The new year begins with all of the vibrancy of a guitar on overload! And that is because the latest full-length album from the power-pop-punk of the Joe Anderl-led The 1984 Draft arrives this week on January 19th! The Dayton quartet’s latest record will remind you that music does still matter and perhaps it means even more today. The new album combines the urgency of The Smoking Popes with the intensity of Bob Mould’s post-Husker Du project, Sugar, thrown headlong into the pure and direct heartbreak of The Replacements. The Draft plays every song like their lives depend on it.
The new record comes our way courtesy of the fine music-loving folks at Dayton, Ohio-based Poptek Records with assistance from Sell the Heart Records and Engineer Records (in the UK and EU). You can order the 12″ vinyl now or get a copy at the big record-release show in Dayton on January 20 at the legendary Yellow Cab Tavern. And we highly recommend that you go to the concert!
And speaking of that show, The Draft has invited friends and sonic heroes like Josh Caterer (Smoking Popes), Paige Beller, Shane Sweeney (Two Cow Garage), Josh Goldman (The Raging Nathans), Narrow/Arrow, Abiyah, and Josh Arnold to play the record release celebration. Best friends forever, indeed!
Time is running out to make your plans! But today is your lucky day because we are here to help! You can scoop up your advance tickets now and save $5 off the admission to the Yellow Cab Tavern in Dayton by grabbing that ticket a few days before the big show. Be a friend of The Draft and get a ticket now.
Drummer turned guitarist Kim Ware has been making emotionally powerful indie folk rock since 2009’s Bring on the Tambourines! Her last full length, 2019’s Prose and Consciousness merged her sense of melody with layered songwriting that pulled the listener into a rich world of Southern culture, meditations on life and efforts to improve ourselves. Kim’s music often raises questions about how we make real lasting relations in our communities. Stand out tracks like ‘Three’, ‘His Name was the Color that I Loved’ and ‘Wants + Needs’ brought Ware’s mature songwriting together with music that allows listeners to feel the experience even if it is for all too brief a moment. Kim has continued to release new music such as 2021’s ‘capital R (single)‘ and 2020’s powerful ‘Stopped Making Plans‘ and ‘Things Will Be Better in the Morning.’ These songs demonstrate her commitment to intelligent musical discourse. It was a real pleasure to correspond with Kim about her music.
1. What can you share with us about when and how you started writing your latest song, ‘Stopped Making Plans’?
This song had some pretty weird origins that were both very intentional but also very accidental at the same time! I say that because it came to be thanks to an assignment for a songwriting group I’m part of.
We meet on Mondays; it was a Sunday afternoon and I thought, “I don’t have a new song to share tomorrow.” The prompt was “foreign languages” so I simply started by thinking about countries I’d like to visit. My mind went to Germany first; my husband is from there but I’ve never visited. I was thinking about how my friend Andy had also booked a trip to Italy in late 2019 but of course it didn’t happen.
Anyway, I sort of organized those thoughts to be more about plans falling through, and missing loved ones. In the case of the Italy mention, rather than focusing on Andy’s trip I very intentionally thought about Michele Gazich. He plays violin for Mary Gauthier, and though I don’t know him well I’ve met him at Song School in Colorado, and we’re friends on Facebook. Back around last February / March, before Covid had severely impacted the US but was taking its toll on Italy, where he lives, he was posting about what was going on. It was so frightening. That, plus my working for a major digital publisher at the time (which happens to be health-focused), led me to take all this pretty seriously from the very beginning.
It’s been such a mental and emotional drain. I kept thinking it might be something I’d write about but it all just seemed too big. Suddenly, approaching it this way (very indirectly at first) just worked. Once I realized what I wanted the song to capture (the trials of last year, with a focus on plans being cancelled), it came together pretty quickly.
I also feel the need to say before writing it I had just finished reading Viktor Frankl’s “Man’s Search for Meaning” for graduate school. In it, he focuses a good bit on hope, and imagining a future, and how important it is to our existence. That seemed to be top of mind – that the roughest part of all this, for me (a natural planner) was adapting to not making plans.
2. In the past you have had strong collaborations, did the coronavirus/Covid-19 situation change how you wrote and worked on the song?
Very much. In November 2019, the Good Graces played our release show for “Prose and Consciousness.” That was such a wonderful experience, like everything just came together for that show. Little did we know we’d only be able to play a couple more together. I would have loved to have included the folks who played that show with me on this song, but logistically that’s a lot harder to coordinate now. I also moved last summer, from Atlanta (where they are all based) to North Carolina, to be closer to elderly family members. The combination of Covid plus just being in a place where I don’t know as many musicians meant I felt very, very isolated. That’s definitely changed how I work on music now. I wrote the song alone, and then recorded my guitar and vocal tracks at home. I sent those to engineer/producer Jerry Kee, and he added everything else. We’re working on a full album this way. Though it’s not what I would have imagined had you asked me last year how I’d make my next album, it’s working really well.
3. ‘Stopped Making Plans’ is a song that explores the impact of the pandemic, police violence and other social issues, did you set out to address these particular ideas when starting to work on that song?
Not at all! As I mentioned up top, it didn’t start out being about that at all. But, it quickly turned into that. I just wanted to be very honest. Those are the things that took so much of my mental energy and empathy last year. So once I started going there, I couldn’t really avoid them.
4. Many of your songs have addressed the strength or weakness of social bonds – is that a correct interpretation of some of the lyrics and the feel of your music? If that is correct, do you intend to write about social bonds and connections or did the song evolve in that direction over time?
That’s so interesting, and really insightful. I put a lot of thought into relationships, I suppose. And not just a-b relationships, but like my place, my role in a given community. How we all “relate”. And connections – that’s definitely something I’ve been very focused on exploring, for years now. All that said though, I don’t think I ever intentionally write about them. I’m very much an in-the-moment songwriter. Something comes to me, and I try to follow it. Sometimes I can shape it into something that makes some sense, but as often it falls by the wayside, I guess to make room for something else. I’m studying to get my master’s in counseling, and social bonds and connections is a big focus there. So I imagine that will continue to come up, either directly or indirectly, in my music.
5. How did ‘Stopped Making Plans’ come together musically for you?
Once I figured out the direction and general melody, the vocal part came together quickly. That tends to be what happens for most of my songs. The guitar part was the challenge. I’d say my finger-picking skills are pretty novice. But I really pushed myself to give this particular guitar part a real “part,” a real presence in the song. Really I thought the recorded version would stay pretty minimal. So I worked really hard to figure out that guitar melody and actually be able to execute it. The bridge was particularly tricky! But finally I got it; it’s a lot different from my playing on most all my other songs which is typically either very strummy and rhythmic, or very very simple, repetitive picking. Anyway, as I mentioned above, once I sent it to Jerry he had a very different vision for it! At first I wasn’t sure about it, but by the end I really loved everything he brought to it (and I still have my original demo with just me – that’s posted on my Bandcamp, too – If I ever really feel like hearing or sharing that more minimal version).
6. Where do you often derive inspiration to make music?
I think of songwriting a lot like dreams. I’ve always thought dreams just “mean” whatever you decide they mean, and if you asked someone else, they might have a very different interpretation. To me, dreams seem to mostly just be a way of processing whatever has happened that day. Songs are very much the same. I process through them. I’m not sure I “figure stuff out,” but – when I get it right – I manage to put something pretty complex and challenging for me to even talk about into a 3-or-4-minute piece of art. That is just the coolest thing to me! It’s the single thing I love most about songwriting.
So I guess I’m saying I get inspiration from challenges – but it’s almost never intentional. My mind just always wants to solve problems, I think. Or at least take a complex problem and break it down into something simpler, more manageable. I think it’s my need to do that that inspires me to write songs. It’s my means of processing.
7. How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from Set Your Sights (in 2017) to Prose and Consciousness (2019) to your recent music)?
I think it’s always been really personal and honest. That’s sort of the metric for me; sometimes I write for “side projects” and one of the things that makes it a Good Graces song vs. a song for one of those other projects is if it’s so honest that I’d probably be uncomfortable talking about it.
I think that’s been consistent, from my very first song back in ’07 or so. It’s evolved a lot; I guess it’s gotten a little more polished? And I’ve had a lot of different folks contribute to it over the years. They’ve all inspired and had an influence on me, the songwriting, and the final product in one way or another. I do think now I’m starting to veer just slightly from Americana and folk and maybe more towards indie and bedroom pop (which is a place I’m also pretty familiar with, I think my 2014 album “Close to the Sun” was more that sort of style). The southern influence isn’t going anywhere though, I think that’s unavoidable due to my vocals. But working with Jerry here recently, and him adding things like drum machine and keys, has made me realize a sort of different way to present the songs.
8. What is next for you musically? How would you describe your thoughts at this point for your next project after Stop Making Plans?
