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A Surprising Solo Turn: John Davis Unveils JINX

Posted on by patrickdonders

On social media, it was evident that Superdrag was actively making music together again. So, I was surprised when John Davis announced a solo album. The first single, “The Future,” is fantastic—beautiful!

The album, JINX, will be released on September 27 under the Lost In Ohio label. This record stands out from Davis’ other solo work because it was initially intended to be a new Superdrag LP, which would have been the band’s first album in a decade.

Davis explains how this came about in an interview with the Sweet Sweet Music blog.

You can find ‘The Future’ showcased 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?

It took quite a while. I started writing this batch of material in January 2021. Superdrag demoed most of the songs at Vibe City with Mike Armstrong, while I recorded some others on a 4-track in my garage with Brandon and Don. We took four of them into the studio, but things didn’t work out. From that point on, I thought of it as a solo record. I ended up making the album in Farragut with Stewart Pack producing, playing bass, and handling backing vocals, with his son Henry Pack engineering, mixing, and playing drums. I think we make a nice trio.

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

From the moment we started getting sounds, really. I love the Strat sound. We approached the album as if that was the only guitar we had, except for a handful of Telecaster and 12-string overdubs. The amp blend was pretty much ideal— all Fender, all 10-inch speakers. It’s very “Fendery.”

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

Success, for me, looks like something self-sustaining that points toward the next project. Something that helps me, helps the label, and reaches more people than I could on my own. That’s why I’m so thankful to have the support of Lost In Ohio, Force Field, and Terrorbird.

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?

That’s not for me to decide. The arrangements on this record are different; we were on a mission to trim any excess and avoid “circling the airport” while waiting for the next idea to happen.

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

It’s the only way I really know how to do it.

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

The night we jammed with Ray Davies from The Kinks at SXSW in 2001. He said we had a lot of good material. We lived on that for a while.

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

By finishing every idea to see where it leads. The ideas should always be in charge.

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 really up to the listener to decide which lyrics move them or hold significance. I always strive to be honest and say precisely what I feel. I spent more time thinking about these individual songs than ever before, and I might never do it that way again. But as a result, I can honestly say I feel like they’re just right.

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

I had no idea “Sucked Out” was going to be a hit song. It’s a weird hit. But it’s a great feeling to write a hit song. We’ve been called one-hit wonders, but I guess that’s better than being no-hit wonders. Reaching people is the whole point, you know?

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

The one from Ray Davies stands out, as well as Robert Pollard calling us “good rock performers.”

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

Hopefully, just in my own lane, always following the ideas.

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?

Brian Wilson, Carl Wilson, and Al Jardine— because they have angelic voices.

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?

Hopefully, the record will resonate with someone immediately and then unfold over time with repeated listening.

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

I plan to start writing for the 6th Superdrag LP.

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

Having Stewart not only agree to produce but also play bass and Henry on drums provided a steady foundation of interlocking rhythm for each song, plus a good amount of melody from the bass. We spent about an hour on each song, getting the arrangement right before going for the drums.

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?

Aaron Draplin of Draplin Design Co. did all the design. He totally crushed it. He listened to our feedback and nailed it. He’s a legend.

Unleashing Power Pop: Florida’s ‘Metal Detector’ Strikes the Perfect Chord

Posted on by patrickdonders

Billy Summer introduced himself to me by saying, “I think I’m Power Pop all the way through, but the metal and the soft rock keep me hostage.” On “Metal Detector,” the debut album of his band Florida, he proves himself right. Although the influence of metal is more evident in the album’s title than in its sound, I would categorize both the music and the artwork as “uber cool.” And as we all know, Power Pop is the coolest.

You can find ‘Away From The City’ showcased 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?

Musically, I’ve spent a lot of the past years playing in a 10-piece soul band on the weekends and the rest of the time writing gooey stuff to shop to TV and films. Both of those things bring me joy and satisfaction, but when the songs for this album started to come into my head, I knew I had to write them the way I was hearing them, which was two ripping guitars played spontaneously with some intersecting melody. The songs came out quickly and were recorded over two weekends. I ended up getting sick for a week after that, which allowed me some time to work on my lyrics, sequence the album, and play some solos. I purchased a 1994 green Flying V, which did most of the heavy lifting on this album. My experience playing with the big band, my love of soft rock and heavy metal, and my sense of the place I grew up in totally informed what came out on Metal Detector.

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

Sometimes while writing, I’ll hit on songs, or pieces of songs, that just urge me to write them, without judgment, without worrying about what others might think later. A lot of this record was like that. It felt like there was a theme coming through. It was an easy route to vent some long-kept frustrations through music. And it was incredibly fun, easy, and liquid. It just rolled out.

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

It’s easy to live in a bubble if you don’t solicit feedback. One of my most reliable muses has been toiling away in obscurity far away from any epicenter of cool music or culture. There really is no one here to judge you, and if they do, you don’t care because their opinions don’t matter. I don’t know if I’ve ever relied on outside perspectives to guide what I do, as I don’t expect others to like it the way I do. But to not share it seems counterintuitive to creating it. Even though I made it for me, I still have hope that it resonates in some way with a listener. I used to go to breakfast with my friend J and talk about making art for art’s sake, but then why put it out at all?

