In a musical landscape where the ‘indie pop’ label frequently masks a lack of melodic ambition and a reliance on tired tropes and recycled aesthetics, The Would-be-goods remind us that the genre can and should be a vehicle for high art. Their latest offering, ‘Tears Before Bedtime,’ arriving this February via Skep Wax Records, is more than just a collection of songs; it is a curated gallery of human experience, painted with the finest brushes of wit, melancholy, and cinematic flair. Jessica Griffin, the visionary behind this long-running project, remains one of pop’s most literate and idiosyncratic voices. Nearly four decades after the cult success of ‘The Camera Loves Me’ (Él, 1988), she continues to operate in a league of her own, blending the refined elegance of French chanson with the raw, rhythmic punch of a garage band.
What sets ‘Tears Before Bedtime’ apart is its sheer narrative ambition. Griffin doesn’t just write lyrics; she builds worlds. The album functions as a sonic passport, whisking the listener through diverse landscapes. For example, “The Gallopers” is a 1950s carousel whirl that feels both nostalgic and subtly menacing while the sultry, Southern-gothic tale ”The Rose Tattoo” unfolds as a doomed romance, heavy with atmospheric dread. The album’s true brilliance lies in its ability to bridge disparate worlds, often within the span of a few minutes. Take “Tears for Leda,” a track that filters the weight of ancient Greek mythology through a gritty, garage-rock lens; stripping away the marble dust of the classics to reveal a raw, electric pulse. This refusal to stay in one lane is further cemented by the standout “Don’t Come Crying To Me.” Here, the Would-be-goods segue toward the cinematic, pairing shivering, surf-adjacent guitars with the triumphant blast of Bollywood-inspired horns. It is a bold, kaleidoscopic arrangement that serves as a definitive testament to The Would-be-goods’ restless creativity and their mastery of the unexpected.
The production is the richest in the band’s history. While the core lineup, featuring indie royalty like Peter Momtchiloff (Talulah Gosh, Heavenly, Marine Research), Debbie Greensmith (Thee Headcoatees), and Andy Warren (Adam and the Ants, The Monochrome Set), provides a rock-solid foundation, with the addition of vibraphone, cello, and flute elevating these tracks into something symphonic and timeless. The album’s title, ‘Tears Before Bedtime,’ perfectly encapsulates its emotional duality. There is a effervescent quality to the melodies that invites immediate humming, yet the lyrics harbor a sharp, wry intelligence. Griffin explores the transition from innocence to experience with a nonchalance that makes the humor sharper and the heartbreak more poignant.
Whether channeling a vengeful portrait painter in “Madame X” or offering a jazzy, nocturnal benediction in the closing lullaby “The Moon Doesn’t Mind,” Griffin maintains a poise that is rare in modern music. It is an album that understands that life is often a “last dance in a smoky soul basement,” equal parts grit and glamour. ‘Tears Before Bedtime’ is a triumph of persistence and craft. Despite a slow gestation period beginning in 2019, the record feels remarkably cohesive. This is the sound of a band that has mastered the art of the perfect pop melody while never losing their edge. It is a beautiful, biting, and utterly essential addition to the Would-be-goods’ storied discography. It is a sophisticated, cerebral indie-pop record that rewards deep listening and demands a place on the shelf of anyone who values songwriting as a literary pursuit.
Releases February 13, 2026
Listening Party: February 11, 2026 at 3PM EST
For preorders or more information, please visit: Bandcamp | Skep Wax | Instagram | Facebook
