Get To Know: Gregg Lindor
- 12 minutes ago
- 4 min read
Gregg Lindor is a solo artist, singer-songwriter, and rock and pop-rock musician from Argentina. He moved into a solo career after leading the hard rock group First Date Fuckers for more than ten years. In order to create music influenced by classic genres like glam, art-rock, sophisti-pop, and baroque rock, he often works with producer and guitarist Max Neil. Below, we spoke with Gregg Lindor on anything related to music.
Can you tell us about the inspiration behind your latest release?
For my solo project first song I wanted to create a poppish chorus without loosing my rock n roll DNA. One day while killing time at the Target in Wesley Chapel (Florida) while my wife was getting stuff for my daughter’s birthday the Chorus got in my head naturally. So I can’t say the inspiration came from a typical Rock N Roll story, it was just me, wandering at the isles of the Target.
What was the creative process like for this project?
When I got back to Buenos Aires “I woke up every morning for several weeks with that ‘oh oh oh, you gotta count on me’ spinning in my head. I called my old guitar teacher and friend Max Neil and told him, ‘Dude, I already have the first song for my solo project. I need you to come over and tear it from me so we can both turn it into a real thing.'” Within hours, the foundations of the song were in place. “A few days later Max started working on that bombastic solo while I focused on the lyrics,” Lindor explains. “Since I’m a writer and have already published four books, I always try to tell a complete story in three and a half minutes; a story that wouldn’t fit into any of my novels.” So basically the project began with a melody, with me and producer Max Neil developing the core musical foundation in just a few hours. The track was finalized with a custom arena-rock guitar solo, narrative-driven lyrics, and a we added vocal sample from Stanley Kubrick's Lolita to bring the obscure side o to the ones that didn’t get it by the cheer up rhythm of the track.
How does this new release differ from your previous work?
This solo release shifts completely from the hard rock I’ve playing with First Date Fuckers for so many years. Actually, is the first time I add a keyboards to my music, Count On Me even features a 80’s analog synth.
Were there any particular challenges you faced while making this music?
The primary challenge involved translating a long-term personal obsession into a shared artistic narrative for the solo album. Additionally, the I adapted my songwriting to deliver a deep, complete story within a concise three-and-a-half-minute timeline. It was like a condense novel, a big challenge considering the novels I write are usually over 200 pages (I’m publishing my fourth book in 2026!). Besides the lyrics I wrote for First Date Fuckers are pretty much about everything that can happened to someone driving his car fast on a Friday night looking for a good time. Instead, as Gregg Lindor solo I dived into more diverse facts… love, hate, personal achievement, politic mafia running countries, consumerism, coming of age and social media. If you dive into my album SEX, DRUGS & A BREAKFAST BURRITO, you’ll find a wide blend of all that.
Did you collaborate with any other artists or producers on this project?
Well, I wouldn’t call Max Neil contribution a “collaboration” since he is the co-writer of the song and all the technical tricks came from him. Besides him I called Marcelo Mira to play the drums. He played with many well-known acts, like Javier Calamaro, Memphis La Blusera and even Rudy Sarzo from Quiet Riot.
What message or emotion do you hope listeners take away from this release?
This high-energy, nostalgic glam-rock release is designed for arena spaces and aims to make listeners question the boundary between real love and dangerous infatuation. The track serves as a thematic exploration of emotional complexity in modern relationships.
Is there a story or concept that ties the songs together?
The concept that ties the music together is the theme of obsession. The songs explore how being driven can help you reach a big goal, but also how obsessing over another person can turn into dark infatuation, manipulation, and broken trust.
How has your sound or style evolved on this release compared to your earlier work?
The sound has evolved from straightforward hard rock into a grander, theatrical glam-rock style, featuring a blend of vintage electric guitar riffs, modern analog synthesizers, and arena-sized choruses. This new approach is further defined by a dramatic aesthetic, including theatrical makeup and a custom hot-pink guitar.
Is there a track in your music discography that feels especially meaningful to you? What makes it stand out?
My new acoustic album DIPPING COOKIES IN CHOCOMILK is full of emotions. It consists on acoustic versions of 3 of the songs from my first album (Count On Me, Voilà, This Place) and 7 covers from songs that bring me back to the kitchen at home, in the afternoons after school, where my mother served me that choco-milk with my cookies to dip on it while those songs were played on my old cassette recorder. I’d say that with the exception of Bowie’s Star Man, the rest of the songs were not really hits. I can say they are “little songs from big artist”, but of course they meant (and still do) the world to me! I don’t know how the outcome of this record will be receive by people but I couldn’t hold my tears after recording many of those songs.
How do you plan to share this release with your audience? Are there any upcoming performances, videos, or special projects in the works?
The video was released last year and as regard future projects unfortunately Max Neil is going through some health issues that hopefully he’ll get better soon but, in the meantime, I’ll be just releasing the remaining singles from DIPPING COOKIES IN CHOCOMILK, which by the end of 2026 will be available as a full in every music platform.
Instagram, Spotify | PR: Decent Music PR
