Sweet Sweet Music Blog

‘Smokey Shady‘ is the new self-released album by Brisbane-based Sam Wrangle. He has made it a varied album, with sweet jangle, dreamy indie pop and Bunnymen-like new wave. It’s a beauty!

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

When I released ‘A Word for Toxic’ in 2021. Felt like the first thing I’d done without putting pressure on myself.

How did this record come together?

Quickly. I decided to stick to processes I knew instinctively and avoid second guessing myself.

How do you maintain your energy and enthusiasm for making power pop music?

Playing everyday. Routine. Listening to your favorite pop music. Greeting as many people as you can. Knowing that you have no choice but to create.

What was the most challenging aspect of creating this record?

Work-life balance. The innate separation of having a job and a hobby.

How did the pandemic and social climate impact the creation or release of the record?

I was really happy to be able to go out as see bands, and not feel like I was gonna catch something. I mean, meeting people in general. The niceties that we took for granted like shaking hands, hugs etc. I missed this a lot.

How do you typically come up with new song ideas?

When something affects me so deeply, and I can’t communicate it – I’ll write a song. Then I’ll try out some new chords. Words come last.

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

When I built up a sort of resilience to feedback/opinions. When I told myself you’ve got something good here that’s worth listening to. Also to be selective about who you listen to.

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

It existing. I’m grateful to be able to produce music in my spare time. It’s a luxury many cannot afford.

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

Very necessary. Very great. Though not the kind of urge that makes you miserable. More like the kind of urge you need to moderate and nurture. Like the way Nick Cave talks about his muse. Gotta nurture it – or it’ll turn on you.

How do you see the power pop genre evolving in the future?

I see it growing organically. I’m a fan of the classics. Love a good melody. Love a nice bassline. Love a bit of jingle-jangle.

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

Yes. But that’s only a recent thing.

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

Weyes Blood, Kevin Parker, and Steve Kilbey. Weyes Blood = amazing voice and harmonies;

Kevin Parker = drums and production;

Steve Kilbey = songwriting.

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

One I’ve played: most recent with the band. It was fun.

One I’ve seen: The Church at Princess Theature, Brisbane, Australia. It was transcendent. Tear-jerkingly good.

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

When you’re sure introducing a new element probably won’t improve what’s there already.

How do you incorporate feedback and criticism into your creative process?

Take everything on-board. Don’t get too upset. Most of the time it’s because people want to help you.

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

Letting go of things. Feeling a connection with people. It’s exciting.

What compliment you once received will you never forget?

When I met Steve Kilbey at show in London, and he told me to start performing under the name of ‘Sam Wrangle’ and proceeded to compare my name to David Bowie and Billy Idol. Someone rated my hair 8/10 recently.

What place do you occupy in the music industry?

A quiet place. Just that raw undiscovered gem buried deep in the earth.

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

Fun is only just beginning. Thank you for all of the questions – really nice of you to reach out.

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

1. Dead Text
2. Stay Cool
3. Downtime

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

1. Steven Wilson
2. David Gilmour
3. Natalie Mering
   

“A Big Life” is a big rock album that packs a punch of energy and excitement right from the get-go. Ed Ryan has created a collection of 12 new songs that are bound to keep you hooked from start to finish. But don’t be fooled by the happy-sounding music – the lyrics are anything but. Ryan’s ability to contrast upbeat melodies with deep, thoughtful lyrics makes for an inspiring whole that is both delicious and honest. The guitar solos in this album are particularly noteworthy, adding an extra layer of excitement to an already impressive collection of songs.

Buy cd at Kool Kat Musik

Did you know from the start that you wanted to make a ‘big, fun record’ or did it come about during recording?

My original intent was to make something that included my more roots-oriented material…using Tom Petty as a sort of template soundwise. To that end, I performed and recorded drums instead of programming them and I added quite a bit of keyboards. As recording progressed, I noticed I was really leaning into the uptempo, rockier songs. A roundabout way of saying it became what it is during recording.

Take Way Everything is now my favorite song. I find the text compelling. In general, the lyrics on A Big Life seem not so ‘big and fun’ to me?

Ha…Very observant! Outside of a few songs, like Settle Down, I tend to see and express things in a more complicated fashion. So happy sounding music doesn’t necessarily mean happy lyrical content. Hopefully, as you get older you learn a few things about yourself and share some of that experience.