Jerry and I have about 16 or 17 songs we’re trying to get through this year. I think we’ve finished up 5 so far. I’d like to release a few more singles and then maybe around the fall or so start pulling everything together for an album. But that said, last year taught me to just sort of be more in the moment and not get too married to any one idea or method when it comes to releasing music. I recently launched a Patreon which I’m really enjoying – my focused is shifting just a little from “the next album” to “what am I making this week?” I will always love making albums though, and the format, it’s just that right now it feels like there’s got to be something more, or different from that, you know? One thing I’ve noticed is that I’m pretty burnt out on the traditional way of making and promoting music. It was getting so focused on likes, pageviews, followers, etc. That’s why I like doing things like Patreon. Sure, it’s great if the numbers go up. But for me what’s far more important is the connection I’m making through songs. If I’m even lucky enough to make one. That’s the greatest thing. I’m trying to focus more on little things that remind me of that connection.
Oh! I also recently launched a podcast that sort of talks about these things so I may as well plug that here! It’s called Quarantined With the Good Graces and you can find it on most all the podcast platforms. It’s an interview podcast and I’m releasing a new episode each Tuesday. At the moment, I’m focusing as much on that as I am my songs, and it feels really right to me.
9. What is your favorite song to perform? What makes it a current favorite in your performances?
It’s almost always “7-Year Sentence (Going to Hell)”. Back in Atlanta, I’d usually have a group of friends come sing the end choruses with me. It was a highlight of our shows, and really cathartic. I tend to sing that song louder and more emotionally than a lot of my other songs, and it always feels really good.
10. What is one message you would hope that listeners find in the unique nature of your latest music?
That we’re all struggling through this in our own way. If nothing else connects us, I think that does.
11. As a musician, how are you adapting to the challenges of the Coronavirus?
I’ve really been trying to immerse myself in my new life – my husband and I moved into my aunt’s old farmhouse at the beginning of this year. It’s right beside my dad’s peach orchard. He passed away a couple of summers ago, but being here, right beside everything that was so much a part of him, I feel really close to him. The other day I walked around the perimeter of the orchard; it was soooo cold! But during that time, I thought, this is exactly where I’m supposed to be, and exactly what I’m supposed to be doing in this moment. I guess that’s how I’m trying to adapt. By being present and focused on thethings that are important.
I left my day job at the beginning of the year (2021), so I could focus more on school and all this life stuff with the house and my family. So, I’m still sort of trying to figure out what my new life even is. But I’m also doing some things that I wanted to do but never had time to. I took an online improv class through Second City and I absolutely loved it. And I’m currently taking a songwriting class. That’s a little more like “work” for me, which is interesting. But I’m grateful to have a little more time to spend on that now. I’m viewing this time as a transition for me; I don’t feel particularly settled yet, but I feel like that’s starting to come more into view.
We want to extend our sincere gratitude to Kim Ware for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit Kim’s social media or to listen to various songs that were discussed! If any musicians or artists would like to participate in future ’11 Questions’ columns, please feel free to email us at drjytaa@gmail.com. All photos and images courtesy of Kim Ware/The Good Graces.
Some time ago songwriter Jayne Sachs agreed to answer our 11 Questions for this column! We appreciate Jayne taking the time out of her busy schedule to respond to these questions about songwriting, music making and performing. In 2015, she was a Daytonian of the Week!
Singer/Songwriter Jayne Sachs has been crafting songs in the Dayton Music Scene and beyond for several years. Jayne is currently a songwriter at Matt Lindsey Music in Nashville. She is an award winning songwriter with two first place wins in the prestigious John Lennon Songwriting Contest in the country and pop music categories, a rare occurrence. She is also a top winner in The UK Songwriting Contest and the International Acoustic Music Awards in the country category, we could go on and list the extensive recognition for her songwriting skills and techniques but that is not what this column is about. Our purpose here is to learn about songwriting and music directly from Jayne. However, I would be remiss if I did not take a moment to thank her because Jayne has also been very kind with her time agreeing to speak to Dr. J’s classes about music and songwriting.
What can you share with us about when and how you started writing your latest music?
For the last eight years I have been writing songs for pitching in the Nashville country market. Before this, I was in the indie/alt pop genre as an artist and performer.
When my dad on his death bed (sorry, I always go dark!) asked me about my future in music he asked what publishers do and if I could “get one”. I was pretty sure I couldn’t just “get one” but didn’t know enough about what they do and how I could actually ever get signed by one. I knew that publishers were located in all the music cities, with Nashville being the closest.
After my dad died, I received a letter that he had written to me while he was still alive. He told me how proud he was of my music journey and if I should ever decide to not continue, I should be happy with what I’ve done. Since I had no intention of slowing down I thought back to our conversation about publishers and decided to understand that side of the industry. One thing lead to another and I learned the country genre inside and out and actually ended up getting signed by a long time Nashville publisher. I write daily and turn songs into him for pitching. I wish I could tell my dad.
2. You worked closely with several musicians throughout your career, what led to your collaborations?
The musicians I’ve worked with the most and the longest are my band mates Steve VanEtten, Scott Shiverdecker and Kelly Morelock. I worked with Kelly prior to that with a different line up as well. What lead to that collaboration originally was my need for a live band, but also musicians who could take the songs and help arrange them in cool ways. Each one of these players is an expert on his instrument. Without them the songs would have remained acoustic based, but these guys put muscle behind my singer songwriter diddies.
3. Rain is a personal favorite, so I am curious about it. The song seems different to me from some of your other songs and music. What were you trying to capture with that song?
I wrote “Rain” about the music industry. But it’s a song that can be interpreted in any way that resonates with the listener. I guess I was feeling that the rain I was hoping for would wash the dirt of trying to get signed off of me so I could just feel free.
4. Rain also seems to address some ideas about expressing oneself. If that is correct, did you intend to address that theme?Is there a theme that you find yourself working with in your songs?
If that is your interpretation, then I meant to address it! I am all for the meaning of a song being how the listener takes it, except for my Nashville songs which can’t leave anything up for interpretation. Stuff is very literal in that market. But the theme of Rain for me is breaking out and washing shit off of myself and feeling carefree. I’ve always wanted to dance naked in an alley.. who wouldn’t?! Well maybe not in the bitter winter.. but even…
Rain is on a cd called Velveteen Girl. It was the only project I recorded with musicians other than my mates. I was working with a producer in Nashville, Lij Shaw, and he brought in his friends who do a lot of studio work. My band was on a break at that time as Scott and Steve already had kids and needed some time with their families. I’m proud of that cd and then my band emulated the songs so well once we got back together for live shows.
6. Where do you often derive inspiration to make music?
My songs as an artist tend to be dark and somewhat personal, whether they sound more ballad or more up tempo, sad or sarcastic. The song may not be about me specifically, but there is always an emotional bed that the song is lying on that I can relate to completely… the emotion. So to answer your question, the inspiration is the emotion. I may have just heard something that made me tear up, or laugh or feel empathy… and then if that feeling sticks around longer than a minute I may grab my guitar and try to dance with that feeling a bit. Listening to other’s songs that resonate with me is always inspiring. When I hear something I really love, my favorite thing to do is grab my own guitar and write.
7. How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey across your various projects such as your earlier music compared to the music you are making now)?
Writing for the Nashville market is what I’m concentrating on now but my journey in music started around age 18 at OSU when I started playing out a bit. As soon as I started writing original songs, I always wrote to perform them and then to record them and then to play them for an audience. I left music for a long while to have a normal career, even though I picked TV (a story in itself), but brought music back into my life in my 30’s. That is when I really got serious about writing and finding my true voice as an artist. That’s when I started playing live with a band and my career grew beautiful and crazy fun wings! This continued for years and years until I started writing for Nashville, a total shift in focus.
Learning how to write for the masses was like getting a PhD in neurosurgery. I dove into it with a fierce need to understand It and it’s been no different than learning a very specific skill.. or maybe brainwashing.. not sure! I feel I am a better writer now in general because I understand crafting for marketability purposes, but the trade off is not having the carefree heart as I did as an artist just writing for my project. I struggle to keep “me” in my writing now, but too much of “me” limits the chance of an artist wanting to record it. I’m writing for other artists now who are looking to record songs that resonate with them… and those artists are choosing songs that their audience will like… and those songs are being dissected by their label and team to figure out which ones could become singles and possibly a #1 on radio. So when I sit down to write now, I am trying to write a hit. And I’m still trying to keep a bit of me in it so I can still somehow relate to the emotion in the song.. but writing it in a way that will appeal to the masses. It’s f’n hard!! It’s the hardest writing I’ve ever attempted.
