Q&A: Michael Younker Embraces the Brave Side of Humor in “Sweet Things” EP
THE BOLD ART OF HUMOR – Michael Younker has independently released his debut EP Sweet Things, which yanks the lo-fi origins of garage rock / big riffin' into clarity – as if we're able to put on the glasses (as opposed to the rom-com camp of shedding them; the EP and the creator would appreciate the irony in the opposite of tradition), and finally see in hi fidelity.
You can hear the personality in every instrumentation – from the wandering-of-the-dial radio static that crackles ahead of the opening title track, to the to the crashing of drums as if you're in a half-full garage with the kit, sound bouncing off the walls, to the acknowledgment of the pick on the strings you can gleam from the frenetically-strummed distorted guitars.
“Sonically and lyrically, Sweet Things feels like the kid who ate too much sugar, bounced off walls, and passed out on the floor,” Younker says. “Music of obsession, excess, indulgence, and consequences? From the self-sacrificing adoration of ‘Anything You Want,’ to submitting to the allure of the shiny object in ‘Heart Control,’ each track embodies a character who is, at once, altruistic and hopelessly self-involved. Is it me? Maybe. Probably. It's possible… but I don't even like candy.”
Sweet Things yanks the listener from the gritty, raw edges of garage rock into a place where the genre's lo-fi roots are polished just enough to reveal their true vibrancy without losing authenticity. Younker's ability to weave together themes of excess and consequence is evident throughout Sweet Things. The EP's title itself is a nod to indulgence, hinting at the sweet yet fleeting pleasures that define much of our lives. Each song is a vignette, offering a glimpse into the complexities of human desire and the often messy aftermath of chasing after it.
Younker’s voice sits somewhere between Christina Halladay’s brutally charismatic full throttle feeling and the bratty, sassy, tossing-aside cadence of Broncho’s Ryan Lindsey, landing him somewhere near Wavves or Cyndi Lauper on “She Bop.” Sweet Things has varied influences, including the omni-present Ramones, Violent Femmes, Billy Childish that you'd expect. But, the unashamed big rock motifs on The Donnas’ Spend The Night haunt “Sweet Things” like friendly ghosts laughing with you.
Of art and life in general, Younker says, “There’s something I find very brave about humor… it’s a thin line and I always admire artists/anyone who uses it well.”
LUNA: Thank you for talking to Luna. Our readers would love to get to know you and your music more. For any readers who aren’t familiar with you yet, what inspires your artistic style and sound?
MICHAEL: I would say my sound is inspired by both art and music. I love early 60s LA art such as Ed Ruscha, John Baldessari – artists with sarcasm, wit and pop sensibility. When it comes to music, '77 NYC punk will likely always inform my sound like the Ramones, Richard Hell, Johnny Thunders and Devo, but lately been stuck on early 2000s radio rock like The Donnas, primarily.
LUNA: You just released your debut EP Sweet Things and a huge congratulations is in order. What is the inspiration behind the project?
MICHAEL: Like a decade ago I was touring a lot in the garage rock scene, and after a while I got really disheartened by a lot of dudes with the same haircut and the same jacket and the same bad attitude. I finally got back into playing music again and I still love rock n’ roll. I wanted to make something that was light hearted, cheeky and fun, rather than something that felt too cool. I think we all could use a laugh, so that's the main thing with a more lighthearted energy.
LUNA: Was there any intention in the way you structured the songs in the way you did with “Sweet Things” being the opener and “Heart Control” being the closing track?
MICHAEL: I think as you listen to it, my first two songs are more upbeat and have some bop behind them, and then it descends into madness. “Heart Control” is the darkest song, even though none of them are super dark, but I just liked the idea of it opening up. You're on like a perfect, sunny day and then the rain cloud comes over. If you have it on repeat, it just starts over from the beginning and back to the sun.
LUNA: What is your favorite song from Sweet Things and why do you love it? Is there a certain lyric or message that stands out to you the most?
MICHAEL: My favorite lyric from “Anything You Want” is the chorus that goes, “Anything you want, I’ll get it for you / And maybe anything that I want too.” It’s about being super irresponsible promises and it’s also selfish and I'm like, I'll get you whatever you want, but I want some stuff as well.
LUNA: I know that visual storytelling plays a huge role in your music, especially with your experience through production design. What can listeners expect from you in this new era of music in terms of visuals and aesthetics?
MICHAEL: A lot of world-building...characters in an evolving environment. Many hats! Sweet Things visuals were about developing this 1940s soda jerk character, which has absolutely no relation to the sound of the album. I like the idea of album arts and visuals giving very little away about the music. Maybe the music sounds meaner than the unassuming visuals… maybe I'll flip it? Either way, it's very enjoyable to keep things loose and unpredictable.
LUNA: Have you experimented more or taken any risks – either lyrically, sonically or emotionally – with Sweet Things since your previous releases?
MICHAEL: Definitely. I think that's the only time I've ever released music where the lyrics are intelligible. All the lyrics are very silly. I think that’s what made this one of the more braver releases that I’ve ever done.
LUNA: What messages, emotions or story do you hope your listeners can take away from Sweet Things?
MICHAEL: Don't take life too seriously and don't take yourself too seriously because life’s a lot more fun when you don’t.