I think I can hear how much you enjoy making the guitar solos. Also now again. Do you have a whole collection of solos ready or do they arise while writing the songs?

I love guitar solos (big surprise) and I’m really not a fan of what I call placeholder solos…ie just playing the melody or thoughtlessly whiddling around to kill time! Once I’ve recorded my tracks I improvise and record a few solos to see where they take me. I base everything on the emotion I’m trying to get across while keeping in mind the melody and chord structure. It’s another opportunity to express yourself musically and should be it’s own thing while also not being separate from the whole.

The album has been out for a few weeks now and you may have already been able to take some distance. If so, can you already indicate what this album means to you?

I think sonically it’s my best sounding album and I also think the material is pretty consistently strong. The album means another step forward for me in terms of hearing what’s in my head!

A Big Life gets great reviews. Reading all the praise, what stands out to you the most?

What stands out the to me the most is that I’m not shouting into the void lol! This is my fifth solo album and I was wondering if anyone would bother to review it. I think it’s my best work thus far…so it’s gratifying to have such an overwhelmingly positive response. I’m a grateful guy and this encourages me to keep going!

There’s something truly remarkable about musicians who can combine their diverse influences to create an entirely new sound. Joshua Boon, a producer of soul, dub, and hip-hop music, does exactly that with his latest project, The Forces. While he may have a deep love for The Beatles and The Beach Boys, he’s not content to simply cover their music. Instead, he honors their legacy by infusing their recognizable melodies with his own studio expertise to create a sound that’s entirely his own. The result is a collection of five quirky, beautifully pop songs that are sure to delight fans of both the classic and the more experimental side of pop music.

Of these tracks, “Anne” stands out as a personal favorite, with The Forces channeling the sunny, upbeat energy of Ben Folds on a beautiful day.

How did this record come together?

It was a long but logical journey for me to arrive at this point. My mother played The Beatles’ music when I was a child, and I grew up listening to it. I also love old Beach Boys music, but I’ve always been drawn to hip-hop, funk, and soul. Over the past decade, I’ve mostly produced music in those styles. However, in 2020, I released an experimental funk soul record that might have been too experimental for some listeners and reviewers. Although I needed to get that out of my system, after that I felt a strong desire to create catchy, pure songs that could stand on their own, like The Beatles and The Beach Boys. This desire was my starting point for this record, but I also allowed room for my hip-hop influences to emerge. I believe that original things can come to life when you don’t know exactly what you’re doing and simply follow your intuition. The Beatles mixed genres and created something unique by doing just that, and I hope that this attitude comes through in The Forces!

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

It’s always a battle to strike a balance between experimentation and commercial appeal. For me, it starts with creating a really catchy song, so I approach it with a bit of a commercial mindset. However, during the production process, I allow my experimental side to come out, as I aim to create something interesting and surprising. I try to have a strong foundation in the melody and lyrics, but the producer in me always has the final say since they are the ones behind the mixing board!

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

The easy and impossible answer would be The Beatles and The Beach Boys. But if I had to choose contemporary artists, it’s not an easy decision. I find Malachai interesting because they blend old and new UK music styles in their work. I’m also drawn to something really experimental like Chinatown Slalom or a 60s psychedelic power pop vibe like Benji Hughes.

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

There is so much good music out there these days, and a lot of it goes unnoticed. I’m grateful for every listener who discovers and enjoys my music. Success for me would mean more exposure for the album, positive reviews, and hopefully, the vinyl record finding its way into people’s homes.

What’s next for the next couple of months?

In September, I will release the full album “Voyages” on limited edition vinyl/digital on Bandcamp (https://the-forces.bandcamp.com/). The instrumental versions of the album will also be available on Bandcamp. The album will feature a special guest artist, and we’ve secured a global distribution partner for the record. Before the album’s release, we’ll drop some tracks to generate interest. Please follow all our updates on https://the-forces.bandcamp.com/ and the-forces.com! You’re the first to know about this exciting news!

If you’re a fan of indie rock or guitar pop, you might not have heard of the Dutch Guitar Pop scene. But let me tell you, it’s been thriving for over 25 years now, thanks in large part to Excelsior Recordings. This independent label, based in Amsterdam, has been at the forefront of the Dutch indie scene since the mid-90s. And they’ve been responsible for some truly great albums.

