indiepop

Back in Flight: Scotland’s Aerial Returns with ‘Activities of Daily Living’

Posted on by patrickdonders

Scotland’s Aerial has finally unveiled their highly anticipated album after a decade-long hiatus. Following the success of their 2014 standout, ‘Why Don’t They Teach Heartbreak At School?’, which featured the stellar track ‘A Great Teenager’ ranking at number 38 on my ‘The Best 100 Power Pop Songs of this Century (2000-2020)‘ compilation, the band returns with ‘Activities of Daily Living’. Once again, they hit the mark, particularly resonating with fans of Teenage Fanclub and Fountains of Wayne, as Aerial continues to thrive in that musical sphere. This latest release offers a delightful array of cleverly crafted earworms, showcasing the band’s trademark wit and charm.

You can find ‘Bad Tattoo’ 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?

We started writing the album (Activities of Daily Living) about 3 years ago. Covid afforded us time and boredom. If I remember rightly, Mackie (Mackintosh – the other songwriter in the band) set himself a challenge to write a song a week and deliver a finished demo to me every Monday. I think he told me in order to keep himself honest. I decided to do the same thing and then began a pretty frenetic period of writing and exchanging demos, a bit of one-upmanship and an eventual body of songs that was the basis for the album. In the end we took 14 of them into the studio once lockdown was lifted and over a number of sessions, worked with producers Duncan Cameron and Dave McClean at Riverside Studios in Glasgow to record it.

We have worked with Duncan before (on our debut Back Within Reach). He has produced some of my favourite bands – Teenage Fanclub, BMX Bandits, Trashcan Sinatras – and so we trusted him to bring out the best in the songs. We mixed the album with him too and are really happy with the end result. It’s probably our best sounding record.

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

For me personally, I think when I stumbled on the concept of writing a song about wasting time playing video games (Pixelated Youth) – that was one of those moments. It was one of the quickest songs to write for this album. I think I wrote the lyrics in one long, late night session. The theme afforded lots of nostalgic references – power ups on Super Mario, collecting coins on Sonic, game cartridges, dot matrix printers etc. It became a homage to Shigero Miyamoto, the Nintendo programmer who wrote most of those games. I added lots of Game Boy chiptune effects in the final song and I think that fits really well.

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

Well, I only really seek the views of the rest of the band. We have been doing this long enough and I think have a quiet confidence in what each of us does. And we have strong enough relationships that if something isn’t good enough, it will be called out. For the last album (Why Don’t They Teach Heartbreak At School?) we had a ton of songs to choose from – like about 50 or so. Much of the work there was paring it down and choosing what would form the album. This one was different; we wrote for the album. Each of us has a good enough filter such that if a song makes it to the demo stage, it will probably be a contender. We didn’t throw much away.

In fact, we had so much time and recording tools to hand, that the demos are really well produced. That can be problematic as you can then spend too much time in the studio ‘chasing the demo’. In the end we did use some of those original demos as overdubs.

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 am really proud of our previous albums. I think the collection of songs on there really stand up. This is our first one in a few years so I think at the start, success is probably making sure you are not eroding the good work you have done before.

Once you get past that, the concept of success changes. For us, I think success was probably down to two things – getting the songs themselves recorded well and to our satisfaction. And then getting the right label deal. We were quite focused on this one in getting it out on vinyl. And we did that. It is out on Flake Sounds in Japan and we have a limited release of 300 on coloured vinyl – exactly what we were after. The less outcome-focused bit of success for me is getting to spend time as a band in the studio and going on the ride of concept to release. Spending time with your bandmates as you do this is probably the best bit.

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

Oh there are lots of gigs that stand out. For me, when we played T in the Park many years ago – that was really special. It’s the main music festival in Scotland – or it was at the time as it’s moved on and rebranded now – but it’s the one I grew up going to with my friends. To go there as a band and experience backstage, the other bands, the most generous rider we’d ever had – it was great. A real highlight.