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

My expectations with public response are pretty low, actually. As much as I believe that the spirits will allow me to make more music, I equally believe that I can’t predict that my music will find “success” in any conventional way. Mainly, the success I find is a clear head to write again. Songs seem to torment me until I give them a life. Then they leave me alone and I hardly think of them again. It’s weird.

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

It’s totally uncomfortable. I want to be that person who really loves their work so much and goes around reciting their own poetry to anyone that will listen. I definitely know those people. I’m not one. I do find that playing guitar is something I can comfortably share with others in a live setting. I feel very at ease with that. With lyrics, I know the higher concept that I want to convey but get easily muddled by an unquiet mind. I write more music than I have words for, and so many of the same themes recur. And it’s not always from the heart. Sometimes it’s just an act. As life can be.

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

I’m an incompletist. There are two parts of a song consistently orbiting around my brain. And I’m guilty of calling it done when I should probably just be patient. Songs are journeys, and they end where they end. Some are short trips, some are fart rips. And sometimes they turn into better songs down the line. I love to record and we usually set it up and track stuff, listen back, and grow it from there.

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

I wrote a power ballad on this album that I thought would have been a hit in 1987. That felt great because I love the sound of 1987. Turns out it doesn’t totally translate in 2024, but when I was recording it, I could feel that it captured a higher concept than just the basic rock song that it was. It’s basic and simple, so it spoke right to me. I write and record a lot of different sounding songs, and they end up in one bucket or another. A good song can have more than one life, for sure.

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

If you condensed the current record into a ripping mixtape, you could do worse than this here.

Luxury Mane put out a cassette called Isn’t This Great, and I did a solo album on cassette called This Is Number One or something like that. I LOVE cassettes and miss my car with the cassette player so much. I’m into the idea if anyone out there wants to take this further. Here’s my pick for a ripper EP:

  1. Decap
  2. Lens Makes Ruin
  3. Drifted
  4. Sure Enough
  5. Away from the City

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

When there are people who can share the energy with you, it’s just different. It’s spontaneous and interactive, and the excitement comes from living in the moment, and the enjoyment is all about sharing that moment with a bunch of people.

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

It’s the sounds I heard growing up in Florida. It’s heavy metal and soft rock influenced. I listen to a lot of ambient and synth music, but I play a lot of soul and older RnB with a band I’ve been in for a million years. I get a lot of ideas while I’m playing with them. The band has 10 players, so there’s a lot to listen to besides myself. I love the Budos Band and the Menahan Street Band. I don’t really write that way, so I’m not sure where I’m going with all that. But I wish I wrote like Phil Lynott, Elvis Costello, and Eddie Van Halen. I just write and write. Melodies will just invade my space. I’m not sure if because they invaded my headspace that they come out different than someone else’s. But maybe.

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

White Reaper because they have the most ripping dual guitars, and Mötley Crüe because we each want our own bus.

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?

Definitely. This group of songs sits pretty far away from my previous work with Luxury Mane and even my solo stuff. Kyle, the drummer, and I had a band called The Semis some years ago that was similar to this. It almost feels like a continuation of that thread. And the song Decap off this album was a rework of a Semis song of the same name. I’ve always been a fan of harmony guitar solos, but this new record really brings that sound to the forefront without being hokey or ironic. Playing it live with Matt has been insanely rewarding. That guy is a monster on the guitar and just the coolest person, and he makes for a good sparring partner.

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 started doing digital collage a couple of years ago and had every intention of making record covers out of those. But we have a friend, Mikey Thompson, who approached us about taking some shots for the band. They turned out really great in that they capture four poseurs in a muscle car that looks like they love rock ‘n’ roll, which is really what this album sounds like. He is a wizard with the camera, and he got some really nice shots using the natural light of evening in the warehouse district of St. Pete. It’s a vibe, so we ended up using that as the album cover.

Rediscovering Mark Bacino: A Journey Through ‘Top of the World’

Posted on by patrickdonders

Rolling Stone once described the music of New York-based singer/songwriter Mark Bacino as “steeped in the sparkly, head-bobbing melodicism of classic mid-’60s pop.” He stays true to this style on ‘Top of the World,’ offering ten excellent songs that occasionally evoke a pleasant melancholy. Much has changed since the release of ‘Pop Job…the Long Player!,’ the Marc Bacino album I play most often. It’s time to catch up.

You can find ‘Kaylee Hughes’ showcased 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?

The journey of bringing “Top of the World” to life was a long one. As with all my records before, a process filled with a combination of joy, hard work and heartache. Although this one took an especially long time to make and was crafted in fits and starts. Family and work responsibilities played a part in slowing the process, as did, of course, the Covid crisis. I’m always a bit of a perfectionist when it comes to making these things as well, so that never helps move things along. Also, the nature of how the album was recorded probably added to the lengthiness of the process. This go-around I worked with two different co-producers (Ron Zabrocki & Jay Sherman-Godfrey) in their studios as well as my own. We also did a lot of remote collaborations with many talented musicians, far and wide, via a lot of files floating around the interwebs. It all added up to being a bit of a complex production process, but in the end we got it done and ultimately all that stuff melts away when the record makes its way into the world, takes on its own life and folks begin to enjoy it. And really that’s the way it should be.

