Sweet Sweet Music Blog

Big Stir Records is celebrating its sixth anniversary, and to commemorate this milestone, they have announced the signing of six new bands to their roster.

Rex and Christina engage in a conversation with Sweet Sweet Music blog, discussing the journey thus far.

SSM: By cleverly concealing it, how did you manage to harbor such a momentous secret about signing six new bands in honor of Big Stir Records’ six-year anniversary?

Rex & Christina from Big Stir Records: Thank you so much! They say the secret to comedy is timing, and this was basically the same thing. There were a lot of artist announcements building up – and to be fair, a few of these bands, like sparkle*jets u.k. and The Flashcubes have been working with us on singles and other projects for a while now. And we’d done the Sorrows release with Arthur Alexander, and the solo album from Steve Stoeckel of The Spongetones, and they’d been happy with what we’d done and we were honored when they brough their next projects to us.

Meanwhile we very suddenly found ourselves working with Graham Parker, and The Cyrkle, and since we hadn’t officially announced any of those projects and were looking for the perfect time to do so… it dawned on us that we had six new artists to announce, right on the eve of our Sixth Anniversary as a label. So we made it into a themed event!

SSM: How did you secure the legendary Graham Parker under the esteemed banner of Big Stir Records? The world yearns for this revelation!

CHRISTINA: Believe it or not, Graham found us, on Twitter of all places! He reached out to us telling us he liked our style – later on he’d say that it was because we’re “not f***ing boring”, hahaha! – and we got the message in the middle of recording a live podcast. We weren’t quite sure it was really him, but we were on a Zoom call with him within a week and it just came together really quickly. He was looking for a label with reach beyond the UK – the great 100% Records is still handling this release in the UK and EU – and we were his pick from among several notable contenders.

We’re still pretty dazzled by it all, although Graham is an incredibly down-to-earth guy to work with. Still incredibly intense and mesmerizing as a performer, though, as we found out when we met him at a gig in Northern California just after the ink dried on the contract. And what a songbook he has to draw on… just amazing.

REX: We’ve never gone chasing after any artists – at all! There has always just been an abundance of talent surrounding us so there’s never been a question of “what comes next”. When someone like Graham – and there really aren’t many like Graham! – comes to us, we do what we always do: set about working out how we can live up to the quality of the work, and getting it to as wide an audience as we can. It’s daunting and exciting at the same time!

SSM: Should you distill the essence of Big Stir Records’ illustrious six-year journey into a mere half-dozen words, which carefully chosen gems would encapsulate its very soul?

R&C: Community, passion, adaptability, endurance, openness and adventure. All credit is due to the amazing artists we’re fortunate to have on board, from the first batch until today. We just work really hard and try to learn every new skill set that’s needed to keep get their music out there.

SSM: Amidst the tapestry of time, was there a singular, pivotal instant that molded Big Stir Records into the marvel it stands as today?

Rex: For me, I think it was a very quiet moment between just Christina and myself at the very beginning of the pandemic. Everyone everywhere was shut down in some fashion, and between the two of us we realized that there were going to be a lot of artists at loose ends, and a lot of other people in need of new music and art to get them through some unprecedented, difficult and isolated times.

We agreed that we were in a position to help both groups: to get the music being made to the people in need of it, like never before. It would mean that while a lot of people were looking at a lot of unwanted free time, we would be working harder than ever and re-inventing our own wheel, but we recognized we were among the few in a position to do something meaningful… and that doing so was also going to give us a sense of purpose as well. I really believe that all the big, big things that have happened for the label since then came from that private moment of commitment between the two of us.

Christina: It might sound odd from the outside, but for us it was such a transformative moment to be invited to be distributed by The Orchard, Sony’s Independent Labels distribution arm. It’s hard to explain how much difference real distribution and genuine support makes, but any artists who have struggled with the impersonal and not-exactly-competent paid third party distributors out there will understand how much difference this makes. But the biggest thing about it was that being invited – you can’t just “sign up” – was a recognition and validation of how much we’d grown and learned in a really short time. It also meant another crazy learning curve, but that process got us ready for new and bigger challenges, too. Mostly, though, just being recognized for how far we’d come, and how quickly we’d gotten there, made us feel like we had “arrived”.

SSM: Reflecting upon the bygone six years, which grand triumph looms largest in the annals of Big Stir Records’ esteemed endeavors?

Christina: Way back at the beginning, around 2015, Big Stir was just a local concert series in LA, but we saw it as building a community, filling a need for the artists on that scene. In 2016 our band The Armoires did a little tour of the UK and we started to hook up with bands over there, and the “scene” became a little more global, to the point where a year later we were ready – nervous, but ready! – to launch BSR as a label, starting with another much more expansive tour including a lot more bands from the US and UK. Right before we left, Don Valentine of the UK blog I Don’t Hear A Single posted a piece with the headline “I Want A Big Stir Over Here”… he was writing about the UK needing something to unify its community the way we had done in California, and that gave us the confidence that we were doing the right thing in launching BSR, and doing it on UK soil with a bunch of US bands involved!

It may seem like a small thing now, but at the time, “Big Stir” had only ever been the name we used to try to get enough people to come out to a gig in North Hollywood that we could keep doing shows every month. So it was a big deal to see it being used in an international context, and as a role model for how things should be done, even! Even though our reach is astronomically wider six years later, it wouldn’t have gotten there without that kind of grassroots support around the world in those early days. There are many examples of that, including you right here at Sweet Sweet Music, but the timing of that one felt like a game changing event.

