fusion of sound rooted in DIY American indie culture. Currently residing in Water Valley, MS, their genre-defying music draws from garage rock, power pop, and other diverse influences like heartland vibes and the British sonic invasion. Their latest creation, the aptly named album “Loud,” presents ten tracks with catchy tunes, alluring harmonies, and melodies that feel both fresh and strangely familiar from the start—music that easily captures the heart.

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

Tim: In the case of this record, this was the first time we worked with Matt Patton and Bronson Tew at Dial Back Sound. We’d met both of them when they showed up at gigs we played near them, and they’d told us about their studio. They’d made an album for The Great Dying called Bloody Noses and Roses that we’re both big fans of, so I think that’s what led us in their direction.

I’m always interested in seeing what kind of results you can get working with different people, so it just seemed natural to me. When we showed up at the studio, Matt asked if we had any ideas about how we wanted to go about making the record, and we just told him they were in charge. We were there to see what they brought to the table, so it was a lot of fun sitting back and letting someone else steer the ship.

Basically, we recorded the songs live in the studio then Matt and Bronson (and Schaefer Llana, who was an assistant engineer and sang some) came up with most of the overdub ideas. I think Float was the first song we tracked, and once we added the electric sitar, I knew this wasn’t going to sound like the other Bark records.

When I’ve been in the “producer’s chair” for Bark records, I tend to think of overdubs in terms of low tones and darker sounds since we’re essentially a bass guitar and drums band. Matt definitely took things in the direction of higher tones and brighter sounds. To me, that was the biggest difference and part of what makes the results so cool.

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

Tim: In the past, we usually just banged out the songs in rehearsal and went with whatever arrangement felt natural in the moment, but starting with our last record, Terminal Everything, we spent more time playing the songs for a longer period of time and trying different approaches to the arrangements or lyrics. More often than not, our songs tend to get played live a good bit before we go into the studio, so that really helps you figure out if it’s ready or not.

Could you share the journey of bringing this record to life?

Tim: Our previous record, Terminal Everything, was a very personal album that was written and recorded in the weeks and months after Susan and I both lost a parent (within 10 days of each other) and we lost several good friends, fellow artists, even pets. And in the aftermath of that record, I told somebody that I didn’t know if I’d ever have any more songs in me. I honestly felt completely tapped out.

But, in time, we both started coming up with a few songs here and there. Soon, we found ourselves getting excited about this batch of songs and having fun playing them. Then, the pandemic happened, and all our gigs got canceled.

Since we’re married and have a rehearsal space in our home, we were able to keep writing and playing new songs. Before we knew it, we had enough for an album.

The people we normally would have recorded with weren’t in a position to let people into their home/studio, so we ended up reaching out to Matt about Dial Back and figured out a way for us to come in and treat it like a pod situation.

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

Tim: For me, it’s actually been the time since the record has been released and seeing some pretty strong responses from people who’ve heard it. Since we kinda sat on it for a while before releasing it, I think I’d kinda started taking the record for granted. But seeing how folks are reacting to it has been pretty gratifying.

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

Susan: I’ve been in charge of the graphics since the mid-‘90s, starting with a few Tim Lee solo records, through the Tim Lee 3, and to Bark. Honestly, until Terminal Everything (2019), the art had usually been about a cool image and rarely had any connection in an obvious or symbolic way to the songs. The cover for Terminal Everything was 100% connected to the songs in obvious and symbolic ways. The record label, Striped Light, was also a letterpress shop, and we wanted to hand-print the covers. I learned how to cut linoleum and was able to translate a very specific image in my head to paper, to linoleum, to press. With LOUD, I think the cover became more about the two of us, rather than having a connection to the songs… two words, two dogs (salt & pepper shakers), two transistor radios, and two buzzards. Between 2019 and 2022, we had dealt with a pandemic together, recording in an unfamiliar space together, and a giant move back home together.