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 like to think the latest tunes I’ve written are my best but it’s really impossible for me to judge. And, ultimately, I’m not sure it’s my place to do so anyway. It’s always been kind of the same with every album I’ve made; you craft a record, a collection of songs, release it and those songs are really no longer yours, they belong to everyone that listens. Each person will have their own personal favorites and not-so favorites and each song will mean something slightly different to every listener. Some folks have kindly said that “Top of the World” holds my best songwriting to date. I’m flattered, but again, there’s really no way for me to judge, I’m too close to it all. I suppose if I had to choose one song that I’m most proud of from this new collection, I’d probably pick the tune “Shaky Hand.” Weird title and probably a weird little song, but I feel like I struck a good balance, lyrically speaking, on that one between the hyper-personal and the universal.

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

Truth be told, I’m probably not a very laid back person, but in terms of songwriting I would describe myself as such. I really don’t sweat or force the process. I try to let the songs form as naturally as possible and come when they want to come. That may mean that a song idea might sit around, geminating, for years or it may mean that a tune may materialize in half an hour. It’s hard to say exactly when a composition is complete but somehow I just know and I tend to trust that feeling. A combination of experience and instinct, I guess.

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

I can’t say I’ve ever really worried too much about striking that balance – probably much to my financial detriment – but I’ve always been a big music fan first and foremost, so as such, when creating music I’ve always operated from the position that if I like the music I’m making, someone out there will probably enjoy it as well. My musical tastes are not that odd or left-of-center. I also think that chasing the commercial dragon is a slippery slope. As a songwriter, at the end of the day, you can only really be you and it’s best to remain as such. It’s ultimately what makes your work unique and special anyway. You can try and shoehorn your creations into some sort of “commercial” box but I think that end-result just always comes across as forced or inauthentic. In my opinion, Taylor Swift writes commercially successful songs not because she’s trying to, but because her personal brand of songwriting just happens to currently align with the zeitgeist.

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 think when I was a younger artist around the time of my first commercial release (“Pop Job,” 1998) I was most definitely looking to swing for the fences in terms of success and my definition of that word at the time. The world and the music business was very different then. The goals for me and many of my contemporaries in that moment were to get a indie label record deal and a manager, which, in turn, would lead to a major label deal which was supposed to lead to fame, fortune and a life of musical happiness. I was lucky enough to achieve some of the aforementioned, but I still felt like “success,” as I defined it at the time, eluded me. A few years beyond that, I think my idea of success morphed into the thought that if I could just do nothing but make music, not necessarily my own, and pay the bills, that would be my new definition of success. After launching a freelance music production business that basically allowed me to make music for a living, I soon realized that the grass is not always greener. Everything comes with a price. These days, with some age and some experience under the belt, I realize success is – and it might sound corny – really about being happy and healthy and having people around you that you love. I very much enjoy having the opportunity and privilege to make my art and offer it to folks out in the world to enjoy, that’s a real gift, and of course I’d like the music to reach as many people as possible, but that’s kind of secondary in terms of my definition of “success” these days.

Lo Fi Ho Hum: Power Pop Brilliance in 19 Minutes

Posted on by patrickdonders

Jacob Godbey contacted me, saying, “My name is Jacob, and I’m in a power pop band called Lo Fi Ho Hum.” This succinct introduction mirrors the compactness of their debut album, aptly titled ‘Garage Pop.’ The album features just 7 songs and lasts only 19 minutes. It’s not just short—it’s concise, direct, and wonderfully good.

You can find ‘Never Been In Love’ showcased 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?

Garage Pop came to life under some very negative circumstances, which is unfortunate because I’m constantly trying to buck the “artists have to be tortured to make good songs” trend. Despite my best efforts, these songs wrote themselves through the isolation of living alone and working from home during a pandemic. I also went through a plethora of relationships, some good and some bad. Many of these are chronicled on the lead single, “Never Been In Love,” as well as the final track, “Maybe.”

Basically, I moved across the U.S. to begin a relationship but chose not to stay there and ended up living at my parents’ house. As luck would have it, my father was just putting the finishing touches on a new garage, so I got to record an album in it before it got filled with vehicles.

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

A bandmate from a prior project expressed how much he loved some of these songs in their demo form, so when I found myself essentially at “rock bottom” and living in my childhood hometown, I knew pretty quickly what needed to be done for my mental health. My grandpa kicked in some recording equipment, one of my father’s friends let me borrow a guitar amp, and the rest was recorded through pure gumption.

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

My definition of success has definitely morphed over my life. I used to perform sketch and improv comedy and had my sights set on SNL or movies someday. I also grew up fantasizing about becoming as omnipresent as bands like Good Charlotte and Blink-182. Success to me now is creating sustainability. I’d love to foster a community of creatives who push each other to greatness and can pay their mortgage with those results, if not their car payment as well.

