Tag: John DeNicola

New Audio: JOVM Mainstay TOBACCO Returns with a Gauzy Pop Hook-Driven Single

Over the course of this site’s ten-plus year history, I’ve spilled quite a bit of virtual ink covering Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter Thomas Fec, best known as TOBACCO. During his two-plus decade music career, Fec has used analog synthesizers and tape machines to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement, pleasure, and menace as the frontman and creative mastermind of JOVM mainstays Black Moth Super Rainbow, as a solo artist and through his production work with other like-minded artists.

Since the 2016 release of Fec’s fourth TOBACCO album Sweatbox Dynasty, the JOVM mainstay has been incredibly busy: Fec reconvened with the members of Black Moth Super Rainbow to write and record the gauzy fwhich was supported with tours with The Stargazer Lilies and Nine Inch Nails. Last year, Fec produced The Stargazer Lilies’ abrasive and trippy Occabot — and he collaborated with Aesop Rock in Malibu Ken, a project that released their critically applauded debut album. Additionally, TOBACCO penned the theme song to HBO’s Silicon Valley.

Earlier this year, the JOVM mainstay released his first batch of solo material since Sweatbox Dynasty, the “Hungry Eyes”/”Can’t Count On Her” 7 inch which featured Fec’s woozy and scuzzy take on Eric Carmen‘s Franke Previte and John DeNicola co-written smash hit “Hungry Eyes.” But as it turned out, the “Hungry Eyes”/”Can’t Count On Her” 7 inch may have been a bit of a preview of the JOVM mainstay’s forthcoming full-length Hot Wet & Sassy.

Slated for an October 30, 2020 release through Ghostly International, Hot Wet & Sassy reportedly oozes with anti-love, self-hate and disappointment in others — while further refining the pop impulses that have underpinned his unique sound — blown out, bass, fuzzy analog synths, drum machines and Fec’s analog gurgle and hiss. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”

I’ve managed to write about two of the album’s first three singles so far: Hot Wet & Sassy’s second single, “Babysitter,” a collaboration with Nine Inch Nails’ mastermind and fellow Pennsylvanian Trent Reznor, which was a deranged and unsettling lurch between a menacingly saccharine bridge and what sounds like someone gleefully running a rusty manual lawnmower through someone’s carpet paired with laser hot hi-hats, thumping tumps, scorching synths, gurgling and bubbling hiss and distortion and the most accessible, pop-leaning hooks of Fec’s recorded output. The album’s third single “Jinmeknen,” was a slow-burning and atmospheric Quiet Storm-like ballad of sorts centered around glistening synth arpeggios, bouncy beats, Fec’s heavily vocoder’ed vocals and some of the most earnest songwriting of his lengthy — and often extremely weird — career.

“Headless to Headless,” Hot Wet & Sassy’s fourth and latest single clocks in at a little under three minutes and is centered around glistening synth arpeggios,. blown out stuttering beats, brief staccato bursts of forcefully buzzing guitar, Fec’s heavily vocoder’d vocals and some infectious hooks. And while arguably being one of the album’s more gauzier songs, it sounds a bit like a mm murky and downright swampy take on 80s R&B — the drumbeats at point remind me of Cherelle’s “I Didn’t Mean to Turn You On” for some reason. Much like the previously released singles, the track sees the JOVM mainstay playfully refining his overall sound without scrubbing or altering the weird elements that have won him attention across the blogosphere and elsewhere.

New Audio: JOVM Mainstay TOBACCO Releases a Glistening Pop-Inspired Ballad (Of Sorts)

Best known as TOBACCO, Thomas Fec is a a Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter, and throughout his two decade-plus music career, Fec has used analog synthesizers and tape machines to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement and pleasure as the frontman and creative mastermind of Black Moth Super Rainbow, as a solo artist and through his production work.

Earlier this year, the JOVM mainstay released his first batch of solo material since Sweatbox Dynasty, the “Hungry Eyes”/”Can’t Count On Her” 7 inch which featured Fec’s woozy and scuzzy take on Eric Carmen‘s Franke Previte and John DeNicola co-written smash hit “Hungry Eyes.” But as it turned out, the “Hungry Eyes”/”Can’t Count On Her” 7 inch may have been a bit of a preview of the JOVM mainstay’s forthcoming full-length Hot Wet & Sassy.