Rex: It’s tough to pick one singular achievement, because by the time each milestone comes to pass, we’re already working on things well into the future. But for me it’s a recurring thing that I love every time it happens. Most people don’t think much about record labels, especially these days, because they’re “just businesses”, and that’s fair in most cases. But for real music lovers we’ve almost always had special labels with unique personalities where we will at least check out – and usually love – everything they put out. Not even by genre, but by their own unique vibe and vision: Bomp!, SST, 4AD, Not Lame, Factory, SubPop, Sarah, Flying Nun… amazingly, we’ve been compared to all of them, and even some of the more personally curated biggies like Sire, Elektra, and Geffen. That thrills me every time, not so much because it puts us in the “big leagues” but because it means someone gets what we’re going for: not just looking for hits or chasing the money, but assembling a great roster of artists who want to push the sound forward, and who, taken all together, create something that’s a sound of its own, united under our umbrella. That’s always been the dream, and it’s a low-key but incredibly meaningful “triumph” when people say we’re achieving it.

Both: Thank you so much for asking us to answer these questions – and for all you support throughout the years! There is much more to come and we can’t wait to share it with you!

‘In order to start talking about ‘Shiny New Skin,’ I have to go back almost three years.’, says Louie Lucchesi.

In the fall of 2020 (during the COVID lockdown), I was diagnosed with Stage 4 Renal Cell Carcinoma, cancer of the kidney. I started treatment, but by the end of the year, it was starting to get dire. I had lost a lot of weight and was struggling to even get out of bed. In January of ’21, my oncologist changed my treatment, and I began to respond, starting a very slow, very long recovery. And I started to write.

My good friend Mike Benign had been stopping by to see how I was doing and was also bringing me books to read. Deborah Harry’s ‘Face it’ and Chris Franz’s “Remain in Love” among others. One day he asked me if I had been writing, and I told him that I had just started. So we decided to collaborate. I warned him that this was some heavy stuff, and that the first song was called ‘I’m so glad (I didn’t go away).’ I was hedging my bets. And it was a rocker. We now close every show with it.

Our goal was to write enough songs for a record. By July, we had written 15 songs, and I was jokingly referring to it as my ‘Covid, cancer, mortality, and regrets’ record. The problem was that I still couldn’t sing. Apparently, because of my substantial weight loss, my vocal cords had atrophied. I started seeing a voice therapist, and with the help of a phone app, I began doing vocal exercises twice a day. Slowly, I found my voice again. By the fall of ’21, the clubs were starting to open up, and we were asked to do an acoustic set opening for Marshall Crenshaw at Shank Hall. In the middle of the set, the show was stopped, and I was given a proclamation from the mayor’s office, making it Louie Lucchesi Day in Milwaukee. A good omen.

The Flashbombs (myself, Mike Benign, Bo Conlon, Paul Pieman, Matt Meixner, and Al Hildenbrant) started playing live in May of ’22, and after only two shows, we were asked to perform at the legendary Milwaukee music festival Summerfest as a support act for The Cult and Black Rebel Motorcycle Club. Walking on stage that day was a moment I will never forget. Not because I got to play Summerfest (I’ve played it many times before), but because of how far I had come. I had accomplished something that I didn’t think would ever happen. I was back on stage. By now, we had over 25 songs, and it was time to start planning a record.

We had just written a group of new songs. Among them were “Hard Luck Story,” “Ruling The World” (about Putin), “Celebrity Cred,” and a rocker named “Shiny New Skin.” I decided that these were the songs I wanted to record, and that we would do an EP. I called Jeff Hamilton (Violent Femmes, Beatallica…) who had produced my remake of David Bowie’s ‘This is Not America,’ and he was in. The single, “Hard Luck Story,” was released in January of ’23, with the five-song “Shiny New Skin” EP following this May. We’ve also been nominated for Best New Artist and Artist of the Year for the 2023 Wisconsin Area Music Industry awards (WAMI). The Flashbombs will be performing at the awards show on May 21st at Turner Hall, and we return to Summerfest on July 6th.

Four days after Summerfest (and only six weeks after the release of “Shiny New Skin”), we begin work on our first full-length record. Half of the songs will be from the original group of songs, and the other half will be new. As far as the future goes, who knows? None of this was supposed to happen, and with a new record on the horizon, it’s all good. We now have over 50 songs and counting. Nothing will surprise me.

On many levels, the band has already achieved success. Just writing, playing, and recording is a significant achievement. Of course, a festival tour of Europe would be very welcome.

One of the greatest compliments I ever received was that I was told that I sounded like a cross between Lou Reed and Tony Bennett.

When people ask me what kind of music we play, I tell them ‘gray pop.’ What is gray pop? Music by mature artists for a multigenerational audience. That would make me ‘the king of gray pop.’

This is the most fun I’ve ever had playing music. Whether in the studio or live, it doesn’t matter. Even rehearsals are fun. I’ve never worked with a band where all of the members had a common vision. The support I receive from The Flashbombs, both artistically and personally, is very humbling.

