The amalgamation of quantity and quality presents a formidable challenge. Some artists produce an abundance of exquisite music, yet there’s a looming risk of taking their offerings for granted. Jeremy Morris exemplifies this phenomenon. For instance, last year he collaborated with Ken Stringfellow to create the beautiful ‘High Fidelity’, and now he presents ‘Footprints‘, maintaining the same level of excellence. In an interview with Sweet Sweet Music blog, he mentions that he’s already embarked on his next project. Let’s delve into his insights on ‘Footprints‘ before proceeding further.
You can discover ‘WON’T LET YOU DOWN’ featured on the Best Power Pop of 2024 Spotify Playlist.
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
When I am making music if it moves me emotionally then I know that I am usually on to something special.
Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?
I choose to create heartfelt music that connects with people and impacts them in a positive way, I consider this to be a great success when that happens.
I wish to bring heavenly sounds to planet earth!
Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?
The album “Footprints” is a story …so really it’s made to be listened to as a whole from start to finish. Not all my albums are made this way. So that is one thing that makes this album different from my other albums.
Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?
The very first time our band played the Cavern Club in Liverpool for the International Pop Overthrow festival was an amazing experience. The atmosphere of the place and the crowd were electrifying !
Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?
When creating music I let it flow out naturally. I don’t try to ever make it fit into a certain genre or category. This way it will always remain pure.
Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?
Yes, I have a song “ITS GETTING BETTER where the chorus sings ” It’s getting better every day ….better in every way”. This kind of thinking can be life transforming.
Can you recall the last instance when you felt the immediate certainty of having penned a hit song?
On my new album “Footprints”, I felt that the opening track “Everlasting Friend” has all the qualities of a hit song.
While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?
I think the main difference is the lyrics and music are mainly uplifting. There is not enough positive music out there.
With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?
It’s always just the beginning for me. I have already gone on to recording the next album.
Can you take us through the creative journey of bringing this album to life? What were the key milestones, challenges, and breakthroughs you experienced along the way?
I first make an album by creating acoustic demos either on a 12 string guitar or a grand piano. Once the demos have been created, then I will record an official version of the song. The demos are like a sketch. It’s a very important process and if the demo sounds good on just one instrument, then that usually means the song is ready to record.
How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style of themes?
The new album has a lot more harmony vocals than previous albums. For this new album there is an emphasis on lots of layered vocals.
Albums often involve collaboration with various musicians and producers. Could you shed light on how these collaborations contributed to shaping the album’s identity?
This new album was a collaboration with Ken Stringfellow. He has a lot of experience with recording for decades and his experience combined with my own makes it twice as easy to complete an album. The album was not a struggle to make. It’s a labor of love.
In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?
I work with a graphic artist named Layne Stricker here is in the US. He will listen to my music and then visualize it with the artwork he creates. It’s a perfect match and his visual contribution has been a huge part of what we do. He is an amazing artist and we have been working together for over 20 years now. I am grateful for the people I get to work with. They have made me better than I would be on my own.
I’m quite convinced that there’s an intriguing buzz stirring within the realm of Power Pop, and R.E. Seraphin seems to be intricately woven into its fabric. While it might not signify a complete overhaul of the genre, it certainly isn’t merely a homage to its established conventions either.
What distinguishes this emergence, which I’ve dubbed the 5th Wave of Power Pop, is its introspective nature, a sense of intimacy, melodies that often defy the traditional 3-minute structure, and vocals that prioritize storytelling over melodic adherence. Another hallmark is that these songs may not immediately grab you upon first listen, but they gradually reveal their allure after repeated plays.
Fool’s Mate boasts twelve such tracks, each captivating in its own right, leaving me perpetually craving more.
You can discover ‘Virtue Of Being Wrong’ featured on the Power Pop – The 5th Wave Spotify Playlist.
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
I usually vacillate a lot during the record making process: things feel great one day and then catastrophically bad the next. This time around, though, I felt very reassured after our first few days of tracking. No epiphany, but the recording process was both fun and easy, which is almost never the case – especially with full band recordings. We were engaged, we played well, and we achieved good results almost immediately. In other words – we locked the hell in!
The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?
My previous two releases were recorded remotely with some assistance from friends. While I really enjoy working independently, I value real time feedback and I was starting to feel like I was in an echo chamber. Hearing how others interpret your material can really be illuminating and exciting, and I wanted the feeling of being in a rock band again – the platonic ideal where every member pushes each other and the resulting tension enhances the project in totality. That’s the mentality I had going into this project. Ultimately, I think the songs were greatly improved with my bandmates’ input.
Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?
I always believe my most recent project is the best thing I’ve ever done and the best thing I could make at the time. Even if that’s untrue – or falls apart with scrutiny – I think records generally benefit from that level of delusion. On that note, I feel you can make the case for any of “End of the Start,” “Fall,” and “Clock Without Hands” as my best songs.
As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?
In regard to lyrics, I’m a big proponent of the show, don’t tell principle. Hank Williams’ “I’m So Lonesome I Could Cry” is a great example. Instead of explaining the circumstances of his loneliness, the narrator goes on about how damn depressing the birds and the moon are. Actual depressed people think about how depressing everything is – they don’t sit around explaining why they’re depressed. That’s the kind of storytelling I aspire to. I try to blend autobiography and fiction in my lyrics – there are references to my lived experience but, more often than not, I’m just trying to evoke a feeling. I would say about half the songs have no real life context other than what may have crept in from my subconscious.
Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
The way that I work – with writing or cooking or recording – is extremely inefficient. I don’t write a song and then tweak it. I tweak the song as I’m writing it. By the time I record a demo, the song itself has already been “revised” several times. Once I’ve actually demoed something, the structure and lyrics generally don’t change much. For better or worse, that’s the way my brain works.
The inaugural album by The Blackburns, hailing from Philadelphia and its environs, is set to hit the shelves on April 12 courtesy of Sell the Heart Records. Thus far, we’ve had the pleasure of previewing a few singles, and they exude a captivating energy. To encapsulate their sound, one might liken it to the electrifying rock of The Midnight Callers intertwined with the infectious pop sensibilities of Hurry. It’s a convincing blend!