Slated for an October 30, 2020 release through Ghostly International, Hot Wet & Sassy reportedly oozes with anti-love, self-hate and disappointment in others — while further refining the pop impulses that have underpinned his unique sound — blown out, bass, fuzzy analog synths, drum machines and Fec’s analog gurgle and hiss. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”

Last month, I wrote about Hot Wet & Sassy’s second single, “Babysitter,” a collaboration with Nine Inch Nails’ mastermind and fellow Pennsylvanian Trent Reznor — and the song was a deranged and unsettling lurch between a menacingly saccharine bridge and what sounds like someone gleefully running a rusty manual lawnmower through someone’s carpet: hot hi-hats and thumping toms battle against scorching synths and gurgling and bubbling hiss and distortion paired with some of the most accessible, pop-leaning hooks of Fec’s career. “This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further,” adds Fec.

“Jinmenken,” Hot Wet & Sassy’s latest single is a slow-burning and atmospheric Quiet Storm-like ballad of sorts, featuring glistening and twinkling synth arpeggios, bouncy beats, and Fec’s vocoder’ed vocals. Somewhat downcast and woozy, the track is centered around what may arguably be some of the JOVM mainstay’s most earnest songwriting of his lengthy — and often very weird — career. To my ears, the track seems to mischievously nod at 80s synth pop ballads. “It’s me trying to write a Jets song,” Fec says.

The official visualizer is prototypical Tobacco: surreal, hilarious, creepy and dystopian — and in a way that feels familiar.

New Video: JOVM Mainstay TOBACCO and Nine Inch Nails’ Trent Reznor Reimagine a Beloved 80s Character in Creepy Visual for “Babysitter”

Thomas Fec, a.k.a TOBACCO is a Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter, and throughout his two decade-plus music career, Fec has used analog synthesizers and tape machines to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement and pleasure as the frontman and creative mastermind of Black Moth Super Rainbow, as a solo artist and through his production work.

2016 saw the release of Fec’s fourth TOBACCO album Sweatbox Dynasty — and since then the JOVM mainstay has been incredibly busy. TOBACCO reconvened Black Moth Super Rainbow to write and record gauzy 2018’s Panic Blooms, which was supported with tours with The Stargazer Lilies and Nine Inch Nails. Last year saw the JOVM mainstay producing The Stargazer Lilies’ abrasive and trippy Occabot — and he collaborated with Aesop Rock in Malibu Ken, a project that released their critically applauded debut album. And additionally, TOBACCO penned the theme song to HBO’s Silicon Valley.

Earlier this year, the JOVM mainstay released his first batch of solo material since Sweatbox Dynasty, the “Hungry Eyes”/”Can’t Count On Her” 7 inch which featured the Pittsburgh-based singer/songwriter, multi-instrumentalist and producer’s woozy and scuzzy take on Eric Carmen‘s Franke Previte and John DeNicola co-written smash hit “Hungry Eyes.” But as it turned out, the “Hungry Eyes”/”Can’t Count On Her” 7 inch may have been a bit of a preview of the JOVM mainstay’s forthcoming full-length Hot Wet & Sassy,

Slated for an October 30, 2020 release through Ghostly International, Hot Wet & Sassy reportedly oozes with anti-love, self-hate and disappointment in others — while further refining the pop impulses that have underpinned his unique sound — blown out, bass, fuzzy analog synths, drum machines and Fec’s analog gurgle and hiss. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”

Interestingly, the album’s second and latest single “Babysitter” finds Fec teaming up with Nine Inch Nails’ mastermind and fellow Pennsylvanian Trent Reznor— and the end result is a deranged and unsettling lurch between a menacingly saccharine bridge and what sounds like someone gleefully running a rusty manual lawnmower through someone’s carpet. In other words:  hot hi-hats, thumping toms battle against scorched synths and gurgling and bubbling hiss and distortion. And yet, the song strangely enough manages to have some of the most accessible, pop-leaning hooks of Fec’s career — while clocking in at a radio friendly 2:19. “This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further,” adds Fec.

Co-directed by the JOVM mainstay, along with the seven fields of aphelion, Eanna Holton and Max Almeida and featuring industrial design by Chris Grondi, the recently released video for “Babysitter” stars a beloved 80s movie character — The NeverEnding Story’s Falcor!  — in an unusual role: being a murky, late night creep outside of an extremely suburban home. He’s the babysitter, alright; the sort that would watch you as your sleep from just outside your window. 

