The self-titled arrival of ‘Softjaw’ serves as a vibrant recalibration of the power pop genre, stripping away decades of overproduction to rediscover the kinetic spark of melodic songwriting. Emerging from Long Beach, this collection functions as a curated bridge between the sugary urgency of seventies radio and the more contemplative, jangly textures of nineties indie. The collaboration between Dustin Lovelis and Tanner Duffy manifests as a balanced dialogue, where the brevity of the compositions belies a sophisticated understanding of pop architecture. Throughout the record, the sonic signature is defined by a bright, saturated energy that feels immediate and lived-in, a result of the intimate recording environment at Dream Machine Studios.
The record opens with “Pleased With Me,” a track that establishes the group’s commitment to harmonic precision and brisk tempos. This momentum carries directly into “Don’t Go Walking Out,” where the interlocking vocal arrangements evoke the classicist sensibilities of the Raspberries while maintaining a modern, sun-drenched lean. These pieces demonstrate a sharp economy of movement; nothing is wasted, and every melodic turn feels earned. The songwriting duties are split with a complementary contrast. Duffy’s contributions, such as “Waiting At The End” and the dreamy, mid-tempo sway of “Sleepy Eyes,” introduce a slight atmospheric shift that anchors the more aggressive guitar work found elsewhere.
On the latter half of the record, “Dragging My Feet” and “I Need You” showcase Lovelis’s ability to channel the nervy, high-wire spirit of early power pop pioneers. These tracks benefit immensely from the mixing work of Wyatt Blair and Lovelis himself, who ensure that the mid-range punch of the instrumentation never obscures the vulnerability of the vocals. The inclusion of “Undercover Lover” adds another layer of rhythmic sophistication, leaning into the timeless allure of a well-placed hook. This is music that understands the historical weight of its influences, from the structural integrity of Big Star to the infectious drive of The Nerves, but manages to inhabit those traditions with a distinct, contemporary personality.
Closing the set with a pair of thoughtfully selected interpretations, the band pays homage to their lineage with a rendition of “Working Too Hard” by Paul Collins (The Nerves, The Beat) and “Playing Bogart” by Nick Simpson (23 Jewels). These covers do more than just signal the band’s record collection; they serve as a testament to SOFTJAW’s capacity to absorb the spirit of their predecessors and breathe fresh vitality into the form. Enhanced by the mastering of J.P. Bendzinski and the visual identity provided by Sam Crawford, ‘Softjaw’ stands as a definitive statement of intent. It is a record that champions the enduring power of the three-minute pop song, proving that when the foundations are this strong, the results are nothing short of electric.
Learn more by visiting Dandy Boy Records (U.S.) | Bachelor Records (Europe).
