Johnny Dynamite on Sleeveless, Success & Spider-Man
Today marks the release of Johnny Dynamite and the Bloodsuckers' second album, Sleeveless, via Born Loser Records. Here, Zach shares his thoughts on the record, and speaks with Johnny about his inspirations, his artistic vision, and his favorite Cure song.
Johnny Dynamite stands with his back towards us on the cover of his latest record, Sleeveless. Dripping down his neck is his mullet, floating atop studs on his shoulders and hovering above countless patches on his ripped denim jacket. I was instantly reminded of Stranger Things when looking at this art - it captures that specific shade of 80s nostalgia interwoven with the spookies that the show has essentially trademarked.
I wouldn’t go so far as to call Sleeveless “Stranger Things pop,” if only for the fact that as endearing as I want that term to be, it sucks. But Sleeveless definitely has a similar, grandiose sheen to it, one that captures a nostalgic, spooky aura around the stories Johnny sings throughout the crisp, methodical runtime. You’ll find the vocal performances are cool, calm and collected, yet impassioned all the same. Their delivery feels heavily inspired by the vocals of Little Dark Age-era MGMT, Gossamer-era Passion Pit, and any band that loved the Cure, ever.
Album singles “Bats In The Woods,” “Triflin’ Kids” and “Fucked Up Paradise” were all excellent, but the best of the album lies within its six other songs. I find it hard to beat the seventh track “Drugged,” due to the smoky, falsetto vocals of Johnny, the chiming guitar lead and clunky bass towards the backend. “The Prey” and “Angel” find Johnny using simple imagery to great effect - the mark of a songwriter with an admiration for pop in all its forms. There’s also “Can’t Stop My Love,” a #banger of a track that proves no, you really can’t; and “It’s Dynamite,” which is an incredibly fun way to end an album.
I really love what Sleeveless is as an album - unapologetic in influence, pop-friendly in song-craft, easy and accessible with a touch of niche. It’s also perfect for this time of year, when the humidity fogs your brain and haunts your mind. To coincide with the record’s release, I spoke with Johnny to find out more about the artist, his inspirations and industry thoughts.
First off, hey Johnny! How are you? As the world’s been re-opening, how have you felt you’ve been able to adjust back to the “swing of things,” so to speak?
Honestly, I haven’t been better. The past year I’ve had a wave of exhaustion come over me with the world shut down. I’ve been a New Yorker my whole life, and the energy of the city serves somewhat as a battery for me, so with that energy surging back I’ve felt so much more inspired
I wanna talk about your stage name: when I hear Johnny Dynamite, the first thing I think of is “bravado.” However, the name actually comes from a specific context - the illustrative works of your grandfather, Pete Morisi. Can you tell me a little bit about him, and the impact he made in your life?
Growing up my Grandpa kept his legacy somewhat secret. I knew he drew & wrote comic books but I didn’t realize the impact he had. It’s pretty wild, after he passed away, my family found letters written to him by Stan Lee asking him to work on Spider-Man. My Grandpa politely declined because he wouldn’t have had enough creative freedom. I like to carry that ethos with me and with what I create, because hell— we’re not doing this for the money, that’s for sure.
Why specifically did you choose his character of Johnny Dynamite for your stage name? What drew you to him?
When I was a kid, I had a framed picture in my room of my Grandpa’s character, Johnny Dynamite. I was about 4 years old, and there weren’t any other Johnny’s in the family, so I just assumed that was me. I later took it on as a stage name to honor my family’s lineage. At the time I was also playing drums in a lot of local bands, and I felt like it was a good name for a drummer
If we’re talking about things you’re drawn to, why the synthesizer? What about it appeals to you where it becomes the driving force of your music?
I really don’t know, if a 16 year old me saw me now, he’d think I was a sell out for using synths, but in 2013 I heard Tycho for the first time and his music kind of rewired my brain. Ever since, I’ve viewed it no different than a guitar.