New Audio: JOVM Mainstay TOBACCO Teams Up With Trent Reznor on the Menacing and Infectious “Babysitter”

Thomas Fec, a.k.a TOBACCO is a Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter, and throughout his two decade-plus music career, Fec has used analog synthesizers and tape machines to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement and pleasure as the frontman and creative mastermind of Black Moth Super Rainbow, as a solo artist and through his production work. 

2016 saw the release of Fec’s fourth TOBACCO album Sweatbox Dynasty — and since then the JOVM mainstay has been incredibly busy. TOBACCO reconvened Black Moth Super Rainbow to write and record 2018’s Panic Blooms, which was supported with tours with The Stargazer Lilies and Nine Inch Nails. Last year saw the JOVM mainstay producing The Stargazer Lilies’ abrasive and trippy Occabot — and he collaborated with Aesop Rock in Malibu Ken, a project that released their critically applauded debut album. And additionally, TOBACCO penned the theme song to HBO’s Silicon Valley.

Earlier this year, the JOVM mainstay released his first batch of solo material since Sweatbox Dynasty, the “Hungry Eyes”/”Can’t Count On Her” 7 inch which featured the Pittsburgh-based singer/songwriter, multi-instrumentalist and producer’s woozy and scuzzy take on Eric Carmen’s Franke Previte and John DeNicola co-written smash hit “Hungry Eyes.” But as it turned out, the “Hungry Eyes”/”Can’t Count On Her” 7 inch may have been a bit of a preview of the JOVM mainstay’s forthcoming full-length Hot Wet & Sassy,

Slated for an October 30, 2020 release through Ghostly International, Hot Wet & Sassy reportedly oozes with anti-love, self-hate and disappointment in others — while further refining the pop impulses that have underpinned his unique sound — blown out, bass, fuzzy analog synths, drum machines and Fec’s analog gurgle and hiss. “I feel like it’s the most I’ve been able to refine what I’m doing,” says Fec. “For the past decade I’ve had this motherfxcker on my shoulder that makes me pick away at structure and melody. Purposely covering up moments because I can. That really came to a peak on Sweatbox. So I wanted the opposite this time. Write the songs without ripping them in half. I went from ‘what would the Butthole Surfers do?’ to ‘what would Cyndi Lauper do?’”

Interestingly, the album’s second and latest single “Babysitter” finds Fec teaming up with Nine Inch Nails’ mastermind Trent Reznor — and the end result is a deranged and unsettling lurch between a menacingly saccharine bridge and what sounds like someone gleefully running a  rusty manual lawnmower through someone’s carpet. In other words:  hot hi-hats, thumping toms battle against scorched synths and gurgling and bubbling hiss and distortion. And yet, the song strangely enough manages to have some of the most accessible, pop-leaning hooks of Fec’s career. “This was new for me, but I wanted to write a song that was everything I am and have been, and then like one notch further. Trent was the notch further,” adds Fec.

New Audio: JOVM Mainstay TOBACCO Releases a Woozy and Menacing Cover of a Beloved 80s Classic

Over the past two decades, the Pittsburgh-born and based producer, multi-instrumentalist and singer/songwriter Thomas Fec, best known as TOBACCO has used analog synthesizers and tape machines as as the frontman and creative mastermind of Black Moth Super Rainbow and as solo artist to create a boundary-pushing sound that evokes a woozy and uneasy intertwining of tension, anxiety, bemusement and pleasure.  

2016 saw the release of TOBACCO’S fourth solo album, Sweatbox Dynasty — and since then the JOVM mainstay has been incredibly busy: TOBACCO and the members of his primary gig, Black Moth Super Rainbow reconvened to write and record 2018’s Panic Blooms, which was supported with tours with frequent tour mates The Stargazer Lilies and Nine Inch Nails. He went on to produce The Stargazers Lilies’ abrasive yet trippy Occabot and collaborated with Aesop Rock in Malibu Ken, a project that released a critically applauded album. Additionally, TOBACCO penned the theme song to HBO’s Silicon Valley. 

TOBACCO’s first batch of new, solo material is the “Hungry Eyes”/”Can’t Count On Her” 7 inch, which was recently released through Ghostly International. Unless you’ve lived in a cave for the past 35 years or you’re 17, you know that the Franke Previte and John DeNicola co-written “Hungry Eyes” performed by Eric Carmen appears in an important scene of the 80s classic Dirty Dancing. The Pittsburgh-based JOVM mainstay has been covering “Hungry Eyes” in recent live sets — but before that, it appeared in a Pokemon porn parody. 

