“I do think, “Why do I do this?” When I first starting to write I only wrote songs because I wanted to be in a band. I’ve never thought myself as someone with musical talent, I was never musical as a little kid,” says Joyce Manor front man, Barry Johnson, opening up about the initial toils of writing songs.
Writing has always been an immense talent of Johnson’s, but as he grows older, he tells of hitting a writer’s block at times. “Once I started to use the part of my brain to write songs it was impossible to turn it off. I just wrote songs without even trying to. Melodies and lyrics would always flood into my head. The best songs I have written in my opinion are the ones where I’ve not actually tried hard to write a good song. It wasn’t until I was 24 where that stopped happening. I felt like I had to tap back into it. I feel like I had to jump-start my creativity.”
Life is good in the Joyce Manor camp right now. Although the struggle to write a good song afflicted his mid-twenties, Johnson’s heart has always been in the California pop punk band, who have just released their new album, ‘Cody’. It will be the band’s second release on major rock label, Epitaph, with their self-titled debut and sophomore record, ‘Of All Things I Will Soon Grow Tired’ released on independent labels.
Their previous album, ‘Never Hungover Again’, was recorded in just 10 days but for ‘Cody’ the band approached unfamiliar ground, spending nearly two months exploring sounds and creating in the studio. To spend more than a fortnight on a record was nearly alien to the group, but they decided to set up camp with the help of producer, Rob Schnapf. “I loved spending more time in the studio,” says Johnson. “I’d still be there today if it was up to me! I love writing and working on songs and getting excited and frustrated. All of it is fucking great. I can’t wait to do it all again.”
The additional time in the studio did the band justice, as ‘Cody’ is the most diverse album the band have released. It’s also their longest at a “lengthy” 23 and a bit minutes – nearly double that of their second album. Johnson explains that the band’s recent love for Green Day was something that heavily influenced the new release. “I discovered ‘Warning’ and ‘Nimrod’ which are really good albums,” he says. “I’m not going to lie, I thought Green Day were quite boring as a kid. The writing on the pair is really good, and I tried to attach that to ‘Cody’ as much as I could.”
Their self-titled debut was part of the wave that executed the “emo revival.” Inspiring so many bands both sides of the Atlantic with its vocal style, personal to-the-bone song themes, and Cali punk roots, it is cemented as one of the best releases of 2011.“In some respects ‘Cody’ is our best album yet, especially in how we executed it,” Johnson admits. “We spent more time on it and we reached the ambition that we were aiming for. But of course your first album is always special. There’s something natural about it. You only get one.
“So many band’s first albums just have something special about them,” he reflects. “I’m fortunate that we have a first album that people appreciate. I can’t even imagine what kind of headspace I was in when I made it and I doubt I could get back to it.”
However the jump between third album, ‘Never Hungover Again’, and ‘Cody’ is clear. Johnson tells us that in while the past ‘Never Hungover Again’ was “bitter and a bit mean,” ‘Cody’ diverts the bitterness to give the album a more human touch. The tracks envelop the listener, as it is an album that you don’t just hear; you have to “live” ‘Cody’ to fully appreciate it.
“I think we’ve changed a lot. It definitely shows on the album, and I really think we’ve matured,” he says, confessing several people have said that their new album feels like a movie soundtrack. It was never something he intended to happen, and that “what we wanted just came out this way.”Johnson adds that if Joyce Manor had a movie about their life, he’d want ‘Suicide Is Painless’ from M.A.S.H to be its theme song.
Although the band’s maturity is evident, they never want shake off the youthful label of being in a pop punk band. “I’m never shy to admit to being in a pop punk band, I love it,” he says. “There is a lot of really bad pop punk in the world and a lot of really great pop punk, too. I don’t think this record is an attempt to shed our connection and roots”
In between albums their previous drummer, Kurt Walcher, left the band to be replaced with Jeff Enzor, which had an impact on creating their new sound. “We had Kurt on our first few albums and he had a large pop punk background. Our current drummer, Jeff, is still a brilliant drummer but his background lies more in indie rock. The process of writing still hasn’t changed, though. The first thing we do is always do the vocal melody and then the chords and lyrics that suits. A song like ‘Fake ID’ is still pop punk at heart, it just feels a bit different.”
Joyce Manor share a double bonded influence with Manchester in the UK, both for the love of the culture and Johnson’s family roots to the city. As he was sat on the phone in sunny California, he was surprised to know that the other end of the call was taking place in a flat in Manchester. He was particularly surprised by the fact it was in the shadow of the infamous Strangeways tower, synonymous with The Smiths final album, ‘Strangeways, Here We Come’.
“I was really getting into Morrissey’s solo stuff while recording. We went to Salford Lads Clubs and have seen all the sites when we’ve been there. Unfortunately, I don’t think Morrissey would like the album,” laughs Johnson, enthusiastically discussing his love of UK indie bands. “My family is from Manchester so I know a lot. I got really into Oasis a while ago. I picked up their ‘Stop The Clocks’ B-Side collection and its great. That reignited my love for them. I picked up their first two records and spent a lot time listening to them. As I got older it seems that I love it more. Also, ‘There She Goes’ by The La’s was my favourite song for a long time.”
Now four albums down, and admitting to being a different person that he was at the band’s birth, Johnson still has no intentions of stopping. “Why do I tap back into it? Why do anything I guess? It used to be something I didn’t have to chore over. Now it feels like I could go back to school or become a bartender but I love being in a band. I don’t think I could ever make a decision to just stop writing songs. I can’t imagine life without it.”
Before pleasantries are exchanged over the phone as the conversation comes to an end, Johnson explains what he really thinks about Kanye West, contrary to the chorus in ‘Fake ID’. “He isn’t the best but I am indeed a big fan! He’s mind-blowing live.”
‘Cody’ is available now via Epitaph.