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“It Still Rings Completely True” — Rob Bonfiglio on The Over Under.

Posted on by patrickdonders


Rob Bonfiglio’s The Over Under has been out for a while now. I liked it immediately, but after listening to it for a few months, it has become one of those go-to records I return to when I need to recalibrate or reset. It’s the kind of album that reveals more of itself with time.

What makes it particularly striking is how personal it feels: Bonfiglio wrote, recorded and mixed the record largely on his own, following the songs that carried the most weight and trusting his instincts along the way. Months after its release, he remains remarkably close to the album and proud of how faithfully it captures what he wanted to say.

We spoke about the vulnerability of “Need You Know,” the sharper edge of “More Pure Than Gold,” the decision to make the record mostly by himself, and why connecting with listeners ultimately matters more than recognition.

How does The Over Under feel to you now that it has been out for a while and you’ve had some distance from making it?

I felt from the beginning that this record reached a lot deeper than my previous releases. I went into the recording process with maybe 20 or so tunes, and it became clear which ones carried the most gravity.

My recording and mixing process happened concurrently. I’d go on a hike or a drive and listen back to a day’s work to determine where to go next. It all added up to literally thousands of listens.

Even after completing the album, I can still listen through from beginning to end and feel a sense of cohesion. I can honestly say there are very few things I’d have done differently with this album. It still rings completely true to me. I’m really proud of the way it turned out.

“Need You Know” feels like the emotional heart of the album to me. It’s a beautiful, very vulnerable song. Do you remember where that song came from, and did you know while writing it that it could become such a special song on the record?

Thank you so much. “Vulnerable” is a great descriptive. My writing cycles happen in waves and usually bear five or six or more songs at a time. This came out of one of those batches. I don’t recall the initial inspiration beyond the riff that repeats throughout, which always had a Fleetwood Mac-ish vibe to me.

I do recall being satisfied with the simplicity of the form. The lyrics happened pretty quickly and seemed to really get to the point of how I was feeling.


“More Pure Than Gold” feels like the musical and lyrical opposite of “Need You Know” — it’s sharp, angry and quite political. What was your state of mind when you wrote that song? Was it something that came more from the heart, or more from the head?

Without expressly saying so, I think the sentiment of this song is pretty obvious. I like to think all good songs come from the heart, with the head to guide them along. Much of the lyrical content of this song came out in a free flow, and much still stands true, unfortunately.

You made The Over Under largely on your own, even though you have friends and family around you who are, to put it mildly, pop royalty and could probably have helped you make the record. What made you want to do this one by yourself?

I’m a textbook introvert. I really considered doing this album with a larger ensemble of players, but one thing led to another and I just ended up doing it all myself. It was easier to get from point A to point B quickly, and things just sort of snowballed from there. All creative decisions started and ended in my head.

That said, I did have a little help from my daughter Lola on “Blame This” and a great pedal steel player named Xandy Chelmis on “Fade Away.”

I’ve read some really nice reactions and reviews of The Over Under, and I’m sure you have too. Recognition must be nice, especially after putting so much of yourself into a record. Or is there something else that matters more to you when you look at how the album has been received?

I’m incredibly grateful for the kind words and genuine reactions to this record. Yes, recognition is important for sure, but maybe less so for the ego nudge and more for the acknowledgement of being able to share something that resonates on a human level.

SOFTJAW – Pleased With Me

Posted on by patrickdonders

“Pleased With Me” stands as the irresistibly catchy debut single by SOFTJAW, hailing from Long Beach, California. Serving as a vibrant ode to the golden era of Power Pop, the track channels the spirit of influential bands like The Nerves and Cheap Trick.

In a musical landscape where acts such as Young Guv, The Whiffs, and The Prize pay homage to these iconic predecessors, SOFTJAW joins the ranks, affirming that the genre is indeed very much alive and thriving.

Sweet Sweet Music blog graciously provides a platform for the band to introduce themselves.

You can discover ‘Pleased With Me’ 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?

Dustin: Once Tanner and I got together for this project, the songs started taking shape right away. A few weeks later, we recruited Vinny and Dan, played a few shows, and hit the studio. It happened really quickly.

Tanner: I met Dustin at the local bar, and he dead ass came up to me and said he wanted to start a power pop band, and he wanted me in it because I rock so goddamn hard, and something along the lines of “you’re too badass to not be in a band with me,” and I was all, “you’re right”… Just kidding, I was wearing a Big Star shirt, and he asked if I liked The Nerves. I said, “that’s like a top-five favorite of all time.” Everything just got easier when Vin and Dan hopped on; it felt like they really made it a heavy-hitting group, and I’m so stoked to rock with these fellas.