In fact, I’d say that the Dutch Guitar Pop Renaissance is one of the best-kept secrets in indie music. These bands have a sound that’s uniquely their own, blending jangly guitars with catchy hooks and a healthy dose of nostalgia. And while the scene might not be as well-known as some of its counterparts in the UK or the US, it’s produced some truly fantastic albums over the years.

So if you’re looking for some new music to explore, I highly recommend checking out the Dutch Guitar Pop scene. And to get you started, here’s a rundown of the ten (well, 12) best albums from the scene’s renaissance era. From Moss to Johan to The Maureens, these albums are sure to delight any fan of indie rock or guitar pop. Get ready to discover your new favorite band!

Here is the Spotify Playlist with all the 12 albums.
And, yes, you want more.

1 Johan – Pergola (2001)

Johan has captured the hearts of music lovers worldwide since their formation in the late 1990s. Their sound is characterized by melodic, guitar-driven pop with introspective lyrics that speak to the soul. But there’s something truly special about their second album, Pergola, released in 2001. The 12 songs on this album are simply breathtaking. Each track is a masterpiece in its own right, showcasing the band’s incredible talent and musical prowess. If you haven’t had the pleasure of listening to Pergola, I highly recommend that you do so. It’s a true gem in the world of indie pop music that will leave you feeling moved and inspired.

2 Daryll-Ann – Weeps (1996)

When it comes to musical comparisons, being mentioned in the same breath as Neil Young, The Byrds, R.E.M., and The Beach Boys is no small feat. And yet, that’s exactly what the press did when they reviewed Daryll-Ann’s Weeps. However, it’s not just the similarities to these iconic bands that make Daryll-Ann stand out. Anne Soldaat’s guitar playing is truly one-of-a-kind, with a peerless skill and creativity that adds an extra layer of depth and emotion to the music. And then there are the songs themselves – with an unprecedented quality that is hard to match, Daryll-Ann has truly carved out their own unique sound that is both familiar and fresh at the same time. It’s no wonder that they’ve garnered such high praise from critics and fans alike.

3 Alamo Race Track – Black Cat John Brown (2006)

“Intelligent pop with endless imagination, as rich and adventurous as pop music can be”, wrote De Volkskrant about Alamo Race Track. The German press compared the band to Fleet Foxes and Mercury Rev.

Black Cat John Brown is extremely beautiful and the title track is second to none.

4 Moss – Strike (2017)

Moss made some wonderful albums before Strike. Never To Be Scared/Don’t Be a Hero (2009) will be considered their masterpiece by many connoisseurs, but Strike is simply better. Gone is all the bravado that often comes at the expense of the songs. Here all thirteen songs are heavenly good. The chorus of Bored to Death is the most beautiful chorus.

Setlist: The Promise, My Decision, Bored To Death

5 Personal Trainer – Big Love Blanket (2022)

Willem Smit has tried his hand at various bands, but he has never hit the mark like with Personal Trainer. Amsterdam bluff and rambunctious indie pop have often proved to be a winning combination, but rarely have you heard so much fun as here. Big Love Blanket is new, refreshing, cheeky and wild.

6 El Pino and the Volunteers – s/t (2016)

The Americana sound that El Pino and the Volunteers had been wielding since 2006 was over in 2016. The self-titled farewell is the kind of catchy, rootsy pop that Ryan Adams makes on a good day.

7 Lewsberg – In Your Hands (2021)

Minimalisms.

8 Simmer – Mothertongue (1997)

Simmer’s Mothertongue is a forgotten album. It’s a personal favorite, though, and I’ve only recently found out why that is. Well? Because the choruses of the up-tempo songs are so similar to the choruses of the songs on Sloan’s early albums. So that’s why.

9 Caesar – No Rest for the Alonely (1998)

My kids know Pavement but they don’t know Caesar. Someday they will know.

10 Elephant – Big Thing (2022)

Laurel Canyon on the River Maas. West Coast Pop perfected.

11 Do-the-Undo (Anne Soldaat) (2007)

After the break-up of Daryll-Ann, Anne Soldaat’s solo career began. Before he started making albums under his own name, he debuted with Do-the-Undo, one of those records that pop heroes make when they are in top form.

12 The Maureens – Something in the Air (2019)

The best Dutch Power Pop band.
Period.

