Bittersweet Machines was dead. Not life support - not a coma - not barely breathing - D.E.A.D. - Dead!
It was the culmination of several nefarious variables. Variable #1 - over the last several years, I have released dozens of songs that I thought were very promising. Songs that I am extremely proud of and really think others would enjoy too but I started to get the sense that I was the only one. As an indie artist it's very difficult to cut through the noise and compete for the public's ever constricting attention. That can get very frustrating over time. I say this not for sympathy but for backdrop. I certainly write for myself first but if there is no audience then it does start to feel a bit like one big vanity project. Variable # 2 - I got hit with a heavy dose funding limitations. Again, being an independent artist is great – I have complete control over the songs that I write and record – the artwork I chose - the design of my website - but I’m also responsible for funding the project completely. When the money runs dry - so do the songs. Things are not looking good at this point but then comes one more devastating blow. Variable #3 - My friend and vocal engineer, Saul, announced that he was moving 5,000 miles away to Alaska; that can be a bit of a big deal for us vocal prima donnas. The relationship between a vocalist and producer can be an intimate one - it can make a singer feel very vulnerable and naked. Recording vocals in front of someone new is like getting undressed in front of a stranger. Did I really want to go through the pains of building a new relationship with a new vocal engineer? So when I was hit with the triple whammy of no audience, no funding, and no vocal engineer – it started to feel like the universe was trying to tell me something; like it was conspiring against me - it seemed to indicate to me that it was about time to park Bittersweet Machines. So for all intents and purposes, I did. I was done.
But as chance would have it - before making the decision to put the machine into hibernation and siphon out the gas - I had actually written one last batch of songs – some pretty good ones too - including this one – which at the time I was calling “Ghost of a Good Friend”. For months and months, while I was trying to move on with my life and away from music, this song kept creeping into my subconscious. I would wake up with the song in my head. I would sing it in the shower. My kids were singing it. From the jump my producer, Mark, was in love with the song and I just really got the feeling that it would haunt me (pun intended) if I didn’t give this song a shot.
Usually when I head into the studio I go in with 3 or 4 songs ready to record but this time I decided that I wanted to focus all of my efforts on one song – “Haunting Me”. Bittersweet Machines was born from the notion that I don’t want to live my life with any regrets or “what ifs”. Mark Twain once said that “20 years from now you’ll be more disappointed by the things you didn’t do than the things that you did do” or something to that effect – but the point is still valid and it resonated with me.
It’s always fun to see how a song develops from the first seedling of an idea to a sprawling production bursting from the speakers and this song certainly had an arch. When I first wrote it – it was much slower and almost had a blues kind of feel to it. I got the chorus first but the verse lyrics took a little while longer and I wanted to make sure that I got them just right - so I didn’t rush it. It was almost a blessing that we didn’t rush this song and that it did take so long for it to come into the studio because that really gave me the time to let it shift and stretch into the form it is in today. Guess there's some gas left in the tank after all.
I’m really looking forward to the release of “Haunting Me” this Thursday, Aug 6th. It will be the first single from the EP “New Eyes for Old Haunts”. If you like it – please help me share it
Reply
This was the very first thing that I wrote after completing "In the Shadow of Two Cities" and I remember feeling such a sense of relief. In my head I was like, "Right, OK so if I can't write another song again for the rest of my life at least I have this one in my back pocket". It felt like a "get out of jail free" card and really took some pressure off my shoulders, allowing me to write quite a few new songs that will hopefully see the light of day soon. I knew within 5 minutes that I wanted to record this straight away. The song is really about being in a relationship and realizing that your partner is the better one of the pair. OUCH! A sad thought for sure but for some of us it's also a sharp reality. Originally when I wrote the song it was much longer but during production we really felt this song was in it's best form when tight, immediate, and high impact. No frills. Anyone that knows me knows that I have a soft spot for indie rock and 80s pop and I really thought this song lent itself to that kind of production. Mark and I spent a lot of time talking about reference points and sonic delivery. I will be the first to admit that this song is a bit of a guilty pleasure for me. And even though I write songs to satisfy some insatiable inner child that relentlessly stomps his feet inside my head; I really do hope others find something in this song to enjoy as well. Cheers.