8. What is next for you musically? How would you describe your thoughts at this point for your next project?
I’m not sure what is next. I’m neck deep in Nashville. If I drown, I drown… but I’m a fairly resilient human who can dog paddle like an expert dog paddler! I’m extremely goal oriented and the goal is to get a major artist to cut one of my songs. I’m getting closer. Garth Brooks put a vocal on one of my co-written songs but then he ultimately passed on it. I heard that he sent it to another artist who he thought it might be better suited for. But we didn’t hear anything else on it. Ugh!! We were all holding our breaths on that one!
9. What is your favorite song to perform? What makes it a current favorite in your performances?
Oh let me see… a favorite? That’s hard to pick. I have a song I wrote for the Nashville market called “Somewhere” which I love to perform. I wrote it two years ago. It happened to win The John Lennon Songwriting Contest in the country category which was pretty darn validating.
10. What is one message you would hope that listeners find in the unique nature of your latest music?
Since my latest music is not for myself as an artist, I would say I hope listeners would still hear “me” in there as I struggle to keep that heart beating while writing in a completely different way.
11. As a musician, how did you adapt to the challenges of the Coronavirus? Is that changing for your now as music events are opening up again?
Since Covid, I’ve been co-writing via Zoom instead of being in a physical room with people in Nashville. I was traveling to music city every three weeks or so but I haven’t been back since the beginning of Covid. During the last year, I’ve done a few sets live via Facebook, so that is new territory for me. I miss the stage greatly. It’s where I honestly feel at home. Now that things are opening up, I hope to do a few shows every now and then.
You can follow Jayne Sachs on various social media including:
We want to extend our sincere gratitude to Jayne Sachs for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit Jayne’s social media or to listen to various songs that were discussed! If any musicians or artists would like to participate in future ’11 Questions’ columns, please feel free to email us at drjytaa@gmail.com. All photos and images courtesy of Jayne Sachs.
2021 was a solid year for independent music which is quite remarkable given the challenges that we all faced. Music has always existed as a way for us to process the dilemmas, struggles and losses that we face in life.
We are very excited for 2022 on Your Tuesday Afternoon Alternative! Our 18th year doing this radio show is shaping up great! Next week on January 4th we start strong right out of the gate with special guests Lavender Honey on the YTAA program! Their atmospheric funky electro dream pop debut comes out early in the new year. Their single ‘In The Evening‘ can regularly be heard on the show! You can keep up with their plans on twitter, Instagram and their webpage.
Age Nowhere
Then our pal Paul Monnin of Age Nowhere joins us on January 11th to talk about the terrific sophomore effort ‘Age Nowhere Strikes Again‘! We were blown away by the texture and real feeling of this band’s first record, Airport Sounds. The follow-up album is another example of the fine variety of music that is consistently released on Magnaphone Records! Authentic country music is all too rare these days. You can keep an eye on Age Nowhere on Instagram! And we suggest that you do so! Tune in on the 11th and hear Dr. J chat with Paul about the new record from them!
The Touchy Feelys
A week later on January 18th The Touchy Feelys come in and chat about their excellent new album – ‘Break Up Songs about Staying Together‘ which was produced by The Wizard Patrick Himes at Reel Love Studios! In fact, Patrick was involved with that new music from Age Nowhere, Neo American Pioneers, The New Old-Fashioned and more this past 2021. The Touchy Feelys play with well… passion and feeling that capture the weight and of relationships. You can learn more about their music on their bandcamp page! They are also on Instagram – you have to love the video of them slicing the cake with the cover of their new record on it!
The month concludes with our good friend Tom Gilliam in the studio for our annual memorial program! As is the case every year, Tom joined us for our annual indie holiday effort, made suggestions for our ‘faves’ of 2021 shows and is kind to join us to reflect on the musicians and artists who left this realm in the past year.
And the train keeps rolling down the track because in February as we have Samantha J King in the studio to talk about her new single — coming out you on January 7th! — and playing a few songs acoustic live for us. Then later in the month of love we have Kurt Lee Wheeler in the studio to discuss his amazing record ‘On Our Way‘ and playing a show at Yellow Cab Tavern! Don’t worry, we will be talking about these upcoming shows soon.
In our latest installment of ’11 Questions with…’ column, we are excited to feature Jeffrey Dean Foster. We reached out to him a few months ago with 11 questions for this column. He is a gifted songwriter, singer, guitarist and more. We want to publicly thank him for taking the time out of his schedule to answer these questions for us here at YTAA!
Jeffrey has been making some of the most thoughtful and energetic music being made anywhere over four decades. His music encompasses a compassion that is direct and reflective. Jeffrey is able to create rock, folk, alt-country among other genres that feels inviting and invigorating. His touch with a lyric demonstrates both his fresh insight and a call for recognizing the connection and community that we all have a place we can call home together. Add the swirl of electric guitars, bass, drums and keyboards to the mix and then the music feels like an invocation!
Jeffrey Dean Foster has been making music in a prestigious list of bands for quite some time: The Right Profile, The Carneys and The Pinetops are on his resume! He has had an active solo career as well. The Right Profile was sought after and signed by Clive Davis for Arista Records. In these groups and in his solo work, he has created music that tells stories about the social bonds that hold us together even when we do not feel that comfort. His latest record, ‘I’m Starting to Bleed’ is being released on vinyl this weekend for Record Store Day (on Saturday, June 12 this year). All proceeds from vinyl sales will go to support The Shalom Project based in Winston-Salem, North Carolina – an organization that supports families in need. Chris Stamey, The Veldt and The Backsliders are all releasing EPs for The Shalom Project as well. On July 30th ‘I’m Starting To Bleed’ will be made available on CD and on all streaming platforms.
‘I’m Starting To Bleed’ channels an inner dialogue over how to combat cruelty and a loss of compassion. Like so many of us, Jeffrey Dean Foster watched the social protests following George Floyd’s murder and he felt the need to respond to the inhumanity and hostility of that senseless death. ‘I’m Starting To Bleed’ is a musical response to that loss. While wide-eyed and recognizing the challenge in creating change and reimagining healthy communities, the songs on this record move between an almost pastoral, agrarian feel to passionate Big Star and Kinks influenced rock and roll. Several of the songs, while hopeful, carry the weight of the difficult worlds we find ourselves challenged to change and remake.
Dr. J: What can you share with us about when and how you started writing your latest music?
Jeffrey Dean Foster (JDF): I never really stopped writing but this past pandemic year did give me some impetus to focus a few things. Having the world kind of stop and be still had it’s good points.
Dr. J: You worked closely with Don Dixon and Mitch Easter, what led to your recording with them?
JFD: I’ve known them for 35 years. Dixon was one of the first “rock stars” that would talk to me when I’d go see his totally rocking band Arrogance. They had really great songs AND they were gloriously loud in the clubs. Mitch produced the very first record that I ever made around 1982. Since then Mitch and Don have been involved in almost every record I’ve ever made in one form or another. Dixon produced a tape that ultimately got my first band [The Right Profile] signed to Arista Records. Mitch has mixed my last two albums (‘Million Star Hotel’ and ‘The Arrow’) They are just trusted friends that I can call on for musical or life advice.
Dr. J: Tell Somebody is a personal favorite, so I am naturally curious about it. The song is compelling and driving musically. The lyrics seem very optimistic. Did you set out to write a song about human connection when starting to work on that song?
JDF: I think I was alone at home one night and some fave musician had just died. That of course is going to keep happening with more and more frequency as time marches on. My last album The Arrow seemed to have a lot to do with mortality and we lost a lot of friends in the years leading up to it. Most of Tell Somebody came really quickly as just a wake up call to reach out to your pals and loved ones before you can’t.
Dr. J: Headin’ Home also addresses other connection and the comfort of home – is that a correct interpretation of some of the lyrics and feel of the song? In addition, if that is correct, did you intend to address connection, love, and community or did the song evolve in that direction over time?
JFD: Headin’ Home was definitely a product of the pandemic lock down way of life. I just started playing and singing about homebound snapshots. It’s a bit of a laugh. I recorded it all real quick and then made an entire video on my iPhone in several hours. It was pretty tossed off but it kind of inspired me to see that I could do that, record something at home that folks might wanna hear.
Dr. J: How did the ‘I’m Starting To Bleed’ record come together musically for you?
JDF: After week after week of police brutality last spring and summer I wanted to get something out of me. I didn’t know if anyone would ever hear it or even if they should hear what a white singer songwriter had to say about any part of the black experience. I thought a lot about that and almost thought that it shouldn’t see the light of day. After talking to some friends I came to terms with it. Michael Kurtz from Record Store Day heard the song and came back with the idea of putting it out as a vinyl EP for Record Store Day. We decided that it would be a benefit for The Shalom Project where I work. I help run a free medical clinic, food pantry and clothing closet there. We even talked some of my other NC friends into contributing an EP for the cause. My old friend Tabitha Soren of MTV News fame had the perfect photo for the album cover too.