Are you a fan of Power Pop/Punk Rock music and the iconic bands that dominated the airwaves in the ’90s? If so, you won’t want to miss out on the opportunity to discover and celebrate the legacy of POPSICKO. This much-missed Santa Barbara band possessed all the elements that made Power Pop/Punk Rock so popular in the ’90s: jagged guitars, rocket-fueled rhythms, and sweet hooks. And let’s not forget about Keith Brown, the electrifying frontman, who passed away far too young, crafted indelible and often heartbreakingly beautiful tunes.

POPSICKO shared stages with the likes of Weezer and Green Day, and were seemingly destined to join them on the charts. Now, Big Stir Records is reissuing the band’s lost classic, OFF TO A BAD START, for the first time on vinyl. This is a chance to experience the music of POPSICKO like never before, and to appreciate their enduring legacy in the world of Power Pop/Punk Rock.

Release date: April 28, 2023

Behind the Vinyl: S.W. Lauden reveals the untold story of Popsicko’s Off to a Bad start reissue.

What makes the Popsicko album so important to you?

Popsicko’s Off to a Bad Start is important to me for a lot of personal reasons, even though I wasn’t in the band. Their lead singer, Keith Brown, and I were close friends and played in some of our first bands together in high school and college. Meeting Keith really changed the trajectory of my life in many ways that are hard to articulate, but teaming up with him to play music was a big turning point for me in my teens and 20s. He introduced me to a lot of great music and we saw some incredible shows together (Ramones, Replacements, The Gun Club, Johnny Thunders, Alex Chilton, Hüsker Dü, etc.).

We’d obviously stopped playing together by the time he was in Popsicko, but watching their rise in Santa Barbara and around California was pretty awe-inspiring. Keith took music more seriously as a career than I did at that time (I was still mostly playing for fun and free beer), so watching Popsicko go for the brass ring with everything they had really opened my eyes.

It was actually Popsicko’s bassist, Marko DeSantis, who got me into the Hollywood band Ridel High. Keith produced some of our first demos in his Santa Barbara apartment. A couple of those songs ended up on a 7-inch that led to us making an album for My Records/A&M Records. A few years later (after Keith was sadly no longer with us), I joined the band Tsar which featured Dan Kern on lead guitar; Dan was the original bass player for the band Keith and I started in high school.

Full circle, twisted roots, tangled webs, etc.

The music will find a new audience now; what will they hear?

I am so close to this reissue project that it’s hard for me to say.

When I first started working with the surviving members of Popsicko and Big Stir Records to create the oral history book and vinyl re-release of Off to a Bad Start, my main goal was to keep Keith’s memory and the band’s music alive. So I didn’t put a lot of thought into how the album would be received by modern music fans, but the reaction has been amazing.

People are discovering this music for the first time and falling in love with it, which is a beautiful thing. That’s a real testament to the timeless songwriting and the talented musicians in the band—Keith Brown (guitar/vocals), Tim Cullen (guitar/vocals), Marko DeSantis (bass) and Mick Flowers (drums).

A lot of Power Pop music made around the same time Off to a Bad Start didn’t age. How about this one? The energy is still alive, isn’t it?

We’re in an interesting moment right now when ’90s alternative rock is a big influence on excellent modern power pop/power pop-adjacent musicians like Ryan Allen/Extra Arms, Dazy, Liquid Mike, among many others. When you listen to Off to a Bad Start in that context—like, if it just popped up on an algorithmic playlist—it would be hard to tell (see what I did there?) which song was released six months ago and which song was released in the early ’90s. At least to my ears.

It’s cliché to say that a band was “ahead of its time,” but I do think that Popsicko really anticipated where music was headed when they wrote and self-released Off to a Bad Start in 1994. People always said their sound was “The Replacements meets Cheap Trick,” which I think is accurate—but there are also elements of pop punk as well, and tons of hooks.

I think fans of ’90s alternative rock, pop punk and power pop will definitely find something to love about this album. If you’re new to Popsicko, start with “Nastassja” or “Same Old Me.”

Popsicko were part of the Santa Barbara music scene in the ’90s. With so many bands around back then, why did Popsicko stand out?

As I mentioned, they were a really talented band—but on top of that, I think they were also really focused. The early ’90s was the height of the alternative/grunge/pop punk/Brit pop explosion, so there were countless guitar bands starting up all around the world. At the same time, there was a punk rock hangover about “selling out,” so it wasn’t always cool to be ambitious (see Soul Asylum, Jawbreaker, etc.).