Reply
So this past December I took two amazing trips to two amazing American cities, Philadelphia and Chicago. It's always intrigued me the way that steel & concrete, neon & brick seem to come alive and breathe with a crackling swell of electricity. This is especially true during the holidays. All sorts of sounds and smells (oh yeah there are definitely smells) seem to coalesce and rise into the air creating a unique underlying buzz to each city. Like a fingerprint no two are exactly the same and that's what gives a city its swagger, pride, and charm. However, on both trips I had the same recurring thought; I was having the time of my life and felt a part of something so much bigger than myself while completely surrounded by strangers - surrounded by people that I will never see again. A quick glance, a smile, a brush against the shoulder, or maybe even a brief exchange and then... Poof!... they're gone forever into the vague spaces between but together they create the patchwork of what becomes a landmark moment. They exist in the back of my mind or as fuzzy unfocused specters in a photograph. I'm sure that right now I am swimming in the murky watered background of someone elses photo album. "Faces I Will Never See Again" is for these strangers because without them those moments in time would be reduced and somehow less beautiful. They are characters in my own private movie. Or as my producer Mark McKee so eloquently said "It's a celebration song written in the fucked up way that only Bittersweet Machines could write". And speaking of Mark, this is another one of those songs that he had to talk me into recording. I loved the song and sentiment when I wrote it but I wasn't really sure that it fit the Bittersweet Machines brand. To me it always had this folky-Americana vibe (which isn't really my thing). Mark convinced me that we could find the appropriate balance to "make it my thing" and still add a new unexplored color to the catalogue. I'm glad he did. Also of special note is the fact that this is the first song of mine to ever include a banjo!!! Are you freakin' kidding? A boy from Jersey using a banjo! The horror! The glory! and it's played beautifully by Daniel Cook of the Raleigh based band New Reveille. So to all you strangers and background swimmers, this one is for you... Wherever you are.
Reply
WOW! It’s that time of year again and it seems like the holidays coming more and more quickly which each passing year. I think it’s just natural during the holidays to take a moment and reflect on the year that was… and it was a very busy year for Bittersweet Machines. Where to begin??? I guess the beginning.
Early in 2014 I released the 5 song EP “A Night Full of Sharp Edges” which received a lot of great feedback and some fantastic reviews. I wrote about 15 songs during those sessions and tried to strip it down to the 5 that I really felt most connected to; the songs that moved the Bittersweet Machines catalogue forward. As always Mark McKee and Saul Johnson were at the controls and as always their production is second to none. I had a fantastic time with the great folks over at Grilliant Radio that allowed me to come on their show for a 30 minute interview to promote the EP.
It was also around this time that the Bittersweet Machines Fan page was born. @BittersweetMFan for anyone that has not connected with us yet. That page has been tirelessly and generously maintained by the wonderful Teruyo Morris. Her efforts and friendship have been a great inspiration to me. Quite possibly the greatest byproduct of that page has been getting connected with so many wonderful people from around the world that share the same passion for music that I do. So a big thanks to all of you and a mega-big thanks to Teruyo.
During the summer I was lucky enough to team up with Finn Sims (of Finn Sims Films) for the music video to “Screaming Underwater”. The video is absolutely stunning and really makes the song even better. I can’t hear that song now without thinking of Finn’s powerful images. And those images were brought to life by the fantastic performances of Stephen Will and Hayley Muirhead. There is also a “Behind the Scenes” documentary of the making of that video which can be found on my website at www.BittersweetMachines.com
In the Fall, I released the retrospective album, “In the Shadow of Two Cities” which not only included select songs from each of my previous releases but also 3 brand new songs. I was fortunate enough to be a Featured Artist on ReverbNation 9 times in 2014!!! It was both humbling and exciting to receive so much love and positive feedback. And for more great news, the trend continues in 2015 as I am already slated to be a Featured Artist the weeks of January 6 and January 20th.
So while it may be sad to close down such a great and productive year it also gives us an opportunity to cast our eyes to the horizon of a new dawn; a new year full of possibilities. There is no sitting around for Bittersweet Machines as I head back into the studio in January with my friends Mark and Saul to start production on some new tunes (that I am very excited about). But what I'm most excited about is getting connected with all of you and hopefully bringing you some new Bittersweet Machines material for many, many more years to come.
Happy Holidays!
Reply
So after 2 and half years, 28 recorded songs, 4 formal releases, and non stop writing sessions, I felt like now was an appropriate time to press pause and take stock of what has been a truly landmark period of my life. "In the Shadow of Two Cities" is a bit of retrospective album, showcasing select songs from each of my four previous releases. I wanted an album that might encourage listeners to explore my earlier work. But of course I had to include some new material starting with the lead single "The Life I Used to Know", as well as "Skyscraper", and "Sleepwalking". This is certainly not a greatest hits album and it's not even an album of my own personal favorites but instead a collection that I thought was fairly representative of the Bittersweet Machines catalogue.
Since I was taking a look back I felt like I needed an album title that captured that sentiment. In fact, for the title of this album, I went all the way back to my home state of New Jersey. The Garden State is a lot of things to a lot of people. For some it's a punchline to a joke but for me it's home. New Jersey is 100 miles of Earth that stretches like a rubber band between Philadelphia and New York City. It is equally influenced by the gravitational pull of both cities creating a patchwork of beautiful people and cultures. This is where my dreams were born and this is where the title "In the Shadow of Two Cities" comes from; New Jersey.
