Nick Frater first came to my attention with his first Big Stir release Fast And Loose. That album was a good example of what could be done with Brian Wilson’s work, not so much with the Beach Boys, but his solo masterpiece Smile.Frater's new album Earworms does much the same with bands like ELO, and is a lot of fun to listen.

My thanks to Nick for being kind enough to answer a few questions for me.

Andrea Weiss: Most people know you now, but for those who don't, can you give a short musical history?

Nick Frater: Thanks for asking! I’m Nick Frater, a songwriter/multi-instrumentalist/producer based in Croydon in the south of London, England. I’ve been in countless bands and projects nobody will have heard of, but over the last few years have had a few critically acclaimed albums out. The latest one, Earworms, is my seventh, and features collaborations with several of my musical heroes including Roger Joseph Manning Jr. (Jellyfish) and Darian Sahanaja (Brian Wilson/Wondermints)!

AW: I hear ELO the most in the music on your new album, which is great. Would you say they're an influence?

NF: Jeff Lynne is one of the all time great producers! ELO are obviously excellent, and managed to pay homage to their Beatle influence, but still create something that is recognisably their sound.

However, it’s Lynne’s production work on Traveling Wilburys and the reformed Beatles that shows his skill, both recording-wise (I love "Free As A Bird" and "Real Love!") but also managing to get those projects over the line with the amount of egos and record company people who must have been involved!

AW: I also hear the Beatles, Beach Boys, and Todd Rundgren, which is also good. Would you say they're influences too?

NF: Never heard of them!

Although eagle-eyed/eared listeners will spot a Todd Rundgren reference on pretty much every one of my albums. Sometimes visual, sometimes in the title, sometimes musical.

AW: Your lyrics can be so happy and positive, which I like. Is it hard to write those kinds of songs, since one of the hardest types of songs to write are happy, positive ones that don't sound silly?

NF: Many people have picked up on the positive lyrical themes, which is surprising, as I hadn’t noticed that writing them. A lot of the lyrics tend to have a darker or bittersweet subtext, although there’s no denying I have deliberately tried to fill this album with hooks and melodies. A lot of those are hopefully catchy, which I guess convinces the brain that it’s a happy song! There’s a psychology thesis there somewhere! Earworms opens with "It’s All Rumours," which I think might be the first time I’ve ever written a ‘story song’. Songs just tend to appear in my head often from hearing a turn of phrase used in my day-to-day life, so it’s hard to predict what the next one will be about. However I’d like to try and explore this lyrical approach again.

AW: Or is it easier to write songs about troubled relationships?

NF: I absolutely love listening to and writing songs that break your heart. There is something hugely powerful and almost addictive of an emotional rush from a sad film or song. I guess like listening to the blues, it has a restorative power! Are they easier to write? I’m not sure. For me the process of writing is the most enjoyable, whatever the mood;  that moment when a nugget of hook arrives from the ether and turns into a song is hugely exciting! I tend to just follow wherever that idea is leading…hence the many styles and ideas on last year's bonus lockdown album, 59 vignettes - the world’s first (and probably last) Instagram concept album! (@59vignettes)

AW: What do you think has changed, musically, between your debut and your new album?

NF: Becoming a dad! Which is wonderful, but radically changed the time I have to sit messing about at the piano. So that means my songwriting technique has moved from the piano to my voice/imagination. This has resulted in stronger melodies, or at least ones in a key I have a fighting chance of singing! My earlier albums were all written at the piano; and some songs incredibly complicated harmonically, sometime deliberately seeing how many chords I could possibly squeeze into a song! My newer songs are deceptively simple/more complicated than they sound. Catchy, but nothing ever quite repeats exactly.

AW: Do you hope to tour the US, now that the pandemic is easing?

NF: If I could make it work I would love to tour, or at least do a few shows on the West Coast, the spiritual home of power-pop. Gigging as a solo artist is a fairly new thing for me. Having done thousands of gigs as a sideman, being out front is a whole different game! The music scene, even before Covid, here in London is a tough place for power-pop. It’s only really David Bash’s IPO at The Cavern flying that flag. Pulling a band together for 15 people at The Windmill isn’t really sustainable…although that is always a hugely enjoyable place to play!

AW: Since you had success with your first album, what advice would you give to someone who has had a taste of success musically?

NF: Always follow your heart. Make the music that you love and that you would make whether people are listening or not. If you’re looking for cash, take up plastering!  Music is, or should be, its own reward, but there is no denying that knowing other ears genuinely enjoy your music is a wonderful feeling. Are there ways to make money from it? Maybe, but I’ve not found them yet! 

