music

The Maureens – Everyone Smiles

Posted on by patrickdonders

The Maureens, hailing from the Netherlands, have introduced a new gem to their discography with ‘Everyone Smiles.’ This album features thirteen bright and lively pop tunes that Dutch critics aptly liken to the finest works of The Posies, Teenage Fanclub, and The Jayhawks. These comparisons are fitting, as, akin to these influences, ‘Everyone Smiles’ not only boasts beautiful melodies but also elevates its offerings to an exceptionally high level through harmonious vocals.

Hendrik-Jan de Wolff provides insights into the creation of ‘Everyone Smiles.’

You can discover ‘Stand Up!’ featured on the Best Power Pop of 2024 Spotify Playlist.

The initial responses on social media and the initial reviews for “Everyone Smiles” are positive. Did you sense that you were working on something special during the making of the album?

At the time, our focus was primarily on delivering the songs at their best. The journey to recording was extensive, spanning 2.5 years, including the challenging period of the pandemic. We crafted numerous songs and tested them in the rehearsal room before recording began. We were perhaps too close to the material to view it objectively, as the press and listeners do now.

The connection with Frans, our producer, was strong, as was our belief in the songs. However, judging our own “child” is always a challenge. It’s gratifying to receive positive reactions, especially when they capture the essence of what we love to create: songs with substance and clear influences from the Beatles and the 60s.

Frans Hagenaars, your producer, is credited with shaping the sound of Dutch Indie Pop. Did you ever inquire about his influence on the genre?

Absolutely. His work on albums with Johan and Daryll-Ann, among others, consistently features an edge and a vintage feel that aligns well with our music. Frans brings a unique perspective to recordings, emphasizing live performance and avoiding excessive perfection. In our pre-production discussions, his vision aligned seamlessly with our desires.

There is a substantial number of years between the release of ‘Something in the Air’ and ‘Everyone Smiles.’ What are the key moments in the history of the creation of this album?

Due to the Corona period, we could no longer rehearse weekly, leading to a different approach to creating songs. I worked extensively on songs on my own, often in collaboration with Stefan (drummer). However, this made it less of a band process and more fragmented.

During the recording week, several drastic choices were made, giving songs a completely different vibe, as if they had been through the car wash. Frans played a significant role in these decisions, whereas before, we were mainly at the helm ourselves.

This truly was a co-production, resulting in an album that sounds different from our previous records and has more of a live feel.

The harmony vocals stand out more on ‘Everyone Smiles’ than on previous albums. Is singing together a particularly enjoyable aspect for the band?

Absolutely! Harmonizing is a significant element for us, often introduced towards the end of the creative process. I pay careful attention to harmonies, recording vocal parts early on to emphasize their prominence in the song development. When we rehearse the vocals together, it feels like adding the perfect finishing touch. Singing together as a band gives the songs an extra lift, creating a beautiful synergy.

Being a Dutch band on a Spanish label is intriguing. Can you elaborate on that?

In 2018, the Spanish label Meritorio approached us with enthusiasm, showcasing a preference for guitar bands, especially jangle pop. We reached favorable agreements regarding vinyl pressing and promotional activities. Communication is straightforward through Whats App, and the connection with Spain provides additional attention (press) and opportunities for performances, which might not be as apparent otherwise.

What are your plans for the upcoming months?

“Everyone Smiles” is set to release on vinyl on January 26, followed by the album presentation at Tivoli on February 3. We aim to play in as many places as possible to promote the album. Additionally, we hope to schedule shows in Spain and England in May, details of which we’ll share soon. Stay tuned to social media and our website for updates. Meanwhile, we’re already immersed in creating new songs, as we don’t want to wait another five years for the next album.

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

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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.

Paul Collins introduces his new album “Stand Back and Take a Good Look”

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You can discover ‘I’m The Only One For You’ featured on the Best Power Pop of 2024 Spotify Playlist.

Scheduled for release on February 16th through JEM Records, Paul Collins’ newest album, “Stand Back and Take a Good Look,” wasn’t a solo endeavor. Opting for collaboration, Collins assembled a remarkable lineup that included the late Dwight Twilley, Richard X Heyman, Prairie Prince, Ronnie Barnett, and members of 20/20 and Shoes. The outcome? Twelve delightful, crystal-clear, predominantly upbeat Power Pop anthems. Over at Sweet Sweet Music headquarters, we’ve cleared the space, pushing aside chairs and tables, ready to jump and dance while enjoying the tunes.