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

Dustin: The fact that we sounded pretty good right off the bat was it for me.

Tanner: It was probably when Dustin and I started singing together the first time we practiced; it’s not easy to find other rockers who wanna sing their ass off and harmonize like we do, and it was pretty instant that I knew this was gonna be fun.

Vinny: I knew when I heard the demos the songs were great, but hearing how good they sound live is pretty wild. I’m mostly talking about the harmonies. It’s always pretty amazing. The guys are pop freaks.

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

Tanner: To quote White Reaper, “if it makes the girls dance, the boys will dance with ’em.”

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

Tanner: To be quite honest, all I want to do is rock and roll; whatever lets me do that more is a success to me.

Dustin: Same; I just want to play rock and roll music.

Vinny: A million bucks (each) in Spotify streaming royalties and performing at the halftime show for Super Bowl XXXXXVII.

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

Dustin: We don’t really put a ton of thought into it. Once we’ve played the song at a show, it’s alive and ready to be printed.

Vinny: I always try to err on having a song be too short rather than too long. Someone can always repeat a song that’s too short, but if they skip a song halfway through, then you probably overstayed your welcome.

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

Dustin:

  • The Nerves – “When You Find Out”
  • Teenage Fanclub – “Sparky’s Dream”
  • The Lemon Twigs – “My Golden Years”
  • Brower – “Where Is The Magic?”
  • The Gants – “I Wonder”

Vinny:

  • Pavement – “Gold Soundz”
  • Pavement – “Harness Your Hopes”
  • Pavement – “Frontwards”
  • Pavement – “Kentucky Cocktail”
  • Pavement – “In the Mouth a Desert”

Tanner:

  • “On Top of the World” – Cheap Trick
  • “Starry Eyes” – The Records
  • “Thorns and Roses” – Exploding Hearts
  • “No Substitute” – The Shivers
  • “Somewhere to Fall” – The Uni Boys

These are absolute smash hits that get everyone jumping and moving.

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

Dustin: Slade and XTC would be killer. The Who is up there as well for me.

Vinny: I dunno, I’d love to watch DEVO every night for 4-5 weeks, but I could see them being assholes to the opening band. Tenacious D seemed to have a pretty good vibe when I saw them soundcheck. Maybe them and Guns N’ Roses for intentional and unintentional comedic relief.

Tanner: I’m on a giant Cheap Trick kick, in particular the Heaven Tonight record, so probably them but during that era. I would love to tour with Vacation from Cincinnati; I saw them play when I was on my first U.S. tour, and they are the nicest and most rowdy boys; their songs rip face. Touring Japan with the Uni Boys would be sick too and should totally happen.

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

Dustin: At our last show, someone compared us to MC5, which is insane.

Vinny: “Good set.”

Where do you see yourself situated within the broader landscape of the music industry? How do you perceive your unique role and contribution?

Tanner: SOFTJAW is gonna be the band you can’t get out of your head, big, phat, and catchy! No fooling around with this rock and roll shit; we are taking over the planet, baby, all in the name of rock.

Envision recruiting three singers to provide harmony vocals on your next record. Who would you invite, and what qualities do they possess that resonate with you?

Dustin: John, Paul, and George. I learned all of John’s vocal parts as a kid. That’s how I learned how to harmonize.

Vinny: Man, honestly, Dustin, Tanner, and Dan are all insanely good at harmonies. Why go out for burgers when you’ve got steak at home?

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

Dustin: Bunch of new songs and recordings. Lots of shows planned.

Vinny: SOFTJAW mini-tour/album, becoming so famous.

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

Tanner: The way I see it, I’m the young gun in the band; everyone has some insane chops, and I have the most respect for the boys, so I always feel like I gotta push to keep up with these dudes. Working with Dustin and writing these tracks has definitely put a fire under my butt. Dustin comes to me with a demo that sounds like a masterpiece, and I send him shitty voice memo demos; the skill and ease that he puts out tracks makes for a healthy competitive energy; I’m always trying to write the next catchy riff or jolly chorus, and that drive keeps me moving. Ala Paul and John or Buzz and Woody.

Dustin: We balance each other out with our songwriting styles for sure. When Tanner picks up a guitar and starts singing, it’s instantly rock and roll, and he writes killer jams. Kid’s got the magic.

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?

Tanner: My girlfriend and I designed the single covers; she is a wizard with editing, and I love her very much, and I’m just soaking up ideas from what’s around or what I rock with.