Popsicko was definitely ambitious, but they had an interesting mix of punk roots (Keith was the original lead singer in Pennywise), a pronounced indie/DIY approach (self-releasing their debut album, doing DIY tours around California), and a drive to succeed on their own terms. They were one of the hardest-working bands around back then which helped them grow an organic fanbase; that made the music press and the music industry pay attention.

I really think you can hear all of that on Off to a Bad Start. It’s an incredible album that really captures the band they were. I’m just really happy that more people are getting the chance to discover it 30 years later. Thanks so much for helping us spread the word.

What’s next for you?

I’m really close to announcing an exciting new writing project involving some cool, talented people. Just need to tie up a few loose ends before I share it with the world. I definitely think it’s something that fans of Sweet Sweet Music Blog will love. More info soon on my social handles (@swlauden).

The Last Rock Band is A Rock & Roll Concept Album by Ryan Allen, an incredibly good Rock & Roll Concept album.

Period.

My two sons are starting their first bands. How would you advise them to listen to this album?

That’s awesome! I’m always encouraged when young people want to pick up guitars as opposed to, well, anything else. In terms of how I would “advise” them to listen to the album…that’s a tough one to answer. I guess I would say listen to it with an open mind, pay close attention to the lyrics, and follow the story as it goes through its peaks and valleys.

My experience playing music has been chock full of peaks and valleys, and it’s the travels I’ve had between them that has kept me pushing forward as a musician. Pursuing a creative endeavor can be super rewarding, but also super frustrating, and there are many times that I’ve asked myself “Why am I doing this again?”

But then I write a new song that I’m excited about, or open for a band that I love, or get nice people reacting positively to my music, and it gives me the juice to just keep going. So I would tell them to push through the tough moments and enjoy the exciting ones, and just go with the flow as much as you can.

Ryan, it’s such an incredibly good record. When did you become aware?

I appreciate you saying that. I don’t know if I have the hutzpah to call it “incredible” but I’m proud of it for sure. I knew I was on to something when I wrote the first three songs – which happen to be the first 3 tunes on the record – “The Last Rock Band”, “Discovery” and “Start A Band”. Once I had those three locked in, I knew I had a concept brewing, and started to map out the timeline. The lyrical themes and songs kept coming, and I kept following the muse until I felt like the story was complete.

Then I put it on the shelf during the pandemic and didn’t really come back to it until about a year ago. I had some time between jobs and booked some studio time at Big Sky in Ann Arbor, MI with my friend/producer Geoff Michael. Once we started tracking I realized again that I had something special on my hands, and it gave me the motivation to keep working on it through the rest of 2022 until I made the record I’d been hearing in my head for a few years. So it kind of happened in phases – first when I wrote it, and then again when I recorded it a few years later. I don’t normally have that experience – I typically write a batch of songs, record them, and then it comes out, kind of bang, bang, bang. But there was some space between that allowed me to almost yearn for better, more fleshed out, “big” sounding versions of the songs I already demoed. I guess that’s when I knew “Yeah, I gotta do this.” I’m glad I did.

By now I can recognize a Ryan Allen song from a mile. Will you take that as a compliment?

Yeah! I think any musician hopes that there is something distinct about what they do, even though the influences might be obvious or if the style changes from album to album. I always felt that way about a band like Spoon. They have put out a lot of records and their sound has morphed along the way – from a Pixies/angular/post-punk thing to a more classic rock sound, then taking a left turn and incorporating electronic elements into their repertoire. But no matter the direction they take, they still sound like Spoon. It could be Brit’s voice or Jim’s drumming or just their attention to detail in the production, but I could pick out a Spoon song in probably 5 seconds. I would love to think that a similar thing can be said for me and my songs. So yes, I’ll take it as a compliment for sure.

The album has been out for a few weeks now and you may have already been able to take some distance. If so, can you already indicate what this album means to you?

I tend to have a weird relationship with the things I make. I spend a lot of time putting them together and thinking about how I want to present the songs to the world – whether it’s solo or with the band – but once it’s out, it’s basically out of my hands and I’m already thinking about the next thing.

That said, this album means a lot to me. It’s the first studio-made album I’ve done where I’ve played all the instruments since “Basement Punk” and while it’s sort of a made up story, it’s also really personal to me. Music is a major part of my identity, and I’m proud to have made something that is truly a tribute to this thing that I love (and sometimes hate, haha).