We are acquainted with Brent Randall and Johnny Toomey due to their prior work in The Electric Looking Glass. Presently, they have collaborated to establish a new band named Vanity Mirror. Their debut album “PUFF” is overflowing with remarkably captivating melodies that evoke the sweet, nostalgic sounds of the sixties and seventies. If you appreciate the music of The Kinks and Sparks alike, then the ten endearingly eccentric and contagious pop tracks on the album will undoubtedly bring you happiness.

I am happy!

Brent Randall explains how it came about.

How did this record come together?

I had quite a backlog of songs that I was waiting to record for a while. And then I realized what am I waiting for? So I just started demoing and tracking things with the limited home studio I had. So a lot of the sounds were wonky but I was just enjoying the process of sketching out ideas. At one point I considered these songs to be possible for another group we play in, Electric Looking Glass. So, naturally, I sent them to Johnny (who also plays in that group) to lay down drums.

He laid down drums and percussion and flipped that back to me. Soon it all started coming together and we realized that these were no longer demos or rough sketches but an album. We didn’t want to go somewhere and create “good versions” or chase the demo (“demoitis”) We realized any imperfections is really what gave it personality.

And so PUFF was born!

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

Around the time we had rough mixes of everything and we started floating the idea of presenting these recordings as an album I did share it with a few trusted friends. They gave really positive feedback which gave us the confidence to move forward with it. I’d say the record was 98% done at the moment. I don’t really like sharing unfinished things. A few trusted people I know who have the right ear but generally I like to wait until things are ready.

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

Honestly, it’s already a success in that it exists and people seem to genuinely resonate with it. The world is so saturated with content I think as an artist you have to see the simple completion or manifestation of your vision in itself a success! That being said I’d like to see the 1st vinyl pressing sell out. That for me would be a success.

What’s the best song you ever wrote?

For me it’s “Happily Ever After” which is the last song on this album. It’s very simple but I think the melody, chords, lyrics and production all align to create a very real feeling which people can resonate at an instant. And it all came together really quickly. I’ve probably written more musically clever or catchier songs or have done more sparkly productions but for me a simple song that can capture a real feeling is always the test.

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

I used to struggle with this a lot but it has gotten much easier over the past year. I think it’s the key to having any artistic success.

I used to really try and shy away from revealing too much or try to hide things and it really hinders the process. If you have any hope of people resonating with your work it has to be real and vulnerable. But it is very difficult. But therapeutic This is also the sole purpose of a song really, to me, so it’s really so important. Leaning into the discomfort. I’m always uncomfortable.

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

Jad Fair because he has a freeform, childlike wonder and directness that just explodes from everything he does. Really admirable creative energy and instincts. Not too fussy and really effortless and natural.

Joanna Sternberg who is a contemporary singer songwriter who I really admire. Again a very personal, effortless way with melody and lyrics that is so inspiring and refreshing. Every word and note seems so perfect, so understated yet so important. I’d be delighted to co-write.

Mo Troper is another current songwriter who I admire. He writes great power pop jams that also have heart. Often in the power pop world you things that sound like an exercise in executing the genre with no humanity in there. Mo seems to execute the nostalgic power pop riffs with a song that can still melt you on an emotional level.

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

Rarely think of either. Usually I just have a vision I want to achieve and so every recording is just an attempt to capture something. Some attempts are more successful and then others. I put them out to share them and see if anyone else resonates with them but never really am too concerned with commercial appeal or experimentation.

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

I’m a Lonesome Little Raindrop – Tiny Tim

Who Has Seen the Wind – Yoko Ono

Night After Night – Dolly Mixture

Why I Didn’t Like August 93 – Elevator to Hell

Hey Joe – Daniel Johnston

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

Can’t stand it!

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

There’s a duo called The A’s right now from North Carolina I think who are just marvelous singers so them for sure!

Possibly Flo & Eddie from The Turtles & Mother of Invention. Incredible singers who’ve rocked so many classic records.

I think Flo has a vegetarian restaurant too so that could come in handy.

And then maybe Mo Tucker because I love her voice.

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

The best fun is done – for me records are always number one! The recording process. But the other stuff is good too 🙂

Introducing Sand Brothers, a hotly anticipated musical venture hailing from the land down under, led by none other than Greg Walker of Machine Translations and Rick Sands of The Night Party. Joining forces with the likes of Pete Cook from Yamamoto, Din Roberts from Kutcha Edwards Band, and Glen Scarlett from Oak, this quintet delivers a beautiful and captivating sound that is sure to leave listeners mesmerized.

Their debut album, ‘Too Much Sky‘, is a hauntingly beautiful masterpiece that boasts jangly guitars and poetic lyrics that are reminiscent of the exceptional quality that The Church has been renowned for over the years. From the moment the first note hits, it’s clear that Sand Brothers is not your average band. Their distinctive style and captivating melodies set them apart from the rest, making them one of the most exciting musical projects of the year.

I’ve had the pleasure of listening to some truly exceptional albums this year, but there’s no denying that Sand Brothers’ debut is a cut above the rest.

Rick Sands explains about the making of ‘Too Much Sky’.

How did this record come together?

About ten years ago, I played drums and sang in a band called The Night Party and during rehearsals, I’d sometimes swap to guitar and make up songs, with any demos we recorded named ‘Sand Brothers’ and dumped in a folder that never went anywhere. A few years later, Greg Walker, who had produced some later Night Party singles suggested we work on something together and I suggested that we use that name, this resulted in a few jams with Korg synth and upright piano – very Roedelius sounding and atmospheric.