Dr. J: Where do you often derive inspiration to make music?
JDF: I live out in the woods on a lake and every window I look out shows me some kind of nature and wildlife. I don’t end up writing songs about that wildlife but I think it makes me feel part of something larger than me. A lot of my songs can be pretty internal and puzzling and I like that. The songs that are making up the ‘I’m Starting to Bleed’ record are probably the most straightforward and external that I’ve written. More outward looking than inward.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from ‘I’m Starting To Bleed’)?
JDF: I’m not the one to tell you much about the songs that I come up with. I’ve think people that I like write songs because they can’t talk about the ideas or emotions in them. I’m totally fine with art not spelling things out for me, whether it’s Bob Dylan or David Lynch. I’ll tell you one bit of trivia though. When I was writing and recording I’m Starting to Bleed I wanted something almost like a Smokey Robinson song but with a healthy shadow of dread. Of course, I can’t come anywhere close to Smokey but that was something to shoot for.
Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project after I’m Starting To Bleed? You can read an early review from The Big Takeover.
JDF: I have some other tracks already mixed and I’d like to finish a few more and make a new full length JDF album. ‘I’m Starting to Bleed’ feels like a kind of special record. Everything about it could have only happened in this weird time of 2020/2021.
Dr. J: What is your favorite song to perform? What makes it a current favorite in your performances?
JDF: Well nobody is performing much these days. I have a song called ‘So Lonesome I Could Fly’ that I’ve probably played more than any other. It’s had a full life, from being covered by Marti Jones to being included in the soundtrack to the Ang Lee film ‘Billy Lynn’s Long Halftime Walk’ I still don’t get tired of playing it.
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
JDF: Any message that listeners can tune into is fine with me. If they feel anything, you’ve succeeded in some way. I just know that music that affected me during my life just got under my skin and now is just part of me. I mean ‘Waterloo Sunset’ by The Kinks might as well be tattooed on me. It’s that much a part of me.
Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?
JDF: I’ve done some streaming shows that some very professional and careful people having arranged. Playing on good looking stages and filming and recording the happening and then beaming it out to the internet. I have no desire to try and take some dumb shortcut and try and get folks packed into a club scene. I’m comfortable out here in the woods too!
You can follow Jeffery Dean Foster on various social media including:
We want to extend our sincere gratitude to Jeffrey for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit Jeffrey’s Bandcamp page! If any musicians or artists would like to participate in future ’11 Questions’ columns, please feel free to email us at drjytaa@gmail.com. All photos and images courtesy of Jeffrey Dean Foster.
In our tenth installment of ’11 Questions with…’ column, we are excited to feature Kyleen Downes. She is a gifted songwriter, singer, guitarist, pianist and ukulele player. We want to publicly thank Kyleen for taking the time out of her schedule to answer these questions for us here at YTAA!
Kyleen have been making some of the most open and energetic yet introspective music in the Dayton Music Scene. She has a clever way with words that inspires listeners while not feeling calculated to produce a particular feeling. Kyleen is able to turn a phrase in a way that is direct and welcoming. Her insightfulness allows a listener to see themselves and their experiences cast with an unfailing honest optimism and generosity of spirit that opens the heart.
Kyleen has been making music since 2009 when she took inspiration from the social bond of those involved in the Dayton music community. This sense of attachment and commitment led to 2016’s ‘Maybe Sometimes.’ This first collection of songs from Kyleen demonstrate her range as both a vocalist and multi-instrumentalist. The seven songs on this album stretch across a continuum of personal reflection (‘Things Change‘) to the accessible optimism of finding those splendid moments with those you care about (‘Perfect Ending‘) and the percussive staccato of ‘Talk Like You Don’t Know‘.
Kyleen’s next record in 2018 was the enthusiastic ‘Friends‘ EP. Kicking off with the driving ‘Exhale‘ and then flowing into the rocker ‘And So It Goes.’ An excellent One-Two punch. The upbeat attitude on ‘Goes‘ pulls one into a happy space. The next two songs, the confessional ‘Six Years‘ and imaginative ‘In Dreams‘, showcase creative guitar work and inventive lyrics. The album demonstrates her humor and continuing evolution as a songwriter. ‘Friends‘ marks Kyleen’s collaboration with producer extraordinaire Patrick Himes. Himes’ analog approach to recording allows the songwriting to stand on its own in a way that digital recording all too often interferes with. Instead of approaching recording the music in an overly serious manner or in a heavy handed way, Downes and Himes establish an accessible palette that still explores deep and real emotion. The delightfulness of the album is a strength. The partnership with Himes will lead her to the most recent album ‘Come On Sit Down.’
Come On Sit Down opens with the community jam ‘Give Up The Ghost.’ The handclaps and percussion drive this sing along! The next song, the single, ‘Last Drop‘ demonstrates the strength of Kyleen and her band. They can move across genres, styles and arrangements surprisingly easily without feeling contrived. Authenticity is a rare pleasure in popular music. Kyleen’s background in music and as a guitar teacher/instructor are consistently illustrated on this record. The background vocals from a Dayton Power trio of vocalists — Khrys Blank, Amber Hargett and Heather Redman elevate ‘Last Drop‘ into a remarkably evocative ending. ‘All My Life‘ leads the record into personal reflection which is then followed by the poppy ‘Keep Your Ways.’ ‘Tiny Little Table‘ courses with an electricity and humor that are distinctive to Kyleen Downes. The album closes with the meditation on thankfulness of ‘In The Dark.’ Consistently, Kyleen’s lyrics are descriptive, accessible and deeply affecting. If you have had the opportunity to see her perform, you know that Kyleen’s stage presence is charismatic.
Dr. J: What can you share with us about when and how you started writing your latest album Come On Sit Down?
Kyleen Downes (KD): I had written a few new songs in 2018 and started working on them with the band. I booked some studio time in November of 2018 and unfortunately, the band hadn’t had enough rehearsal prior to going into the studio.
I went to the studio solo and brought in two low-key songs, In the Dark and All My Life. I had initially thought of releasing a few singles but once the band started recording in 2019, the song list began to grow. So I figured I’d hold out and do a big sha-bang of a full length LP to be released on vinyl (a first for me!) I really liked the idea of combining songs I worked on with the band, with the songs that I fleshed out in the studio with just myself and my producer Patrick Himes.
Dr. J: You worked closely with Patrick Himes at Reel Love Recording Company here in Dayton, Ohio, what led to your recording with Patrick?
KD: Patrick reached out to me several years ago, just to say hi and introduce himself. Which is a great example of just how cool Dayton musicians are! I knew of his work through Paige Beller when he worked on her live album, Live and a Person. After seeing her show and hearing that recording, I knew once I had material to record I wanted to work with him. It’s an added bonus that he records analog, or to tape, because that was a new experience I wanted to try!
Dr. J: ‘Myself’ is a personal favorite, so I am curious about it. The song is compelling and driving musically. Yet the lyrics seem to address loneliness. Did you set out to address the concerns and challenges of human connection when starting to work on that song?
KD: I really appreciate the thoughtfulness of this question, it’s almost like you knew my state of mind when I wrote it! I was spending a lot of time by myself and with my thoughts. Even after spending time with others I was coming home to just me. I had recently gone through a very challenging separation after a long relationship. I was desperately trying to find security within myself, because I was realizing how it can be unhealthy to have it only come from someone else.
Dr. J: All My Lifealso addresses other connection – is that a correct interpretation of some of the lyrics and feel of the song? In addition, if that is correct, did you intend to address connection, love, and relationships or did the song evolve in that direction over time?
KD: That song came out of strumming chords in waltz time, which I wonder if that made me feel a certain sweetness about it when the lyrics started to flow. It’s definitely rooted in the sense of connection you feel when you realize you’ve longed for a certain feeling all your life and now that you have it, you must not take it for granted.
Dr. J: How did Myself come together musically for you?
KD: Funny enough, it came to life after opening my front door and hearing a melodic squeak from the hinge. I hummed it and went down to my basement to harmonize it on the guitar. Then I let the lyrics flow. I was so caught up in this song, I wrote some of it while sitting in my personal finance class, haha! The song was originally an acoustic song, but when I was prepping to take it into the studio, I really wanted to play around with amping it up. I started by playing it on the electric guitar and then adding some guitar parts. I heard a song on the radio one day and used that for my drum inspiration. I’ll be honest, it still feels like a puzzle to me, so I’m really happy to hear it resonates with you!
Dr. J: Where do you often derive inspiration to make music?