Nick and Joel delve into the creation process behind the album during our discussion.
Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?
Nick: Joel reached out to me in January 2023 through a mutual friend, Andrew from the band Crossed Keys, about writing some songs. I was a big Plow United fan since the 90s, and I guess Andrew had sent Joel the stuff I did with Wax Wav.
We talked about the kind of stuff we’d been listening to lately, which was all in the same general ballpark. We talked about soundtracks like Angus, Mallrats, Clueless, Empire Records, Singles, plus 120 minutes from the early 90s. We each had a few incomplete songs in our back pockets, so we got together and shared them. The very first time we got together, Joel played me very early versions of Chill City and I Like LA, and I played him early versions of Southern Chester County and Time Turns Around.
Originally, we were just going to put an EP length demo together. But, a couple of things happened pretty early on. One, the early bounces of the tracks were sounding really good, and two, new songs were piling up fast. So, we decided to just go ahead and make a debut album. By May 2023, we had six songs completed, two of which we put online that summer, as the Chill City b/w Southern Chester County single. We recorded the final four songs in the fall of 2023, and completed the final mix right around the one-year anniversary of that first get together.
Joel: The final piece of the puzzle was Andy from Sell the Heart Records agreeing to release the album. Small labels are pretty conservative nowadays about what they’ll put out. This is understandable, especially when it comes to bands that aren’t going to play a million shows, which we certainly are not. Andy really liked the songs and that was reason enough for him. You’ve got to respect that.
Albums often involve collaboration with various musicians and producers. Could you shed light on how these collaborations contributed to shaping the album’s identity?
Nick: The first person that Joel and I brought into the process was Abe, who I’ve been playing music with for over 20 years. He played guitar in The Danger O’s and Wax Wav with me. Before we started tracking, we got together as a three-piece with me drumming, just to establish the feel of the songs. It’s one thing to have a voice memo acoustic demo, or even a fleshed out GarageBand demo with a drum machine and stuff, but it felt necessary to make sure the songs felt right being played by a human band. Abe is a great guitar player, and he played a bunch on the record. My strength and weakness as a guitarist is my loose feel, so I will lean on Abe for parts that require a tighter performance, and he delivers every time.
The next person we involved was Todd, who recorded and mixed the record, and co-produced it with me. I’ve known Todd for a very long time, and he had done an incredible job on the self-titled Wax Wav EP. We have a ton of shared reference points, so I knew he would get the sound we were going for.
Lynna, who played keys and sang with me in Wax Wav, also happens to be married to me, and as in Wax Wav, her keys and vocals really elevate these songs in interesting ways. The sounds that she gets out of her keyboard and how she sings takes our album out of straight 90s alternative pastiche, because she brings a new wave and dream pop sensibility, in a way that you wouldn’t necessarily hear on most of our stated influences.
Lastly, I want to shout out our live drummer, Justin. He’s a great singer and songwriter, as evidenced by the Danger O’s discography, and he’s also a great drummer, and has helped us bring these songs to life in front of people.
Joel: There’s one song on the record where Heidi Vanderlee contributed cello. Her parts are brief, but they make the song. Heidi and I have been in each other’s musical orbits for a long time now in a bunch of different ways, and I never try to tell her what to play because I know whatever she comes up with on her own will be way better.
Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
Nick: Because of our process in making this album, a song was ready to be recorded once the structure and tempo were set in stone, because at that point, I could at least track the drums. When you do it one instrument at a time, that means you can still be writing a new guitar lead once the drums, bass, and rhythm guitar are already tracked, plus the lyrics can continue to get refined throughout that time. This was very much not the old punk rock, get in a room, plug in and play, capture it on tape, warts and all. I love those kinds of albums, but I also love the opposite, taking care and precision at every step to ensure the album is as good as it can possibly be.
Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?
Joel: At this stage of life, for this project, success looks to me like getting to make several records with this same group of people, specifically to keep piecing songs together with Nick, who is hands down the best songwriting collaborator I’ve ever had or ever thought I would have. It would also be nice if the band generated enough money that we could pay someone else to deal with all the social media nonsense. Seriously, every time I fire up the band Instagram account I feel myself getting dumber.
While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?
Joel: One way or another, Nick and I are always trying to tell stories. And wherever possible I try to make people laugh, or at least I try to write lyrics that would make people laugh if they happened to be paying attention to the words. As we get deeper into the age of AI, certain things that people like about certain types of music are going to get really, really easy to create on a computer or even a phone. Other things won’t, at least not for a while. Storytelling is one of those areas where it’s going to take language bots some time to catch up with people, humor even more so. You can’t fake funny. You can fake all sorts of ambient moods, and you can fake all sorts of vintage recording environments, but the ability to tell a compelling story and create compelling characters and wrap it all up in hooks and melodies is still a uniquely human thing, at least for now. So more than ever, I really try to focus on that.
Nick: and Joel has pushed me more in that direction – of lyrics being something that can set our band apart. I’ve always been a first-draft lyricist, and focused the bulk of my attention on chords, arrangements, tones, production, and performance, which is still my natural area of focus. But Joel is great about challenging specific lines in my songs, like “what are you trying to say here?” or “would it be funnier or more interesting to say this a different way?” and by pushing through on that stuff, we ended up with some fleshed-out characters that I can picture living their lives when I write about them.
Can you recall the last instance when you felt the immediate certainty of having penned a hit song?
Joel: Having never penned a hit song, I can’t say, but I do know this: I’ve been writing songs since I was a kid, and I’ve never been a sophisticated user of home recording equipment. There’s always been that two-stage process of coming up with the words and the music and then handing it off to other people. Playing in punk bands in the 90s, that meant showing up at practice with stuff written down on a piece of paper, quickly playing the song for everybody and then seeing what they do with it. In recent years it has meant recording myself singing and playing the song on my phone and then sending it to somebody and seeing what they come back with. In both examples, every so often there’s this moment when you give people something and the way they interpret it is completely unexpected and way bigger than the sum of its parts, or what you thought the song could be. I get a chill in those moments that is probably pretty similar to what you are getting at with the question. For most of my life it’s been pretty rare, but working with Nick it happens like once a month.
