new music

Built to Hit: Mopar Stars on Official Researchers Of The NJ Devil

Posted on by patrickdonders

There’s an immediacy to Mopar Stars that doesn’t need much explanation. The songs hit hard, the melodies stick, and underneath the noise there’s a sharp eye for the contradictions of ordinary life: good days and bad ones, optimism and bitterness, getting by and wanting more.

On their new release, Official Researchers Of The NJ Devil, Mopar Stars have taken the raw energy of their earlier recordings and opened it up. The sound is bigger and clearer without losing its edge, giving the hooks, voices and sheer physical force of the band more room to land.

We spoke with N-A-O about making the record, the importance of lyrics, trusting the rest of the band, turning songs into something that hits hard live, and the unexpected response to the album so far.

The sound of Official Researchers Of The NJ Devil feels raw and immediate, but at the same time it is huge, melodic and incredibly catchy. How did you find that particular sound for Mopar Stars, and was it something you were consciously looking for?

I wanted the recording to sound modern and unpretentious. I also wanted the backing vocals to be very clear this time.

Our first two demos were all smashed onto cassette and have this murky, distorted sound. I’m a big fan of that, but for the LP I wanted to record more tracks and have them be immediately discernible and memorable.

As far as the songwriting goes, the melodic and hooky nature of the record is definitely on purpose. I tried to make it catchy, for sure.

There is a darker side to the album hiding inside all those great riffs and hooks. Songs like “Everybody Wants What I Got” and “Only Bar In Town” almost become bitter anthems about work, money, loneliness and the way people try to get by. How important are the lyrics to you, and do you see the songs as being connected by that darker view of everyday life?

I would say no, the songs aren’t connected by a pessimistic outlook. Some of the songs on the record are bright and sunshiny, and some are bitter and dark. As a person, I don’t feel the same every day. I wanted the record to reflect the good and bad qualities we all possess, and the good and bad thoughts we all think.

The lyrics are very important to me, and I take a lot of care when crafting them. The vocal performance and lyrics are the second most important thing that makes a song good, behind the drums!

What is the dynamic within Mopar Stars when you are writing and recording? How do the different personalities and ideas in the band shape the songs, and is there much pushing and pulling before a song becomes what you hear on the record?

There isn’t a lot of pushing and pulling. I write a completed song and teach it to the band.

That being said, the band is really good and we’re very comfortable together. I believe it’s important to let the band make their own parts, mostly. I basically let them do whatever they want, then edit with them. Bill also offers arrangement help and advice.

There is something very physical about these songs. You can almost imagine the room going completely nuts when you play them live. Was making a record that would really come alive on stage one of the goals when you started working on it?

It wasn’t a conscious choice when I wrote the record. I think the live forward quality of the record comes out more when we start playing the songs together in our practice space.

Everyone comes from punk music, so having it be “hard hitting” is something we absolutely consider.

The album is out now, so it has left your hands and people are starting to form their own opinions about it. What has surprised you most about the way people have responded to Official Researchers Of The NJ Devil so far?

I was surprised to sell out the first pressing really quickly. That was nice.

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.