KD: Through listening to music. As a kid, I loved singing a catchy song or letting music transport my daydreams. Then once I started playing guitar, the sound of it inspired me to create different musical ideas. So often, I will come up with an idea after or while listening to music. If I connect with the vibe, I like to channel my own version of it. And undoubtedly if there is a guitar in my hands, I end up playing something that catches my ear and I want to start fleshing it out (which can sometimes lead to late bedtimes, ha ha!)
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from Friends to Come On Sit Down)?
KD: I describe my music as sonically approachable. As I’ve progressed, I’m getting more comfortable with taking risks and I feel/hope my music has become a little more candid since the beginning of my journey.
Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project after Come On Sit Down?
KD: I have several thoughts on future projects BUT I know I need to focus on the material first. There are several songs I am excited to finish. I think once the music comes to life, the projects will reveal themselves more clearly. I’ve also lost a few songs along the way because they get pushed aside once a project starts. I plan on finding them though! (They may have fallen under my couch, who knows!?)
Dr. J: What is your favorite song to perform? What makes it a current favorite in your
performances?
KD: I LOVE performing Tiny Little Table, it has SO much fun guitar stuff. I have a looper pedal which allows me to layer different guitar riffs and solo. I use my looper to harmonize vocals as well, which is a new skill for me. When I am playing with my band, Six Years will forever energize and empower me!
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
KD: We are all human and we are only human.
Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?
KD: I’ve taken this forced downtime to put effort into my website, creating a virtual store, and performing some livestream shows. I’ve learned a lot about the different technology available that can help me be more creative and produce new content. I’ve also been maintaining a consistent newsletter. I used to get so overwhelmed about writing a newsletter, but now I’m so happy about being able to engage with people, it’s become a fun part of my month!
You can follow Kyleen Downes on various social media including:
We want to extend our sincere gratitude to Kyleen for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit Kyleen’s Bandcamp page! If any musicians or artists would like to participate in future ’11 Questions’ columns, please feel free to email us at drjytaa@gmail.com. All photos and images courtesy of Kyleen Downes and Gary Mitchell.
In our ninth installment of ’11 Questions with…’ column, we are excited to feature Todd Farrell Jr of Benchmarks. Todd is the main songwriter, guitarist and vocalist for the Nashville based band. We want to publicly thank Todd for taking the time out of his busy day to answer these questions for us here at YTAA!
Benchmarks have been making some of the most thoughtful and passionate rock and roll of the past several years. Lyrics that elevate the listener to personal introspection rather than confound. Todd’s lyrics about the past, community, connection and challenges of everyday life reached an incredible level with the band’s album Our Undivided Attention in 2017. The band returned in August 2020 with the exceptional Summer Slowly.
Benchmark’s first album in 2015, American Nights, set the field for their energetic and reflective songs. The album included compelling narratives that were both relatable and organic. The record featured ‘Roman Candles,‘ ‘April Fire’, ‘American Nights’ and ‘Paper Napkins.’ The last song being revisited in 2017 on Our Undivided Attention. As Todd sings on ‘American Nights’ “It was a middle Tennessee Summer, It was 102 degrees, we had everywhere to go and nowhere to be, there’s a million ways for people, to get to where they go, some prefer a ladder, we prefer the road, let’s get out of here while we still can, lets get out of here while we are still alive.” Much like songwriters who capture the experience of being both free and stuck in place at the same time, Benchmarks have a way with feelings of alienation and connection. Their music recognizes that the bond we have between us is fragile and constricting at the same time. The songs on Benchmarks records realize the simultaneous dream and nightmare that comes from carrying along with us where we think we belong.
The band followed American Nights with the stellar Our Undivided Attention. The album opens with the evocative ‘This Year’ and launches into the poppy ‘Frames’ and then the other eight songs explores the emotional terrain of life, challenges of making and touring music and revisiting the ups and down of childhood and friendships. The album closes with the optimistic and impactful ‘Next Year’ with the chorus we need to hear: ‘I know next year, things will be better.” The lyrics are extraordinarily descriptive, clever and absorbing. Recognizing that we are our own worst enemies and coming to terms with that in a way that is not dismissive remains the lyrical superpower of this band. 2018 led to a split release with Bud Bronson and The Good Timers that included ‘The Good Fight.’ Almost two years later, Benchmarks released their latest record, Summer Slowly.
With Summer Slowly, the band explore nostalgia, regret and memory using elements of punk and rock and roll to convey introspection and reflection without compromise. The swirl of the guitars, the passionate drumming, and innovative bass lines come together to musically support the themes and narratives that are the heart of the lyrics. The songs are not about stories, they are about feeling and understanding our experiences. A welcome indie rock sensibility emanates from this record.
Dr. J: What can you share with us about when and how you started writing your latest album Summer Slowly?
Todd Farrell (TF): I started writing this record before the last one (Our Undivided Attention) even came out. I was on the road with Two Cow Garage a lot, and kind of unsatisfied with much I was doing musically. I wasn’t very satisfied with the last Benchmarks record, and I felt like I was limited in what I could do with Two Cow. After walking away from that band, I took a guitar gig on a tour with my friend Sammy Kay supporting the Creepshow for 6 weeks in the US and Canada in the Fall of 2017. On about day 4 of this tour, my wife and I found out we were pregnant with our first child, which made an already long tour even longer. I did a lot of thinking and soul searching on that tour, trying to figure out what makes me happy, and what wanted to do, and what kind of father I wanted to be for my kid. Simultaneously, watching the continent change from Summer to Fall from a van window influenced a lot of the imagery and shaped the overall theme. I was also listening to a lot of music that may be outside the normal realm of what people probably associate with this band… lots of black metal, synthwave, dark pop, etc. I loved the textures and melodrama to it, and wanted to apply those moods and sounds to what Benchmarks does. I also wanted to embrace playing big dramatic guitar solos again. All of this sort of came together at the same time, and when I got home from that tour, I had a good outline of what I wanted to do with this record.
Dr. J: What is your approach like in the studio? What are your biggest challenges when creating new music? What is the biggest reward for you when making new music?
TF: Because we record ourselves in a very limited environment, the studio process can take… some time. We recorded the drums in a cabin west of Nashville, and the rest of it in Jack’s (drums, co-producer) bedroom. I know a lot of people joke about the DIY thing, but we literally built an amp box out of plywood and foam, and a vocal booth out of PVC pipe and moving blankets. Part of the studio approach was literally “making” a studio with power tools in my garage.
Because of this, our biggest challenge is probably knowing when to stop. Because everything other than the drums was an overdub, it meant we could add a thousand guitars to a part if we wanted to. We set some rules early on though… no more than 3 guitar tracks at once, unless it’s a guitar solo. The other challenge is just time. During the time we made this album, band members got married, had kids, worked their jobs, moved, changed jobs, not to mention going on tour and playing shows and dealing with other band and life related issues. Trying to be a good partner, parent, and friend while trying to handle making a record is incredibly challenging.
However difficult, finally getting this one out has been incredibly rewarding. There’s, of course, all the superficial stuff like blogs putting us in their “Top 10 of 2020” etc, and I would be lying if I said we didn’t read that stuff. We do, and it’s really amazing that people responded to the record in a way that influenced them to set it in such high esteem. More importantly, I’m very proud of this record because it very clearly captured a moment in time for me. This is something I will be able to show my children, if I never make any music ever again, and say “this is what your dad’s art sounded like”. I think I finally said (both lyrically and musically) what I wanted to say in a full record. The timing of its release was also interesting. The messages in the songs (very much about change) came at a time in this country where we’re dealing with the pandemic, experiencing a new surge in the fight for racial justice, and all the other socio-political issues happening all at once. People were able to relate and find comfort in the songs while dealing with a very real and at times terrifying reality, and I’m very proud and happy that people were able to feel some sort of sanctuary in it.
Dr. J: Technicolor is a powerful song for those who seek human connection away from the technology that we use every day; did you set out to address the concerns and challenges of social connection outside of screens when starting to work on that song?
TF: “Technicolor” is one of my favorite songs on the record for many reasons. Of course, the technology aspect is there. I was (and am still) having a love/hate relationship with social media and my phone. If I had the guts, I’d switch to a Nokia brick and go about my day, but I realize I have other needs and uses for a smartphone and all the things that come with it. I still don’t really have an answer, other than deciding that my happiness is not determined by how many Spotify plays my band gets, or how many likes a post gets, or even how many tour dates I’m able to post about. If I had a manager, they would hate to hear this, but I’m happy to just be able to make music and not feel the need to push it into people’s faces. If people like it, they like it. I’m not here to force my friends to consume my art just because they’re on the same digital platform that I am. I just want to make cool shit, put it out there, and hopefully it makes someone out there feel good.
Dr. J: Summer Slowlyseems to address themes related to isolation and the vulnerability of community – whether self-imposed or a result of social lives that we do not stop and think about. I am thinking songs like The Good Fight, Technicolor, Our Finest Hour, Holding on to Summer, The Price of Postcards all raise questions about connection and community, would you say that a fair interpretation? In addition, if that is correct, did you intend to address how we are connected to one another or did the songs evolve from other concerns?