Failing financial success, it would really mean a lot to me to look out into a crowd and see people singing my words back to me. I’ve never had that yet, and I just know I’m going to cry if it ever happens!

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

In the song “Boundaries,” there’s a line at the end that reads:

Now when I see a friend crumbling/ I scream, “You deserve better than that!”

That’s an important one to me because that song is about being emotionally abused in a relationship. I had SO many friends warn me while I was in it, but I really didn’t listen to any of them. So it’s a shout-out to them but also to everyone. Grab your friends by the shoulders and scream “You deserve better than that!”

If there’s a passage I could choose that encapsulates the album’s entire vibe, it would be the following from “Never Been In Love:”

There was one/ wanted me to tie her to my bed/ but I’m such a pacifist/ that I’ve never been in love

Yes, it’s a true story, yes, it is intended to be funny, and yes, it is tongue-in-cheek. If you can’t relate to that, then Lo Fi Ho Hum might not be for you!

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

If I could befriend every single one of our fans, I would. This music is a call to end loneliness and I think it works best if you know something about me, the person writing the songs and singing. That’s what sets our songs apart. They are entirely honest lyrically and musically. I love pop music, but I also love punk and new wave, and I think that shines through.

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

I wouldn’t say I’ve ever participated in the music industry, but I hope this release changes that. I’ve always been a consumer, but these songs are already gaining me some entirely unexpected recognition amongst peers, so I’d like to continue that!

I really am obsessed with the creative process and I’d love to help other musicians and creatives find their best work. I’ve been lucky to have friends pull greatness out of me, and I’d love to pay it forward!

With this fresh collection of songs, how do you envision connecting with both your existing fanbase and new listeners? Are there specific emotions or messages you hope they’ll resonate with?

I really hope anyone who listens resonates with the themes of reluctant adulthood, male loneliness, but also not settling. In a world where we have so little control over the situations around us, it is important to take care of yourself and those you care for. Hopefully, that is communicated in the lyrics here! And if you come to a Lo Fi Ho Hum show, you will be taken care of. All are welcome and we like to foster a sense of safety not just for the fans, but also for ourselves.

Dan Miraldi’s ‘Ulysses’: A Captivating Chapter in His Power-Pop Trilogy

Posted on by patrickdonders

Recognizing quality can be straightforward, and Dan Miraldi’s new release, ‘Ulysses‘, is a perfect example. You’ll quickly notice its excellence. With ten tracks that leave you wanting more after just half an hour, it’s a compelling listen. Fortunately, ‘Ulysses’ is the second installment in a garage rock power-pop trilogy that Miraldi is crafting, or so it seems. He delves into this project with Sweet Sweet Music blog, explaining how it all comes together.

You can find ‘Almost Sounds Sincere’ showcased 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?

I spent most of 2022 focusing on the release of my seventh album, Radio Friendly Darling, so recording for Ulysses did not really commence until January of 2023. A few months prior, I had moved to a new apartment and finally had my home recording setup in place. I had four songs fully written as my starting point. I knew that the title track was supposed to open the record. I also had two song fragments that I managed to complete once production began. Then, as often happens when I am recording, new ones start to come to me and I wrote four additional songs that ended up on the album. I wrote a good number of other songs that will likely be saved for an album next year as well, but I thought these ten songs for Ulysses made for a satisfying listening experience.

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

I recognize that I am a niche artist. I think my music is accessible and likable, but I have no commercial expectations. The music industry is an abyss. There is no meritocracy. I love rock and roll. I make the records I want to make. My first album came out fifteen years ago. I feel like I have been very consistent at releasing quality music. I have toured and gotten to play shows with some of the big kids, but my greatest musical blessings have been the support of some independent DJs in the Cleveland area as well as SiriusXM. I can get really existential, but for the sake of this interview, I will focus on the positive. I am proud of the records I have made and grateful to anyone who finds their way to my music.

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?

This will be a long answer unfortunately. I feel like my career and sound can be broken down into three phases with transitional records in between. My first three albums and four EPs are phase one. I was developing my sound trying to pull my retro rock and roll influences with garage rock revival and elements of punk. I was on the road, traveling in a van with my band, really trying to make things happen. Eventually, it was not turning out commercially the way I was hoping and I had to rethink my career and business model. My third album, Chaos Destruction & Dancing, is a transitional record. It was made when I knew I was moving from my hometown of Cleveland to try new things in NYC. It did not come out until a year after I moved to New York.

In phase two, you get to New York-era records – Love Under Fire and then the big one for me Alphabet City 2 AM. I had a period of creative doubt when I first moved here. I wondered if I had already written my best songs, but then I found my voice and confidence. The new city and the friends I was making inspired me. I wrote so many songs, that it provided material that has found its way on to multiple albums. In this second phase, I also made the acoustic Mood Music records and the proto-punk 15 Minutes of Fury which were important, because I was getting comfortable recording myself at home just as the pandemic hit and throughout it.