New York City’s band, MOVIE MOVIE, was formed in early 2022 by Derek Davidson and includes ex-members of the bands Twin Guns, The Electric Mess, and The Above. The band features Andrea Sicco (lead vocals, guitars), Frank Caira (backup and harmony vocals, 2nd guitar live), Alan J. Camlet (drums and percussion, vocals), and Derek himself (bass, keyboards), who draws inspiration from the memorable melodies and catchy choruses of Tom Petty, Bruce Springsteen, and Mark Knopfler while crafting the songs for “Storyboards.” Personally, I detect the echoes of the English New Wave scene from the mid-80s in the music as well. This blend of influences has transformed “Storyboards” into a remarkably delectable and easily approachable album. I love it.

How did this record come together?

“MOVIE MOVIE” was originally intended to be a one-off project to record some of my own songs while waiting for my main band, The Electric Mess, to regroup coming out of the pandemic, though we never really did. I was eager to get back into the studio and do something on my own. Andrea, Alan, and I went into Alan’s studio, Hoboken Recorders, with Alan drumming and engineering, and we recorded the 5 basic tracks live that would eventually become our “Now Playing” EP. It came together easily, with the lead vocals and all the guitars done in that one weekend, most of it in one day. Frank and Alan added vocal overdubs, and Dave Amels (Reigning Sound) sent me some great keyboard parts, and it was done within a few months. We were thrilled with how the recordings turned out, how smoothly everything went, the band chemistry… and then the positive reaction to it. The whole experience exceeded all our expectations.

I was still quite inspired, mostly encouraged by how easy it all was. In the time before the EP even came out, I wrote and demoed another 9 new songs, hoping to capture the same magic. I already had the title “Storyboards” and even the track order set when I sent out the demos. Everyone was game to keep it going, and Andrea had a couple of tunes to add this time. We had one rehearsal and then recorded the basic tracks for 11 songs live in one day. These tracks would all make it onto “Storyboards” (Topsy-Turvy, LP/CD).

I kept one song off, “What the World Needs Now (Is Not Love),” and that was eventually added as a 6th bonus track on the 12″ vinyl version of the “Now Playing” EP (Ghost Highway Records/KOTJ). It helps that we all know each other very well, over 10 years, from our previous bands: The Electric Mess, Twin Guns, and The Above.

We’ve played on many bills together and hung out socially. We all get along great, and it’s nice to work with such talented musicians who bring so much to the table, not to mention always being prepared and professional.

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

It’s very comfortable for me because I’m not the one singing the songs and being the front person. Most people don’t suspect the bass player wrote most of the songs; it’s generally assumed the lead singer or guitar player, or a combination of the two, are the ones who wrote them.

So, I don’t worry about showing my emotions; Andrea will probably get the credit. I haven’t pushed him too far with any lyrics he wasn’t comfortable singing yet, and thankfully he isn’t afraid to come off sensitively at times and show some emotion in his vocal delivery when needed. Frank and Alan also have expressive voices. Sometimes, upon hearing a playback, I might get a lump in my throat!

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

I guess I would have happily run some ideas by Tom Petty, and maybe ask Springsteen for arrangement suggestions. And Mark Knopfler might be able to show me a few new chords. They were all in mind in some ways when I was writing for this band and musical approach, and the sound of their records was an inspiration in the studio, and even some of the arranging, specifically the addition of piano on some tracks.

There are other influences, of course, and we cover a wide range of styles, but really I just want to write solid, melodic, well-structured, and hopefully interesting rock and roll songs for this band.

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

This is the first band I have been in, where I write the majority of the songs. In The Electric Mess, I was one of three songwriters and had only so many slots to fill on a record. MOVIE MOVIE came about at a time, during the pandemic, when I got rather proficient with Garageband. So, I always make detailed demos, with guitars, bass, drums, some keys, and the basic vocals I can manage to croak out as a guide. Most importantly, the structures are all there. So, when I introduce them to the band, they are already completely arranged songs that we follow closely, and there are very few questions when it comes time to rehearse them and record in the studio.

There’s no months of gigging, playing the same songs over and over live, nor endless weeks of rehearsals working out songs and parts. For me, that is the beauty of this band and what keeps the recording process fresh. Once the demos are done and the band has them, the song is ready, as far as I’m concerned. We recorded 16 songs—an EP and a full LP—even before we had our first live show.

A few weeks ago, we recorded the basic tracks for another 10 songs I wrote for our next album, again with only one rehearsal.