TF: Absolutely. I think we take for connections and relationships for granted in effort to achieve some sort of social status. I think we’re pretty conscious of it too, but we don’t really care because we’re all starved of true companionship and interaction, so we need the endorphin rush of the “like” button. As I said previously, I am certainly guilty of this too.
Dr. J: How did Our Finest Hour come together musically for you?
TF: “Our Finest Hour” started as an effort to write a Japandroids type song. I wanted something with a quick drum beat and a very anthemic chorus about good vs evil, etc. The key change guitar solo is one of my favorite moments on the album. I was playing it in my living room on an acoustic guitar shortly after the 2016 election, and the women’s marches and the immigrant marches were starting, and the lyrics sort of came from my thought process on what I want to say that might help the cause, and what I want to say that might actually hurt the cause because of who I am. I wanted to make very clear that as a straight, white, male person who wants to be considered an “ally”, I did not want my words to take the place of those who are less privileged than I am. I just want to try my best to fight, but be conscious of those I’m fighting for, and have conversations with them before I just open my mouth. It was difficult to construct the words to properly convey what I was trying to say, but I think I at least got close.
Dr. J: Where do you often derive inspiration to make music?
It’s a cliché answer, but life and the human experience. I think the most interesting stories aren’t necessarily about these big and bold characters or events that everyone has heard about, but everyday thoughts and emotions. Lyrics usually stem from a conversation, or a phrase of some kind that I overheard and made me think about what it means. The music comes from an emotion or feeling, and wanting to fully unpack it into riffs and melodies.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from Our Undivided Attention to Summer Slowly)?
TF: The band has a lot of inside jokes as to what kind of music we make, like “arena emo” or “blackened pop punk” or “post orgcore” etc. I think Our Undivided Attention is an interesting experiment in us trying to figure it out. I think half of that album fits nicely with what we do now, and half of it sort of missed the mark for what we were trying to do. At current, we’re a rock band because we play distorted guitars and bass and drums. There are pop elements, there are punk elements, there are Iron Maiden guitar solos and Taylor Swift hooks (I mean, we wish). With this album, we tried to sort of throw the parameters out the window and just make cool music.
Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project after Summer Slowly?
TF: At current, I think I’m going to take a break from Benchmarks. With the pandemic still in full force, there are no tours or shows to happen anytime soon, so I’m going to take the opportunity to focus on some different projects. I’ve sort of unintentionally started an internet melodic black/death metal band, so I’ve been demoing that. I have a lot of songs that don’t necessarily fit into the Benchmarks format, so I may try and put them together and release some solo material. After it took so long to construct this album, I want to try and do something completely different and just put out as much music as I can, as it comes up, regardless of how it fits together genre-wise. If I write a metal song, I’m going to record it and put it out there. If I write a folk song, I’m going to record it and put it out there. No sense of waiting anymore. Hopefully we all survive the next year or so, and maybe I’ll be ready to put together another full-length Benchmarks record.
Dr. J: What is your favorite song to perform? What makes it a current favorite in your
performances?
TF: This is a hard one, because Summer, Slowly contains so many of my favorite songs, but almost none of them have been performed live, and certainly not since the album has been out. On the Our Undivided Attention tour cycle, we often closed with “Next Year”, and it was really fun to have the anticipation build to the crescendo of that song. It’s a fitting parting song, and usually some of the other bands and members of the crowd would jump on stage with us and sing the lyric “I know next year things will be better”. It sort of captures the intention of that song. We’re here, and things are loud and noisy and messed up, but we’re all together.
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
TF: What I hope we capture in our music is a sense of belonging and companionship. We’re not the best band out there, but we’re not in it to be the best. Whether it’s aggressive or contemplative, we just want to make music that makes us feel good, and hopefully makes the listener feel good too.
Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?
TF: What I hope we capture in our music is a sense of belonging and companionship. We’re not the best band out there, but we’re not in it to be the best. Whether it’s aggressive or contemplative, we just want to make music that makes us feel good, and hopefully makes the listener feel good too.
You can follow Todd Farrell and Benchmarks on various social media including:
We want to extend our sincere gratitude to Todd for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit Benchmarks’s Bandcamp page! If any musicians or artists would like to participate in future ’11 Questions’ columns, please feel free to email us at drjytaa@gmail.com. All photos and images courtesy of Todd Farrell/Benchmarks.
After a hiatus of a few months, we return with our eighth installment of ’11 Questions with…’ column. We resume these articles with an interview featuring Smug Brothers‘ songwriter, guitarist and singer Kyle Melton. We want to publicly thank Kyle for taking the time to answer these questions!
Smug Brothers have been a prolific and active band without sacrificing quality. The vision for Smug Brothers is reflected in the interests, lyrics and approach that Kyle Melton has crafted for the group. The development of this band parallels the songwriting focus.
Smug Brothers begin in 2005 with the exciting debut record, Buzzmounter. This record featured the driving Valentine Chapel. In the beginning the band’s music was written by Darryl Robbins [The Motel Beds, Overthought Musik‘s numerous side projects] and the vocals and lyrics were created by Kyle Melton. Over time, Smug Brothers transformed into a cohesive band adding several musicians and artists into its indie rock sensibility. The eventual addition of Ex-Guided By Voices and Swearing at Motorists drummer Don Thrasher on drums and percussion and the departure of Darryl Robbins transformed the band. The addition of guitarist Brian Baker [Brat Curse] and then Scott Tribble added sonic texture to the group’s sound. Several talented bass players have participated in this project over the years including Marc Betts, Lurchbox’s Larry Evans and the current bass playing of multi-instrumentalist Kyle Sowash [The Kyle Sowashes]. While additional lineup changes have influenced the sound over the years, the vision for the project has stayed true to an imaginative concept for the most impactful and concise indie pop sound.
The band has been incredibly active from 2005 – 2019, releasing several excellent Midwestern indie rock album including the fantastic On The Way to the Punchline, the powerfully inventive Woodpecker Paradise and the amazingly accessible and catchy, Disco Maroon. In a just musical world (do not hold your breath waiting!), Disco Maroon would have produced top 40 singles with ‘Hang Up’ and ‘My Little Crowd Pleaser.’
In 2019, with the record Attic Harvest the band released its first record on vinyl — which is an important achievement. The group also released Serve A Thirsty Moon in that same year which speaks to their productivity! And to add more fuel to the idea of productivity — in the past challenging year because of the pandemic — the band was still able to release two terrific EPs, Room Of The Year and Every Surface Under Heaven and the single ‘Flame Verbatim.’
Originally formed in Dayton, Ohio and then Smug Brothers HQ relocated to Columbus, Ohio, Smug Brothers have released some of the most catchy, interesting and melodic Midwestern indie rock and roll in… well, the Midwest and beyond.
Dr. J: What can you share with us about when and how you started writing the latest album Room Of The Year?
Kyle Melton (KM): Much of Room of the Year, as well as ‘Flame Verbatim’ and Every Surface Under Heaven, was written between fall 2018 and fall 2019. I was working from home during that year and had a guitar handy a lot of the time. We whittled down a batch of about 100 songs to 30 or so that we liked best, then set to work recording in December 2019 and got the 12 songs that appear on these three EPs before COVID-19 hit and we couldn’t get together to work on any more.
Dr. J: What is your approach in recording? What are your biggest challenges when creating new music? What is the biggest reward for you when making new music
KM: For these three most recent single EPs, we stuck with our tried-and-true method of Don [Thasher] and I getting in a room together and hashing out a rhythm track to build off. With the COVID-19 situation this year, we had to figure out how to get [Kyle] Sowash to record his bass parts from where he is. Scott had done a lot of work from his place and sent it over with Serve A Thirsty Moon, so we had that dialed in. For us, the biggest challenge is making time to get things done. As you get older, there are a lot more obstacles to getting music done than when you’re 25. I think there are levels of rewards: when you know you have a good basic track with a good energy you can build up, when everyone’s parts get added and the picture becomes more complete, when you add the extra touches to flesh it out, when you have a final mix/master that is what is going out. The whole process is still just such a buzz, really.
Dr. J: Freshman Zephyr is a fascinating song. There are some of the classic elements of the band and some exciting experimentation. In particular, for me, the use of electronics/keyboards adds an unexpected dimension to the song. When I expect a guitar part to come into the mix, a keyboard/electronic part does instead. Did you set out to explore a more expansive sonic feel when starting to work on that song?