Once again, Finn Sims provided the album cover photograph. I thought it captured both the feel of a city at night and the electric-like frenzy of the last 2 years. To see more of Finn's work check out (www.finnsims.com)
Sometimes you have to stop and take a look back before you take that next step forward.
Track listing
1. The Life I Used to Know
2. Is it Enough?
3. Reinventing the Afterglow
4. Tidal Wave
5. Breathing Again
6. Skyscraper
7. You and Me at the End of the World
8. Sleepy Planet
9. A Night Full of Sharp Edges
10. Be There
11. Sleepwalking
12. Finally Tonight
Reply
Just posted the new video for Screaming Underwater from the EP "A Night Full of Sharp Edges". The video was produced by Finn Sims (www.finnsims.com) and I have to say the results are just breathtaking. The concept, the style, the locations, and the performances by Stephen Will and Hayley Muirhead really took the song to another level. Finn was able to capture on film all of the emotions that I was feeling when I wrote the song and yet still brought an element that was uniquely his own. Finn and I have partnered on multiple projects before including 3 EP covers and the official "Breathing Again" video but I have to say that he really out did himself this time, creating something beautiful and emotive. I hope you enjoy the video as much as I do.
Reply
Well, here we are on the edge of August with quite a few irons in the fire. A new video is coming in a few weeks and then back into the studio. Perhaps even a few more interesting items up ahead. Stay tuned. So before Bittersweet Machines gets fired up again I just wanted to take a moment and say thank you to a few specific people (which is long overdue). Thanks to producers Mark McKee and Saul Johnson whose talent and patience is unmatched. Thanks to the brilliant Finn Sims for letting me see thru his lens. What a career this kid is going to have. Thanks to my friends Teruyo Morris and David Slater. Your support of Bittersweet Machines is unrivaled. Thanks to Kevin Mathews at Power of Pop for being one of the first media outlets to really get behind this music. Last but certainly not least is my family. My father is my champion. My mother is my spirit. My wife is my heart. And thanks to everyone else out there for paying attention to this little band called Bittersweet Machines. The best is yet to come.
Reply
Matt Mocharnuk, the brains behind recording artist Bittersweet Machines is a songwriter with the ability to manipulate the emotions of anyone fortunate enough to listen to his musical creations. I count myself amongst this number – as I have followed Mocharnuk’s creative journey in the last couple of years and with each release, cannot help but be awed by the consistent quality of the songs found on Bittersweet Machines EPs and albums.
New EP – A Night Full of Sharp Edges – is no exception to this rule. Stylistically, Mocharnuk has moved away somewhat from the post-punk revivalist tendencies found on previous releases. The songwriting seems more organic without reliance on any particular ‘genre’. This creative decision has liberated the music to form it’s own conclusions based on the confluence of tunes and lyrics.
What remains the same is the emotional weight of the melodies, the astute use of dynamism, the appropriation of infectious hooks and riffs and ultimately the natural appeal of songs that do not need too much analysis or deep probing in order to divine their joys.
It is an absolute pleasure to move from track to track – songs like “The Longest Minute,” “Is It Enough” and “Screaming Underwater” – embellished simply by acoustic guitar and tasteful keyboards reach out to touch heart and soul, rightfully belonging to the sweet indie Brit rock epoch that birthed bands like Travis, Coldplay and Keane. Yet another bloody essential release from Bittersweet Machines.
http://www.powerofpop.com/bittersweet-machines-a-night-full-of-sharp-edges-ep/
Review by Kevin Mathews at www.powerofpop.com
Reply
The creative output of Matt Mocharnuk has led to one album and two EP’s being released from the end of 2012 through 2013 from his solo project, Bittersweet Machines. Now 2014 brings along another EP in the form of A Night Full of Sharp Edges. To cut right to the quick, it’s remarkably strong and lives up to the reputation Bittersweet Machines has earned for itself over its last several releases. With that being the case, the remaining question would be, does this EP offer anything new to the artist’s catalog? Fortunately the answer to that is just as resoundingly positively as to the question of its quality.
Mocharnuk stated that his intent for this EP was, to create something that could be “epic and beautiful but still have its teeth; to reflect both sunlight and shadow.” Mission accomplished. The lead off track, “Is It Enough” reflects this goal even in its arrangement. It opens with gentle guitar and keyboards but quickly develops a hard drum beat and growling electric guitar riff. The keyboard refrain has a kind of, “City of Blinding Lights” tone and atmosphere to it, which is not entirely unsurprising given that U2’s music has been an influence on Bittersweet Machines. Mocharnuk’s voice continues to be hauntingly beautiful and powerful, something that adds more to the sunlight of the song against the shadow that is the guitar layers which build as the song progresses.