It wasn’t until I threw a big party at my place, for New Year’s Eve 2020, that we came together as more of a rock outfit. Pete Cook and Din Roberts joined us that night on synth and bass and we could feel a creative frisson in every improvised track we knocked out. There were quite a few friends there and their positive response encouraged us that we had something going on! It was quite exciting to have a band materialise so quickly.

Well, as that weird year rolled out, we began rehearsing whenever we could. We’re based in the countryside about two hours southeast of Melbourne so we were not as deeply affected by the lockdowns and so forth – we worked around the various restrictions to rehearse at Greg’s studio but we didn’t record properly until January 2021. We got about nine tracks down then did another session one year later with another eight or so.

We actually have a double album’s worth of material but we decided to focus on these nine – primarily as they fit perfectly onto a vinyl record without any loss of sound quality!

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

That’s a great question! When I was younger I suppose it meant getting signed to a cool label, recording in real studios, touring and playing stadiums etc., Some of that has happened. All of the members of Sand Brothers are ‘lifer-musicians’ and have played in a wild variety of bands over the years to varying degrees of success. Greg’s the most established of us, with his band Machine Translations having had a pretty successful indie career. I’m not sure if he’s played any stadiums though – I’ll have to ask him. He’s also quite renowned as a producer, having worked with Paul Kelly and the like.

Success for this record would be reaching listeners overseas and perhaps even breaking through enough to justify touring not just other parts of Australia but overseas too. It would be nice to be ‘big’ in The Netherlands…or even Portugal or Greece!

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

If I think of some of the (still-living) masters – Bob Dylan, Nick Cave, Paul McCartney, etc, I can’t really imagine the kinds of music we could write together without me feeling very inadequate and not pulling my weight! I like the idea of other people performing songs I’ve written. Maybe in the distant future some cool Dutch or Portugese kids will do hip-hop mashups and sample Sand Brothers a la Avalanches or something. That would be nice.

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

Our songs are usually 95% in place by the time we record, then we might add some interesting backing vocals or percussion etc. We’ve been lucky in that most of our songs have come together very quickly. For whatever reason, each member is contributing the exact sound and feeling at the right time! As far as knowing when a song is ‘ready’, David Bowie said something about it being important that you don’t ‘recognise’ what you are doing – and that’s when you know you’re doing something possibly interesting. If the song is too familiar it will probably bore people! We use that philosophy.

We often have to stop ourselves from diving into new jams and ideas as we need to rehearse current songs for an upcoming show and we don’t have a lot of time to get together as we all have quite busy schedules. We really have to fight to find windows of time to get together.

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

Oh, there are so many good songs out there at the moment! But if I had to share some recent Australian songs with friends in Holland I’d send them:

1. Simon Juliff – Private Party

2. Tyrannamen – Diamond Ring

3. Murphnick – Coming On Home to You

4. Machine Translations – Weightless

5. Augie March – AWOL

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

Well I guess the first three singles do give people a broad sense of what we do – Adelaide,The Usual Things and Spirit Animal were chosen for a variety of reasons like being radio-friendly and some catchiness – however there are songs on the album like Dead End Road and Stolen Poetry present a quite different band. I don’t believe there is anyone around at the moment pulling songs out like Stolen Poetry. It’s hard to do half spoken-word vocals well, in your own accent without sounding provincial. We’re tapping into something bigger that we really don’t recognise there, and it’s exciting to make music like that.

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

They say never meet your heroes. It would be disappointing to go on the road with some great band to find out they are awkward weirdos or arrogant jerks! That can happen and we’ve all heard those stories. However, most of the bands we spend time with are all very gregarious and easy going, like us. So, on the pre-condition they are friendly enough and easy-going I’d suggest Guided By Voices or even Pavement. The Flaming Lips would be fun to hang out with but a hard act to follow!

What place do you occupy in the music industry?

A minor one, but we’re all happy here in our little corner of the world, doing our thing!

What’s up for the next couple of months?

We’ve got some launch shows coming up for the album. A few of us are going overseas in the next few months, so we’ll get busy with more shows later in the year. We’ll also start putting together an EP of some other songs that are ready to go.

Well, well, well, let me tell you the story of Gruppo Sportivo, the Dutch band that rocked the world with their quirky tunes and infectious energy.

It all started back in the late ’70s when the Dutch music scene was as cold as a frozen herring. But then, along came Hans Vandenburg, a man with a mission – to bring fun back to music. With his signature blend of punk, new wave, and rockabilly, he formed Gruppo Sportivo, a band that would make you dance, laugh, and wonder what the hell they were singing about.

Over the years, Gruppo Sportivo went through various lineup changes, but Hans Vandenburg remained at the helm, writing and performing songs that were witty, catchy, and just a little bit bizarre. Their live shows were legendary, with Hans and his bandmates donning matching tracksuits and performing synchronized dance routines that would put the “Grupettes”/”Bombitas” to shame.

Despite their success, Gruppo Sportivo never took themselves too seriously. They poked fun at the music industry, themselves, and even their fans, with songs like “Mission a Paris” and “Disco Really Made It.” But behind the humor was a band that knew how to write great songs and put on an unforgettable show.

Today, Gruppo Sportivo is still going strong, with Hans Vandenburg leading the charge. Their music may not be as ubiquitous as it once was, but for those who know and love them, Gruppo Sportivo will always be the ultimate party band. So, put on your dancing shoes, grab a beer, and get ready to have some fun – because that’s what Gruppo Sportivo is all about.