Like The Ramones captures the essence for the whole album for me. Surely you weren’t thinking about that while writing that song?

Before I wrote the song I already had the title and chorus kind of jotted down – “I wanna leave home, I wanna be like the Ramones.” So naturally I had to write a song that sounded like the Ramones to accompany the lyrics and drive the story forward. I don’t know if I agree that it captures the essence of the whole album – since there are a lot of stylistic twists and turns happening the whole time – but it does exemplify what I was trying to do which, well, was take a lot of stylistic twist and turns to tell the story. So it’s just one stop along the “The Last Rock Band” highway, but it’s a fun one for sure.

Nashville-based rock/alternative band Lost Hearts is bringing pop sensibilities and glamor back to a new generation of rockers carrying the rock torch.

That’s the promise, and when you hear the first single, Hate Yourself, you know they mean it. Catchy and over the top, just like you need it. If you like The Struts or Starcrazy, you will like Lost Hearts.

Max Frye explains.

How do you typically come up with new song ideas?

I’m not sure if the way I come up with ideas is the same as everyone, but I usually sit down for at least an hour a day just noodling on my guitar with ideas. If I like something, I’ll record it in my voice memos, and if we like it, we’ll record a demo. Certain ideas definitely stand out from others, and surprisingly those are usually the ones that come to me the most naturally. I have over 1300 song ideas on my phone!

How do you see the power pop genre evolving in the future?

I could definitely see Power Pop evolving. People now more than ever want to listen to unique music. As musicians, if we can find something interesting to play and blend with a Pop chorus, it will definitely trip people’s ears.

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

Not at all. It can be very difficult to be vulnerable as an artist and songwriter, but it is also one of the things that can connect you as an artist to other people. Writing about an experience or emotion that someone else in the world can relate to is powerful and we hope people feel that connection from our songs.

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

I’ve never encountered a feeling better than playing music live! Feeling the energy of a crowd, and being able to do what you love and share it with other people in that setting is something uniquely special.

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

I think the main question we ask ourselves when recording is “does this add to the song or take away from it?” We love to experiment and try many different ideas and sounds, but we always like to keep it somewhat simple and raw at the same time!

How do you incorporate feedback and criticism into your creative process?

The hardest part is not taking the criticism personally. When you share your music with people it puts you in a very vulnerable place, especially if the song is very personal to you. If someone tells you they don’t like it or don’t like a part of it, it doesn’t always feel good. But at the end of the day, the goal is to write great songs that our audience can connect to. So, you have to take
the personal feelings out of it sometimes and do what is best for the song.

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

Personal Jesus- Depeche Mode
I Would Die 4 U- Prince
Dance the Night Away- Van Halen
Don’t Change- INXS
Fascination Street- The Cure

After The Kynd’s first single, Egotripper, produced by Andy Bell (RIDE/Oasis), and the release of the debut album, Shakedown, we did not hear from the band for 23 years. Now, they are back, with a very recognizable sound and 12 fantastic new songs.

Danny Tipping tells how that happened.

How did this record come together? 

The new album TIMELINES, has a 23-year backstory! At the time The Kynd originally spit up right at the end of the 90’s, we were writing and demoing songs for what would have been our second album. When we reformed towards the end of 2021 we began sorting through piles of tapes, CDs, mini discs (!) and our old notebooks and we started to piece these songs back together again like musical archaeology.  Once we’d reassembled the core of the album, we wrote a handful of new songs to tie the whole thing together, always keeping in mind that we wanted this to sound like the album we would have released back in the day, in an alternative timeline, had we not split up. 

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

We started the process online, sharing files and collaborating digitally. It was exciting to hear it coming together but, for me personally it wasn’t until we all got in the rehearsal room and started to play this collection of songs as a band and knocking them in to shape for the studio that the magic really started to happen. The hardest part was deciding what to leave out and some great songs didn’t make it. But that’s a good problem to have! 

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

Well success is all relative. Releasing this new album has helped us reconnect with fans and old friends which has been amazing. We’re back out playing live which is where this band is at its’ best and bringing our music to a new audience. That’s success for us. 

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

At our level of success, this has rarely been an issue! We’ve never really censored ourselves or held back but then I think our music is naturally accessible – we’re all about pop hooks and sing-along choruses! 

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? 