“Screaming Underwater,” shows more of its teeth in the lyric than the arrangement. His vocals are a kind of light to this rather dark lyric but the underlying feeling of futility is hard to escape. The arrangement of the track fits with this nicely, inserting softer, atmospheric keyboards and warbling effects to the guitar during the solo. The effect of this creates a kind of sound that emulates the sensation of being submerged.
Bittersweet Machines really captures the epic sensation previously mentioned by Mocharnuk on the EP’s title track. Again we’re presented with a song that starts off simply enough with guitars, vocals, and keyboards but it builds to much more than that at about forty-five seconds into the number. It’s at that point where we reach the first chorus and Mocharnuk’s voice soars with intensity, and the instrumentation instantly rises to match it. Everything fires on all cylinders, crafting a beautifully lush and rich sound until the song’s end.
“My Next Great Mistake” relies on a more keyboard based sound to form the melody as opposed to the guitar. But the guitars do come in later, and do so in force. For a song a little under three minutes, a lot of content is packed in. It’s mildly regrettable though that the unique opening that the track carries with it later turns into a more common rock arrangement. Not that it hurts the song any, it just feels like a lost opportunity.
The closing track makes up for this by sticking to a softer but no less grandiose sound. “The Longest Minute” starts with acoustic guitar, the sounds of piano chords, and a stellar vocal performance from Mocharnuk. This instrumentation and sound never subsides; and the additions of more keyboards only enhance the preexisting ones rather than take over them. The side-effect of all of this is that it keeps the music low-key enough that the vocals become the highlight. Every extended, powerful note Mocharnuk sings is awesome to behold. It also helps take some otherwise dark lyrics and makes them sound impassioned and loving.
Bittersweet Machines scores again with another excellent EP of beautifully sung and performed pop/rock. A Night Full of Sharp Edges does virtually everything it needs to in order to further the musical direction of Bittersweet Machines as well as continue to provide the style of music Mocharnuk has gone through great lengths to create and maintain.
Review by: Heath Andrews
Rating 5 Stars (out of 5)
Reply
Bittersweet Machines is the solo project and recording moniker of Greensboro, North Carolina-based singer/songwriter Matt Mocharnuk. After his band dissolved, he began writing the music that would become his promising debut solo album, Solituda which was released in 2012 and was quickly followed up by the release of two EPs - Momentary Lights and How to Start a Tidal Wave – in 2013. This past June, Mocharnuk released a new EP, titled A Night Full Of Sharp Edges. The self-released five-song EP perfectly captures his ambitious indie-pop sound that is laced with cinematic piano and smart, radio-ready alternative rock hooks, marrying the world-conquering rock anthems of U2 and Coldplay with the synth-driven emotional pull of 80’s post-punk for a unique sound. Right from the start, the piano-led opener “Is It Enough?” sets the tone for the EP with softly chugging guitars, emotionally-charged lyrics and the soaring, cloud-scraping melodies of the catchy chorus. The dynamic “Screaming Underwater” follows and draws inspiration from 80’s synth-pop titans Duran Duran and Tears For Fears but then quickly turns that on its head by blending in touches of infectiously anthemic pop-punk for a standout moment. Lyrically, Mocharnuk deals with depression from the viewpoint that sometimes even when it seems that the person has it all together, they might still be dealing with some demons. The title track, “A Night Full Of Sharp Edges” also has an 80’s-inducing nostalgia with its swirling atmosphere of glimmering synths, pretty piano and cloud-scraping melodies. But what really stands out are the relatable lyrics, as Mocharnuk battles the inevitable end of a relationship with pleading lines like, “Maybe it’s all over now, But it used to be love…Hold on, hold on, Before we throw it all away…”. Next, the electro-rock of “The Next Great Mistake” is built upon a pulsating beat and shows off a darker side with sinister electronics on the verse with its clever yet self-deprecating lyrics before the undeniably memorable and sing-along chorus explodes with contrastingly brighter melodies for another standout moment. The EP closes out with the tender ballad “The Longest Minute”; its thoughtful lyrics, gentle acoustic guitar strumming, stair-stepping piano fills and gorgeous synth-strings have the song primed to soundtrack a love scene in the next primetime television drama. With A Night Full Of Sharp Edges, the third EP and fourth overall recording that Matt Mocharnuk has released under the Bittersweet Machines moniker, proves that the prolific songwriter has the creative chops to modernize the synth-driven pop rock that we all loved from the 80’s with modern touches of arena-worthy alternative rock to great effect. He has flown under the radar for far too long but this new EP should garner him the praise he has worked hard for and deserves and it also serves to heighten the anticipation for the release of his sophomore album. Reviewed by: Justin Kreitzer (Atlas and the Anchor)
Reply
Bittersweet Machines / Blog
Haunting Me
Bittersweet Machines was dead. Not life support - not a coma - not barely breathing - D.E.A.D. - Dead!