Coming out of the pandemic, I feel like this is phase three. I did not plan it this way, but I think I am making a garage rock power-pop trilogy. Radio Friendly Darling was part one. I was trying to make something upbeat and comforting as we all had been through a lot during covid. Now with Ulysses, I feel like it rocks a little harder, but it is still fun. Songs I did not get to during Radio Friendly Darling, provided the starting points for Ulysses. While making Ulysses, I wrote a bunch of new songs. I could have technically made a double album, but did not want to go that route. It is tough to get people’s attention long enough to listen to one new song, let alone a whole record. So I set those other songs aside and hope to finish another collection for next year. I am excited to share Ulysses and excited to know that I have another potential album up my sleeve. I am not delusional. I recognize that I have limitations in reaching an audience in these days of algorithms and the oversaturation of tens of thousands of songs being released daily to streaming services. Most people will never hear about it, but that is not what drives me. If I may be so bold, if people like garage rock and power-pop, I am making something special for them. I am going to throw down the gauntlet with this next record. It’s written and probably 75% recorded.

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

I am all about the deep cuts.

The Records “I Don’t Remember Your Name.” If you find a copy of the album Crashes by the Records, buy it. It is not available on CD or streaming, but it is great power-pop from the late 70s early 80s. “I Don’t Remember Your Name” has a great Revolver-esque guitar riff, but it has great lyrics about being at a party wanting to go home and not remembering the names of the guests you’ve been introduced to throughout the evening. I identify with it.

Kurt Baker “Anchors Up.” Kurt is a cool guy and I am only beginning to dig into his rich discography. I really enjoyed 2023’s Rock N Roll Club and “Anchors Up” is a highlight. I saw him play it live and it was killer.

Nathan Hedges “Times Are Changing.” Nathan played guitar on two of the Ulysses tracks and is one of my best buds. However, I am including him because he is talented and underrated. He put out his own EP last year in the Americana-rock genre. It’s excellent and “Times Are Changing” is a rockin’ highlight.

The Knack “Can I Borrow A Kiss.” The Knack’s “My Sharona” has my favorite guitar solo in all of rock and roll, but like I said, I like the deep cuts, so I am instead adding “Can I Borrow A Kiss” to the mixtape with the hope that you listen to Knack records beyond their debut. “Can I Borrow a Kiss” is perfect power pop. The song is thoughtfully romantic, but still an infectious listening experience.

Stephen Stills “Singin’ Call.” Stills is my favorite guitarist. I also love his voice. It’s a vulnerable song to be listened to late at night. Kids these days don’t know enough about Stephen Stills. Between 1967 to about 1975, he was on fire as a writer, producer, arrangement and instrumentalist. There are many songs I could point you to, but this has been my go-to over the last couple of years.

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?

I listen to a lot of older rock music, but my favorite singer under the age of 70 is Grace Potter. She is one of the best rock and roll singers out there. I once played a festival she headlined and we shared a golf cart ride together, but I did not have the nerve to ask her to sing harmony.

Graham Nash is one of the greatest harmony singers ever. In his eighties, he is still great. Songs for Beginners is one of the most underrated albums of the 1970s. To sing with Graham would be monumental. I met him when I was 16 and he was very gracious. A few years ago, I reached out to his manager to see if Graham wanted to do a writing session together. The manager politely responded that Graham very solidly booked for the foreseeable future. Maybe I should follow up?

Paul McCartney, because the Beatles are the best and Paul’s work ethic has always inspired me. Assuming I could manage to talk in his presence, singing with him would be an honor. I do not have a Paul story, but I once opened for his son James. It was cool.

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

I celebrated the album’s release by performing at the International Pop Overthrow festival in Copenhagen a few weeks ago. I plan on doing more shows likely in the New York City area this summer and fall, both solo acoustic and full band. I will also be returning to my hometown of Cleveland for a reunion show of Dan Miraldi & the Albino Winos, my old touring outfit in September. We have not performed together in five years, but that will be fun.

I will also be continuing to record. I have that power-pop record I mentioned earlier as well as a folky collection that I am still developing into a potential EP.

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 one of the last things that came into place. I record at home and like to make the lighting vibey when recording. I lower the lights and have this “nebula projector” that puts celestial patterns on the ceiling. I was messing around with the projector. I pointed it at myself and then took a selfie. I thought it looked cool and used it for the cover. It was spontaneous, but once it happened, I knew it was right.

The other visuals are coming in the form of videos. My wife, Meaghan, works in film and directed a music video for “Unfollow Me” while we were honeymooning in Barcelona. She is in the process of editing the footage. It is looking cool. The music video is very tongue-in-cheek with the visuals matching the lyrical commentary on social media and how people present themselves. We hope to have it out in the coming weeks.

Mark Ward’s ‘LET ‘ER RIP’: A Power Pop Gem Set to Shine

Posted on by patrickdonders

“LET ‘ER RIP,” the new album by Mark Ward, will be released on June 14. This record is packed with incredibly catchy, classic Power Pop songs. It shines, sounds fantastic, and has even garnered praise from Paul Collins.

Sweet Sweet Music blog sits down with Mark Ward.

