LUNCHBOX: Lunchbox's Tim Brown and Donna McKean have been making records in their Oakland, California basement for two decades, inspired by 1960s/70s AM-radio pop and TV show theme music, punk, C86, and mod à la the Creation and the Jam. From the sonically-inventive indiepop of "The Magic of Sound" (1999) to the dub-influenced psychedelia of "Evolver" (2001) to the critically-acclaimed bubblegum of "Lunchbox Loves You" (2013), the couple have established a sound all their own.
Their new album for Slumberland, "After School Special," finds them at the height of their powers of songcraft and performance. Donna's bass playing stakes out stylistic territory somewhere between Carol Kaye and John Entwhistle while Tim's guitar is equal parts 12-string jangle and clipped Orange Juice-esque funk. Horns by Gary Olson (Ladybug Transistor) and longtime collaborator Jeremy Goody drive the record from beginning to end. Evelyn Davis' delay-drenched keyboards combine with whispers of analog tape feedback to give the record an otherworldly vibe in keeping with its lyrical themes.
There, favorite seasons (autumn) and animals (cats), appear alongside love and death, ghosts and reincarnation. From the shimmering opener "Dream Parade" to the horn-driven mod-pop of "Hide and Seek," the groovy sixties R&B vibe of "I Really Wanna Know" and the haunting male-female vocal stylings of the album-closing title track, the textures shift while the unity of artistic vision remains. Catchy as hell and beautifully packaged, "After School Special" is Lunchbox at their very best.
NEUTRALS: Dream… or nightmare? That's the underlying question posed on "New Town Dream," the second LP from Bay Area trio Neutrals, as guitarist/vocalist Allan McNaughton's lyrical narratives expand on the world first built on the band's 2022 EP "Bus Stop Nights," offering snapshots of mundane lived realities in the "New Towns" that proliferated in the UK during the '60s and '70s. "New Town Dream" conceptually voices the psychic tension of that era, of being pushed toward the margins and becoming just another cog in a deeply broken machine.
The band's musical touchstones are squarely situated in the timeline of doomed Thatcherism that followed from the late '70s to late '80s. "Wish You Were Here" and "The Iron That Never Swung" jangle with a razor-edged rapid strum to rival The Wedding Present; "That's Him on the Daft Stuff Again" and "Travel Agent's Windows" nod to the Television Personalities' naive, kaleidoscopic mod melodies streaked with cynicism; "Steven Proctor Bus Conductor" slowly unfolds from verses in the dark, rhythm-forward spirit of Josef K to transcendently Pastels-esque pop choruses with sugary-sweet (but slightly deadpan) backing vocals from bassist Lauren Matsui. Perfect C86 sounds for often hellish C24 times!
ARTSICK: Artsick was formed in June 2018 when Christina Riley was feeling "artsick" and writing songs, but missing the inspiration and excitement of collaborating with her old band, Burnt Palms. Christina played Mario Hernandez (Kids On A Crime Spree, Ciao Bella) a couple of demos and, recognizing that "artsick" feeling, Mario offered to play drums and record some songs at his fully-analog Oakland recording studio. Christina's bass idol, Donna McKean (Lunchbox, Hard Left), who loved the songs and jumped at the chance to help her friends with their "artsickness" and a band was born. The results were a terrific 2018 7" single, which led to some epic pre-COVID shows and a whole batch of new songs.
Recorded over the course of a year with Tim Brown (Lunchbox, Hard Left), Artsick's debut album "Fingers Crossed" is a thrilling, compelling and downright fun record that surveys a vast swathe of indie and indiepop history, from DIY progenitors like Dolly Mixture through the punkier side of C86 (think Talulah Gosh, Fat Tulips) to the 90s K Records-centered International Pop Underground and straight through more recent exemplars like Vivian Girls and Colleen Green. It's all brought to life by Riley's songwriting as she crafts tunes that are as new-sounding as they are timeless, full of melodic twists and sharp, honest lyrics.
A great example is lead-off single "Despise" -- a feedback-laden kiss-off that could be some long-lost punk classic, all handclaps, crunching power chords and attitude. "Ghost of Myself" is unsparingly introspective, a story of internal struggle, self-doubt and ultimately self-belief wrapped in a brilliantly driving pop song. "Dealing With Tantrums" adds some girl-group flavor with it's bouncy bassline and echoed handclaps, while crowd favorite "Stress Bomb" is a bit of hotness worthy of the legendary Tiger Trap. Throughout, the band plays with an ease and infectious energy that can only come from years of friendship and even more years spent in other terrific bands.