Enjoy some of the career highlights.

PLAYLIST

Career Highlights

10 Mistakes (1977)

“10 Mistakes,” the debut album of Gruppo Sportivo, received generally positive reviews from critics. At the time of its release in 1977, the Dutch music scene was dominated by serious and politically charged music, so the album’s lighthearted and irreverent approach was a breath of fresh air.

The album was praised for its catchy melodies, clever lyrics, and tight musicianship. Critics noted the band’s eclectic mix of musical styles, which ranged from punk and new wave to rockabilly and reggae. Many also singled out the lead vocals of Hans Vandenburg, which were described as energetic, playful, and full of personality.

Some critics found fault with the album’s production, which they felt was a bit rough around the edges. Others felt that the band’s humor and irreverence could be grating at times. However, these criticisms were outweighed by the album’s many strengths, and “10 Mistakes” went on to become a cult classic.

In retrospect, “10 Mistakes” is seen as a seminal album in Dutch pop music.

Back to 78 (1978)

Released in 1978, “Back to 78” was an ambitious concept album that paid tribute to the music and culture of the late 1970s. The album’s songs were filled with references to disco, punk, new wave, and other musical styles of the era, and the band’s sound had evolved to become more polished and sophisticated.

Critics praised the album’s strong songwriting, inventive arrangements, and Hans Vandenburg’s witty lyrics and charismatic vocals. Many noted that the album was a significant step forward for the band, both artistically and commercially.

“Back to 78” received glowing reviews from music publications such as Melody Maker, Sounds, and NME. It also helped to establish Gruppo Sportivo as one of the leading bands in the European music scene, and the album went on to become a commercial success in several countries.

The song “Tokyo” is considered a career highlight for Gruppo Sportivo and is widely regarded as one of their signature songs. The track was featured on “Back to 78,” and was released as a single in 1979.

“Tokyo” is a catchy, upbeat song that tells the story of a Dutch man who travels to Japan in search of love and adventure. The song’s lyrics are filled with clever wordplay and cultural references, and its infectious melody and sing-along chorus made it an instant hit with audiences.

Great (2018)

The response to Gruppo Sportivo’s “Great” album was generally positive from both fans and critics. Here are some excerpts from reviews of the album:

• Popmatters.com wrote: “Gruppo Sportivo has returned with its signature blend of clever, punchy rock songs on ‘Great.’ Led by the charismatic Hans Vandenburg, the band sounds as playful and energetic as ever, and the songs on this album are as catchy and enjoyable as anything they’ve done in their career.”
• The Dutch newspaper Trouw praised the album’s “inventive arrangements, memorable hooks, and clever lyrics that often contain a humorous twist,” while noting that the band’s trademark mix of rock, pop, and new wave influences remained intact.
• Music website Janglepop.com hailed the album as “a welcome return for one of the most underrated bands in pop history. ‘Great’ features some of the catchiest, most inventive songs that Gruppo Sportivo has ever recorded, and the band’s playful energy and sharp wit are as infectious as ever.”

Overall, the critical consensus on “Great” was that it was a strong album that showcased Gruppo Sportivo’s continued creativity and musicality, while also delivering the infectious pop hooks and clever lyrics that fans had come to expect from the band. The album may not have been a commercial blockbuster, but it was certainly a highlight in the band’s long and illustrious career.

“Everything I Need” is writer/producer Shane Tutmarc’s new Dolour EP.”. Bursting with irresistible earworms that’ll have you humming along for days, this little gem is a certified banger. And with a full album on the horizon, you’ll be grooving to Tutmarc’s tunes well into the summer – and beyond!

++ It’s with great pride that Sweet Sweet Music presents the world premiere of the music video for “Everything I Need”! ++

What an incredibly strong collection of new songs you have created. You probably figured that out when you were making Everything I Need, or isn’t that how it works?

Thanks Patrick! Actually this is the halfway point leading to my next album. After writing, recording and releasing three albums between 2020 and 2021 (The Royal We, Televangelist, Origin Story), or four albums, actually, if you include the 2020 Kool Kat Musik compilation (Written & Produced by Shane Tutmarc) which I did a couple new songs for as well – I knew I was gonna need to take a break. But it’s hard to slow that engine down, so within a month of finishing Origin Story in Fall 2021, I pretty much had another batch of songs written. But I was determined to try and slow the pace down a bit. So what happened was those songs I had written by Fall 2021 have slowly been replaced by newer songs I’d write over the last year and a half.

In Spring of 2022, I had a movie placement opportunity come my way which forced me to finish up a song for submission. That song became The Comeback Kid which kicked off the series of singles I’ve been releasing every few months. So now here we are a year later and I just released Everything I Need, the 5th single for this next album. My plan at this point is to finish up the 5 remaining tracks, and get it up for pre-order in August, with a Fall release. I think the album’s gonna be called The Almighty Dolour.

Moves Like Miyagi already sounds like a synth pop classic to me. How did that song come about?

It had a really unique writing process. It reminded me of when I was a little kid just making up silly songs to make my brother and sister laugh. My wife has gotten really into gardening the last couple years, and she had a bunch of mulch out on our patio where I liked to sit and drink coffee in the morning. But the mulch kept attracting all these flies.