Lyrics are really important to us. I can’t speak for Paul, our singer and lyricist but there are so many great lines across the 12 songs of the album. A personal favourite is from Homespun Genius, “So, steal me a compass and call me Columbus, I’ll find my own way home.’’ 

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

Only 5 songs!? That’s so hard and it would change daily, but right now it would be a song each from; REM, The Beatles, RIDE, Teenage Fanclub and Blondie – that’s as close as I can get in the space we have here. This is going to keep me up at night…. 

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? 

On the surface, we wear our musical influences very much on our sleeves, the great 60’s bands, the Paisley Underground, classic indie pop and college rock – the music is (mostly) melodic, upbeat and life affirming. But if you dig into the lyrics there’s layers there, stories and characters and deeper themes. It’s that juxtaposition between light and shade that all our favourite bands have. 

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

Another tough one! I’d pick ‘Egotripper’ from our debut ‘Shakedown’. It was our first single and was produced by Andy Bell (RIDE/Oasis), definitely not our best song but it’s a statement on intent and sounds great! Then I’d go with ‘Older’ and ‘Sunrise: Reprise’ from the new album. I think they are a good representation of where we are now. 

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

RIDE and The Charlatans have just been out on the road together in the US – that would be a great tour to be on because we love both of those bands. 

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

We’d take a holy trinity of Susanna Hoffs, Mike Mills and Graham Nash. Would have loved David Crosby but sadly he’s no longer with us. 

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

Well, recording new music and playing live are the best bits for sure. Promoting your release can be a frustrating slog but it’s a necessary part of the whole process of course – so we’ll take the rough with the smooth! We’ve got some live dates coming up, a few great UK Festivals to announce and a new single in May so lots still to look forward to. We’ll be promoting TIMELINES until the end of this year at least! 

‘I love it when people really go for something. Not hide behind cleverness, or a plan, or tried and true tricks. It doesn’t matter all that much if it lands, I’d rather see something interesting than something boring. We’ve definitely made a point of embracing that idea, and having a good time while we do it.’, says Adam Morrow of Speckled Bird. Among other things, that led them to making a wonderfully beautiful dreamy jangle pop ep, Trout Fishing in America.

How did this record come together?

Speckled Bird has been a bit of a rotating cast of characters since 2019, with the two constants being myself (Adam Morrow) and Jamie Sego. Jamie runs Portside Sound, which is located in the old Studio B of Muscle Shoals Sound’s final location, right on the bank of the Tennessee River. We spent a lot of time together in the studio, working on ideas and chasing sounds. As the pandemic settled in, obviously that all slowed down quite a bit. The initial lineup also kind of blew to the wind; folks moved away, moved on, etc.

What really got things going again was Drew Kellough (drums) and Austin Motlow (keys) asking me if I had any fresh songs to mess with. A day earlier, I had dreamed a melody and the start of a song and woke up in a rush to finish it. That is not a common occurrence, so it feels sort of wild that they happened to reach out when they did. That song was “21st Century Ghost,” one of the tracks on the EP.

We kept playing together, and recruited Spencer Duncan (bass), and now we’ve been a steady five piece lineup for a couple of years. The EP is really the tip of the iceberg, in terms of what we’ve written and recorded, but it is a cohesive set of songs with a through line and arc. That includes the Dylan cover choice, too. It’s really about moving across the American landscape and trying to make sense of it in these post post-modern days, or whatever term you want to apply to the amorphous reality we’re living in. 

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

One fun part of living in a town known for its studios is that the line between “finished song” and “ready to be recorded” can get really blurry. I suppose that’s also the dangerous part; it can be easy to get bogged down. But we indulged that a bit this time, and wrote in the studio instead of formulating the songs for a live setting first or worrying about what “done” meant. Our process usually begins on my small setup at home, in Logic, and then that file gets passed around through the other guys’ home studios until we’re all at Portside, making notes and adding on parts. It can get chopped up and rearranged, and as the songwriter, I make it a point to avoid being precious about things as much as possible. I believe in our collective power. I love that it has to go through multiple checkpoints.

I have to be proud enough of something to send it to the band, and can usually tell immediately if they’re into it or not. If they are, folks start thinking about parts and we work on the puzzle together until it feels complete. Jamie helped me finish the lyrics to the choruses of “Trout Fishing In America,” and Austin pitched in a few phrases for “Lousy Island.” Vocals went on last. No one else touched this EP at any stage. We engineered and mixed it together, and Jamie mastered it. That can be a little iffy, it can be easy to lose perspective, but it worked out for us this time. 

