Linus of Hollywood Interview
Talented musician, songwriter and producer Linus of Hollywood didn’t enter into the power pop world through the usual doors. And he doesn’t really consider himself a power pop artist.
A Florida metalhead in his teens, Linus Dotson moved to LA in the 90s to run down his musical dreams. Since then he has worked with everybody from Cheap Trick, Roger Joseph Manning Jr. and Kurt Baker, to Lil Kim, Ol’ Dirty Bastard and Jennifer Love Hewitt.
He plays guitar for Santa Barbara pop punk legends, Nerf Herder, and has a new electronic pop band called able machines. I caught up with him in the city that became his identity.
S.W. Lauden: Congrats on your new electronic pop band with Tay Côlieé, able machines. How did that collaboration come about?
Linus of Hollywood: Craigslist! Over the past few years I have found myself listening to more and more electronic pop with female vocals, mostly Scandinavian. Newer artists like Sigrid, Dagny, Tove Styrke and of course Robyn. I was itching to do a project where I could explore this genre more so I literally put an ad on Craigslist to find someone I could collaborate with. I think I only got 2 or 3 responses, but Tay was one of them. We met in person and immediately started working on “Secrets and Lies.” It just turned into one of those things that we love doing together and want to keep doing. She’s already had a pretty crazy career acting, singing and writing songs for other artists, so we both laugh and marvel all the time that we met each other on Craigslist of all places. I guess you never know until you try! I’m really enjoying our partnership.
SWL: You’ve played clubs; worked as a songwriter; and these days you do a lot of producing. Do you still enjoy bouncing between roles?
LoH: I think I’d go crazy if I only did one thing. I think I prefer creating music — writing, producing and arranging — but playing live is a great way to feel your music connecting with people in real time and a great reminder of why I make music in the first place.
SWL: Do you get any sort of artistic whiplash bouncing between the electronic pop of able machines and the pop punk of Nerf Herder?
LoH: Not at all. I have always been so open-minded about music and pop/punk is just as much a part of my DNA as electronic pop or anything else I do. Nerf Herder is like riding a bike for me. Fun songs and power chords through a Marshall stack. I’ve been doing that for decades. able machines is more of a production project, very studio oriented. So, they’re very different in that regard, but I think most people that are familiar with my career and love for pop music can see the correlation between the two.
I started out listening to Judas Priest, Iron Maiden, Slayer and Metallica, but once I got more into songwriting I gravitated toward pop metal and hard rock. Bon Jovi was basically my Beatles.
SWL: Would you say the word “pop” is the common denominator for your diverse body of work?
LoH: Yes, for sure! I just love “classic” pop songwriting. I love big choruses and hooks, and whether its pop/punk or electronic pop or the kids’ music I do, that is the thread that ties it all together. That also goes for music that I enjoy listening to. For instance, jazz is an example of a genre I don’t get too far into, but I LOVE when jazz is coupled with pop structure and vocals. Chet Baker and Astrud Gilberto come to mind.
SWL: Do the other musicians you work with—as a songwriter or producer—share your love for “big choruses and hooks?”
LoH: Yes, for sure. Generally, when someone hires me to produce, they know what they’re getting. I remember telling Jeff Whalen when he first contacted me: “If you want a loose indie rock record, I’m not your guy.” My production style is more informed by ABBA and ELO then say, Sonic Youth. I like making tight, well-arranged records and of course it’s all about the songs. I feel like I attract people that want that kind of record, and those are also the projects I’m interested in.
SWL: But you got your start as a metalhead, right? How did your heavy metal heroes prepare you for a life in pop?
LoH: Yes, I still consider myself a metalhead. My brain is filled with obscure metal knowledge. Classic metal is VERY melodic and has a classic pop structure as well. I started out listening to Judas Priest, Iron Maiden, Slayer and Metallica, but once I got more into songwriting I gravitated toward pop metal and hard rock. Bon Jovi was basically my Beatles.
I know that’s a crazy thing to say but they were the ones that taught me about big choruses and harmonies and song structure. My childhood bandmates and I used to sit around for hours dissecting those songs and learning the harmonies and arrangements. That era of music gets a bad rap these days for being “cheesy,” but it was so important to my musical development — songwriting, production, musical chops, harmonies — that’s where it all started for me and I’ll never be ashamed to admit that.
SWL: You think there’s any chance hair metal could make a comeback? Is that even possible with guitars taking such a backseat these days?
LoH: I don’t think it will ever come back in its original form (although those bands are having a lot of success right now on the touring and festival circuits). I have seen some newer bands though that seem to be channeling a lot of the same influences. There’s a new band I saw recently called Blame Candy who literally look like they’re straight off the cover of a late 70s glam record. They’re all amazing musicians, shredding on their instruments and singing four-part harmonies…and putting on a SHOW. I’ve even seen a few successful scene bands like Mayday Parade and All Time Low that definitely gave me a hair metal vibe in many ways.
I miss the “larger than life” aspect of metal too. I think one of the reasons rock feels like it’s dying is that it’s too serious now. There’s no fun, there’s no party, there’s no David Lee Roth. The rap guys are the ones now in the limo with the chicks living the fast lifestyle, and that’s why young people listen to rap now. We need a new Van Halen. Something exciting that doesn’t take itself too seriously, but also blows your head off with songs and musicianship. But something that isn’t exactly like what came before. I remember when Andrew WK first came out, I felt like he could kind of take over that role.
SWL: Power pop is another genre often associated with your body of work. In your mind, what’s the definition of power pop?
LoH: I think the TRUE definition of power pop is exactly that — pop music that has power. The ultimate example of a true power pop band to me would be the Knack. They had all the melodic sensibilities of the Beatles, but would also knock your head off with speed and groove and intensity. I think over time though, “power pop” has evolved to mean anything that’s influenced by the Beatles (and similar acts) and has classic pop songwriting characteristics. My solo music is considered “power pop” even though there’s not really a ton of “power.” It’s more piano, string and acoustic guitar based.
SWL: Who are some of your favorite power pop artists?
LoH: Jellyfish, of course. They were the band that turned me from a metal kid to a pop nerd. And yeah, I love the Knack, ELO, pretty much all the standard go-to acts. Mike Viola is a guy that’s considered power pop I suppose and he’s still making amazing music.
SWL: If you could snap your fingers and work with any artist — living or dead — who would it be?
LoH: That’s a tough one. One of my favorite songwriters of all time is Justin Currie of the band Del Amitri. It’d be fun to make a record with him. In the electronic pop world, there’s a Norwegian artist named Dagny that I’d love to work with. That’s all that’s coming to mind, but I’m sure there are more.
SWL: What’s next for you?
LoH: I’m super excited about able machines, so that’s going to be a focus for 2020. We’re starting the project from scratch so there’s lots of work to be done. I’ve also been working on a rock record that I’m hoping to finish in the next few months. I guess it’s technically a solo project but definitely not “Linus Of Hollywood”. Other than that, I continue to do TV work, kids’ music and lots of producing and writing.