When discussing ‘About Time,’ the latest album from Australian band The Trafalgars, Rhys Bowkett highlights Sloan, Eden, and Rinehearts as influences or bands he holds in high regard. In doing so, he delineates the sonic landscape of the album: a blend of catchy Power Pop, characterized by vibrant guitar work that occasionally ventures into delightful boisterousness.
Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?
This album has taken quite a while to put together, hence the title About Time! About a decade ago our bass player Jason moved overseas for work so we had a break from the band over this period. When he moved back to Australia a few years ago we all agreed it was time to gather some of the songs we had been working on, along with adding a new batch of songs. We recorded it at our drummers small studio in patches over a few years. Recording it ourselves gave us the freedom of having unlimited recording time, but the kicker with that is that you can take too long. For our next album I think we’ll limit ourselves timewise and hopefully have another album out early next year.
Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?
I certainly think that the best songs we have written that we have recorded thus far are on this album. I tend to lean to preferring the more melodic songs if I’m asked about what my favorite Trafalgars songs are, so perhaps the song Girl or Company Time would be my current favorites from this release. As for what I think my best song is to date, well that would be from the recent batch of songs I’ve been working on which will be on our next album. I went through a very difficult personal time a while back and out of that came some songs which I think elevate to the next level both musically and lyrically. I’m really excited to get this next batch of song recorded and released.
In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?
We’ve always been huge fans of the Canadian band Sloan. They are a big influence on some of our earlier music. Another huge influence is an Australian band called Even. They have been going since the mid 90s and continue to put our stellar albums each time. We have had the pleasure of supporting these guys many times over the years and we always have a fantastic time. Another band we’d love to tour with is Rinehearts from Perth, Australia. They have similar Power Pop sensibilities and they are a great live band too.
In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?
The album art was loosely based on a few ideas I had floating around in my head. I wanted to convey a 60s/70s theme but hopefully without it being too much of a pastiche. The photo we used for the album cover was one taken many years ago which always resonated with me and it took me ages to track down a copy of that original photo. When I look at the artwork I feel that it ties in nicely with musical theme of the album. Plus you can’t go wrong putting a Rickenbacker on the front of an album!
Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?
It’s certainly pleasing to finally have this album out and about, and we’ve had a great response from people who have heard it thus far, which is really nice. We’d like to do a few more shows around Australia to support it so that will be the next thing. I’ve been doing a lot of writing lately and the next album is written and ready to record, so hopefully this next album won’t take quite as long!
Cyndi Dawson and Henry Seiz, fronting The Cynz, collaborate with Jem Records to unveil their latest album, “Little Miss Lost,” produced by Kurt Reil, hitting shelves on March 29th. This release emerges as a potent and deeply personal narrative, chronicling Dawson’s journey to maturity through her poignant lyrics and Seiz’s infectious melodies.
In an interview with Sweet Sweet Music blog, Cyndi Dawson delves into the genesis of “Little Miss Lost.”
You can discover ‘Crow-Haired Boys’ featured on the Best Power Pop of 2024 Spotify Playlist.
Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?
Like all our albums, it was a journey of exploring where Henry and I were at in time as individuals and as writing partners. We don’t have a game plan- we allow things to come together organically. As a long-time friend, he is aware of where I want to go and explore, and as a musician, I also follow his own exploration and weave my words accordingly.
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
For myself, once I wrote ‘When We Were in Love,’ I knew we were going to have something special with where our new record would go. The music evolved from an acoustic demo into a song that had a more rocking longing that fit our style.
The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?
They don’t. I don’t create music for others. I write because I feel a sense of urgency to do so. Henry and I write songs we would like to listen to. Of course, we want others to like them too, but it isn’t our motivation. Art is a compulsion. We create art because we have to. Success can take on different meanings as time goes on.
When envisioning success for this new record, what does that picture look like now?
We are successful now. Because we created work we respect ourselves. That’s fulfilling. In terms of financial success? If you expect that in music, you will be immensely disappointed. I see a value artists should get financially but until we respect ourselves and demand that from clubs and music sources we aren’t going to get that.
Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?
The best song we have ever written will never be written. If we have written it already, what motivation would we have to continue on?!
That elusive best song is always one song away.
As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?
I think that when you have experienced severe trauma in childhood, you either deconstruct as an adult or you find an outlet that helps heal you. I chose the arts in many forms- as a poet, a dancer, a model for artists and photographers, and as a front woman. It was no longer okay to stay silent. And I’ve learned that I don’t have to always focus on my own story. I can create characters that are me but can combine elements of others I’ve observed.
Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?
I honestly only want to write with Henry. Of course, I am asked to write with others time to time, but I always go back to thinking, if I’m going to write a great song then I want it for The Cynz.
Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?
90% stand out. N/A lol
Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?
I write parts of my life and parts of others. Sometimes I just write a sassy song. People will take what they need from my words. This is also why I don’t include lyrics. How many times have you thought a line in a song was one thing only to find out it was something very different? I think that can change the song’s significance to you and what you needed and got from it.
Can you recall the last instance when you felt the immediate certainty of having penned a hit song?
‘Crow Haired Boys.’
If I am singing it in the shower, then I know others will!
With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?
1- Patti Smith Gloria
2-MC5-Kick Out the Jams
3-The Struts-Pretty Viscous
4-(The Greg Provost version) Chesterfield Kings- Up And Down
5-Rolling Stones- Stray Cat Blues
Performing music before an audience holds a unique allure. What aspects of this experience contribute to the excitement and enjoyment for you?
The energy exchange between the audience and us. When they are bouncing and singing along it’s magic.
If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?
We have five albums out now. I would find that very difficult to do- pick just three songs. Every album was a particular time and vibe our collective minds were in.
In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?
Toughest question ever. There are so many! Currently, we vibe completely with Slamdinista. I think a tour with them and Palmyra Delran and/or Cocktail Slippets would have the right energy balance. But see? I could name ten others.
Among the compliments you’ve received, is there one that remains etched in your memory? If so, what made it particularly unforgettable?
Women especially come up to me and tell me they feel I’ve spoken to them with my words. They say they wish they had my strength but my strength is on stage. Not everyone gets that space or platform.
Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?
Hah- the next secret project that Jem is putting out- I was completely into the moment recording it. But I cannot say at this time what the track is. With my own songs, I would say one that stands out is Little Miss Lost.
Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?
I’m not sure what music industry there is currently- particularly for an original rock and roll band. Europe is way ahead of us in that regard. But like anyone pursuing a career doing what they love, I just want the songs to get out. I want these babies to leave the proverbial nest and start making friends with others.
With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?
I’ll be honest, speaking for myself. I am very uncomfortable in the ‘after’ phase. The recording process is full-on commitment to the idea that you are exposing your guts and soul. I know I do. If the record should flop it’s not that I’m worried about approval- it’s that I failed at communicating well. What if no one gets it? I’m giving you all my heart. Do you want that? I’m giving everything I have. Do I deserve to be in this position? My insecurities can often cripple me that way. But there’s a strong part of me that realizes I did the best record I could … WE could. Put it out there and let it live its own life.
Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?
We are traveling a lot this year so the next couple of months are shows and travel. Shorter road trips are very much my favorite way of touring. I really love my home life and garden and don’t like being away too long.
How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?
We don’t have intentional shifts in style, but I did want to continue the exploration of my past from age 17-present. I used my own experience (with artistic license) to come to terms with who I am today as opposed to Little Miss Lost from the past. But that also meant revisiting love and heartbreak not only I experienced but what I caused others as well.
Albums often involve collaboration with various musicians and producers. Could you shed light on how these collaborations contributed to shaping the album’s identity?
This album had a few producers and outside contributors, but ultimately the majority of the work was done at House of Vibes with Kurt Reil from The Gripweeds. I very much have a say in how songs end up, as does Henry, but for this album, I was open to let go of some of my control I have in the past.
In the digital age, visual elements are intertwined with music. How did you approach the album’s visual aesthetics, such as album art and accompanying visuals? How do they complement the sonic experience you’ve crafted?
The cover art was created by the artist Rene Moncada and his wife Joann. It is a photograph of myself at 17 modeling a string dress sculpture on Wooster St. in Soho, in front of his loft and gallery. They create most of our covers and my poetry book covers. I was his model at 17, and I always have him involved in creative and artistic parts of our finished products.
The back cover is a current photograph of me by the terrific photographer Sherry Rubel.
It’s past to present. The inside are photographs by Sherry and Johan Vipper.
All of it represents the sonic experience of the album and its themes.
“I think there’s a perversity to this band, in that we want to make songs that people love, but at the same time they’re asking themselves if they should feel bad about loving them,” says Teddy Gray about his band Wifey.
“Mary Ann Leaves the Band” serves as an irresistible, infectious introduction to this fresh ensemble hailing from Brooklyn, New York.
You can discover ‘Mary Ann Leaves the Band’ featured on the Best Power Pop of 2024 Spotify Playlist.
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
I wrote this song after Carly and I had just wrapped up band practice, and I had a little time to kill as she got ready for work. It was written in about half an hour. A lot of the best songs come immediately, especially dumb pop songs like this. And then I just remember going to bother her at work and pitching it to her. She reacted with an equal amount of glee and horror, which was a pretty good indication that it should be the first single. Seeing people react the same way over and over as we started to play it live cemented it further. I think there’s a perversity to this band, in that we want to make songs that people love, but at the same time they’re asking themselves if they should feel bad about loving them.
As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?
Ah yes, the profound vulnerability of Mary Ann Leaves the Band. I think that most Wifey songs don’t really require us to bars our souls, though the mask does slip occasionally. But at least for myself, I’ve never been someone who thinks that a songwriter needs to be autobiographical, or write about their personal lives to reveal who they are. I like writing in character. I feel like the songs I write very rarely come from a place of “Oh, I need to get this off my chest” or “I need to process these emotions,” it’s always more like “Oh, this would be a good idea for a song.” I treat it more like a writing assignment. Which probably sounds really boring, but it’s actually much more fun for me that way. I don’t feel the need to continuously write about my personal life. My life is boring. Most artist’s lives are, although they seem to think otherwise. If Wifey hits it big and suddenly we’re jet-setting around the world, living off coke and red peppers, and freezing our piss like Bowie in 1976, then sure, maybe I’ll feel to compelled to write about that. But for now, I like writing little character pieces about high school marching band. I think it reveals a lot more about Wifey, and our view of the world, than most confessional songwriting does.
Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
When writing a song like Mary Ann Leaves the Band, you can’t sit around tweaking it or think about it for too long, otherwise you’d think better of it and never finish. There are other songs that I sit on for weeks or even months trying to get them just right, and then there are ones like this that just fall out of the sky pretty much completed. For myself at least, you just feel it when a song is done. When the words get across what you want to say, when the chorus hits as hard as you want it to, when all the parts have been ironed out and everything about it is satisfactory, let it be. You could nitpick a song to death and ask yourself “Is absolutely every second of this as good as it could possibly be?” but it’s more fun to just move onto another song.
Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?
I think we’re lucky in the sense that our goal is not to push the boundaries of where rock music can go, or challenge people. We just want to make the catchiest songs of all time. So at least for me, I never feel like I really have to compromise my artistic integrity with Wifey, because pop songs that could be enjoyed by anyone with ears are the kind of songs that I want to be writing anyway, at least for this project. There’s certainly stuff about us that may be offputting to some, like some of the lyrics and subject matter, or the fact that some of our songs are well under two minutes long. But we’re really not doing anything avant garde here. If you like choruses, you should like Wifey.
While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?
We want people to jam to them the way we jammed to our favorite songs back when we were young and shameless. I want people to feel the way I did when I heard “That Thing You Do!” in the backseat of my parents car when I was six, or how I felt hearing “Stacy’s Mom” at 11 (Both Adam Schlesinger songs, RIP). I think a lot of our stuff is maybe more tongue-in-cheek and narrative-driven than most rock music is these days, so I would hope people appreciate those aspects of it. But yeah, I just hope people air-guitar along to us in the car, let it soundtrack their sugar rushes or benders, and get the choruses stuck in their head for weeks until it drives them to madness. Just come to our shows and dance.