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

I’ve spent way too much time wrapping my head around this. I’m certainly not a guy who can stand up and loudly draw the attention of a room. I don’t really have a problem expressing my emotions in lyrics, but I do think I’ve learned to accept being much more direct in both how the songs are written and how we produce them. Part of it is honestly just growing up and having experience as a helpful guide.

Letting the vocals sit out front, not loading the tracks down with endless guitars and synths or drowning it all in reverb. There’s certainly a time and place for all of that, and I love a lot of music that’s done that way, but for us right now, the biggest thing is distilling the song down to its essential parts, deleting the rest, and building from there. Sometimes it takes a bunch of layers before we find the right thing.

That’s fine, we may be attached, but we know whether or not they’re honest and worth keeping, so they usually get deleted in favor of the one thing that really works. Nothing is precious. I also think allowing some vulnerability is a strength. Honest writing, clear vocals, taking chances on stage; that feeling of humanity, or that something could really go wrong, I love that when I’m in the audience. I love it when people really go for something. Not hide behind cleverness, or a plan, or tried and true tricks. It doesn’t matter all that much if it lands, I’d rather see something interesting than something boring. We’ve definitely made a point of embracing that idea, and having a good time while we do it. 

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

I want people to like the songs that I write. There are melodic hooks for a reason. We spend a lot of time making it sound as good as we can for a reason. A huge part of that is self satisfaction, but we also want to invite other folks in to what we’re doing. We want more people to listen, we want more people to come to the shows as the months and years go by. But there is absolutely no pressure or expectations on us, so we’re completely free to do what we want.

But it is 2023. I don’t see experimentation as something that would keep us from finding more of an audience. An indie rock band is in no danger of getting on the radio or shooting to the top of streaming playlists, so being as truthful to our vision as we possibly can be seems like the best path forward. 

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

Success at this point is just getting to continue making music, and maybe reaching a few more folks every time we put something out or go play shows. There’s been a bit of freedom that’s accompanied the pandemic and getting that much older; I’m in my 30s, I’m still doing this, and a global catastrophe hasn’t stopped me. I think the rest of the guys feel the same way. We’re all thankful to be healthy and alive, so I guess we’ll keep going.

Eleven songs that are barely 18 minutes in total, but I guarantee that’s all you need today.

Liquid Mike makes POWER Pop, which is infectious, energetic, catchy, solid, and, most of all, very, very good.

Mike himself explains.

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

As long as Monica, Cody, and Zack like the album and like the parts they play I don’t have to worry about people liking it or not. I trust their instincts and tastes, so as long as we’re all on the same page, I’ll know we made something good. That’s our only goal as a band is to make something we’re proud of and to write songs that are fun to play live. So far, we’re a huge success.

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

Virginia – Clipse,

If You Don’t Love Me (I’ll Kill Myself) – Pete Droge,

Same Old Life – The Flashing Lights,

Milk Man – Deerhoof,

Sittin’ Sideways – Paul Wall.

Haven’t figured out what order I’d put these in, but these are the best songs ever recorded, to my knowledge.

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

I like to record them as I go, so as soon as I have at least a verse and a chorus, I record it. As a band, we don’t like having a bunch of songs sitting around waiting to be recorded because the process gets overwhelming. We like having one song to think about when we record. I don’t like revisiting the recording after the initial takes are laid down; I usually get attached to the demo and decide to just go with that one haha. The new record is filled with metronome bleed, crackles, talking, and feedback. I think that’s a more honest reflection of the music and how we do it ourselves. Plus, nothing’s worse than a crystal-clean record.

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

I’m gonna go ahead and use dead or alive people. So Harry Nilsson, Elvis, and my Dad. Might as well get some crazy voices on the album! My dad’s not dead, but I think that would be fun haha. 

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

I find the recording process to be the most exciting. I think that’s why our songs are so short, so we can record more of them. So I try to write at least something every day. Sometimes (rarely), it’s a complete song; most of the time, it’s a riff or a lyric or two. but those add up pretty quickly, and you can pump out a lot of songs that way! I have a fear sitting in the back of my head that if you don’t use it, you lose it, so I try to treat it like exercise and do a little something every day.