So eventually I started going out there with a fly swatter. And as I was swatting flies I guess I thought about Mr. Miyagi from Karate Kid catching flies with chopsticks. And the song just started coming to me one line after another. Once I had a verse and a chorus I started thinking it was kind of a cool song, and maybe it could be more than just a song I’d sing to myself while swatting flies.

So I tried to think about what Mr. Miyagi represented. Disciple, inner strength, wisdom etc. Qualities that I admire in people, and that I aspire to myself. So I thought, maybe it could be a song about that. And about how many obstacles we all go through just to survive.

How complicated is it these days to get your music heard? Or was it not necessarily your intention to make this EP for the widest possible audience?

It can feel very complicated. Especially since I’m a one-man operation. Once you’re done writing and playing and recording and mixing and you’re kind of exhausted, then you have to figure out the release plan, and videos and playlist pitching and everything else. I’m very grateful for folks like you who help get the music in front of folks who might like it.

Sometimes I wish I had more people helping with the release side of things, but ultimately I really enjoy being as autonomous as I can be. Which is kind of what the song Everything I Need is all about.

Is the best song you ever wrote on Everything I Need?

Maybe! I know a lot of songwriters think of their songs as their children, and I’m no different. They’ve all shown up for me when I needed them. I don’t really pick favorites. But I will say, from a writing and arrangement perspective I’m especially proud of Have I Finally Gone Insane.

The writing and recording was a long process for that one, but I’m really satisfied with how all the sounds work together. In my mind the song is about the strange joy of falling in love with a song while you’re writing it. But I tried to keep the lyrics open enough for listeners to put their own story into it.

What is the best compliment you’ve received on Everything I Need so far?

Well, I just released it yesterday, so I haven’t heard too much yet. But there’s been a lot of good energy around this one. And a few folks have called it a “banger” so that’s nice.

Chicago based Power Pop band Pinksqueeze is set to release their debut full length album, Be Gay Have Fun!, a celebration of queer joy, this May and Ava explains how that came about.

How did this record come together?

This record is the culmination of years of songwriting and collaboration. There are a couple of tracks including Straight Girl Crush and Rainbow Hour that were actually recorded and released in 2019 and 2020 when Pinksqueeze was a 2 person project.

We were very excited to re-record these songs with the full band and have them really get to the sound that we had always hoped for before becoming the full band. We have songs written by each member of the band for this album, with each of us taking turns on lead vocals for lyrics we created and we are very excited about that. We have a mix of songs we wrote years ago and have been performing for quite some time, to a few songs that are brand new and haven’t been performed at all yet!

When the vision of the album as a celebration of queer joy came together, it made much more sense which songs we already had that would fit as well as which songs we needed to create to tell the story we were looking to tell.

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

For us, probably the most validating and encouraging thing that keeps us going is when we get feedback after our shows from people telling us how impactful it is to see 4 queer people who are not men having fun, being powerful, and celebrating queer joy on stage.

We get feedback from young queer people at our shows sometimes that we create an affirming space to them, and that just feels so good to hear. That’s why we went this direction of “Be Gay Have Fun”. We all feel like there needs to be more queer art in the world, and especially art that feels good and safe and fun for queer people.

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

If this record helps anyone to feel seen or celebrated or safe, that would feel like a success. We hope that it is a way for people to feel community and to just cut loose and have fun!

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

We have one acoustic track on the new album called Holy Critter, and it’s really a tender song that Logan and April wrote about queer identity and community for those of us who maybe had a difficult or un-affirming experience with religion as young people.

We decided that we wanted to do a big group vocal with some members of our Chicago queer local music community on this track, and to do a home-video style music video by a queer photographer in our community. It was our very last night of recording the album, and the very last thing we did for the album, so being able to share that moment with our community and to capture it in that way was unbelievably special.

We shared some tears and listened to the rough mixes of the album together that night. You can check out our music video for Holy Critter to catch some of those very magical moments!

What’s up for the next couple of months?

We are very excited to be playing some really fun shows and festivals over the next couple of months! Of course, our album release show in Chicago is what we are really looking forward to which will be on May 20th at the Cobra Lounge, with Cloud Houses and Abject Horror opening for us. It’s the only show we are playing in Chicago for a while, and we cannot wait to celebrate this milestone with our wonderful Chicago community!

We are releasing this album just a couple weeks before Pride Month in June, and we will be busy all Pride month playing at some Pride events and other music festivals around the midwest and beyond including Jorts Fest in Nashville, and a few more to be announced- you can follow our social media @Pinksqueeze_music to stay updated with upcoming shows!

Pinksqueeze: Ava, April, Anna, and Logan

A few weeks ago, the Sweet Sweet Music blog initiated a project of creating a playlist featuring Power Pop songs that have a girl’s name in their titles. The project seems to have grown beyond its initial scope, and more details about it are expected to be revealed in a few weeks.

When I came across Olive Way’s album “Stuck in My Head,” I couldn’t help but smile because all 16 tracks on the album have a girl’s name in their title. Olive Way is the brainchild of Seattle-based songwriter and producer Andrew Gaskin, who shared with Sweet Sweet Music blog why he chose to use these titles.

Listeners can expect to enjoy the beautiful, thoughtfully composed melodies, as well as the unique stories behind each song.

What compliment you once received will you never forget?