It was the culmination of several nefarious variables. Variable #1 - over the last several years, I have released dozens of songs that I thought were very promising. Songs that I am extremely proud of and really think others would enjoy too but I started to get the sense that I was the only one. As an indie artist it's very difficult to cut through the noise and compete for the public's ever constricting attention. That can get very frustrating over time. I say this not for sympathy but for backdrop. I certainly write for myself first but if there is no audience then it does start to feel a bit like one big vanity project. Variable # 2 - I got hit with a heavy dose funding limitations. Again, being an independent artist is great – I have complete control over the songs that I write and record – the artwork I chose - the design of my website - but I’m also responsible for funding the project completely. When the money runs dry - so do the songs. Things are not looking good at this point but then comes one more devastating blow. Variable #3 - My friend and vocal engineer, Saul, announced that he was moving 5,000 miles away to Alaska; that can be a bit of a big deal for us vocal prima donnas. The relationship between a vocalist and producer can be an intimate one - it can make a singer feel very vulnerable and naked. Recording vocals in front of someone new is like getting undressed in front of a stranger. Did I really want to go through the pains of building a new relationship with a new vocal engineer? So when I was hit with the triple whammy of no audience, no funding, and no vocal engineer – it started to feel like the universe was trying to tell me something; like it was conspiring against me - it seemed to indicate to me that it was about time to park Bittersweet Machines. So for all intents and purposes, I did. I was done.
But as chance would have it - before making the decision to put the machine into hibernation and siphon out the gas - I had actually written one last batch of songs – some pretty good ones too - including this one – which at the time I was calling “Ghost of a Good Friend”. For months and months, while I was trying to move on with my life and away from music, this song kept creeping into my subconscious. I would wake up with the song in my head. I would sing it in the shower. My kids were singing it. From the jump my producer, Mark, was in love with the song and I just really got the feeling that it would haunt me (pun intended) if I didn’t give this song a shot.
Usually when I head into the studio I go in with 3 or 4 songs ready to record but this time I decided that I wanted to focus all of my efforts on one song – “Haunting Me”. Bittersweet Machines was born from the notion that I don’t want to live my life with any regrets or “what ifs”. Mark Twain once said that “20 years from now you’ll be more disappointed by the things you didn’t do than the things that you did do” or something to that effect – but the point is still valid and it resonated with me.
It’s always fun to see how a song develops from the first seedling of an idea to a sprawling production bursting from the speakers and this song certainly had an arch. When I first wrote it – it was much slower and almost had a blues kind of feel to it. I got the chorus first but the verse lyrics took a little while longer and I wanted to make sure that I got them just right - so I didn’t rush it. It was almost a blessing that we didn’t rush this song and that it did take so long for it to come into the studio because that really gave me the time to let it shift and stretch into the form it is in today. Guess there's some gas left in the tank after all.
I’m really looking forward to the release of “Haunting Me” this Thursday, Aug 6th. It will be the first single from the EP “New Eyes for Old Haunts”. If you like it – please help me share it
Reply
More Than Ever
This was the very first thing that I wrote after completing "In the Shadow of Two Cities" and I remember feeling such a sense of relief. In my head I was like, "Right, OK so if I can't write another song again for the rest of my life at least I have this one in my back pocket". It felt like a "get out of jail free" card and really took some pressure off my shoulders, allowing me to write quite a few new songs that will hopefully see the light of day soon. I knew within 5 minutes that I wanted to record this straight away. The song is really about being in a relationship and realizing that your partner is the better one of the pair. OUCH! A sad thought for sure but for some of us it's also a sharp reality. Originally when I wrote the song it was much longer but during production we really felt this song was in it's best form when tight, immediate, and high impact. No frills. Anyone that knows me knows that I have a soft spot for indie rock and 80s pop and I really thought this song lent itself to that kind of production. Mark and I spent a lot of time talking about reference points and sonic delivery. I will be the first to admit that this song is a bit of a guilty pleasure for me. And even though I write songs to satisfy some insatiable inner child that relentlessly stomps his feet inside my head; I really do hope others find something in this song to enjoy as well. Cheers.
