With their fourth album “Tethered Together”, Chicago’s Push Puppets are proving that smart, heartfelt pop-rock is alive and well. Led by songwriter and frontman Erich Specht, the band blend catchy hooks, lush arrangements, and genuine emotion in a way that feels classic and refreshing. In this chat with Myth of Rock, Erich opens up about the band’s evolution from a solo project to a full creative unit, the making of their new record, their love for big sounds and real strings, and what keeps the fire burning after four albums. This is the story of Push Puppets.
by Dimitris Zacharopoulos
How did Push Puppets first come together as a band?
Push Puppets started as my solo project. The first two albums were me and a drummer. It wasn’t until Allegory Grey that the current lineup came together – then expanded to include Steve Frisbie on this album.
Why did you baptize the band “Push Puppets”?
A push puppet is a toy that collapses when you push its button. I too tend to collapse when pushed.
You’re now on your fourth album, “Tethered Together”. How do you feel now that this new album is released? How does it feel to reach this point in your career?
I’m ridiculously proud of this album. Each time I write a song, I’m convinced that it is the best I’ve ever written. And recently they feel like they have been. I love the feeling that something special is in the works, and I’m enjoy that cycle now with the writing for the next album.
How would you describe your sound to someone who’s never heard your music before?
I think our sound is the sum of all of our varied interests. The styles of the players in this band are all over the place – from my interests of pop/rock and prog rock to jazz, blues, jam band – there’s a lot of ideas that come together.
Who is responsible for music and lyrics in Push Puppets?
I write the songs (both music and lyrics). Then I turn to the band and co-producer/mix engineer Doug McBride for input on the arrangement.
Where do your lyrics refer to?
My lyrics come from all over the place. Like most writers, I find that’s usually the hardest part to finish. I’m also looking for the perfect line, so sometimes it might take a while.
I don’t set out to write about my personal experiences, but I do find sometimes that a breakup or something will work it’s way into a lyric. Sometimes I don’t realize just what I’m saying until well after it was written. I just go for exploring all sides of an idea.
Can you tell us a bit about the songwriting process for this record?
There wasn’t really a over-arching philosophy on the making of this album. I just picked the best 12 songs from my backlog (two didn’t make the album so it will fit on vinyl) and kept them in my head for a bit and kept chipping away at them. I wasn’t listening to much music during the period of writing so that I could keep the ideas bouncing around.
The string quartet in your songs add so much beauty. How did that collaboration come about?
The quartet is fantastic! The musicians were put together by Katherine Andrick, who had worked with the bassist John William Lauler in the past. They’re incredible players. The sessions with them were so exciting, to see the arrangements that sounded good with fake strings sound so much more alive with the real thing.
The first song that I wanted strings on didn’t make the album, but once I knew we were bringing them in, I found a way to force them on to most of it!
You’ve worked again with producer Doug McBride, who’s known for Smashing Pumpkins and Veruca Salt. What makes that partnership work so well?
I always enjoy working with Doug. Our tastes are very similar. We really see eye-to-eye on arrangements. He brings so much to the table in suggesting ways to enhance a part.
The album sounds big but also very intimate and warm. Was that a conscious decision in the production?
I’m a sucker for big productions. If there’s a hole I tend to fill it. I might need to work on that. But I love the bigness of this album.
Which song from “Tethered Together” means the most to you personally, and why?
I think “All Together On 3” is particularly special. I love how the strings turned out. I like the way the lyrics share different dangerous stories in each verse and how musically challenging it can get in spots with odd meter and spicy chords.
Push Puppets have always mixed catchy melodies with emotional depth. How do you keep that balance between pop hooks and real feeling?
I like to think that all my songs come from some real inspiration – and that if I stay true to that inspiration, the listener will hear it as sincere. But I’m always out to sugar coat things – sometimes when it’s not a sweet sentiment to start with.
What was the hardest song to finish on the album — either musically or emotionally?
As far as writing goes, isn’t one that really stands out as being a chore to finish. They all kinda are the center of my world for a little while, then they get revisited and some final tweaks are done.
As far as the recordings that were hardest to finish, that award would probably go to “Launching a Satellite”. I wanted to be sure this is the definitive recording of it and to get the most out of the strings, so there was some extra care involved there.
Can you tell us a bit about your bandmates and how each one contributes to the Push Puppets sound?
They’re all amazing players and surprisingly easy to deal with! Steve Frisbie adds so much to the sound with his unique voice. When I first heard him in his band Frisbie, I dug his voice, so I was thrilled that he came on board. His bands Frisbie and The Diff are both cool.
On bass, John William Lauler can really play anything. When we were working on “Hearts Aren’t Souvenirs”, I wanted something more in the chorus and I think I mentioned the theme from “Sanford & Son” (Quincy Jones) and suddenly John was busting out Stax Records chops and got it immediately grooving. John was recently inducted into the Chicago Blues Hall of Fame.
On keyboards, Kyle is a beast! I can sing an elegant idea to him and he’ll just knock it out. His band Bodhicitta is a tough jam band.
Greg on drums is so musical. He can do ridiculously complex stuff and make it sound easy. He plays prog rock with Kick the Cat.
How do you make decisions in Push Puppets?
It’s a bit of a dictatorship.
What do you think of Artificial Intelligence and its use in art, especially music?
I have no interest at all in AI in music. It’s going to take even more money away from musicians. And I think creative people make art partially for the purpose of creating – not to have it done for them. I’m sure there’ll be a whole genre of AI music that is artistically done, but I’ll steer clear of it.
What do you hope listeners take away from “Tethered Together”?
I’m just glad they’re listening. I think the songs are strong as are the performances and production, so I hope people appreciate all the subtleties that are scattered throughout and maybe get a song or two stuck their heads.
What’s next for Push Puppets — more singles, live shows etc.?
We’re going to be recording the first half of the next album in two months, so I’m just getting those songs ready at the moment with some shows sprinkled in. Steve and I are doing some acoustic shows as well as full band shows, but getting the next album together is the top priority.
After four albums, what keeps you inspired to keep writing and creating new music?
It’s really the feeling that I’m able to create whatever I set out to and have it turn out like music I appreciate is the kick I enjoy. For years I tried to wear too many hats like playing most of the instruments and mixing, and the quality suffered. Now that I’m working with such talented people, I’m more free to explore song ideas.
Please send your special message to our readers?
We absolutely appreciate you listening! It wouldn’t be worth doing if there weren’t people like your listeners checking it out. Thanks Myth of Rock!