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

Having recently relocated from Alaska to Washington State, I left my long-term band, Last Train, behind, along with my valued creative outlet. We had a pretty good run with four albums of edgy Alt-Americana rock and some international airplay. However, arriving in Washington during a pandemic, I found I was really on my own musically. As a guitar player, my songs are admittedly guitar-centric. With that, I can cover most instrumentation and vocals, but I was without a drummer, and my drummer friends in Alaska were busy with their lives. A buddy of mine and fellow collaborator, Chad Reynvaan, suggested I contact Dylan Mandel to play drums. Though he’s in Pennsylvania, we immediately hit it off and started tracking drums remotely. He’s a total pro and, frankly, I could not have finished this project without him.

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

Over the years, my songwriting has taken on a much more serious tone, especially with everything that’s going on in the world today. But serious songs can take a toll on both the performer and the listener. While I think it’s important to speak your mind and give voice to a sense of reason, it is equally important to just have some fun. While there are a few serious songs on the record, in this election year, I decided to take a hard departure from that and just write some fun pop songs that don’t necessarily have to mean anything, because that’s also okay. I set out to finish a song I had written a guitar line for some 40 years ago with that sound in mind, and the song “I’ve Been Around” just fell onto the page. It was so refreshing that I decided to write another, and another, and pretty soon I had a pile of power pop songs, because why not? The trick then became how to sequence the album so it didn’t feel disjointed. I think it works, and the album at least leaves you with a sense of hope.

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

Great question. I’m not a full-time musician and can’t easily play out as I don’t have a band where I live anymore. I’m not really interested in touring as I have a pretty busy, fulfilling life that music is only a part of. In this day and age, there is really no money to be made in the music business unless you’re a mega pop star. So I guess success for me is having my music appreciated, respected, and enjoyed by people who want to hear music that is not force-fed to them by an algorithm. As we used to say in my previous band, if we can sell enough CDs to cover the cost of making the album, it’s a no net loss and therefore a success.

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

It comes naturally to me, I suppose. I have always felt lyrics deeply in others’ music and my own. In fact, when you are working on a meaningful song and a line pops into your head that immediately brings you to tears, you know it’s the right line. This happens to me often. The trouble is, it can often be difficult to perform a song like that live. If the lyrics mean something to you and you are feeling the lyrics too much, you can quite literally choke up, which makes it impossible to sing. It’s a fine line, not going too far over the edge.

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?

My previous efforts have been tailored to the bands I was in, being mostly Americana, Alt-Country, Cow-Punk, or because there’s a pretty distinct sound of music coming from Alaska, a genre I called “Alaskana.” But my writing has always tended on the more pop side of things. Since my college years, playing in a New Wave band and loving bands like Paul Collins, The Nerves, The Beat, The Heats, 20/20, The Knack, etc., I’ve always had a power pop bent to my writing. With this album, I just decided to go all in for the majority of the songs.

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

My philosophy on making a record is that you just can’t (or shouldn’t) do everything yourself. You need other expertise, ears, and sometimes ideas to make a song worthy of listening to. Dylan Mandel’s drumming gave a cohesive sound to the record. Even though he used three different kits and multiple snares, his drumming is spot on for the sound I was after. I’ve collaborated with my Alaskan buddy Chad Reynvaan, who runs Wattage Studios in Anchorage, on a number of things over the years. He’s been a great resource to bounce things off of as well as add the occasional synthesizer or backup vocal, which he did on this record. The well-respected Anchorage musician and producer, James Glaves, added some tasty keyboard and piano to a couple of songs. The finale of the record includes a list of friends who lent their voices quite literally to the choir on the song “Hope.” The last line still gives me chills. At the recommendation of Paul Collins, I used Justin Perkins at Mystery Room Mastering for the finishing touch. He’s amazing, and I think his efforts provided the final polish the record needed.

From Techies to Tunes: The (Un)likely Journey of Baseball Bat

Posted on by patrickdonders

Baseball Bat, a power pop band from Nashville, has recently released two strong, catchy songs, building anticipation for their upcoming EP set to drop in mid-June.

In an interview with Sweet Sweet Music blog, Brian Fuzzell explains that these songs have a long history.

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

The four of us worked together and became friends at a Nashville technology company. One day, Jerry came in with the idea that he wanted to form a band called Baseball Bat. He had the name before he had a band. So, the four of us got together to try to play some Weezer songs, but we never did. Instead, we wrote some of our own songs—the first was our own type of theme song, called “Baseball Bat.” Years later, we finally played one or two of those old Weezer songs.

But it took a lot to make these songs come to life as recordings. Over the last 12 years, we’ve recorded most of them twice in separate sessions, and both times, we ended up trashing the recordings. We also kind of, sort of, passively broke up for about six years. But like Voltron, we re-formed two years ago with the goal to give this another shot and truly make some recordings we’re proud of. Fortunately, Jeremy Ferguson agreed to produce, mix, and engineer the sessions. He really captured the sound and energy we’d always hoped for. Another amazing thing that happened is our old friend and former coworker, Brian Murphree, got involved and mastered the recordings. He’s become an incredible mastering engineer with his business, Soundporter Audio Mastering, so it felt great to keep things in the family to finish the project.