Reply
Faces I Will Never See Again
So this past December I took two amazing trips to two amazing American cities, Philadelphia and Chicago. It's always intrigued me the way that steel & concrete, neon & brick seem to come alive and breathe with a crackling swell of electricity. This is especially true during the holidays. All sorts of sounds and smells (oh yeah there are definitely smells) seem to coalesce and rise into the air creating a unique underlying buzz to each city. Like a fingerprint no two are exactly the same and that's what gives a city its swagger, pride, and charm. However, on both trips I had the same recurring thought; I was having the time of my life and felt a part of something so much bigger than myself while completely surrounded by strangers - surrounded by people that I will never see again. A quick glance, a smile, a brush against the shoulder, or maybe even a brief exchange and then... Poof!... they're gone forever into the vague spaces between but together they create the patchwork of what becomes a landmark moment. They exist in the back of my mind or as fuzzy unfocused specters in a photograph. I'm sure that right now I am swimming in the murky watered background of someone elses photo album. "Faces I Will Never See Again" is for these strangers because without them those moments in time would be reduced and somehow less beautiful. They are characters in my own private movie. Or as my producer Mark McKee so eloquently said "It's a celebration song written in the fucked up way that only Bittersweet Machines could write". And speaking of Mark, this is another one of those songs that he had to talk me into recording. I loved the song and sentiment when I wrote it but I wasn't really sure that it fit the Bittersweet Machines brand. To me it always had this folky-Americana vibe (which isn't really my thing). Mark convinced me that we could find the appropriate balance to "make it my thing" and still add a new unexplored color to the catalogue. I'm glad he did. Also of special note is the fact that this is the first song of mine to ever include a banjo!!! Are you freakin' kidding? A boy from Jersey using a banjo! The horror! The glory! and it's played beautifully by Daniel Cook of the Raleigh based band New Reveille. So to all you strangers and background swimmers, this one is for you... Wherever you are.
Reply
A Year in Review (2014)
WOW! It’s that time of year again and it seems like the holidays coming more and more quickly which each passing year. I think it’s just natural during the holidays to take a moment and reflect on the year that was… and it was a very busy year for Bittersweet Machines. Where to begin??? I guess the beginning. Early in 2014 I released the 5 song EP “A Night Full of Sharp Edges” which received a lot of great feedback and some fantastic reviews. I wrote about 15 songs during those sessions and tried to strip it down to the 5 that I really felt most connected to; the songs that moved the Bittersweet Machines catalogue forward. As always Mark McKee and Saul Johnson were at the controls and as always their production is second to none. I had a fantastic time with the great folks over at Grilliant Radio that allowed me to come on their show for a 30 minute interview to promote the EP. It was also around this time that the Bittersweet Machines Fan page was born. @BittersweetMFan for anyone that has not connected with us yet. That page has been tirelessly and generously maintained by the wonderful Teruyo Morris. Her efforts and friendship have been a great inspiration to me. Quite possibly the greatest byproduct of that page has been getting connected with so many wonderful people from around the world that share the same passion for music that I do. So a big thanks to all of you and a mega-big thanks to Teruyo. During the summer I was lucky enough to team up with Finn Sims (of Finn Sims Films) for the music video to “Screaming Underwater”. The video is absolutely stunning and really makes the song even better. I can’t hear that song now without thinking of Finn’s powerful images. And those images were brought to life by the fantastic performances of Stephen Will and Hayley Muirhead. There is also a “Behind the Scenes” documentary of the making of that video which can be found on my website at www.BittersweetMachines.com In the Fall, I released the retrospective album, “In the Shadow of Two Cities” which not only included select songs from each of my previous releases but also 3 brand new songs. I was fortunate enough to be a Featured Artist on ReverbNation 9 times in 2014!!! It was both humbling and exciting to receive so much love and positive feedback. And for more great news, the trend continues in 2015 as I am already slated to be a Featured Artist the weeks of January 6 and January 20th. So while it may be sad to close down such a great and productive year it also gives us an opportunity to cast our eyes to the horizon of a new dawn; a new year full of possibilities. There is no sitting around for Bittersweet Machines as I head back into the studio in January with my friends Mark and Saul to start production on some new tunes (that I am very excited about). But what I'm most excited about is getting connected with all of you and hopefully bringing you some new Bittersweet Machines material for many, many more years to come. Happy Holidays!