 Nick Frater

Earworms

Big Stir Records

The album title is exactly that: really great earworms that will stay in your head long after the album is finished, and lyrics that will make you think about relationships for a while.

The music is roughly equal parts Beatles, Todd Rundgren, and Big Star, but ELO a bit more than the others. As a long-time ELO fan, I like that a lot. As good and as popular as they were and are, they never really got their due as music. While this isn't the first power pop/college rock band to use their style like this, Frater does it about the best.

The lyrics on this album take the dark with the light, nominally positive and happy, but subtly bittersweet and wry-humored up close, which makes the edge even sharper, none more so than the single “Bugging Out,” a happy, but confused, love song.

Power pop and college rock really have fused in recent years, and this album is a great example of that new blend. If you're curious about what college rock sounds like beyond the hit bands like REM, get this album. The same goes for power pop, and just for an album that is good listening experience.

Andrea Weiss

 The Grip Weeds

DiG

JEM Records

The Grip Weeds' newest album is a collection of covers done very well, and in some cases better than the originals. For example, there's more heart, soul, and humanity in their cover of the Velvet Underground's “All Tomorrow's Parties” than that band and Nico got up to.

There also seems to be a message, as several of these songs, like Thunderclap Newman's “Something In The Air,” are about peace, love, and revolution, left wing hippie style. The message is that love, peace, and revolution, respect, and kindness are needed more than ever, so do it.

They include a lot of favorites: the Beatles' “It's Only Love,” the Stones' "Child Of The Moon,” the Zombies' “I Love You,” and the Byrds' “Lady Friend.” All are a lot of fun to hear, and played superbly.

If you like the 60s, want to relive it, or if you were too young to experience it the first time around, then this double album is for you, It comes in both a standard and deluxe version. No matter what era you grew up in, this album is for you, for just good music, period.

Andrea Weiss

 Black River Delta

Gun For You (live) video

Sofaburn Records

This video was produced by Westside Music Sweden for Festival Marvin on September 5, 2020, recorded at Pustervik in Gothenburg, Sweden. Black River Delta is a very good Swedish hard blues band, in top form here, doing the latest single from their album Shakin'. The band knows the blues well, and updates 70s hard blues with their own modern take. If you want to see the latest in hard blues, go watch this performance.

Andrea Weiss

 B. Hamilton

Nothing and Nowhere

Sofaburn Records

As the title says, these songs are about urban and suburban decay, dislocation, rootlessness, and on “North San Juan,” the feeling of not belonging anywhere. But they never wallow in all of this, it's just grim reality to them, the best kind of grimness.

The music is mellow, hard rock, almost stoner rock, soothing in its own way, and meaningful. It gives the lyrics more weight, and will make you think.

“45 and Straight,” though, is a bit of departure. It's about a certain kind of Trump supporter, the overlooked, suburban office worker, who listens to right wing talk radio or right wing podcasts in his car on his lunch break. While the band expresses empathy for the character, they make clear that they don't like or endorse his politics, especially on race.

This is very different and good hard rock. I like the way it'll make you think. So much music doesn't. But this does, and you will remember those thoughts and this powerful album long after it's over.

Andrea Weiss

 Jeremy Pinnell

Goodbye L.A.

Sofaburn Records

This is good, hardcore, country rock, as it does rock at times, and other times it steps lively. Pinnell's voice is weathered, he's seen and done some things, but he always keeps his chin up and keeps going.

Lyrically, it's a bit old-fashioned, in a good way. For instance, “Night Time Eagle,” where a musician on tour gets homesick and wishes the tour would end. It's a perfect antidote to songs about how wonderful the road is. Or the title track, where he wants to settle down with one good woman. Nothing wrong with monogamy.

So if you want some country rock that's a bit quirky at times, in a good way, like on “Fighting Man,” and a meaningful good time, this album is for you.

Andrea Weiss

 Paige Beller

I'll Be Better

Sofaburn Records

It is a relief to hear someone out and proud have neither women's music nor glam rock in their sound. What Beller's music is instead is clear, direct, simple, yet complex, indie rock, and it's wonderful. She is a multi-instrumentalist, who also plays drums, bass, and synths. But to hear an out lesbian play electric guitar, rather than acoustic folk, is great, and makes her different, fresh, and original.

Lyrically a little Kristin Hersh, some Tegan and Sara, but all Beller's own in the end, these songs are mostly about coming up short in relationships, wanting more, knowing there may not be more, but wanting to stay if possible, so you make do with what you have. “So Much Water,” “Brautigan,” and “9:30” are good examples, and also show how good a guitarist she is.

So if you want some good indie rock that puts a fresh spin on lesbian relationships (or relationships period) in a tough, clear-eyed way, this album is for you.

Andrea Weiss