Interestingly, TOBACCO’s take on the 80s pop hit retains the original’s beloved and familiar melody and structure intact but while fucking with its texture in his characteristically sludgy and woozy style, centered around blown out bass, scuzzy synth arpeggios, analog gurgle and hiss and Fec’s heavily vocoder’ed vocals. The end result is a cover that purposelessly smudges and obscures the original’s sentimentality in a way that’s uneasy and menacing. “I did ‘Hungry Eyes; because I just love it. It’s a perfect song,” Fec says in press notes. “I play it straightforward and stay mindful not to disrespect the original.”

Interview: A Q&A with The Sighs

Holyoke, MA-based rock band The Sighs can trace their origins back to 1982 when its founding members Robert LaRoche (vocals, guitar) and Tommy Pluta (bass, vocals) met and bonded over their mutual of love of acts like The Beach BoysCrosby, Stills and Nash and other that employed the use of multi-part harmonies. Interestingly enough, it helped that while the Holyoke-based band’s founding members were jamming together, they discovered that their own voices blended together beautifully.

Tom Borawaski (drums) and Matt Cullen (vocals, guitar) were recruited to flesh out the band’s sound and to complete the band’s initial lineup. Shortly after the band’s lineup was finalized, they quickly began makin a name for themselves as a must-see live act across the region. As Tommy Pluta explained in press notes, “One luxury of living in Western Mass is that we played all the colleges and clubs for years and years. By the time things started happening for us, we were primed for it — we sounded really tight and everything was just spot on.”

As luck would have it, the members of The Sighs crossed paths with John DeNicola, an Oscar Award-winning songwriter and producer, who co-wrote “(I’ve Had) The Time of My Life,” and his production partner Tommy Allen at the China Club in 1990. And after meeting DeNicola and Allen, the Holyoke-based band signed with  Charisma/Virgin Records, who released their full-length debut, What Goes On to critical acclaim. Adding to a rapidly growing profile, the band toured with nationally touring acts like Gin BlossomsDada and others.

The band eventually split up with members of the band pursuing individual creative projects and/or focusing on family life. Interestingly, the material on the band’s third full-length album, 2017’s Wait On Another Day can trace its origins to an unearthed batch of demos that the band’s Matt Cullen stumbled upon. Originally recorded in the early 1990s, and later placed on hard drives, the demos had been forgotten about for the better part of 20 years – until Cullen played them. He was so impressed by what he heard, that he shared the demos with his bandmates and their longtime producer John DeNicola.

Feeling that the band had unfinished business – and that they should continue the collective story they started 20+ years previously, the band decided to reconvene at DiNicola’s Upstate New York-based studio to revise a handful of songs. But as the band’s Tom Borawski explained at the time “. . . it all came together so well, and we were having such a great time, we ended up making a whole album. It really just took on a life of its own.”

“All the years of playing together left a permanent mark on us. It wasn’t too difficult to tap into our musical and personal bond again,” LaRoche said of the five-day recording session that produced Wait On Another Day. Borowski added “Everything had more of a spark to it than when we made What Goes On, where we put all the songs under a microscope and tried to get it all completely perfect.” As a result, the material possesses a urgency and vitality to it that many contemporary bands wish they could capture on record. Interestingly, while much of the album’s material focuses on many of the things that they wrote about in their youth – girls, getting kicked around, hopes and dreams and falling in love but tinged with the wistful and aching nostalgia of middle-aged men, who have been forced to accept the passage of time, their impending mortality – and the old adage that the more things change, the more they remain the same: no matter how old you are, heartache is heartache and life is ultimately about figuring out how to learn from it and move forward.

Building upon the attention they received from Wait On Another Day, the members reconvened to write and record its highly-anticipated follow-up, the five song Tearing My Heart Again, which OMAD Records released today. The EP’s material finds the band continuing where its predecessor left off but while revealing a band that has grown in the past three years. While they pull in some new ideas to the mix, they do so without straying too far afield from what has been successful – carefully crafted, hook-driven rock paired with earnest songwriting.