Sleeveless, your latest solo release, is one of the most noteworthy goth and synthpop albums of recent memory for me, partially due to how the synths are atmospheric but direct, hazy but pure. What synths did you use on this album to garner its sound?
Thank you, I really appreciate that. I mostly just use a Prophet 12 & a Roland SE-02, however for some of the cheaper sounds I use a Roland D110. Also I believe Trey Frye, who co-produced the new record, sprinkled some DX7 & Juno-60 in there. Most of my songs were sequenced on my MPC2000XL - RIP, it broke right when I finished the rec.
It should be noted that as an instrumentalist, you don’t just play the synthesizer, you also play the drums - in fact, you’re the drummer in Whiner, who to my knowledge also have members carryover into your backing band The Bloodsuckers. How has working with these people influenced your music and the direction you want to take your art?
Actually, the Bloodsuckers don’t have any members from Whiner, but me & Cammy (Castan, lead singer of Whiner) also have a side project called Baby & Dynamite. Drumming for Whiner influenced my music a lot though. I steal Cammy’s lyrics all the time, but I’m going to give him some royalties for it, lol. In Whiner, I’ve mostly been playing parts that Henry wrote, so I’ve learned to emulate his style for the band, and that naturally leaked into my own music as well. Also, Boon has been ripping me off for years, so he owes me.
I think what I love most about Sleeveless - other than the cover art - is how effective the thematics of the songwriting are. There’s a gothic simplicity in songs like “Bats in the Woods,” “The Prey” and “Angel,” but they’re elevated through how tight their respective worlds are, and through their performances that draw on the legacy of Robert Smith.
Oh ya, I love The Cure, definitely one of my top 5 biggest influences.
What did you look to accomplish when writing these songs? What do you want the listener to get out of these songs, from a thematic standpoint?
I write a lot of my music just for myself actually. I love recording a track and listening to it throughout the week. I couldn’t imagine what my life would be like without that. I’m usually just happy when a listener picks up on the little things in the lyrics and the music. A lot of my lyricism is usually about trying to find some sort of middle ground, whether it’s in love, life, politics, or some other facet. I think that’s what music is really about, bringing all sorts of people together who can just agree that it’s pretty pleasant to listen to the noise we all make
Sleeveless also doesn’t shy away from being pop friendly - the hooks and production are the strong case-in point. I know there’s a strong sense of skepticism towards “poptimism” right now, so I’m curious to know your thoughts. How do you view optimism towards the average pop artist? Do you find an inherent issue in elevating a style of art so firmly rooted in industry?
Honestly, I love pop music. Taylor Swift & Drake are two of my favorite artists and biggest influences. My problem lies more in the artists who use DIY as a facade when they’re actually backed by industry or wealth, because they’re the ones keeping down the average punk by manipulating an audience who isn’t well acquainted with the gears that turn behind the scenes.
I also ask this because you’ve been working and producing with a DIY aesthetic for a while now, and it can be frustrating to prioritize artistic expression in a scene when the driving factors of the industry at large are clout and profit. Do you feel content with the path you are currently on with your music? And what do you aspire to achieve most with your art?
Yeah, I feel very content with where I am. I’m really lucky and grateful to be backed by bands like Korine, labels like Born Losers, and all my friends who’ve elevated me to where I am now. I mostly aspire to never lose the inspiration and the driving force behind writing my music. I view every song and every record as a stepping stone towards whatever’s to come as well as a documented piece of time in my life.
We’ll wrap this up on a fun one...knowing how central of an influence they are to your sound, what’s the best Cure song and why?
Haha… “Lullaby.” I got into the Cure when I was 19 or 20. I clicked on that song on iTunes to hear a 30 second preview and within an hour I had torrented their entire discography. The beat, the rhythm, the guitar hook, the way Robert lays down that creepy whisper vocal and talks about Spider-Man, it gave me a chill like no other.
