Step into the whimsical world of Smushie as he takes us on a nostalgic musical adventure.
Get ready to embark on a whimsical musical journey as we dive into the world of Smushie, a talented artist hailing from Long Island, New York. Drawing inspiration from musical legends like Lou Reed and Billy Joel, Smushie’s latest album, “Doofus Casanova,” takes us on a nostalgic and captivating adventure through his unique musical sensibility.
Loaded with humor and charged with underlying sincerity, Doofus Casanova is amusingly sure of itself. From the seventies backbeat and controlled analog touch of “Fryeburg Fair” to the groovy interludes of “Party of Three” and the relaxed, transcendent opener, “Sharp Edge,” Smushie marries past and present sonic tropes with precision and jocularity.
In our exclusive interview, Smushie shares his insights into his music, personal journey, creative process, collaborations with fellow musicians Ben Astrachan and Ryan Gebhardt, and his love for working with tape consoles all contribute to the unique texture of his music.
His debut album, “Doofus Casanova,” delves into themes of love, mortality, and the human experience, presented with a touch of humor and sentimentality.
Join us as we unravel the intriguing world of Smushie and discover the magic behind his music. Get ready to be transported into a realm of nostalgia, authenticity, and pure sonic delight.
Happy: What are you up to today?
Smushie: Right now I’m sitting in the bleachers across from Wrigley Field, where the Chicago Cubs play baseball. I’m the guy who stocks beer and tosses out the trash. There was a rain delay. It’s midnight. The game isn’t over, but most of the crowd is gone. I’m being held hostage by six grown men who like watching their team lose. When they leave, I can go home.
Happy: Tell us about where you are from? What’s the music scene like in your neck of the woods?
Smushie: I’m from Long Island. It’s a strange, insular place. We neighbored Levittown, America’s first fully mass-produced suburb. Long Island has a messy history, but I miss it. There wasn’t much of a music scene unless you went into New York City, which was close but felt like another universe. Now I’m in Chicago. For the first time, I live around a ton of musicians.
Happy: Describe your average day?
Smushie: I like to get outside. Hop over to my practice space, track a demo or two. Sometimes I’ll just walk around. Now I’m doing these odd jobs. Making pizza, teaching guitar, working as a bouncer at a Polish nightclub, the baseball game stuff.
Happy: What about your ultimate day?
Smushie: A perfect day would start early, I go to the Y (there’s a steam room there), a studio session, a dip in Lake Michigan, dinner with a loved one. Maybe see a friend play a show. Ice cream and waffles at a diner, minus the shame.
Happy: What did you read or watch growing up that fuelled your passion for music?
Smushie: Before YouTube, you could find some old MTV stuff on Yahoo. Twisted Sister, Meatloaf, Tina Turner, Billy Idol, and Run DMC. Big, unapologetic personalities. Rocky Horror, 200 Motels, Tommy. Full commitment. Bruce Springsteen, Richie Havens at Woodstock.
Happy: How did growing up in a predominantly Jewish, Italian, and Irish community on Long Island influence your music?
Smushie: Long Islanders are loud and sentimental people. My music can be loud and sentimental. A bit angry, a bit playful. Well-meaning, fun.
Happy: Can you tell us more about the nickname “Smushie” and its significance in your life?
Smushie: I was born looking like a Perdue chicken according to my parents. All pressed up on myself. I’ve been called Smushie since day one.
Happy: What led you to start a solo project after college and why did you choose the name Smushie for it?
Smushie: I liked to skip class and make these little bedroom tracks. The name took a bit. But you can come up with a million clever names for yourself (I’ve tried it), and sometimes it’s more fun to just marry the old with the new. How comforting to know that, on some level, I’m the same person.
Happy: How has living in Chicago for the past four years influenced your music and creative process?
Smushie: It’s made me a better, more curious musician. I always wanted to be the worst player in the room, and that’s my reality now. People say Chicago is a big city with a small-town feel. I get claustrophobic, anxious. Then I remember I’m only passing through. Music helps me feel a stronger connection to the city.
Happy: What made you gravitate towards working with tape consoles and how has it shaped your songwriting and production style?
Smushie: Working with tape is like therapy for me. You can touch it. Perfection isn’t an option. You have limited space, so you just make choices. If they suck, no big deal. Finish the demo and let it go. Most of my demos suck.
Every track on this record was recorded to the same reel of tape on my friend Ben’s machine. To some people tape is nostalgic, but for me it feels more intimate, alive.
Happy: Could you share some insights into the themes and inspirations behind your debut album, “Doofus Casanova”?
Smushie: I’ve got death on the mind. We’re clueless. Our fear of it turns us into these phony cartoon weirdos. I’m not breaking new ground here, but it’s all I think about. We treat love like it’s this intellectual exercise, but it isn’t.
It’s painful and stupid. A good lover is a defenseless idiot. I’m better off as a moron, a doofus. What’s a “kernel shmegegge”? What’s a “credit score”? I don’t know. Maybe that’s the theme.
Happy: How did the collaboration with your frequent collaborators, Ben Astrachan and Ryan Gebhardt, contribute to the creation of your music?
Smushie: They keep me going. Ryan’s one of my heroes. His output is crazy. Such a deep guy and a dear friend. Keeps his head down and lets the music talk. We’ve got something fun up our sleeves. Working with Ben is beautiful chaos.
I think at one point we were even the same guy. I’m wild about what he’s putting out these days. He’s a good egg and continues to have such a positive impact on the community. I adore them both. And they’re buddies too.
Happy: What was the process like in bringing together the various musical ideas for this record, and how did you decide on the final track selection?
Smushie: I wouldn’t say there was much of a clean process. I made close to 200 demos in the past year and a half. These ones were ready. The grooves were there, the lyrics felt urgent. You get the close-up and the long shot. I was happy to end the record with the song for my mom.
Happy: How would you describe the evolution and range of your voice throughout the album, and how does working alone influence its diversity?
Smushie: At first, working alone forced me to confront what a boring and shallow human being I am. But it’s a gift to be a blank canvas when you’ve got so much oil to paint with. “My First Bag” and “Palm Trees for Mama” cover a similar theme (money), but they scratch a different itch.
I’m always trying to discover new things in my voice without worrying much about what’s right and what’s wrong. All the options are good. Can you imagine if we wore the same clothes every day? What if I went to a funeral in a gorilla costume? Better to do that in a song than in real life.
Happy: Can you share a memorable experience from your recent live shows and how they have shaped your approach as a live band?
Smushie: We played a show in Kalamazoo, Michigan. On the way back to Chicago we hit a stray truck tire on the highway. It sent us soaring, and it totaled the car. We were stuck in the left lane of a busy interstate at 3am, with 18-wheelers barreling North at 90mph. I can’t believe we survived. My approach is to play like we’re gonna die on the way home from the show.
Happy: Lastly, what makes you Happy?
Smushie: Losing myself in something. A story, a song, a meal, a loved one. Forgetting who and where I am.