Someone I met recently said “My friends and I love your songs – you sound like the Freaky Friday soundtrack!” I took it as a huge compliment but also thought it was hilarious and pretty accurate. Disney’s 2003 remake of Freaky Friday with Lindsay Lohan is soundtracked with some of the catchiest melodic rock bands of the early 2000s. I was a teenager at this time and the overall sound of early 2000s power-pop/punk had a huge influence on the songwriting and production of Olive Way’s debut album Stuck In My Head. I created Olive Way to be my 16 year-old self’s favorite band. The album is available now to stream on all platforms.

How did this record come together?

I started recording songs for Olive Way almost exactly one year ago. For about a month songs with female names seemed to be following me around Seattle in my headphones: Boston’s “Amanda.” Elvis Costello’s “Alison.” Weezer’s “Suzanne” and “Jamie.” Up until that point I had a bunch of song ideas and no way to finish them. But now I had a way: use a name as the title and write from there. I’d been playing bass in Seattle bands for years and had recorded an album remotely with The National Honor Society. During that process I became more comfortable recording music on a computer with Logic Pro. From May to December 2022 I wrote and recorded 25 songs, 16 of which make up Olive Way’s first album Stuck In My Head. I played, sang, and recorded everything in my studio apartment on Olive Way in Seattle. It was an incredibly creative period.

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

When I recorded Tonya Supreme. Tonya was the first song recorded for Stuck In My Head. I’d never heard my vocals double tracked and in harmony like that before. It gave me a lot of confidence and a ton of vocal production ideas. It was also the first time I started sharing my songs with my friends and family. It was great to hear their feedback and support.

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

When I have the melody and chords for the chorus, and at least one other section I’ll take the leap and start working on it in Logic. I used to have a really hard time getting songs going until I made a morning routine out of songwriting. It’s kind of like going to the gym. Every morning doing reps to get a little stronger. My main focus with these songs was for them to hopefully have really memorable vocal melodies and harmonies. So much of the music I loved as a teenager gave me this sugar rush of dopamine which I think I’ve been chasing ever since. So every morning I drink coffee, pick up my guitar, and try to write vocal melodies over chords that excite me.

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

For years I had been really self conscious about releasing any music that was super pop sounding. I thought people would hate me or something. When I started finishing songs I became increasingly confident in the music I was making and got over myself a little. I’ve always wanted to make a pop/rock album with big melodies and really clean production. People have asked me “Why are all the songs about girls?” or “Who are all these women?” It honestly just started out as a songwriting exercise and became a fun theme. At one point I was looking in a baby book for more names. Only three of the names on the album are about real women. Which ones do YOU think they are? … If that ruins the mystery just think of it as a concept album set in Seattle by a male version of Taylor Swift – I don’t know hahahaha!

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

First pick: Mutt Lange. He did Def Leppard’s Hysteria, Bryan Adams, and all Shania Twain’s hits. I’d love to witness his process and level of perfectionism. Second,

Max Martin. He’s the Billboard #1 mastermind. Same reasons as Mutt. Third would be HARDY down in Nashville. He’s the pop-country wizard. Would be amazing to see how he approaches lyrics and production for radio.

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

20 percent experimentation and 80 percent commercial appeal! Nah, but probably something close. Experimentation to me is just contrast. Taking something that is familiar and then contrasting it with something unexpected, even if minor. I think that’s what makes pop music fun and challenging to write: making something that sounds like the past, but hopefully also the future at the same time. Watch out I’ve got a killer melody over I-V-vi-IV for the next record I’ve been saving..

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

The last song I recorded! Only sort of half kidding. I think I’m reasonably delusional about my songwriting. Right after I finish recording a song I usually think it’s a total smash – it could be the song that saves the world. A couple days later I’ll think my best has yet to be written. The cycle continues and that’s what keeps it compelling for me.

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?

This is a great question. I wish I could give everyone a nice pair of over the ear headphones. I think I’m most proud of the melodies, vocal production, and overall mixing of the record. I strove for it to have the vibe of an album Jerry Finn or Chris Lorde-Alge would have worked on back in the day.

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

Success for me right now is just increasing the number of people who have heard the album and hopefully connecting with those who enjoy it. Follow me on Instagram @OliveWayMusic

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

What are the biggest bangers on Stuck In My Head? Hmmm.. man I think they’re all strong, but if it’s your first time probably Samantha (Why Don’t You Answer),

Natalie (It’s Gonna Be Alright), and Angelina (Portifina-Rose). If you like these I think you’ll dig the whole album front to back.

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

Just the beginning for sure. The Olive Way sound is expanding. I’m working on a bunch of new songs and will likely be sharing them as singles. Not sure if there will be a theme or not yet. 🙂

The Anderson Council’s ‘The Devil, The Tower, The Star, The Moon‘ will be released 19 May 2023. The fantastic first single ‘Alone With You’ already saw the light of day last week.

Peter Horvath talks about the making of the new album.

How did this record come together?

I started writing with my friend Michael Temkin in late 2019, and by mid-2020, we had a bunch of new songs. Oh, and I had to find replacements for half of the band… Oh, and covid… In any case, the new lineup was learning the new songs by the autumn of 2020, and we started recording in March of 2021… 

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

When we wrote what became the title track of the record (Tarot Toronto), I knew it was all coming together. I think every song I write sounds like a song that The Anderson Council would/should/could play, but that song really sounded like US.

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

I don’t really ask for opinions on the new songs. I ask if the band likes the songs, and I may stop rehearsing them if the band doesn’t really care for them, but usually, we know by the second or third time we play a song if it’s going to work.