Paul, it seemed like you stepped away from the music scene for a bit. Was that the case, or did it just appear that way?

When the pandemic hit, I just stopped, like everybody did. Then, once things had really settled in, I just wasn’t able to find a re-entry point until now. I had spent ten-plus years touring all over, and quite frankly, I was tired and getting older. It seemed like a good time to step back and take a good look!

When you introduced your new album on social media, you highlighted collaborations with prominent Power Pop figures. Were these iconic partnerships part of your initial vision for the album, or did they naturally evolve during the creative process?

It was really a spontaneous thing. I didn’t really have a band, and I wanted to get that band sound, but I didn’t know a lot of musicians here in New York who were experts at this kind of music. So, I said to myself, “Why don’t I call some of my friends around the country to see what they would say?” Without exception, they all immediately said, “Yes!” So, in short order, I had an absolutely stellar lineup of musicians to contribute to the record.

Creating the perfect song—how much of a creative high does that bring?

For me, it’s everything! Writing the perfect pop song is my lifelong pursuit.

What significance does this new album hold for you, and what can listeners anticipate from it?

First off, it’s a rock ‘n’ roll record, so hopefully, people will jump around and enjoy it! Then, I guess it would be nice if some of the songs really resonate with people. I know for me, having songs that you hold close to you is a big part of why we are drawn to music in the first place.

When you perform in the Netherlands, it’s clear your music resonates with more than just my kids. How does it feel to witness your music embraced by successive generations time and again?

This is the power of music; it can transcend everything and connect people from different cultures, backgrounds, and generations. In the end, it’s about making you feel something, and good music becomes the soundtrack to our lives! Keep on Rocking!

USED – Sensationalize (Q&A)

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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)

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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.

Peter Donovan – This Better Be Good (Q&A)

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On a Sunday afternoon, I relish flipping through ‘old’ music magazines, seeking out hidden musical gems. In a 2022 issue of Shindig!, I stumbled upon an article discussing “This Better Be Good” by Peter Donovan—a discovery I had previously missed. Since then, immersing myself in its fusion of power-pop and Americana, accompanied by compelling narratives, has been a delight. Unearthing eleven exceptional songs within that album made for the most fulfilling Sunday afternoon spent in a while.

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 summer of 2020, amidst a pandemic-induced writer’s block, I sought inspiration from the Beatles. I challenged myself to learn and play a new Beatles song every day. Sharing these covers online kept me musically active and connected with friends throughout the isolation period. This practice also reignited my songwriting spark, culminating in the collection of songs for ‘This Better Be Good.’

Once the lockdown was lifted, I was eager to get into the studio. We recorded the album live over three days at Strange Earth Studios in Seattle. Our goal was to capture the spontaneous energy and camaraderie of a band together, something we had sorely missed.

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

Collaborating is my favorite part of making music, and this album certainly wouldn’t be what it is without all my wonderful friends.

Our producer, Bradley Laina, was the mastermind behind the scenes, crafting the album’s organic sound. William Mapp’s drumming infused a thoughtful groove, propelling the narratives in the songs. Dune Butler on bass and synthesizers added a lively pulse and texture. Charles Wicklander’s work with pianos and organs created an atmospheric mood and ambiance. Finally, Cole Schuster’s unique flair really shines, whether it’s through a heartbreaking solo or a catchy riff; his guitar work is the thread that ties the album together.

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

Three songs that come to mind from this record —

“This Better Be Good” — I told a friend of mine that I was thinking about recording my first solo record, and her response was – “This Better Be Good” – which I thought would be a perfect title. This song sets the stage for what listeners can expect – a mix of power-pop and Americana with a good story.

“Sweet Trouble” — Inspired by Randy Newman and Conor Oberst, this track delves into the complexities of a budding romance and the messiness of human connections, a recurring theme throughout the record.

“Phone Call From A Ghost” — My favorite track on the album, inspired by a book of scary stories from my childhood. The song explores themes of memory, regret, and the unexpected ways the past can resurface. I particularly admire Bradley’s production and the band’s performance, which gives the song an eerie nostalgia.

I think these three tracks represent my overarching goal for the album — to create memorable songs and tell compelling stories.

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

This past October, I opened for Dan Bern at the Tractor Tavern in Seattle, WA. Aside from the Tractor being my absolute favorite place to play, Dan Bern has greatly impacted my musical journey, from awed listener to performer.