Looking ahead to the next couple of months, what exciting plans or projects are on the horizon for you?
Well, our first EP “Just A Tease” is finished, so we’re just figuring out our release strategy for that now. But it’ll be out sooner rather than later. Other than that, the full album is written (as well as the bulk of albums 2 and 3 lol), so I just hope some label picks us up and gives a zillion dollars so we can record it and take over the world. That’s the plan. If we’re not selling out and soundtracking Taco Bell commercials by this time next year, we’ll be failures.
In 2024, Power Pop enthusiasts are in for a treat! Immerse yourself in the ever-expanding collection of now just over 100 top-notch tracks on The Best Power Pop of 2024 playlist.
Keep your ears tuned to and follow this Spotify playlist as we consistently add fresh soon-to-be classics every week.
From the plethora of amazing tunes, we’ve distilled the cream of the crop—the top 25 tracks of the year so far are now, at least for this week, reigning supreme at the top of the playlist.
Their position is likely to be challenged as we speak, so stay tuned for updates!
01 The Reflectors – All the Way Down
02 Rob Carroll – just about had it!!!
03 The Jellybricks – All About You
04 Wifey – Mary Ann Leaves The Band
05 Softjaw – Pleased With Me
06 Brent Seavers – Of Poetry
07 The Follies – Square Peg Round Hole
08 The Lemon Twigs – My Golden Years
09 The Prize – One Day at a Time
10 Spencer Segelov & Great Paintings – Don’t You Know?
Rob Carroll has recently produced an incredible tune that truly resonates with me, evoking strong echoes of “That Thing You Do!” It exudes the same vibrant energy and freshness. Both tracks are undeniably catchy, embedding themselves in your mind for days on end. Prepare to be enchanted and unable to shake it off – you’ll simply adore it.
You can discover ‘just about had it!!!’ featured on the Best Power Pop of 2024 Spotify Playlist.
Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?
So this song “just about had it!!!” is the first release from my new EP. I have been sitting on 50-100 songs I’ve written over the last few years and finally decided to start putting as many as possible out into the world. I wrote these songs myself, as well as played all of the instruments and recorded and mixed everything. It is a very satisfying process to do all the work myself, but it is time consuming and hard to remain objective.
The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?
As much as I love pop music and hope to reach as many people as possible with my music, I rarely write with external perspectives in mind. I take into consideration things that might make a song more streamlined (length, chords, density, etc) but rarely write from a place where others are guiding the decisions. That being said, I definitely rely on friends and peers for feedback and take their critiques to heart. I may not always agree, or even follow their advice, but I always listen to it. Wearing all of these hats can make you lose objectivity. Even if I feel their idea is not right for the current song, there have been many instances where I’ve implemented their advice and ideas into new songs I write.
Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?
I’m a professional musician full-time. I already make a living from music and in many ways have found certain forms of success. For that reason, the meaning of success for my original music comes in the form of its completion. Having a finished product that I am proud of is what I look forward to most when creating. If streams and followers are gained along the way that’s amazing, but reaching the finish line each time (in a better, more efficient way) is what I strive for.
Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
The ready-to-record stage is actually the easy part for me. When I write I typically try to get “the bones” of a song out first. This means at least a verse and chorus with a melody. If I can get a bridge by this stage as well, that’s awesome. The music tends to be easier and quicker for me, so I will often hunker down and force out some form of lyrics at this point as well. Lyrics have gotten easier over time, but I need to have them in place. If I don’t, the song will sit in my voice memos and often be forgotten. Having lyrics, melody and form for a song complete will ensure that I know that song is ready and find the time to record it. Once I start recording, that’s typically where the infinity of decisions can bog me down. I tend to move fast, but if I’m not careful the arrangement stage can really slow me down.
Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?
It’s funny because, as a listener, I really don’t care about lyrics. They can’t be egregiously bad, but most of the time I’m not listening to them. As a writer however, I do tend to obsess over my words, meter, rhymes, etc. I want to be proud of what I’m writing, but I also want listeners to be moved as well. It would be nice if listeners enjoyed my lyrics, or thought they were well written, but what is more important to me is that they can relate to the ideas and emotions. If they can make a connection to my music through the words then I’ve done my job.
Performing music before an audience holds a unique allure. What aspects of this experience contribute to the excitement and enjoyment for you?
Being a performer for a living, I get many chances to connect with audiences and thrive off of this feeling every week. It’s even more amazing when you are playing for an audience of people that are interested specifically in you and your music. So often music is relegated to a background role at bars, restaurants and parties. When you get the chance to lock in with a crowd and perform your own music… there is really nothing quite like that.
While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?
I love awesome harmony, pop music and good songwriting. If people associate those things with my music I’d be incredibly happy.
With the record completed and the music released, do you believe the pinnacle of enjoyment has been reached, or is this just the beginning of an exciting phase?
As I mentioned before, it is definitely the culmination of a lot of hard work. To be able to look back on a finished release is a great feeling. It’s also the start of two different phases. One is trying to build a connection between your audience and this new batch of music. The other is building momentum and energy to start this whole process again from the ground up. Every time you go to record it feels like the first time. Sure, you’ve learned so many things and have gotten better and faster but staring at the blank project session I always seem to think, “can i do this again? Do I still have the ability?” It’s always intimidating but there’s no better feeling than pushing through that and creating more music.
Kate Clover’s highly anticipated album, “The Apocalypse Dream,” is slated for release on April 5th, 2024. With the hauntingly beautiful and powerful single “Damage Control” already making waves, this record promises to captivate listeners.
Kate Clover shared how she discovered her artistic voice while crafting her second album, enabling her to create music that resonates deeply with her vision, free from the constraints of external opinions.
You can discover ‘Damage Control’ featured on the Best Power Pop of 2024 Spotify Playlist.
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
The moment I stopped caring what other people thought and was myself. I had to find myself a bit while starting this project. I didn’t know yet ,so I through myself out into the world to see what I was made of. I found my voice.
The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?