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

There are some songs we recorded that I can imagine as “hits,” like “No Long Goodbyes,” blasting out of someone’s car stereo while driving by, or people lying on the beach listening to the radio, with the DJ saying, “that was MOVIE MOVIE with…” Kind of a cliché!

The one specific song I wrote that I thought, “That’s a hit!” was our holiday song, “Another Holiday.” From my original demo, I could picture it getting played every year around the various holidays. The official recorded version was even better than I could have hoped, but it still captured what I heard in my original demo. I know it’ll never be “White Christmas” for popularity, but I think it’s catchy. Whether it ends up becoming a seasonal holiday favorite, is yet to be seen. It’s one of Andrea’s favorites. We have a pretty fun video for it.

What compliment you once received will you never forget?

In 2014, I was delving into a drummer Jim Gordon rabbit hole, listening to his playing and also reading stuff about him on the internet. One piece on him that came up was by the great Andy Newmark, another drummer whose playing I always loved—Sly Stone, John Lennon, Roger Waters, Roxy Music, etc. So, I sent him an email regarding the article, and about some of his playing. The Electric Mess had just come out with our third album, “House on Fire,” so I included a link to the Bandcamp for the hell of it. He replied with a nice, long, friendly email, but didn’t mention my band. Minutes later, he sent another email:

“Just listened to some of your stuff on Bandcamp. Sounds great. High energy, for sure. Your bass playing sounds great. Smokin’ baby!!”

“Smokin’ baby!!” from Andy Newmark? I’ll take it. Even if he was just being supportive and encouraging, I do know he took the time to listen to some tracks based on new Bandcamp plays.

What’s up for the next couple of months?

We’re going to keep working on the 10 new recordings, with overdubs and mixing. We need to start learning a handful of songs from “Storyboards” to add to our current live set, which is already pretty long, in preparation for our upcoming tour in Spain in early November. Songs we haven’t played at all since we first recorded them back in July 2022.

In Spain, you’re expected to play for over an hour, and then they also usually won’t let you off stage easily without playing some encores. Alan and I toured Spain three times with The Electric Mess, Andrea also toured there with Twin Guns, and Frank has played shows in Europe with his previous band, The Golden Grass, so we all know what to expect, and it’s best to be prepared with more than enough material.

Spain tour dates:
3/11 Valladolid TBA
4/11 Ourense Rock Club
5/11 Ponferrada Cocodrilo Negro
6/11 TBA
7/11 Madrid Funhouse
8/11 Valencia Loco Club
9/11 Zaragoza Sala Zeta
10/11 Leon Babylon
11/11 TBA
12/11 TBA

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

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

How did this record come together?

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

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

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

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

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

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

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

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

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

Is the best song you ever wrote on this one?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What compliment you once received will you never forget?

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

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

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

What place do you occupy in the music industry?

Auditory janitor.

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

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

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

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

What’s up for the next couple of months?

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

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

How did this record come together?

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

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

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

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

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

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

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

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

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

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

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

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

Is the best song you ever wrote on this one?

I don’t think so, no.

That’s always the latest one, lol.

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

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

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

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

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

John Lennon – Because he was raw.

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

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

When I played a gig in Bodo, Norway.

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

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

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

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

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

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

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

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

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

I just don’t know how to get there.

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

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

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

I often write about existentialism.

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

A couple of weeks ago, ha.

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

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

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

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

“Come Pick Me Up” – Ryan Adams

“Something Moved” – Frehley’s Comet

“Guitar Man” – Bread

“Bus Stop” – The Hollies

“Here We Go Again” – John Lennon

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

You get the attention!

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

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

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

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

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

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

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

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

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

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

That would be like Heaven.

What compliment you once received will you never forget?

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

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

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

That was huge to me.

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

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

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

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

What place do you occupy in the music industry?

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

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

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

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

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

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

What’s up for the next couple of months?

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

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

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

How did this record come together?

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

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

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

What’s the best song you ever wrote?

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

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

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

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

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

What compliment you once received will you never forget?

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

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

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

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

Just beginning, of course!

What’s up for the next couple of months?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What place do you occupy in the music industry?

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

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

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