I recently exchanged emails with the members of The Sighs for this edition of the JOVM Q&A. World events have found a way to impact all of us – and as a result, they’ve managed to bleed into every aspect of our professional and person lives in ways that will reverberate for quite some time to come. With COVID-19 forcing cities and localities across the world to indefinitely shut down bars, restaurants, clubs, music venues and countless other non-essential businesses, the impact on musicians and the music industry will be far-reaching and devastating. Over the next few months, I’ll be discussing how COVID-19 has impacted the careers and lives of artists of all stripes – and the members of the Holyoke-based band openly and honestly discuss where they stand right now and what may be next. Of course, we chat about the recently released EP at length, the band’s tour with The Gin Blossoms and more. Check it out below.

PastedGraphic-1

PastedGraphic-2 

Support these artists by buying their work. You can order The Sighs EP here:

https://www.omadrecords.com/store/the-sighs-tearing-my-heart-again-ep

_______________________

WRH:  Most of the country has been enacting social distancing guidelines and stay at home orders as a result of the COVID-19 pandemic. How are y’all holding up in such a difficult and uncertain time? What are you doing to preoccupy yourself? Anything you’re binge watching? 

Robert LaRoche: Been pretty much staying home. Except to go for a daily run and food shopping.

Working on new songs. Binge watching Peaky Blinders on Netflix.

Tommy Borowski: Been binge watching bad 70’s movies…

WRH: Since COVID-19 was declared a pandemic, festivals have been postponed or canceled outright, artists of all stripes have postponed or rescheduled tour dates, album releases have been rescheduled. I’ve asked this question to a handful of artists already – and I suspect that for some period of time I’ll be asking a lot of bands this: How has COVID-19 impacted you and your career? 

Matt Cullen: Well, we’re all at a standstill. We had a Sighs gig booked in mid-March in our home base of western Massachusetts. Robert flew in from Austin and I flew from Des Moines. After couple of spirited rehearsals, the gig was cancelled. I’m now home and have seen all of my gigs here cancelled for the foreseeable future. I don’t make my living entirely from music but playing roughly 100 gigs a year certainly helps the family kitty. Those lost wages will hurt and the loss of that enjoyment, performing, making music, that hurts equally.

WRH: Who’s the funniest guy in the band? 

RLR: It depends on the given day I suppose! We all have our moments. [But] I’m going to go with Tommy Pluta on this one 💙

MC: If you asked Tommy Pluta……..😎

WRH: Who are your influences?

Tommy Pluta: Cheap Trick, Tom Petty, Shoes, Foo Fighters.

RLR: I was heavily influenced by The Everly Brothers. And tried to incorporate their two-part harmony style into The Sighs music. Also love early American Rock ‘n’ Roll pioneers like Buddy Holly and Chuck Berry. And, of course The Beatles and Beach Boys were a big influence.

MC: Too many to name. The typical ones. The British Invasion bands, particularly The Beatles. A lot of 70’s rock and pop rock: Aerosmith, Thin Lizzy, Cheap Trick, Raspberries, Queen, The Cars. I could go on…….

WRH: Who are you listening to right now?

TP: Fountains of Wayne.

RLR: Jenifer Jackson, a local singer/songwriter here in Austin

MC: My current go-to is a live record by Bo Ramsey and the Backsliders. Bo is a spooky, great player, known for his work with Lucinda Williams and Greg Brown. He’s an Iowa guy and I’ve opened for him here and have gotten to know him a little. I’m crossing my fingers to do some playing with him. Also, and sadly, I’ve been revisiting Fountains of Wayne since the news of Adam’s death.

WRH: How would you describe your sound to those unfamiliar with The Sighs? 

TP: Classic Power Pop / Rock sound. Two guitars, bass, drums, melodic with three part harmony.  The Smithereens, Gin Blossoms

WRH: The band can trace its origins back to when its founding members – Robert LaRoche and Tommy Pluta – met back in 1982. Tom Borawski and Matt Cullen were the recruited and the band then spent next eight years gigging around Western Massachusetts. In 1990, the members of the band crossed paths with John DeNicola, who became your producer and you signed with Charisma/Virgin Records. So, the band went from playing the college circuit to touring with the Gin Blossoms, who were selling millions of records and being played on the radio every single day. How was that experience like? 

TP: We always tried to make the most of every opportunity.

We had been on the road for months prior to touring with the Gin Blossoms so we were ready to take the next step.  Getting the chance to perform our music to their fans night after night was a terrific experience.  They were especially nice to us, and we found a lot of commonality with our music and influences. It would be great to do some dates with them again. . .