I write for myself, I feel that’s how you have to work if you’re making honest art. You can’t chose what people like about you or what resonates. It just happens. I like to eliminate that control and let people I trust or who’s taste I regard tell me what they like. By that point, it’s good to hear the feedback. Success, outwardly in the music business is a popularity contest decided by other people. So why not start from the beginning. Before anything is out.
Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?
I like this question because people project their own expectations onto artists a lot. Success to me, is waking up and loving what you do. Being able to play music and create songs that resonate with others. I’m not doing this to be graded, make money (although a nice perk) or fulfill my ego. It’s something that feels natural and I want to be able to share it with others. Truly, connecting to other people is success to me.
As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?
You’d think that would be the case but I’ve found that it’s the easiest way to bare your soul. You can say how you are feeling in anyway you’d like. A poetic phrase could have a deeper meaning to you that no one else would understand. Of course feeling vulnerable can be uncomfortable but you got to stand behind it if it’s honest. I trust that. You have to at a certain point because if your self conscious you’re not being an artist. Art is communicating what’s unspoken. So if you feel it, say it. Express it. That’s the point to me. If you’re being honest you shouldn’t be afraid.
Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?
Ric Ocasek, he was a master at writing pop songs. I loved the arrangements of his work as well. Minimal yet melodic. Too bad he has passed, it would’ve been great to hear more music from him.
Pete Shelly, again what a songwriter. He could write hooks in the most angular of chord progressions.
Ray Davies, he can write any type of song masterfully.
4th one, Joe Strummer. Oh man, for so many reasons hahaha.
Lava Fangs’ forthcoming album, “Sub Auroram,” is introduced by the irresistibly catchy single “Where Did She Go.” Jamie Coghill and Andrew Horne delve into their experiences crafting what they describe as the challenging process of creating their sophomore record.
You can discover ‘Where Did She Go’ featured on the Best Power Pop of 2024 Spotify Playlist.
Could you share the journey of bringing this record to life? How did all the pieces come together to create the final product?
Jamie – “Where Did She Go” is the lead single from our “difficult second album” … It’s an expression I’ve heard many times since becoming a fan of music as a kid. For the most part I pooh-poohed such a silly expression; How can a second album be difficult? As a fan of music I can think of many bands whose second album is an all time favourite. As a musician, being allowed the opportunity to make ANY album is a privilege and should be immune to such trivialities as being difficult!
As a middle aged musician at the dusty end of several careers in bands who *almost* got somewhere, I can now look on that expression with the road-worn experience of having been involved in a few “difficult second albums” myself. It’s remarkable and lucky really for any band to be around long enough to make it to the second album. The first album is full of excitement and the momentum of being a fresh new band and having a backlog of songs you’re eager to get out into the world and establish your sound with. The follow up album feels the pressure of having to live up to that effortless enthusiasm and momentum the first album had. The first album comes together instinctively, almost as if by accident. The second album has to be planned and meticulously thought out – yet it’s still supposed to somehow sound “fresh”.
The Lava Fangs “difficult second album”, Sub Auroram didn’t start out difficult. In fact we had almost all of the songs written and demoed within a year of releasing our debut. But then the world hit a speed bump that no bands have had to endure in the past – a bloody global pandemic! By the time we were finally able to get together and begin recording it had been a difficult couple of years and we’d all had COVID. I was still getting over it when we went into the studio with Paul Maybury (Rocket Science/The Pink Tiles) to track guitars, bass and drums to 24 track tape. We then spent the next year overdubbing and mixing it ourselves whenever our schedules allowed.
Listening to “Where Did She Go” now, I’m thankful that none of that “difficulty” comes through. It’s just as fresh and exciting as if it were from our debut record. Having four contributing songwriters gives Lava Fangs a fairly unique and diverse sound that only a handful of other bands share (readers of this blog are no doubt aware of Canada’s Sloan … can you think of any others?). For the most part Lava Fangs write songs individually then bring them to the band to add our combined flavour with arrangements, lyric and backing vocal suggestions, but “Where Did She Go” is one of our rare collaborations. Drew (guitar/vocals) brought us a song that we all loved but something was missing so I wrote some lyrics, a vocal melody and a pre chorus to tie all Drew’s bits up into a finished sounding song. I’m very proud of it as a group effort.
Was there a particular moment or experience that struck you, signaling that you were onto something special with this project?
Andrew – when I start to write a song, my process is stumbling across a few chords or melodies that I think sound cool. For “Where Did She Go” the initial verse chord progression sounded great to my ears. Then I tinkered with it till it was ready to present to the band.
From there, the band decides if the song has merit to continue. Jamie added a pre chorus and vocal melody so I guess it had legs!
Sometimes when you are deep in the process with a song it’s difficult to see outside of what you are doing. You have to shut out your inner critic and appreciate what you have created. For me, I find that once the band has given the song a thumbs up I can sit back and be proud of what we have done. The separation of time certainly helps too.
The decision to seek opinions on your new songs is intriguing. When did you realize that external perspectives could contribute to your creative process?
Jamie – Sweet sweet validation!! We all crave it don’t we? Especially on an artistic level. Is it really art if nobody appreciates it? Actually yes, but validation is also nice. As far as other people’s opinions contributing to my own creative process, I think it’s an intangible influence. I don’t write a song thinking about what people might say or think about it, I prefer the creative spark to come naturally and take shape instinctively and then decide whether or not I think it’s worth sharing with the world. Other people’s opinions only serve to encourage me and give me the confidence to keep making music – which is important and helpful, but not essential.
Andrew – I concur with Jamie on this one, validation spurns us (me) to continue on with creative pursuits. With any creative venture self-doubt rears its head constantly. Any positive words from respected peers/friends goes a long way. This affirms that what you are doing is worth pursuing and to trust in your instincts.
Success can take on different meanings as time goes on. When envisioning success for this new record, what does that picture look like now?
Jamie – This is so very true and a great observation! My measure of success when I was in my twenties is very different from how I feel today. For me, this album is already a big success even before it’s released! The fact that Wally and Jo from Cheersquad Records and Tapes were willing and enthusiastic to work with us to release it on their label is a success Lava Fangs haven’t achieved before. Having the opportunity to release 2 digital singles leading up to our second full length album on vinyl is a huge achievement for us. If people like it once it comes out in May (and maybe buy a few copies of the LP), it will just be icing on the cake. A big delicious success cake!