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 still think Why Don’t They Teach Heartbreak At School? is a great song and album title. I can say that because Mackie came up with it, not me. It made promotion for that record very, very easy. Most reviewers had their own reflection on the phrase and were hooked. I think we got a lot of listens as a result.

Arguably, it meant that coming up with the title for this album was trickier, but we all gravitated to Activities of Daily Living pretty early on and I think it works well. It fits in with what we were doing when we wrote it. Like everyone, we were stuck in a cycle of eat, sleep, work, repeat over covid – our activities of daily living. That’s ultimately what the album is about.

Aerial’s new album ‘Activities of Daily Living’ is out now on Flake Sounds.

Released on Eco-Mix Coloured Vinyl. Limited to 300 signed & numbered copies.

Available at: https://aerial.bandcamp.com/album/activities-of-daily-living

Jordan Jones talks about his new album “And I, You.”

Posted on by patrickdonders

Unlike some artists who prefer to maintain a consistent sound throughout their careers, Jordan Jones is not bound by such constraints. His recent release, “And I, You,” on Lolipop Records, deviates significantly from its self-titled predecessor.

This captivating newcomer presents a richly orchestrated pop sound, drawing clear influences from the meticulous songwriting styles of Brian Wilson and Burt Bacharach. However, Jones transforms these influences into a contemporary sound, creating a modern album that can be readily likened to the acclaimed works of artists such as Michael Rault or Jonathan Rado.

You can discover ‘Love Song of J’ featured on the Best Power Pop of 2024 Spotify Playlist.

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

The only competitive bone in my body comes out when writing music. Mike Collins (Drugdealer) and I basically lived together through the pandemic and while he was writing his new record, I was writing mine so we would go back and forth sometimes until 6 or 7 A.M. discussing ideas and notes and chords and changes to make each other’s songs come together. When he would bring me his latest idea, it was usually (and obviously) really fucking good so I couldn’t wait to leave the room or pull his iPhone speaker away from my ear and run to my piano to write something as good if not better. His opinions were and still are important to me. Nobody else’s though.

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

People playing the record at any type of social gathering. If somebody can listen to “Promise You Forever” and realize that they aren’t alone and that things pass. When the label needs to press a lot more copies. These things are a success to me at the moment.

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?

“Love Song of J” is probably the best song that I’ve written up to this point. This record creates a nice atmosphere for it so yeah I guess you can call it a home. Maybe an apartment.

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’ve never even noticed it. I don’t use my vulnerability in creating music. I usually save that for times when my music can be useful once it’s completed. I’ve always felt extremely comfortable making and performing music. The comfort I’m on a journey for is accepting praise. That I will never handle naturally.

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

When you just can’t see out the windshield of it any longer. You can keep going but it’s too dangerous and ultimately detrimental and you’ll just need to start backtracking to clean it up because you’ve over complicated things.

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

The first time I heard the playback of the “Love Song of J” demo (which back then was just called “F Song”) I knew I had done something really special, at least special to me. Then I showed that demo to some very important people to me and the response was overwhelming. They validated my feelings, I needed that. At that point I really wasn’t concerned if the public latched onto it or made it a “hit” because I was already satisfied.

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

My dream is to tour with Spiritualized. It would just work.

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

One of the musicians I hired for my record release show last weekend just complimented me on how professional I was as a band leader. That was really striking and pleasing.

Studio moments often hold a touch of magic. Could you recount an instance that stands out as the most enchanting during your creative process?

First are all the moments I would hum or play individual notes on the piano for the string part I had envisioned to Emily (cellist) and Laena (violin & viola) and they perform it and watch it work perfectly. As someone who doesn’t read or write music, that direct communication from your brain’s idea coming to life and with such immediacy, made me physically numb. Second was watching Molly Lewis (whistle) perform while recording “Love or Lose”.

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

Scoring film and producing records is something I would really like to do.

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 really hope I never I never reach any type of pinnacle in music.

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

Finding management or some sort of representation. Booking really special shows. I’m also going into the studio to start on the 3rd record later this month.

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?

