Before the gold and platinum albums, before the MTV hits and critical renown, power-pop and alternative-rock pioneer Matthew Sweet was just a 13-year-old bass player sitting alone in his Nebraska bedroom, daydreaming of a life spent making music. “I was just starting to write songs and play a little guitar and I had this thought: I wonder if when I’m old and I’ve been around music a really long time, I might suddenly just be able to play lead guitar without ever properly learning how. Maybe if you just play a really long time, it just kind of comes together? And the funny thing is, it did. I’m able to.” On Catspaw, his 15th studio album, due out January 15, 2021 on Omnivore Recordings, Matthew Sweet cranks his vintage amplifiers and steps into a role previously played by some of his generation’s most unique and incendiary lead guitarists from Richard Lloyd (Television) to Robert Quine (Lou Reed) and Ivan Julian (Richard Hell & the Voidoids). Though Catspaw is absent of his famous collaborators, their presence is felt in the mark they left on Sweet’s guitar work. His solos are audacious, confrontational, and inspired. “I play free form,” he says. “Nothing is too labored over and that was important. It’s spontaneous. The more you can do that, the more organic it is.” He refined his style over decades of collaborating with great guitarists. “Richard’s [Lloyd] playing influenced me a lot — the ambition he has, that feeling when he just lets loose. I not only related to the approach, I related to it musically. I was also developing my ear over time. Now I can hear where I want a lead line to go.” Catspaw is guitar-driven: 12 songs, lean and consistent, direct, and notably darker than Sweet’s recent song-cycles. Apparent in tracks like “Best of Me” and album-opener “Blown Away,” the inner-turmoil harkens back to the angst of 1993’s Altered Beast. But where Beast was the self-interrogation of an artist in his mid-20s, Catspaw is the confessions of a career artist, mature and assured in his craft and achingly trans