Andrew – At this stage in my/our musical journey, respect from my peers is how I’d like measure success. Having Cheersquad Records and Tapes deeming Lava Fangs worthy of release feels pretty successful to me.
Within this collection, do you feel that the best song you’ve ever written finds its home? If not, what distinguishes this record’s essence from your prior work?
Jamie – Our coming Album, Sub Auroram, feels like a more mature and thoughtful collection of songs to me. It’s definitely our best album as a whole. Personally it’s going to be hard to top “Line Up For A Broken Heart” and “I’m No Good For You” from our debut LP. Those songs came to me unexpectedly from out of nowhere and I’m very proud of them and may never write anything better than those two. Sub Auroram and its songs may not feel like it has the one-two punch of our exciting and energetic debut LP but it definitely has way more musical depth and is arguably a much stronger collection of songs. [See my solo project The Jimmy C and the movie soundtrack for Brides Of Satan for the best song I think I’ve ever written: “Learning To Live To Death”!]
Speaking for the rest of the band though, I’d say probably YES! Wesley’s “Lost For Words” is an excellent song for our newest/youngest songwriter (they haven’t been writing songs as long as the rest of us) and I expect even better songs are in their future. Drew’s “Photograph” is a stunningly mature song and I wish I’d written it. Stu’s songs on this album are also very very strong but my favourite of his songs is “Spitting Nails” from Sons Of Lee Marvin’s Minimum Underdrag LP from a few years ago. Look it up, you won’t be disappointed.
As an artist, the act of baring your emotions to the world is profound. Does this vulnerability come naturally to you, or is it a constant journey of finding comfort?
Andrew – Feeling inadequate is a rich vein to mine for lyrical themes. Hiding your true meaning behind metaphor, double speak and just plain lyrical nonsense says I’m not all that comfortable wearing my heart on my sleeve…just yet.
Imagine you could collaborate with three co-writers of your choice for new songs. Who would you select, and what qualities or dynamics draw you to them?
Jamie – I’m pretty lucky to already have three top shelf collaborators in Lava Fangs, but my three fantasy favourites would be:
1) Andy Partridge. He’s easily THE BEST songwriter in music history. XTC are a sorely underrated band and Andy’s humour mixed with emotional depth and massive talent are just incredible. His angular approach to guitar is amazing too.
2) Jeff Lynne. The immensity of Jeff Lynne’s genius will never be appreciated because ELO got too popular. People dismiss ELO as mainstream disco fodder (less so in recent years) but it’s clear why he got to work with the remaining Beatles in the 90s and all those legends in the 80s. If I could be transported to 1970 and replace Bev Bevan in the late era Move/fledgling ELO with him and Roy Wood, I’d be in creative heaven! Such a creative time and Jeff’s vocal harmonies and arranging are pop perfection!
3) There’s so many others but I think I’ll pick Roland Orzabal. Pop genius and Tears For Fears’ “Everybody Loves A Happy Ending” album is a proper masterpiece. He’s often very sincere in his music and not afraid to risk it all artistically.
And I’ll kick myself for not choosing Gruff Rhys, Lee Hazlewood, Andy Sturmer (Jellyfish), Jay and Chris from Sloan (and Pat and Andrew), and Max Comaskey from Dirty Fences – how much fun that would be!!!!
Andrew – Again I find myself concurring with Jamie about being spoilt with 3 excellent collaborators. Each time one of the ‘Fangs’ presents a new song or idea I’m excited to see what they’ve come up with. That’s a pretty cool place to be! And, knowing that my band mates will interpret my ideas in a particular way influences the way I write. Absolutely!
However, in no particular order these folks would be cool to pen a tune with –
• Kim Salmon & Spencer P Jones I’m cheating and making them a package deal. At the top of their game both could write songs with interesting & unique musical content and lyrics. Their songs have great depth & humour all in one go. Both absolute treasures in the Australian music alumni.
• Harry Vander & George Young. I could add them to this list for the Easybeats alone however they went on to churn out great songs in any style you liked (as long it was rock, pop or disco) for decades.
• Lee Hazlewood. Do I need to elaborate? [Jamie – HELL YEAH LEE HAZLEWOOD!!!!]
Honourable mentions of Gene Clark, Alex Chilton, Beck, Dolly Parton, T Swift (I think you’d get a bang-up working lunch with T Swiz is all)
Among the gigs you’ve performed, which one holds an indelible place in your memory and why does it stand out?
Andrew – The one we are about to perform in a drainage ditch at a rouge ‘generator’ skateboard party I think will be pretty memorable.
Or, that time I played support to Arthur Lee. What made that special? Arthur Lee!!
Jamie – In bands other than Lava Fangs, I got to drum in front of thousands of people at Melbourne’s Arts Centre forecourt playing AC/DC songs for an exhibition opening … that was pretty cool … but not as cool as the time I was playing at a tiny pub in Adelaide and threw my drum sticks above my head and walked off stage when a guy grabbed my arm and pointed to the dart board behind the drum kit with my sticks balancing perfectly on the ledge above! One in a million chance.
Defining a song’s completion can be elusive. How do you determine when a composition has reached its final, ready-to-record form?
Jamie – I feel like I’m pretty good at this, but it’s not necessarily a skill. It’s pure instinct for me. It’s finished when I can’t hear anything wrong or missing. It helps also to be time poor, both with Lava Fangs and my solo music as The Jimmy C, it’s about getting the most out of limited time. It’s actually an advantage to have kids and work stopping you from spending days and days on one song and never feeling fully satisfied because it won’t meet your expectations. If you have a set amount of time to get it done, it’s done when the time runs out!
Striking a balance between experimental artistry and commercial appeal is a challenge. How do you navigate this dynamic within your music?
Jamie – Commercial appeal? Never heard of it! Be true to your art – but pick a lane. Write the best kind of song you can within the parameters of your chosen style or genre. I’ve never had commercial appeal but I do try to write accessible songs. I respect the craft of songwriting and so don’t get too experimental within a song itself, but I really enjoy experimenting with genres and the structure of an album as a whole.