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

If people watch the videos, come to the shows, and put us on year-end lists, that would be great.
Of course, I’d love to sell records too, but I know the reality of that… I hope we get a million streams.
That seems more attainable…

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

For a person who really doesn’t talk to people very easily, I somehow chose to be a front person and songwriter in a rock band… What was I thinking??? I always find out what my songs are about from other people’s impressions of what they think they’re about. I don’t know if there are other emotions at work there as well, but maybe? Maybe I don’t have to show my emotions in that case!

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

We have never written a song as a band, so I will choose the other guys in the band for that answer. I wonder what we’d come up with?

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

Opening for The Zombies was pretty darn cool. Playing on a big stage is nice, and it appears we are suited to it!

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

We tend to develop the song even after it’s recorded, so on the way in to the studio, as long as our parts are solid, that’s good enough for me!

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

I feel like all of our songs have hooks galore, so there’s your commercial appeal. I feel like all of our songs have some quirky bit in them that could be considered “experimental”, because I have to feed my personal need to do fun things within the framework of a pop song.

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

Most times I/we write something! With enough promo, most songs could be hits!

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

I tend to listen to full albums…

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

I think when folks say, “damn, they were loud, but damn, it was a good loud,” then they get it. Few people dance at our shows, but they tend to pay attention!

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

Any band that would want us to open for them would be great. I’m not cool enough to pick them! That said, I’d enjoy a JEM Records package tour immensely!

What compliment you once received will you never forget?

Don Coffey Jr. from Superdrag told me, “Your songs have more hooks than a tackle box…”

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

I feel like when we hit upon a really cool overdub, that’s a fun and potentially magical thing. I also feel like when I write a song at the last minute, and we record it, that’s a good feeling. This happened to be the case with Magical…

What place do you occupy in the music industry?

A lowly one, but still we go on…

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

One must promote! Of course, we’re over 20 songs in toward the next record, so we must also rehearse!

What’s up for the next couple of months?

Shows, press, making videos, lather, rinse, repeat…

‘Alone With You’ has been added to the Best Power Pop of 2023 Spotify playlist.

Solid, energetic, varied, powerful and beautiful are all words that can be used to describe ‘Wrong Together’, the 10th album from The Successful Failures.

Mick Chorba explains.

Every time I listen to a new record of yours I think ‘they know exactly what they want and what kind of band they want to be’. Is that true?

We fooled you! Haha. Just kidding. We know that we want to be a band that is true to their craft. We respect the craft. We try to avoid pretension. We try to be honest with what we are saying and we try to keep it simple! We work hard and we play hard!

What’s the nicest compliment you’ve received so far about Wrong Together?

My mom texted me that she “loves the CD”. She said my voice sounds “really good”. She also said that “the songs are all great” and that she likes “Blue October” best. My mom knows music and it’s cool because “Blue October” is my favorite song too. A friend of ours who has a radio show in North Carolina commented on how much he likes the closing track, “Flying Cowboys” and how he thought it was a good move to close with a rocker rather than the folky “Learning What It Is To Be Free”. I agree and credit Ron Bechamps, bass/mandolin, on the track sequencing which I think is really key with this album.

On Wrong Together I hear Power Pop, Country, Alternative Rock, Hard Rock, Pop/Rock… Is it complicated that people care about the amount of styles you play?

I think that might be getting a bit overplayed, but I could be wrong. We do cover a wide range but to me it still sounds like us. Maybe it does complicate things since people don’t know what box to put us in, but I’m thinking I’d rather not be in a box, know what I mean? This is a calculated decision and I take it from The Replacements – specifically their “Let It Be” album which is mostly punky indie-rock but there is a piano ballad, a KISS cover, and an almost-instrumental in which the only words are “See Your Video!”, then 2 heartbreaking guitar almost-ballads in “Unsatisfied” and “Sixteen Blue”. And of course the album opens with a great powerpop song with “I Will Dare”. Anyway back to Wrong Together–for this album we did bring in a different producer, Travis Harrison, who works with Guided By Voices and I think he gave it a little different sound that unifies the songs. We gave up a little control there and I think it paid off.

Wrong Together has been out for a few weeks now. Perhaps enough to be able to take some distance to answer the question of how important this record is to you?

This ranks high on my importance scale. I’m thinking it will play well live. And I’m hoping we build our following a bit, meet some new people, play some new places. It’s encouraging that Sirius XM radio shows on the Underground Garage have been playing “Millions of People”. I don’t know, we’ll see what happens. But I just feel lucky to be in the situation to continue to be able to make new music. I’m writing songs for our next project now!

How does it work, being a member of The Successful Failures?

It’s fun. Pretty much a lot of fun. I recommend it! I’m lucky that Ron, Rob, and Pete are pretty much on board and enthusiastic about whatever I throw their way. We all do our homework and take the band seriously. When you ask “how does it work” not sure if you mean the song-creation-process but if so here it is in a nutshell… I write the songs on a guitar or piano. I record some rough demos and send them to the guys. At rehearsal we hash out the songs. Each person comes up with their own parts. Some songs instantly sound right while others take time and go through significant changes. We all enjoy the creative process. Not sure if you saw that Beatles documentary on the “Get Back” sessions….but our system isn’t too far off from the way those songs were presented and worked on, though we haven’t played our songs on a rooftop in London. Yet!