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

Harry Nilsson “Gotta Get Up,” The Posies “Daily Mutilation,” The Replacements “Bastards of Young,” Weezer “El Scorcho,” Tom Petty “Honey Bee.” We love these songs, and they get to the heart of what the four of us collectively love about rock music.

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

“Let Down,” “Brain Dead,” and “Baseball Bat” (the song) are probably the best introduction to what this Baseball Bat thing is all about. Those three represent our blend of slacker garage-y quirkiness very well.

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

We have absolutely no role in the music industry at all. Ha! Baseball Bat is more like an art project, existing only for the purpose of friends having some laughs and creating together. Our unique contribution to listeners is to provide the soundtrack to make memories, make babies, have some laughs, and repeat.

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?

We keep it pretty simple. Baseball Bat is a garage band at the end of the day, and we like taking a straight-ahead approach to our music and visuals. We try not to overthink, much like the punk and garage rock we grew up on, but that doesn’t mean we want to be boring. Our “logo” came from duct tape letters, and most of our imagery is playful, simple, and fun.

We are inspired by the ones that blew our minds with simple, relatable, not-trying-too-hard releases from bands like Superchunk, Pavement, Tom Petty, The Toadies, and Green Day. Our EP cover for “It’s A Let Down” is an actual photograph from our bass player’s house in East Nashville when his basement flooded and all his vintage toys went everywhere. The natural chaos of that image felt just right for the cover and namesake.

These songs are 10-12 years old, and no matter how good we record them, it’s still just us behind them—a bunch of middle-aged dudes from Nashville, TN playing with heart. It kind of is a letdown, so we lean into it and hope that not taking ourselves too seriously is the key ingredient to make an unassuming set of songs that just wanted to get out into the world sound just right, despite the world not asking for them.

What’s coming up?

THURSDAY, JUNE 6: Cassette release show at The 5 Spot, Nashville, TN

6-8 pm early happy hour rock show with The Robe (Soccer Mommy & Features drummer Rollum Haas side project). We’ll sell the limited edition cassette exclusively at this release show – only 50 copies pressed on assorted colors!

FRIDAY, JUNE 7: Worldwide digital release

Digital and streaming release to all major outlets, including Bandcamp.

Behind Vital Signs: The Journey of a Restless Songwriter

Posted on by patrickdonders

Now that More Kicks is a thing of the past, James Sullivan, with Vital Signs, has delivered an exceptional record. It’s sophisticated, melodic, narrative-driven, and utterly intriguing! Here is a restless writer at the top of the songwriting game.

You can discover ‘Day Late Dollar Short’ featured on the Best Power Pop of 2024 Spotify Playlist.

James, your record is truly beautiful and diverse. Did refining your sound after More Kicks disbanded come naturally?

Thanks! I actually finished this record before More Kicks ended. We’d finished the second record, Punch Drunk, and everything was at the pressing plant with Dirtnap and Stardumb. So we were sort of planning some touring around that release, but it was all 9-12 months in the future. I’d been writing so much for the two years leading up to that point and I didn’t want to stop. I also knew my lease was running out on the little studio space I rent, so I had about three months before I would have to move out of that.

So it was kind of a no-brainer to just keep on writing and recording. Honestly, I was a little worried about my state of mind without new music actively happening and I was quite burned out from writing so much for More Kicks, so making a new record on my own was an easy decision to make. I didn’t necessarily think it would be another album because there is always a chance that it turns out completely shit. Especially without the tasteful filter of Paolo and Kris (bass and drums from More Kicks) being applied to the songs. But as long as I was writing and recording something new, I knew I would feel okay.

Then I finished the ten songs and Punch Drunk was almost ready, so it was time to go and tour that thing. Vital Signs was done and even mastered, but it was just sitting on my computer. Six months later, I realized I didn’t want to do More Kicks anymore and I even had a completed record ready to go, so I finally got my arse in gear to get it released. I sent it to Stefan at Stardumb to see if he’d be interested – god bless him, he was – sorted out the artwork. Then that all takes a little while again, and here we are.

So the sound was just an amalgamation of physical limitations and the freedom of it not needing to be played by three people on a stage. There are so many limitations when making the record like that on my own. I record everything on an 8-track tape machine so I only have eight tracks to play with. Plus my own limited recording capabilities, I can’t play the drums and I suck at piano so that comes into play as well. Tiny cupboard-sized ‘studio’, loads of noise coming from everywhere in the building. In my head, I was going to make a huge orchestral piece, but that is simply not possible in those surroundings haha.

In terms of refining that sound, I just wanted it to have more space than my previous records. Less frenetic, more textures, a broader feel. I often wish I could embrace jam band aesthetics but that is essentially impossible if you’re playing things on your own and it’s all on tape so you can’t edit anything after recording. Plus, I’m quite a brutal editor of my own stuff, so what starts off in my head as ‘this will be a really long and tedious drone instrumental with almost no melody’ ends up becoming quite a concise pop song.

Your lyrics are captivating. Is writing them a smooth process for you?