Andrew – Never tried. Making stupid noises with a memory man is more fun than being appealing commercially.
Lyrics often carry profound meaning. Are there particular lines you hope listeners will always remember from your songs? If so, what’s the significance?
Jamie – See “She’s So Cool” from our Unclarity EP from last December. Some of my most profoundly silly lyrics. I’m very proud to have the word “precipitation” feature in the chorus backing vocals.
I think Stu probably has the greatest gift for turn of phrase and cleverness in his lyrics within the Lava Fangs band. Go check out some Stu songs in our back catalogue.
Can you recall the last instance when you felt the immediate certainty of having penned a hit song?
Jamie – I have never, and will never write a “hit”, but I have written a few songs that I think can stand up along side the music I love as a music fan – and it’s an incredible feeling when you’re rising to that level. It’s always a surprise to me when I finish writing or recording a song that doesn’t sound shit! If I can write a song as good as the worst song by my favourite bands then I know I’m achieving something very rare.
Andrew – I write shit songs all the time…oh right you said hit song. I’ll let you know.
With the resurgence of cassettes, imagine curating your inaugural mixtape. Which five songs would be must-adds and why?
Jamie – I sure do love curating a good mixtape/CD/playlist! I’m surrounded by cassettes all day every day so they’re still a very familiar medium for me.:
• The Last Plimsoll by Stackridge – a pop opera masterpiece! Complex, richly musical and a tune you can whistle!
• Cybele’s Reverie by Stereolab – It’s vintage Yéyé pop with 90s indie cred … cracking track!
• Harold Faltermeyer’s theme from Fletch – just to catch the listener off guard! It’s so 80s and synthy and arguably way better than Axel F.
• Fade Away by Sloan – Jay Ferguson’s Action Pact album closer. It’s a real hidden gem in the Sloan catalogue and it hits me right in the feels.
• And lastly; More Than He’ll Have To Give by John D. Loudermilk – Just a beautiful gentle simple song about never being better than others but being the right person for someone. Could be swapped with Waiting For Someone by The Tokens from their incredible concept album Intercourse.
And all the songs I haven’t mentioned are causing me great pain … Homefront Cameo by Cotton Mather, Change For The World by Charles Bradley, King Kong by The Jimmy Castor Bunch, Ladybird by Tears For Fears … ouch! Let me dub you a 10 tape collection on C-90s!
Andrew – Ahhhh the mixed tape. The romantic calling card of yesteryear!
I’d have to include songs by The Stooges (Ashetons only please!) ok ok I’d pick Dirt from Funhouse. Nancy Sinatra would deffo feature! But what song? Sugar Town for a subtle drug reference, ‘Boots’ is way too obvious; Summer Wine I think would be a great choice but then again Bang Bang is bloody ace! Can we get a cheer from the back for Billy Strange and his arrangement of that song??
Big Star has always a place on such tapes, and I’d wager lots of people first heard Big Star in this format. Thirteen would be a great addition if your intent was to woo.
What’s that three? Two more to go.
Always a big fan of Australian 80’s indie music I’d have to include the Beasts of Bourbon or Scientists (don’t ask me to pick a song) and before you flip that tape over lets hear from Redd Kross – I saw them steal the show (over the Hoodoo Gurus) with a rendition of ‘Jimmy’s Fantasy’ so that one!
While you can’t dictate how people interpret your music, are there specific elements you wish to highlight that set your songs apart?
Jamie – Definitely the fact that we four Fangs all contribute songs and arrangements and ideas to each other’s songs. Many bands have a dominant songwriter and other members who are just happy to play their part. With us you get four different flavours and sets of influences which I think diversifies us thematically and stylistically from most other bands.
If tasked with introducing your music through three songs, which ones would you choose and what story do they collectively convey to new listeners?
Jamie – Ouch, yet another “Sophie’s Choice” … I have to mention “Line Up For A Broken Heart” because I wrote it and I’m very proud of it. It’s the main track that makes people consider us a power pop band. The other side of Lava Fangs is our “garage surf rock” side. A good example of this is a song you’ll have to wait until May to hear when our new album comes out; “Dancing For Satan” – a song that shows our silly side co-written by Wesley (bass/vocals) and Stu Manchu (guitar/vocals). My third and difficult final choice is “Where Did She Go”, our current single. Those three should be enough to convince anyone that we’re worth listening to and then people can look deeper into some of Stu’s garage punk tracks or Drew’s melodic 70s rock, Wesley’s indie pop … and our more moody and contemplative moments … and there’s so much more coming in May with our Sub Auroram LP!
In a hypothetical scenario where you could tour with two other bands, who would be your ideal companions and what synergies do you envision?
Jamie – I’d love to share a stage with Dirty Fences from New York. Their energy and antics would make for such a fun night. I’d also love to play with Canada’s Sloan even though they’d make me feel completely inadequate because they’re so amazing musically … If this were a time travelling fantasy I’d play with Jellyfish in 1993 and look even more inadequate. But what a story I’d have to tell!!
Andrew – Mudhoney & Mudhoney. Call it a life ambition.
Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?
Andrew – I could not tell you of one instance of a creative stand out, we have many.
Creative epiphanies keep you coming back to the practice room when your regular life leaves you beat. It’s those times working on a great song or someone comes up with a cool part that is immediately apparent; that’s the magic that keeps you coming back time and time again.
Jamie – We giggle a lot in the studio. It’s lucky we handle most of our production and recording ourselves or we’d thoroughly piss people off.
How would you describe the evolution of your sound in this new album compared to your previous works? Were there intentional shifts in style or themes?
Jamie – Our first EP, 2017’s Black Rain, was a very noisy DIY garage affair, but still has a few hints of melodic evolution to come. Our Debut LP added the power pop flavours to the garage and punk and also introduced more thought to the production and arrangements with more vocal harmonies and musical textures. Our new album sounds more mature still in production and song writing. We still capture some frantic garage energy in places but we’ve evolved to give the concept of melody a little more respect. Our next project will probably rebel from this thoughtfulness and devolve into noise rock chaos … onwards and sideways!!