KM: We’re always trying to figure out how to expand what it is we sound like, so I think Freshman Zephyr is in that lineage a bit. Scott really turned us more toward adding keyboards in a way we didn’t previously, so that’s largely his contribution. We rarely set out to do anything more than whatever the song asks us to do, really. It’s usually pretty obvious if something is going to work for a song or if we need to push out past ourselves to figure out what the song needs. And we typically know when we’ve found something we all like.
Dr. J: Room of The Year seems to address themes of existence apart from the technology that we have become so comfortable using without asking what it means to be so dependent. I am thinking Radiator One, Good To Know Your Axis and Freshman Zephyr lyrically raise questions about technology. Would you say that is accurate? What themes were you addressing?
KM: Sure, there are flashes of coming to terms with technology in a lot of what I write. I think it’s just so prevalent in our current lives, that kind of thinking is going to be part of what I’m talking about. I have a very love/hate relationship with technology, as I’m sure a lot of us do. But I think we’re all working to find where we strike a balance between the benefits and whatever our humanity is. Where is your axis, you know?
Dr. J: How did Freshman Zephyr come together musically for you? How does that compare with Good To Know Your Axis?
KM: I think those songs have very different base identities: Freshman Zephyr is more in the pop house and Good to Know Your Axis is more in the postpunk range. So, from that standpoint, we would work on them with very different ideas in mind; you can’t really do the same kinds of things with both of these songs. We built them up in a similar way, but the four of us have developed a good unspoken language of what different types of songs would ask you to do.
Dr. J: Where do you often derive inspiration to make music?
KM: I always have the itch to make music. The struggle is getting it down on the phone or on tape in a timely fashion. The inspiration is everywhere, really. Listening to what other people are putting out is always inspiring. Going back and digging on things I’ve heard countless times but finding one new nuance, that sets off an idea. Things people say on TV or the Internet or in a text message. All of it has potential to trigger me to get to work.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from Attic Harvest to Serve A Thirsty Moon to Flame Verbatim and Room of the Year)?
KM: I have to feel some kind of energy from the connection between the words and music to get things going. I tend to write words and music separately, so when I try and put them together, I’m hoping there is a cool thing that happens. And there’s a big range, so that’s helpful. The biggest thing for how I work and how we’re able to function as group from Attic Harvest up through these new EPs is sharing demos in advance with the group that gives us a better idea of what we can work on and a sketch of an idea. When Don and I started playing together back in 2008, I would just throw a song at him totally cold and we’d come up with something. He has a little more advance idea now, which he says he likes a lot more. I think a lot of how I put songs together is fundamentally the same as I’ve done for a long time: pick up a guitar, throw some words out, and see what comes together. I raise the sails and hope for a strong wind to get us somewhere new and interesting.
Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project after Room of the Year?
KM: It’s hard to predict what we’ll be able to do in the next year, as COVID-19 doesn’t seem to be going anywhere anytime soon. We have some things we’ve already started working on, so we’ll have to see what we come up with next. I think we’re all game to approach things a little differently, since we’re just not really able to do things the way we normally would.
Dr. J: What is your favorite song to perform? What makes it a current favorite in your
performances?
KM: Well, we didn’t get to do any shows this year, so this isn’t really a current view, but Investigative Years [from On The Way To The Punchline], Reminding Penumbra [from Attic Harvest], and Hang Up [from Disco Maroon] have always been very enjoyable for me. They all have different things going on, but they’re fun to sing and the band typically gets a good headwind going behind each of them.
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
KM: I think there’s a hopefulness in this most recent batch of songs. Always keep looking for new ways to engage yourself and the world. Remain open to possibilities. The world is a lot more than most of us realize. Enjoy the ride, you know?
Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?
KM: Not playing shows has been a real bummer this year. First year since I started playing in bands in 1992 that I won’t do a single gig. But there’s always time to work on music and I’m grateful the four of us figured out how to work remotely to keep the ball moving. I miss “the Brothers,” but we did a Zoom call recently just to have a hang. That’s what band practice is like in 2020.
You can follow Kyle Melton and Smug Brothers on various social media including:
We want to extend our sincere gratitude to Kyle for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit Smug Brothers’s Bandcamp page! If any musicians or artists would like to participate in future ’11 Questions’ columns, please feel free to email us at drjytaa@gmail.com. All photos care of Kyle Melton.
Our Short Takes today comes courtesy of Brandon Berry of The Paint Splats. The band came on the scene with a blast of indie rock goodness with “I Gutted My VCR” which eventually joined nine other songs for the first self-titled record released on November 16, 2019! A split with Mike Bankhead, “Defacing the Moon” came out around the same time! Some of Brandon’s contributions to that shared record includes the heartbreakingly beautiful “Annie”.
This past March, The Paint Splats released a terrific EP …With a Side of Fries. That continues the terrific indie pop and humor that The Paint Splats are becoming known for in the Miami Valley. As Brandon wrote about the project: “An unhealthy blend of power pop melodies that grew up listening to garage rock and the man shouting obscenities from the comfort of a street corner.”
Reaching out to Brandon to ask if he would give us a few ‘Short Takes’ of music that he is listening to lately was an easy call for us to make here at YTAA. Take a few minutes and review his excellent recommendations!
The Kinks – Sleepwalker
In my high school band, we attempted to cover the Kinks – “All Day and All of the Night” and our “Lola” parody, “Ebola” – but I just passed them off as another forgotten novelty spawned from, and muddled up by, the swingin’ ’60s. It wasn’t until I started taking chances at the record store that I discovered their massive catalogue of inventive tunes that would serve as major inspiration for my own songwriting. The early stuff will always be dear to me, but their late ’70s and early ’80s albums, like Give the People What They Want and Sleepwalker, stand out for the risk-taking, something they’ve been known for since the amplifier cabinet-slashing origins.
Life goes on It happens ev’ry day So appreciate what you got Before it’s taken away
I’m not sure if there’s a more apropos quatrain for this present moment.
Kurt Baker – Brand New Beat
Power pop never died; the arena has just been cluttered by artists who shouldn’t be included in the category. There is hope, though. Musicians like Kurt Baker are keeping the original spirit alive. I came to this guy fairly late, but after hearing “Weekend Girls” and “She Can Do It All” from Brand New Beat, I had to get the record. I wear my nostalgia on my three-quarter length sleeves. The album cover alone would’ve been enough for me to throw down the cash. With vocal fluctuations à la Elvis Costello, I can’t help but get sucked into Kurt’s expertise in the genre.
The Mountain Goats – Songs for Pierre Chuvin
When I write lyrics, I channel my inner John Darnielle. Destructive and off-putting sentiments with underlying sadness and regret over a major key chord progression. When I heard that he was recording a new album during quarantine, I had no idea the promo videos involving John and his sideways, trusty Panasonic tape deck would be the final product. Going back to his roots, he released the new batch of songs on cassette. I wasn’t around or conscious enough to consider myself an original fan, but I feel like I’m a part of something special now. I’ve been listening long enough that when a limited release such as this presents itself, I am to jump on the opportunity to be one of the few to have a copy. Though the cassette hasn’t been officially released, the lo-fi grain can be streamed online. Gather up your pagan crew. Do yourself a favor and listen to this record.
Various Artists
I have a playlist on Spotify called “songs that make me feel better,” which is comprised of mostly ’80s ballads and bops, like Mike & The Mechanics’ “All I Need is a Miracle” and “Kyrie” by Mr. Mister. You’d be surprised what else you can find in there. When I was a youngster, I discovered the Beatles and the Stones through my dad and the big haired ’80s through my brother, eventually blending and inspiring me to dive into genres from every era. During the time of mandated isolation (remember that?), I needed something positive to listen to, so I dug up the old playlist and added some new songs to the repertoire amongst all the Scandal and Wilson Philips songs:
I suggest you make a playlist like this, too, adding only tunes in the key of happy that you can dance to at the drop of a hi-hat. A dash of positivity never did any harm.
Many thanks to Brandon for sharing what he has been listening to with us!
The seventh installment of 11 Questions… comes courtesy of Kailynn West of Tiny Stills. It is difficult to separate Tiny Stills from her vision!
In 2015, after an unexpected situation left an opening on a national tour with Anthony Raneri and John-Allison Weiss, guitarist, songwriter and vocalist Kailynn West stepped in at the literal last minute to finish the tour with her power-pop project Tiny Stills.
LA-based Tiny Stills have released some of the most engaging and catchy emotional indie power pop beginning with a series of terrific songs and albums including the excellent “Falling is like Flying” from 2014 and the independently released “Laughing Into the Void” in 2018! Recently, the band has released a series of compelling and catchy singles!
Tiny Stills arose from intense personal experience as a direct response to West’s experience being held up at gunpoint in 2011 and as a way to work through the inevitable social fallout that occurs so often after traumatic experiences. Tiny Stills craft honest and intense songs with powerful guitars and inescapable melodies that pay homage to early ’90s and 2000s indie and pop-punk. At the end of the day, Tiny Stills and the music they make is an effort to remind you that even the worst days have a silver lining, that at the very least you are not alone in an overwhelming world.