WRH: The band eventually split up after the release of their sophomore album with each of the individual band members focusing on other creative projects, on raising families and working day jobs. 20 years pass and as the story goes, Matt Cullen stumbles upon some demos that the band recorded in the early 90s. What was the experience of hearing the demos for the first time in so long like? 

MC: It was really cool to find the old recordings. I had transferred a boxful of 1/4 tapes to a hard drive, without listening to them. That was in 2010. It was 6 years later that I opened the folder labeled Sighs. We had been cranking out demos from 90-93 (?), both for the Charisma album and also for what we hoped would be a follow up with them. None of us recalled recording a few of them. You’d finish a song and move on. I got goosebumps when I realized what I had stumbled upon. I did rough mixes and sent unnamed mp3s to the guys. They were really surprised, and we were all excited by how well the home recordings had held up.

WRH: How was it like to revisit material that you wrote some 20 years prior? How were the first writing sessions for Wait on Another Day? Did your songwriting process change between your sophomore album and 2017’s Wait on Another Day?

RLR: The WOAD songs were written before, during, and after the recording of our debut CD What Goes On, during the period between 1987 and 1993. We had a lot of songs to choose from at that time. And only a dozen were chosen for What Goes On. The tracks on WOAD were songs already included in our live performances. We were a pretty well-oiled machine by then. Revisiting and re-recording this material over 20 years after their inception was great fun! And genuinely satisfying.

WRH: The five song EP, Tearing My Heart Again was recently released. In some way the EP finds the band continuing where they left off, as though the lengthy hiatus had never happened. While the material is centered through some passionate performances as collective whole, the EP – to my ears – reveals quite a bit of growth. It seems to capture old, wizened pros, who have gotten back on the proverbial horse but with some new ideas. How does Tearing My Heart Again differ from your previously released work? Was that intentional? What inspired it? 

TP: We drew inspiration from the fun we had recording WOAD in the Fall 2016. Recording new Sighs music (20+ years later) was something we discussed a couple times, and the possibility came around again in August of 2019.  We had a couple songs and several ideas, we just had to find the time to all be in one place to record which ended up being 3 days starting New Years’ Day 2020. The process of writing was the same in some ways and very different in other ways. We always shared ideas to see which ones we though would fit, and then developed them, but sharing ideas is so much easier with technology. A lot of text and email.

 WRH:  What does the EP touch upon thematically?

RLR: The five songs on “Tearing My Heart Again” deal with personal relationships.
In the title track, the protagonist is involved in an unhealthy love affair. Where heartbreak is an ongoing concern, and dark attraction becomes a fatal flaw.

WRH: “Over the Line” is one of my favorite songs on the EP. It’s probably the most Smithereens-like on the five songs. Can you tell us a little bit about what it’s about?

RLR: “Over the Line” is about the near hopelessness and futility of caring for someone in active addiction. With the resignation that although you cannot judge the person you care for, and will continue to be there for them, the possibility of the active addict to cross over the line and become another fatality statistic, is forever present.

WRH: Oddly enough, there are sections of EP closing track “Rise” that somehow reminds me a bit of Pink Floyd’s “Brain Damage.” Maybe I’m hearing thing but, did that influence the track at all about 

RLR You’re spot on with the Pink Floyd reference on the EP’s closing track “Rise.” Tommy Pluta initially sent me the guitar riff and chord changes. Which were already quite psychedelic sounding. We put a two-part harmony over the music in the vein of Waters and Gilmour. Our producer John DeNicola used an old school tape echo on the vocals. This gave the track the retro feel we were striving for.

WRH: What advice would you give to bands/artists trying to make a name for themselves thematically

 MC: I don’t know that my track record qualifies me to give advice but I will say that you must absolutely love what you do. There are many obstacles and it’s a long road. In today’s music world, I’d say you need to have a strong presence online. Sales are a different animal than what I grew up with. Touring is always helpful in spreading the word but can be financially daunting. CD mailers to college or community radio in your area are helpful. Try to grow it steadily. Again, you better love it!  :/)

WRH: What’s next for the band

MC:  It’s hard to say what is next for us. I’m not sure anyone of us would have guessed that we would have released a full-length record and an EP in the last three years. We never say never and leave ourselves open to all possibilities.  We have a strong personal relationship which leaves the musical door open at all times.