Back in December, I started recording a solo album at home, compiling a bunch of songs that I had written over the 5 years I lived at the B-Side Brewery. Some of them have been heard intermittently by friends and at open mic nights, and through various online demos over the years — but I think I’ve just about locked in on the definitive versions of most of them, anyway. And now they’re available to listen to on Spotify, iTunes/Apple Music, BandCamp, SoundCloud, and more! (like seriously: does anyone really use Napster anymore?)
Most of these recordings fall in a spectrum of acoustic-folk-electro-indie-punk, more out of necessity than anything else (you don’t really wanna groove to that built-in Logic Pro auto drummer, do ya?). Oh, and of course, because it’s me, you’re mostly dealing with tunes about comic books, politics, and mental health. ¯\_(ツ)_/¯
Oh, also: the photos I’m using for the album art, et cetera, are all courtesy of the wonderful, inimitable, and multi-talented Conor Olmstead.
(PS: I am still adding songs to the album every now and then, so if you want the best bargain, buy the pay-what-you-want download on BandCamp, where you should continue getting every new song as I post it. That’s the “mostly” caveat of that there headline, see?)
, in 1995, and it's an irresistible explosion of power-pop hooks, Moog synthesizers, and enough female background vocals to make Brian Wilson cry. It's certainly reminiscent of Blue Album-era Weezer, but with less angst and pop sensibilities cranked up to 11. It's almost overwhelmingly upbeat and catchy, not to mention incredible simple and just plain fun. Here's the lead single from 
, which is bit more rockin', while also drawing on some Americana influence for the folky "It's Alright." They released 
, which leans more heavily on the strings, pianos, and acoustic guitar sounds. It's a gorgeous record, but I'm also excited that their new album is sounding like a return to form for their more rock-oriented sounds.
