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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.

The Hollywood Stars Shine Again with ‘Starstruck’: A Comeback Story

Posted on by patrickdonders

The Hollywood Stars are no longer just a legendary name from the past. After many years of silence, they released “Starstruck” last month, which was promptly voted the best Power Pop album of 2024 so far by Shindig. This accolade is well-deserved, as the eleven new songs are vibrant and high-quality, reflecting the class of a distinguished band.

George Keller, who joined as the lead guitarist in the spring of 2023, shared with the Sweet Sweet Music blog how “Starstruck” came to be.

You can find ‘Can’t Do It Right’ 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 involved a bit of magic and a lot of hard work. I joined the band in early 2023, and at that point, about half of the material for our new ‘Starstruck’ album was in place. Everybody in the band gets a songwriting credit on ‘Starstruck.’ I worked on a track called “Walking With an Angel.” We recorded the album in two marathon sessions, the first in March 2023 and the second in November. We recorded at Kitten Robot Studios in Los Angeles, and the album was produced by the band, our manager Loren Molinare, and longtime L.A. producer/musician Paul Roessler. We’re all very pleased with how it turned out and the reception from press and radio has been great.

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

Yes, during the recording of “Shortage of Love.” The track was recorded live and we didn’t have an ending. We played what we thought might be the ending, and then Loren, who also played some guitar on the album, kept playing and we all followed his lead. The song ended up becoming this anthem-like extravaganza that none of us had envisioned.

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 always good to check the outside “temperature.” 🙂

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

Our goal is to get as many features and reviews, and on as many radio playlists, as possible. So far, we’re accomplishing that goal. Of course, we would also like to play more shows.

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?

Every new endeavor has its highs, and my song “Walking With an Angel” comes as close to perfection as possible, with a great vocal by Scott Phares and wonderful interplay between the drums and guitar as the song fades.

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?

Naturally, and as a lead guitarist, I can be a bit of a showoff.

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

It’s in the thousands and spans many years. In June, we played an album release party at The Viper Room in Hollywood. The place was packed and there were many folks that we have known for decades in the audience. That show was very special and stands out to me right now.

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

You have to stop before the energy dissipates. Three takes should be the maximum in my opinion. If you can’t get it in three takes, then it’s time to move on.

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

There is a formula but you have to be careful and not become cliched. It’s difficult to define so you have to “trust your feelings.”

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

This question makes me think of our track “Shortage of Love,” which is both a title and a message to listeners.

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

Seeing the smiles on the audience’s faces and their bodies moving. It’s an immediate sign that the band is doing something right.

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

Yes, a very well-known poet friend of mine said my performance was so captivating, he forgot he knew me.

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

For ‘Starstruck,’ it was playing the lead guitar break to “Revenge” through a Marshall stack that was turned all the way up to the proverbial 11!

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

The Hollywood Stars create energetic, melodic, and memorable tracks. The band name has been around since the early 1970s so a lot of people have fond memories of this group’s music over the years. In the band’s early days, they were hit by a succession of tough breaks that derailed their career momentum. At this point, decades later, I think that the attention, and having the chance to still be making great rock ‘n’ roll is a wonderful tonic for all of us, but most especially our three members from the 1970s: vocalist Scott Phares, drummer Terry Rae, and bassist Michael Rummans.

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 photo was a happy accident and with a band called “The Hollywood Stars,” the name is synonymous with the film industry. Everything fits together nicely.

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.

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.

Introducing Dream Pony: The Irresistible Sound of Neo Glam

Posted on by patrickdonders

Dream Pony draws inspiration from the Ramones, The Velvet Underground, and The Strokes, crafting a unique sound they call Neo Glam. Their music could also be perfectly described as New York Pop. This debut album is simply irresistible.

You can find ‘TONIGHT’ showcased on the Best Power Pop of 2024 Spotify Playlist.

Sweet Sweet Music talked to Jordan D’Arsie.

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

I think there’s a line to be walked between some part of looseness and some form of structure. We usually have parts and things semi-worked out and understood, but a lot happens when the song is finally being put onto tape.

Usually, we kick it around a bit in the room until we are somewhat satisfied, and then we add things to it as we go. I think the thing is you’re chasing something, but you also need to be open to accept things that come along. Often, these elements present themselves, and when they do, you make the decision.

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

It’s not something I really think about while writing a song. I feel a good song is a good song, and whether it has commercial viability or not is not really a factor. There are so many amazing unknown songs, important songs to us that, for one reason or another, never really broke through to a commercial market. I think the exercise of writing a song needs to remain separate from any predetermined outcome, and that way, it’s able to form itself the way it wants to.

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

There are a few messages throughout the record. Different things hit you at different times, and also, people receive things in certain ways and have distinct takeaways. I guess that’s the pleasure of writing and reading.

There are a few lines scattered through the album that are hopeful, and I think in general, they are trying to convey to people to stay true to yourself and follow your heart. Lines like in “Sunday Suits,” “some people like to save all their money, some people like to favor their dreams” and “Suspicion Today,” “Do you remember that love, oh what it would feel like, I want you to know”.

Things like that, I just wanted to share some hope and convey that imagination can set you free amongst some of the darker themes that are throughout this album.

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?

That’s a tough one, there are so many! If I had to pick three, it would be John Felice from Real Kids; I just love his songs, energy, and everything about the band’s spirit. They really lift me up. Patti Smith would be another I’d love to have the opportunity to collaborate with. I’d love to see how her process of writing a song unfolds, and I don’t know what I could offer haha, but I’d love to be in the room and see what happens. My third would be Tim Rogers from You Am I; I’ve always been a big fan of his songwriting, and I’d love to see what unfolds. All of this being said, I’d probably be way too shy to be able to do it. I would certainly freeze up and likely say something really silly haha.

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?

Being our debut album for Dream Pony, we wanted to create something that reflected the album title Suspicion Today but also Dream Pony as a concept. I wanted to create a dreamlike space for the songs to exist within. I had this concept of something floating around like the bridge in our song “Sunday Suits” and the ethereal being out there, however, casting a shadow below so in some ways it floats but still touches something. We purposefully wanted it to cast that shadow and reflect some kind of tangible illusion. We sourced several objects and various horse statues that we workshopped until we came upon the cloud background and pony plush toy, which we named Tony the pony. The artwork was captured by our great friend and super-talented photographer Ryan Slack at Mediumplex studio in Brooklyn.

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.