Reply
In the Shadow of Two Cities
So after 2 and half years, 28 recorded songs, 4 formal releases, and non stop writing sessions, I felt like now was an appropriate time to press pause and take stock of what has been a truly landmark period of my life. "In the Shadow of Two Cities" is a bit of retrospective album, showcasing select songs from each of my four previous releases. I wanted an album that might encourage listeners to explore my earlier work. But of course I had to include some new material starting with the lead single "The Life I Used to Know", as well as "Skyscraper", and "Sleepwalking". This is certainly not a greatest hits album and it's not even an album of my own personal favorites but instead a collection that I thought was fairly representative of the Bittersweet Machines catalogue. Since I was taking a look back I felt like I needed an album title that captured that sentiment. In fact, for the title of this album, I went all the way back to my home state of New Jersey. The Garden State is a lot of things to a lot of people. For some it's a punchline to a joke but for me it's home. New Jersey is 100 miles of Earth that stretches like a rubber band between Philadelphia and New York City. It is equally influenced by the gravitational pull of both cities creating a patchwork of beautiful people and cultures. This is where my dreams were born and this is where the title "In the Shadow of Two Cities" comes from; New Jersey. Once again, Finn Sims provided the album cover photograph. I thought it captured both the feel of a city at night and the electric-like frenzy of the last 2 years. To see more of Finn's work check out (www.finnsims.com) Sometimes you have to stop and take a look back before you take that next step forward. Track listing 1. The Life I Used to Know 2. Is it Enough? 3. Reinventing the Afterglow 4. Tidal Wave 5. Breathing Again 6. Skyscraper 7. You and Me at the End of the World 8. Sleepy Planet 9. A Night Full of Sharp Edges 10. Be There 11. Sleepwalking 12. Finally Tonight
Reply
"Screaming Underwater" - Official Video
Just posted the new video for Screaming Underwater from the EP "A Night Full of Sharp Edges". The video was produced by Finn Sims (www.finnsims.com) and I have to say the results are just breathtaking. The concept, the style, the locations, and the performances by Stephen Will and Hayley Muirhead really took the song to another level. Finn was able to capture on film all of the emotions that I was feeling when I wrote the song and yet still brought an element that was uniquely his own. Finn and I have partnered on multiple projects before including 3 EP covers and the official "Breathing Again" video but I have to say that he really out did himself this time, creating something beautiful and emotive. I hope you enjoy the video as much as I do.
Reply
Thank You!
Well, here we are on the edge of August with quite a few irons in the fire. A new video is coming in a few weeks and then back into the studio. Perhaps even a few more interesting items up ahead. Stay tuned. So before Bittersweet Machines gets fired up again I just wanted to take a moment and say thank you to a few specific people (which is long overdue). Thanks to producers Mark McKee and Saul Johnson whose talent and patience is unmatched. Thanks to the brilliant Finn Sims for letting me see thru his lens. What a career this kid is going to have. Thanks to my friends Teruyo Morris and David Slater. Your support of Bittersweet Machines is unrivaled. Thanks to Kevin Mathews at Power of Pop for being one of the first media outlets to really get behind this music. Last but certainly not least is my family. My father is my champion. My mother is my spirit. My wife is my heart. And thanks to everyone else out there for paying attention to this little band called Bittersweet Machines. The best is yet to come.
Reply
New EP - Review
Matt Mocharnuk, the brains behind recording artist Bittersweet Machines is a songwriter with the ability to manipulate the emotions of anyone fortunate enough to listen to his musical creations. I count myself amongst this number – as I have followed Mocharnuk’s creative journey in the last couple of years and with each release, cannot help but be awed by the consistent quality of the songs found on Bittersweet Machines EPs and albums. New EP – A Night Full of Sharp Edges – is no exception to this rule. Stylistically, Mocharnuk has moved away somewhat from the post-punk revivalist tendencies found on previous releases. The songwriting seems more organic without reliance on any particular ‘genre’. This creative decision has liberated the music to form it’s own conclusions based on the confluence of tunes and lyrics. What remains the same is the emotional weight of the melodies, the astute use of dynamism, the appropriation of infectious hooks and riffs and ultimately the natural appeal of songs that do not need too much analysis or deep probing in order to divine their joys. It is an absolute pleasure to move from track to track – songs like “The Longest Minute,” “Is It Enough” and “Screaming Underwater” – embellished simply by acoustic guitar and tasteful keyboards reach out to touch heart and soul, rightfully belonging to the sweet indie Brit rock epoch that birthed bands like Travis, Coldplay and Keane. Yet another bloody essential release from Bittersweet Machines. http://www.powerofpop.com/bittersweet-machines-a-night-full-of-sharp-edges-ep/ Review by Kevin Mathews at www.powerofpop.com
Reply
Review - A Night Full of Sharp Edges
