Southern California punk band Heartwells returns with Ollie—a dynamic six-song EP, out now via Hey!Fever Records. Fueled by skatepunk urgency, melodic grit, and confessional lyrics, Ollie marks the band’s most personal and fully realized release to date.
We caught up with JT (vocals/guitar) of Heartwells to talk about the album’s emotionally charged themes, spontaneous studio sessions, working with producer Paul Miner, and of course, the four-legged inspiration behind the record’s title.
“Ollie” is described as your most personal and fully realized release to date—how did writing about your father impact your approach to songwriting on this EP?
Oh man the context of this song is such a bum out, but you asked! Here it goes; my parents divorced when I was 3 years old and I didn’t get to meet my dad til I was about 10. I met him at his father’s (my grandfathers) funeral in 1998, which is super weird… My dad bought me my first electric guitar and amp shortly after. It was a Fender Squire Strat with a little practice amp. I was so stoked! My dad ended up staying in my life for a few years until one night he had too much to drink and confessed that I wasn’t really his son. Which was also super weird…I told my mom about it when I got home and she told me that I wouldn’t be seeing him anymore. Which I never did. He tried to come back into my life again in my early twenties and it didn’t go well. The last thing I said to him was he would die alone. He ended up dying of stomach cancer 6years later. My mom went to visit him in the hospital and he told her that I was right. Kind of haunting situation. He was actually my dad but he suffered from drug and alcohol abuse which really impaired his mental state. As much as I hated how things turned out with him every time I pick up a guitar I owe it to him. The lyrics at the end of the song “6 strings for a life of pain, thank god for an even trade” are a direct reference to that. Music is therapy, clearly.
You mentioned that two songs were written entirely in the studio without hearing them beforehand. How did that spontaneity influence the overall sound and emotional weight of the record?
When it comes to writing for Heartwells, I typically have the bones of the songs laid out for the band. Guinness and I will start working on the drum parts and then the rest of the band comes in with their influences and we make tweaks here and there. I knew the songs were easy enough for them to feel confident laying down there parts and I was pretty adamant about getting them done. The 2 songs were The Inevitable Collapse which is the last song on the record and Killin Me Now which we left off for an upcoming split with Stoke Signals later this year. These guys love to write and noodle and try things so it was over-all a really good experience. I typically have the lyrics going as we write. The best part was we didn’t really waste any studio time! I am lucky to work with a group of such talented gentlemen!
Working with Paul Miner again, you said he ‘stepped up as a producer’—can you share a specific moment during the sessions where his influence shaped a song significantly?
So Paul has done our last 3 releases. Working with him is such an organic experience because he really gives the band a lot of room to breathe but won’t hesitate to tell you if something doesn’t work. I think in this instance, there was a lot of uncertainty with 2 studio songs being made on the spot and also just the over-all attention to the details of our music. We use him as a tie a breaker on most stuff if we get stuck bumping heads on an idea (which is usually because of me). So we let him do a lot of the guiding. The intro feedback on Over Me was him and Skwid and I think it elevated the song and solidified it as the opening track. Paul is the best. Love you Paul!
There’s a raw, emotional intensity throughout “Ollie.” How do you balance those deeply personal themes with the high-energy aggression that defines skatepunk?
One thing I have always loved about punk music is that you can have such a contrast with a catchy melody but then find out the context of lyrics to be something darker. I think over-all I am writing about my personal experiences and feelings in this record. To be honest what is coming out is just a reflection of what influenced me and my band over the years growing up. My biggest thing about music, especially punk rock, is you need to be genuine. You need to be real. People want to see your soul. Punk rock is the rawest and most truthful form of music when it real.
What kind of growth have you noticed in the band’s dynamic since The New Old School, and how does that evolution show up in these six new songs?
The growth of this record is pretty exponential. I think the over-all feedback and also my opinion is that each member is really shining through. We have been constantly touring and recording since we started so I think there is just a natural progression happening. Everyone in the band seems really happy about all their parts and how things turned out. Practice makes perfect!
“Ollie” touches on family dynamics, social unrest, and fractured relationships—what do you hope listeners take away emotionally from this record?
I think relatability is super important in music. I wrote a song called Lovely Day in Hell on the last record and people kept telling me how much the song meant to them. It was really great to know that the lyrics I wrote have touched people in that way. I think listeners should know that everyone can relate to these experiences in one way or another. Going through the hard times is what shapes us and makes us who we are. I want them to all know we relate just as much.
With so much of “Ollie” being created spontaneously, were there any specific pedals, guitars, or gear choices that unexpectedly shaped a song’s tone or direction in the studio?
I would say only 2 songs were spontaneous. We were pretty organized on the other 5 that were on the record. I went back to using my Marshall head for this record and I think Skwid used an Orange amp and I love the tone we ended up with. There are enough pedals between Skid and Moki to make a small raft so they used as much gear and ideas as possible. Especially Skwid. Moki got me this rad Epiphone guitar that he re-built that had a bunch of tone switches on it so I used that for the intro to Father of the Year. It gave it this radio-esque sound. Super treble-y
Be honest—who in the band would Ollie the dog most likely trust to walk him, and who would totally get dragged into traffic?
Ollie is Moki’s Dog! He started as a foster dog but they fell in love! Now he is our album cover! The answer is Ollie would probably trust all of us to walk him since he such a cute and friendly boy! He would totally drag Skwid into traffic though haha. That dog is strong!
With Ollie, Heartwells deliver a tightly honed collection of punk songs that marry melody and melancholy in equal measure. Whether you’re a longtime fan or new to their world, this EP is a must-listen for anyone who finds healing in hooks, volume, and honesty.
Categories: Heartwells, Interviews, Music
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