Having my good friend Andrew Peters shoot the album photos was crucial. I believe his talent will be a really important part of drawing people in with that beautiful cover photo. Christopher Deloach’s gorgeous portrait painting for the “Listen” digital single art was a complete success too. I believe when you hear “And I, You” and see all this sensitive and slightly mysterious art, you’ll further understand the mood of the record. I’m really lucky to have these artists in my life.

USED – Sensationalize (Q&A)

Posted on by patrickdonders

The German guitar pop band USED, comprising the twin talents Marco and Dario, delivers ‘Sensationalize,’ a rich double CD boasting 18 tracks that traverse both electric and acoustic realms, each resonating with its own greatness. While echoes of Fountains of Wayne, Teenage Fanclub, and the finest of The Lemonheads may occasionally surface, they’re unnecessary; the moment the music begins, its world-class quality speaks volumes. To me, ‘Sensationalize’ stands as the coveted gem of 2023. Embark on a treasure hunt and discover its brilliance!

Marco and Dario explain.

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

During the pandemic, we were busy working on new songs in the studio.

Our first plan was to record new singles, but in our creative process, more and more songs appeared, and we finally felt the urge to release a new album.

In the process of recording, we nearly lost our files because of technical issues. So it felt really good in the end when we finally finished the album with a big relief and a smile on our faces.

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

One of our early gigs was with an amazing audience at a club in Germany, and we jumped into the crowd.

It was the first and only time we did stage diving.

Another great moment was at a small venue when a woman started crying and was really touched by one of our songs.

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

Writing a song can be really quick sometimes but can also take ages.

If we play the song live and feel comfortable with it, it’s usually ready to be recorded.

With every studio visit, we try not to repeat ourselves too much musically, but if it feels right, it is right.

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

We never record something just because it’s commercial.

We like good melodies and hooks but also music that is a bit more sophisticated.

Our aim is always to create songs that have artistic and commercial tendencies.

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

Some of our songs have words that mean a bit more to us than other songs. For instance, the opening track “I don’t care” of our new record:

“Nervous looks, but I’ve got to keep moving.”

“Everybody keeps a secret deep inside.”

We don’t like telling people what to believe in when they listen to our lyrics. In other words, not telling people what’s right or wrong.

It really makes us happy if there is a line or a whole song that someone likes and can relate to.

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

We were hanging out with a friend in his flat, guitars in our hands.

Finally, we came up with a guitar lick, and a few minutes later, we had the la la melody.

We immediately looked at each other and said, “This is a good one.”

It ended up as the song “Eleven Days.”

Another time we felt it was when we wrote the chorus of “Even the Stars Die.”

“Baby, you’re so disco” and “Let me see you shine, another glass of wine” felt brilliant.

Nick Frater presents The Rebutles 1967​-​1970 (Q&A)

Posted on by patrickdonders

Nick Frater shared with Sweet Sweet Music blog, “I’m going through quite a productive songwriting period at the moment, and melodies seem to arrive thick and fast.” This creative burst has culminated in the creation of two exquisite albums, adding an extra sparkle to the musical landscape of 2024. November saw the release of ‘Bivouac,’ landing it in the Top 10 of The 50 Best Power Pop Albums of 2023. Now, right after Christmas, ‘Nick Frater presents The Rebutles 1967​-​1970‘ pays homage to The Rutles, often considered the ‘ultimate’ Beatles tribute. It’s quite a journey, isn’t it? Below, Frater delves into the mechanics and origins behind this musical endeavor.

A surprise release so late in the year. What’s the story?

“The Rebutles / 1967-1970” has been a little side project I’ve been working on this year, as a follow-up to my last ‘secret’ album, “Nick Frater presents The Rebutles: Ron, Dirk, Stig and Barry the Solo Years, Vol 1,” which I included as a CD in the first 200 Earworms LPs.

I thought releasing it on an unsuspecting world on Boxing Day was the perfect poetic nod to Magical Mystery Tour, which was first shown on Boxing Day 1967. What I’ve learned through doing this is that Boxing Day isn’t really a thing in the USA! I received several messages from friends and fans in the States asking what the hell I was talking about, in the various hints and clues I was putting out in the run-up.