The creative output of Matt Mocharnuk has led to one album and two EP’s being released from the end of 2012 through 2013 from his solo project, Bittersweet Machines. Now 2014 brings along another EP in the form of A Night Full of Sharp Edges. To cut right to the quick, it’s remarkably strong and lives up to the reputation Bittersweet Machines has earned for itself over its last several releases. With that being the case, the remaining question would be, does this EP offer anything new to the artist’s catalog? Fortunately the answer to that is just as resoundingly positively as to the question of its quality. Mocharnuk stated that his intent for this EP was, to create something that could be “epic and beautiful but still have its teeth; to reflect both sunlight and shadow.” Mission accomplished. The lead off track, “Is It Enough” reflects this goal even in its arrangement. It opens with gentle guitar and keyboards but quickly develops a hard drum beat and growling electric guitar riff. The keyboard refrain has a kind of, “City of Blinding Lights” tone and atmosphere to it, which is not entirely unsurprising given that U2’s music has been an influence on Bittersweet Machines. Mocharnuk’s voice continues to be hauntingly beautiful and powerful, something that adds more to the sunlight of the song against the shadow that is the guitar layers which build as the song progresses. “Screaming Underwater,” shows more of its teeth in the lyric than the arrangement. His vocals are a kind of light to this rather dark lyric but the underlying feeling of futility is hard to escape. The arrangement of the track fits with this nicely, inserting softer, atmospheric keyboards and warbling effects to the guitar during the solo. The effect of this creates a kind of sound that emulates the sensation of being submerged. Bittersweet Machines really captures the epic sensation previously mentioned by Mocharnuk on the EP’s title track. Again we’re presented with a song that starts off simply enough with guitars, vocals, and keyboards but it builds to much more than that at about forty-five seconds into the number. It’s at that point where we reach the first chorus and Mocharnuk’s voice soars with intensity, and the instrumentation instantly rises to match it. Everything fires on all cylinders, crafting a beautifully lush and rich sound until the song’s end. “My Next Great Mistake” relies on a more keyboard based sound to form the melody as opposed to the guitar. But the guitars do come in later, and do so in force. For a song a little under three minutes, a lot of content is packed in. It’s mildly regrettable though that the unique opening that the track carries with it later turns into a more common rock arrangement. Not that it hurts the song any, it just feels like a lost opportunity. The closing track makes up for this by sticking to a softer but no less grandiose sound. “The Longest Minute” starts with acoustic guitar, the sounds of piano chords, and a stellar vocal performance from Mocharnuk. This instrumentation and sound never subsides; and the additions of more keyboards only enhance the preexisting ones rather than take over them. The side-effect of all of this is that it keeps the music low-key enough that the vocals become the highlight. Every extended, powerful note Mocharnuk sings is awesome to behold. It also helps take some otherwise dark lyrics and makes them sound impassioned and loving. Bittersweet Machines scores again with another excellent EP of beautifully sung and performed pop/rock. A Night Full of Sharp Edges does virtually everything it needs to in order to further the musical direction of Bittersweet Machines as well as continue to provide the style of music Mocharnuk has gone through great lengths to create and maintain. Review by: Heath Andrews Rating 5 Stars (out of 5)
Reply
Review 2 - A Night Full of Sharp Edges
Bittersweet Machines is the solo project and recording moniker of Greensboro, North Carolina-based singer/songwriter Matt Mocharnuk. After his band dissolved, he began writing the music that would become his promising debut solo album, Solituda which was released in 2012 and was quickly followed up by the release of two EPs - Momentary Lights and How to Start a Tidal Wave – in 2013. This past June, Mocharnuk released a new EP, titled A Night Full Of Sharp Edges. The self-released five-song EP perfectly captures his ambitious indie-pop sound that is laced with cinematic piano and smart, radio-ready alternative rock hooks, marrying the world-conquering rock anthems of U2 and Coldplay with the synth-driven emotional pull of 80’s post-punk for a unique sound. Right from the start, the piano-led opener “Is It Enough?” sets the tone for the EP with softly chugging guitars, emotionally-charged lyrics and the soaring, cloud-scraping melodies of the catchy chorus. The dynamic “Screaming Underwater” follows and draws inspiration from 80’s synth-pop titans Duran Duran and Tears For Fears but then quickly turns that on its head by blending in touches of infectiously anthemic pop-punk for a standout moment. Lyrically, Mocharnuk deals with depression from the viewpoint that sometimes even when it seems that the person has it all together, they might still be dealing with some demons. The title track, “A Night Full Of Sharp Edges” also has an 80’s-inducing nostalgia with its swirling atmosphere of glimmering synths, pretty piano and cloud-scraping melodies. But what really stands out are the relatable lyrics, as Mocharnuk battles the inevitable end of a relationship with pleading lines like, “Maybe it’s all over now, But it used to be love…Hold on, hold on, Before we throw it all away…”. Next, the electro-rock of “The Next Great Mistake” is built upon a pulsating beat and shows off a darker side with sinister electronics on the verse with its clever yet self-deprecating lyrics before the undeniably memorable and sing-along chorus explodes with contrastingly brighter melodies for another standout moment. The EP closes out with the tender ballad “The Longest Minute”; its thoughtful lyrics, gentle acoustic guitar strumming, stair-stepping piano fills and gorgeous synth-strings have the song primed to soundtrack a love scene in the next primetime television drama. With A Night Full Of Sharp Edges, the third EP and fourth overall recording that Matt Mocharnuk has released under the Bittersweet Machines moniker, proves that the prolific songwriter has the creative chops to modernize the synth-driven pop rock that we all loved from the 80’s with modern touches of arena-worthy alternative rock to great effect. He has flown under the radar for far too long but this new EP should garner him the praise he has worked hard for and deserves and it also serves to heighten the anticipation for the release of his sophomore album. Reviewed by: Justin Kreitzer (Atlas and the Anchor)
Reply