When I was first learning guitar, songwriting felt like a distant dream. Writing lyrics, in particular, seemed like a dark art. But things changed when a friend gave me her copy of Dan Bern’s first record. It was a revelation. The words were simple and conversational, but the stories were rich with depth, honesty, and humor. Hearing that record was the first time I thought, “I could do that.” (or I should try, at least).

The energy of the crowd, the familiar backdrop of the venue, and sharing the stage with a songwriter who had been such a significant influence and whom I had long admired made the night unforgettable.


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

I have a couple of exciting things on the horizon. I’m finishing up my second record, “Community Theatre,” which will be coming out sometime in 2024. The album is a collection of vignettes that reflect a small town’s inhabitants’ dreams, desires, and dramas. For this project, the goal was to explore a more intricate musical direction, and we built lush soundscapes around the band’s live performances, with Bradley again at the helm as producer. 

I also wrote three original songs for the upcoming film Red Right Hand, starring Orlando Bloom and Andie McDowell, due next year. Crafting songs for this project, which span various genres, from Appalachian roots music to 1970s gospel, was an enjoyable challenge.

PACIFIC RADIO – Pretty, but killing me

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‘Pretty, but killing me’ is one of my favorite records of last year. Released in December, so still as fresh as fresh can be. Pacific Radio combines all there is to like: Power Pop, Garage – and Indy rock. Catchy as hell, all songs. I mean ALL SONGS.

pR
PACIFIC RADIO IS:

 

Joe Robinson:  Guitar and Lead Vocal
Joe Stiteler:  Bass
Kyle Biane:  Guitar
Hyke Shirinian:  Drums

 

What was the biggest fun during the making of the last album?
JR: The first day we recorded at Conway Studios it felt real.  Tracking in a place with that unique vibe and history really reinforces the fact that it isn’t amateur anymore.

 

JS:  We recorded three songs in Austin in the middle of March and SXSW, that had to be the most fun.

 

KB:  I think the biggest fun for me is tweaking the arrangements. We typically play the songs live for quite a while before we take them to the studio. When we finally get to record them it is fun to invent new things to make them come alive on the album.

 

HS:  Tough question for me.. The recording process is always a blast. Though so is touring it!

 

 

At what point, during writing, rehearsing, recording, did you knew you were on to something special?
JR:  I got Pro Tools and started “idea recording” songs. People kind of flipped out. That sparked the confidence I needed. They continued to get better and better as the band put their footprints on them, and here we are.

 

JS:  When we showed up to Conway Studios and started tracking drums.  It’s a special place and we were honored to be there.

 

KB:  When JR played me a demo of the song “Katie” I remember thinking we were onto something.

 

HS:  The whole process just feels special.  The way it has all come together, you know?

 

The music industry has changed a lot (or so they say). What did it bring you? And what not?

JR:  It has brought anxiety. It hasn’t brought a Lamborghini.

 

JS:  We’re adapting to the new process of cyber interaction.  A long way from the times of handing out flyers in person or spray painting our logo onto a sidewalk.

 

KB:  I think it always has been a non-traditional industry, and with the internet’s role becoming such a large factor, the “changes in the music business” are just coming faster and faster. I don’t think that we have missed or gained anything, I can say however, we go into work everyday not knowing what to expect. And that can be kind of exciting.
She tells you she will decide on a 5-song-mixtape if there is going to be a second date. Which 5 would you put on?

JR:  “Skyway” The Replacements
      “Rave On” M. Ward
      “I Only Want You” Eagles of Death Metal
      “Peg” Steely Dan
      “Roadrunner” Modern Lovers

 

JS:  “Every Breath You Take” The Police
      “Tyler” The Toadies
      “Keep On Loving You” REO Speedwagon
      “Walk” Pantera
      “This Love” Pantera

 

KB:  “Across the Sea” Weezer
      “Overcaffeinated” Yellowbirddd
      “I Only Have Eyes for You” The Flamingos
      “Caroline No” The Beach Boys
      “Debra” Beck

 

The meaning of ‘success’ has changed over the years. When will the new record be a success?

JR:  Pacific Radio is a “success”, but there is plenty of room in my bank account for more “success”

 

JS:  Success is the journey, not the destination.

 

HS:  To me… It already is. It was a huge endeavor and we’re all proud of it


KB:  I am with Hyke, this whole adventure is a blast, and we are constantly setting new high water marks for ourselves. I am just glad we get to keep doing it.

 

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