I’ve read a lot of positive reactions. Do you have an explanation for this so soon after the release?

I’ve been quite taken aback by how well “The Rebutles /1967-1970” has been received! I guess people still love, as I do, the idea behind The Rutles. As a HUGE Beatles fan and Rutles fan, creating the songs for my original tribute (is that a thing?) was a lot of fun to do, and I hope that translates into a fun listen. For years, I’ve been wanting to try something very, very ’60s psychedelia, and this was the perfect excuse. Getting great feedback from some of my favorite bands has been wonderful.

I’m so curious about how the concept came about and how far you think you can go if you want to continue it?

As with most great ideas, The Rebutles started off as a joke with friends in the pub—the idea of what The Rutles would have done in their solo careers. The idea stuck with me, and I started writing the first album. It turned out that my musical friends were VERY into the idea and helped to turn it into a reality. Having started at the end of the story of The Rutles/Rebutles, the only place to go was backward and do a prequel. Although things start to get a bit meta; like that bit in Back to the Future where the characters on different timelines mustn’t ever meet! Never let conceptual sense get in the way of a good song.

Did you consciously start writing songs in this specific style for this project or does something like this arise organically?

I’m going through quite a productive songwriting period at the moment, and melodies seem to arrive thick and fast. So writing The Rebutles came more from ideas for song titles. “Loose Tea In Disguise” came early on, and the song pretty much wrote itself. That said, I think there are still some moments that pull the heartstrings in just the right way, like “Come Get Your Tea.” I think it has a nice bittersweet feel; it’s a favorite for me.

You wrote to me a while back, jokingly or not, that the best record of 2023 had yet to be released. You knew you had something good on your hands, didn’t you?

From the enthusiasm of the musicians who helped me record the songs, I had an idea that The Rebutles might be an enjoyable listen. It was always going to be an odd move to release two concept albums a month apart, and right at the end of the year, but hopefully, between Bivouac and The Rebutles, listeners have found something to enjoy. There are lots of things in the pipeline for 2024, including a new ‘normal’ album. It’s well underway and called “Oh Contraire!” (you read it here first!), so it might get released in time for the best of 2024 lists.

2nd Grade – Hit to Hit (Q&A)

Posted on by patrickdonders

Get Alternative writes: Sincerity and sarcasm are the central tenets of 2nd Grade’s music. It’s full of  tenderness and wit that can only come from musicians who love playing together and respect what they’re doing. They’re a super-group of sorts, composed of members of bands like Remember Sports, Friendship, and A Million Dollars. Their new record, Hit to Hit, is a collection of 24 songs that run on the shorter side, usually between one or two minutes. This works to their benefit, though, as each track feels like a sweet burst of fizzy indie pop.

SweetSweetMusicblog spoke to Peter Gill about Hit to Hit, Stephin Merritt, Styx and Pitchfork.

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

I was sitting in a nightclub on the Lower East Side of Manhattan, writing lyrics onto a cocktail napkin while getting blasted with techno music from the house speakers. I looked up from my work, and saw that Stephin Merritt was sitting next to me copying my lyrics onto his own cocktail napkin!

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

I saw Styx somewhere on Cape Cod when I was a kid. The thing I remember most is that before the show my Uncle Paul taught me a great line which goes “you paid for the whole seat… but you’ll only need the edge!”

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

Last year I was competing in a regional songwriting contest against other songwriters from the tri-state area. My best event is typically 15’s, a category where you have only 15 minutes to write a full song. Anyways, I came up with this great glam-rock tune called “My Baby’s Been Radicalized” in that day’s 15’s, beating out some Win Butler wannabe from Delaware, and as a prize, they now play my song every day on ABC Channel 6’s weather report.

Recording music. What’s all the fun about?

For me, the best part of recording is the certainty that the final product will be designated Best New Music by Pitchfork.

You can’t control the way people ‘hear’ your music. But if you could make them aware of certain aspects, you think, set your songs apart. What would they be?

I know that some people tend to think of these songs as being “simple.” I would like those people to be aware that I fooled them!