Dr. J: What can you share with us about when and how you started writing your latest released song, “Craigslist Bed“?
Kailynn West (KN): It started as inspiration after a most recent breakup. I had to move out of my apartment and start over. Specifically – I didn’t have a bed. The apartment I now live in (a garage, with a bathroom, literally.) came with a bed that the previous tenant left. I was otherwise going to look at craigslist beds because I didn’t have one at the time, but I ended up just keeping this one. It all worked out! But it was definitely the inspiration behind the song.
Dr. J: Tiny Stills evolved out of a personal experience for you, can you describe that experience and how it shaped the formation of the band?
KW: I was held up at gunpoint in about 8 years ago in Los Angeles. After that, I had a hard time relating to people and connecting. People couldn’t understand what I was going through, rightfully so, and I was dealing with coping with trauma and PTSD. I lost a lot of friends and my social circle during that time, and so I started writing music to try to work through some of the pain I was feeling trying to function. Tiny Stills was originally a solo project, that has morphed into a band. I’ve found that sharing
my story helps me connect with people, so I try to write honest songs.
Dr. J: “Craigslist Bed” is a meaningful song for all of us who deal with challenging relationship and the breakup of relationships; did you set out to address those concerns and challenges of when starting to work on that song?
KW: 100 percent yes. Particularly the bed, and do have a key ring with a million keys on it and I don’t really know which ones I need to keep at any given time.
Dr. J: A previous song “Everything is Going Great” is a powerful song for the current moment we all find ourselves in today. Do you think that is a correct interpretation of some of the lyrics? Can they apply to the world today? Or would you say the focus should be more internal to the individual?
KW: I think songs are meant to be interpreted however feels best for the listener. For me, this song was about an internal battle of trying to pretend everything was OK, but I do think that’s a very universal experience, and definitely applies to today- mostly because the title of the song is sarcastic!
KW: It came together pretty fast. I actually do a “song origin” on my patreon where I break down the different levels of demos- from the very first voice memo, with different lyrics and melody, to the demo we took into the studio, to the final version. It evolved pretty naturally, but it did start in a different place than where it ended up.
Dr. J: Where do you often derive inspiration to make music?
KW: I have something I need to get off my chest.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from the album “Laughing Into the Void” to the current single “Craigslist Bed“?
KW: I’ve gotten better at self editing. With “Laughing Into the Void” I wrote a song and it was done. Now I go back and I’ll rework the chorus multiple times until it says exactly what I want it to say, or until I can’t get it out of my head. “Craigslist Bed” originally had a completely different Chorus! I do a “song origin” breakdown of that one on Patreon too. I’ve just gotten more critical of my writing and where I want the song to land.
Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project after “Craigslist Bed“?
KW: We have new music coming out basically every month. Our next two singles are coming out August 7 and September 25th. They are two songs that were meant to be on the EP we were originally planning on releasing on our EP in April 2020! The second single is called “Resting in Pieces” and the third single doesn’t have a title yet!
Dr. J: What is your favorite song to perform? What makes it a current favorite in your
performances?
KW: My favorite song to perform right now is “Small Talk” because it’s a straightforward fun pop/rock song and when the band comes in live, we feel huge.
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
KW: That just because you’ve failed at something, it doesn’t make you a failure.
Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?
KW: I’m spending time working on myself. It’s leveled the playing field – No one can tour. We only have our songs now. I’m honing my craft and trying to elevate my work so it’s more than just noise. I think you have to practice being honest with yourself, and this is one of those difficult times when no one can really ‘look away’ we can only look at the problems we’ve created for ourselves as a society. I don’t like saying that we’re going to ‘get a lot of good art out of this (quarantine/the COVID crisis)’ because artists are under the same kind of pressure everyone else is, and our industry was collapsing years before COVID. Touring was one of the last ways musicians could make money. Artists can’t survive on streaming royalties- please directly support the artists that you like if you want them to continue making music. Between the death of album sales and now touring, we sure could use a break. I just want to survive this in more ways than one.
You can follow Kailynn West and Tiny Stills on various social media including:
We want to extend our sincere gratitude to Kailynn for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit Tiny Still’s Bandcamp page! Thanks again! If any musicians or artists would like to participate in future ’11 Questions’ columns, please feel free to email us at drjytaa@gmail.com. All photos care of Kailynn West.
The playlist today includes new music from Lydia Loveless, Al Holbrook, Bob Mould, Chris Forsyth, The Beths, Momma, Mike Bankhead and Tino, Waxahatchee, Speaking Suns, Rufrano, Nada Surf and more! Plus music from David Payne, Wussy, The Story Changes, The Typical Johnsons, Shrug, The Pullouts, Tim Pritchard, The 1984 Draft, The Nautical Theme, The Flamin’ Groovies, Me & Mountains, The Mayflies USA, Toxic Reasons, The Regrettes, American Werewolf Academy, Ass Ponys, Greg Dulli, Son Volt and Samantha Crain.
Some looking back indie courtesy of James, The Smiths, Graham Parker and The Rumour and Brainiac. And a live classic from The Replacements! We pay some small tribute to far overlooked songwriter Emitt Rhodes.
Streaming Forward, Powered By The Past - if you love the 80s music, new music, Eurovision, cheesy pop and awesome playlists then let's get this pop party started!
In our latest installment of ’11 Questions with…’ column, we are excited to feature 
Jeffrey Dean Foster has been making music in a prestigious list of bands for quite some time: The Right Profile, The Carneys and 
‘I’m Starting To Bleed’ channels an inner dialogue over how to combat cruelty and a loss of compassion. Like so many of us, Jeffrey Dean Foster watched the social protests following George Floyd’s murder and he felt the need to respond to the inhumanity and hostility of that senseless death. ‘I’m Starting To Bleed’ is a musical response to that loss. While wide-eyed and recognizing the challenge in creating change and reimagining healthy communities, the songs on this record move between an almost pastoral, agrarian feel to passionate Big Star and Kinks influenced rock and roll. Several of the songs, while hopeful, carry the weight of the difficult worlds we find ourselves challenged to change and remake.
Dr. J: Where do you often derive inspiration to make music?
We want to extend our sincere gratitude to Jeffrey for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit Jeffrey’s 
Kyleen has been making music since 2009 when she took inspiration from the social bond of those involved in the Dayton music community. This sense of attachment and commitment led to 2016’s ‘
Kyleen’s next record in 2018 was the enthusiastic ‘
Dr. J: What can you share with us about when and how you started writing your latest album 
Dr. J: Where do you often derive inspiration to make music?
The band has been incredibly active from 2005 – 2019, releasing several excellent Midwestern indie rock album including the fantastic On The Way to the Punchline, the powerfully inventive Woodpecker Paradise and the amazingly accessible and catchy, Disco Maroon. In a just musical world (do not hold your breath waiting!), Disco Maroon would have produced top 40 singles with ‘Hang Up’ and ‘My Little Crowd Pleaser.’
Dr. J: What can you share with us about when and how you started writing the latest album Room Of The Year?
so comfortable using without asking what it means to be so dependent. I am thinking Radiator One, Good To Know Your Axis and Freshman Zephyr lyrically raise questions about technology. Would you say that is accurate? What themes were you addressing?
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from Attic Harvest to Serve A Thirsty Moon to Flame Verbatim and Room of the Year)?
KM: Not playing shows has been a real bummer this year. First year since I started playing in bands in 1992 that I won’t do a single gig. But there’s always time to work on music and I’m grateful the four of us figured out how to work remotely to keep the ball moving. I miss “the Brothers,” but we did a Zoom call recently just to have a hang. That’s what band practice is like in 2020.
This past March, The Paint Splats released a terrific EP 
Life goes on
The Mountain Goats – Songs for Pierre Chuvin
Dr. J: What can you share with us about when and how you started writing your latest released song, “
Dr. J: A previous song “
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey from the album “
KW: I’m spending time working on myself. It’s leveled the playing field – No one can tour. We only have our songs now. I’m honing my craft and trying to elevate my work so it’s more than just noise. I think you have to practice being honest with yourself, and this is one of those difficult times when no one can really ‘look away’ we can only look at the problems we’ve created for ourselves as a society. I don’t like saying that we’re going to ‘get a lot of good art out of this (quarantine/the COVID crisis)’ because artists are under the same kind of pressure everyone else is, and our industry was collapsing years before COVID. Touring was one of the last ways musicians could make money. Artists can’t survive on streaming royalties- please directly support the artists that you like if you want them to continue making music. Between the death of album sales and now touring, we sure could use a break. I just want to survive this in more ways than one.
your tuesday afternoon alternative 