Ah well thank you! I would say quite smooth, yes. I usually make a little demo of the song while I’m writing and the lyrics come last. I have nonsense placeholders in there while writing and then figure out what they should actually be once the music is at least mostly structured and worked out.

So I’m usually quite tired by the time it comes to writing the words. I like to write them very quickly and usually about 90% of those tired lyrics are there in the final version – just some tweaks here and there for better phrasing etc. Sometimes I think that might be why I often seem quite sad in the words – I’m just a bit tired by that point.

I usually write the chorus first and work backward to fill in the verses. That seems to help with the flow of setting the scene and the theme, and then getting a good payoff with the chorus. So the second verse can often be difficult because I’ve got a narrative that ‘ends’ with a chorus, but I have to continue the story for the second verse somehow. But yeah, I would say once the chorus words are in place, the rest of the words seem to come quite quickly.

I’m intrigued by ‘Guilty as Charged’. Can you share how that song came to be?

I had already started recording and while I was listening back to what I’d done, it all felt quite unambitious and nice. Exactly this idea of expanding the horizon is where I was going with Guilty As Charged, and also the song which precedes it, ‘Dronify’.

I was missing live drums on what I’d recorded. My friend Marco had played drums on Day Late Dollar Short and they sounded really nice. So I looped a few bars of him playing that song and just droned a bass riff over the top for four minutes. At this point, I realized I should essentially abandon structure and just go with the drone – so spoken word would be a good idea. I used that a bit on my first record ‘Light Years’ on the song ‘Lea Bridge’ so I liked the idea of returning to that.

I was reading ‘Nickel Boys’ by Colson Whitehead and he described someone as looking like they were ‘upholstered into their suit’. All disheveled and creased. I loved that. So I thought a character piece about whoever that person is would make for a great vignette. I wrote those words so fucking quickly, I’m not sure where it came from. The whole courtroom scene, the grotesque spectacle of a man getting sucked into thin air from within this horrible green linen suit. It really felt so freeing to write like that. A complete stream of consciousness that was absolutely not related to me or my life at all.

Many times I almost deleted that from the record because it felt thematically separate from everything else. If anyone had said to me ‘Erm, I’m not too sure about Guilty As Charged’, I would have definitely just thought, fuck it, and dropped it. But luckily, nobody heard the record except me until it was all finished. I’m glad it’s there.

Creating Vital Signs as a solo project must have been quite different from working with a band. What was that experience like?

Quick, instinctive, a little worrying because there is really no objective voice in the room at all. There is every chance that everything I’m recording is truly awful and I can’t tell because I’m far too close to the whole thing.

So it feels higher risk in one sense, but also lower risk in the sense that I have zero expectations for anything. Nobody is waiting for a James Sullivan solo record. I’m not even waiting for a James Sullivan solo record. I could quite easily finish a set of songs and then just do nothing with them and carry on with my life – as I almost did with these. But then, the ego in me can’t quite resist sharing them with the world in case other people also get a kick out of them.

Your new sound really showcases your vocal talents. Was this something you consciously aimed for?

Not at all, but I really appreciate that. With the self-recorded, straight to tape thing, I have to sing everything from start to finish in one take because I don’t have long enough arms to punch in the recording from where the microphone is in the room in relation to where the tape machine is. So it’s all in one take, or do the whole thing again. Which is mostly how I do it anyway – but this time it’s the only way I can physically do it.

I can definitely sing in tune; I don’t usually have problems with that. So having that one-take restriction probably adds a certain edge or sense of jeopardy to things. It definitely makes it feel more alive and, yep, more real.

What kind of compliment about Vital Signs would make you especially happy?

Christ, that’s quite difficult. I’m one of those dickheads who claims to not care about reviews but then when I get a nice one, I feel really good about it.

I think if people realize that I’m consciously trying new things, that I’m not scared of alienating listeners, that I am really really keen to not repeat myself, that makes me happy. I will scrap entire songs if they feel slightly too similar to something I’ve written before when it would be much easier to just tweak it slightly and record it. In fact, probably that would be an easier thing for listeners to get their heads around. I could have written More Kicks songs forever but I would have known I was cheating myself.

So I think if somebody told me I was a restless writer, that would make me very happy.

The Cynz – Little Miss Lost

Posted on by patrickdonders

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.

Top 25 Power Pop Hits of 2024: Unveiling the Best Songs Yet!

Posted on by patrickdonders

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?

11 Wesley Fuller – The Velvet Affair

12 Paul Collins – I’ m The Only One For You

13 The Real Numbers – Lucy’s in Love

14 Eyelids – Bound to Let You Down

15 Sorry Darling – Sorry Darling

16 Luke of Ulysses – Car Trouble

17 The Maureens – Stand Up!

18 Hoorsees – Artschool

19 Extra Arms – I Don’t Wanna Surrender

20 Steve Rosenbaum – Blurs Somewhere

21 Liquid Mike – K2

22 Lava Fangs – Where Did She Go

23 Ward White – Continuity

24 Kate Clover – Damage Control

25 The Second Summer – Something