There are some fun classic rock Easter eggs in this week’s pair of new releases. Bruce Springsteen duets with Zach Bryan on ‘Sandpaper’ from The Great American Bar Scene. Meanwhile, Magdalena Bay pay tribute to Love’s ‘The Red Telephone’ on their new song ‘Killing Time’.
Magdalena Bay
Imaginal Disk
2024, 9/10
Matt Lewin and Mica Tenenbaum are the two members of Magdalena Bay. The couple met in high school and played in a progressive rock band. But their early work as a duo veered toward pop. But on their second album together, they let the art-rock back in.
We reverted to a lot of what we listened to when we were in high school when we first met, which is a lot of classic rock, ’70s prog-rock, Radiohead. I think when we were making Mercurial World we were really tapped into the contemporary pop scene and were really inspired by that, but the wave we were on while we were writing Imaginal Disk was very different and I’m sure that made its way into the music.
Matt Lewis, Vogue
The result is an album of beautifully skewed pop, weird and intelligent. The change in style necessitates adding an outsider to their little cottage industry – usually the pair are self-contained, also creating their own videos and visual imagery. But drummer Nick Villa, who played with Lewin and Tenebaum in their teens, rejoins them here.
‘Killing Time’ pays tribute to Love’s classic 1967 album Forever Changes, mimicking the coda to ‘The Red Telephone. Lead single ‘Death + Romance’ mines the 1970s, with its piano vamp. Another highlight is the epic ballad ‘Cry For Me’ which, like much of the duo’s work, walks the line between sincerity and cheese.
Magdalena Bay have released two terrific records in a row, and their vibrant and eccentric pop is always invigorating.
Zach Bryan
The Great American Bar Scene
2024, 8/10
Americana star Zach Bryan was born in Japan. The child of two navy parents, he joined the US Navy at 17. However, the songs he released in his spare time became popular. He was discharged from the Navy in 2021. Bryan’s bridged the worlds of country (mass appeal) and Americana (critical acclaim).
Since his discharge, and signing to a major label he’s been incredibly prolific – he’s already hinted at another album in 2025:
| American Heartbreak (2022) | 34 tracks, 121 minutes |
| Summertime Blues (2022) | 9 tracks, 28 minutes |
| Zach Bryan (2023) | 16 tracks, 54 minutes |
| Boys of Faith (2023) | 5 tracks, 16 minutes |
| The Great American Bar Scene (2024) | 19 tracks, 63 minutes |
| In just over two years: | 83 tracks |
It’s impressive how well Bryan maintains interest with a stripped-down palette. In theory, The Great American Bar Scene should drag, going for an hour with little variation in style. The only real hint of variety is the opening track, a poem of somewhat dubious quality. Cameos from John Mayer, Springsteen, and John Moreland help to break things up.
Bryan often sounds like a less ambitious Jason Isbell, but he keeps writing memorable songs. ‘American Nights’ works with its simple hook, where the title phrase is almost unadorned apart from the drums. ’28’ is gorgeous, especially reminiscent of Isbell, with its yearning feel. Bryan isn’t afraid to pull back the tempo, like on the pretty and simple ‘Bass Boat’.
Bryan’s not ambitious on The Great American Bar Scene, but it’s impressive nonetheless.
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Zach Bryan who I’ve also covered a few times over the past four years generally speaks to me. The fact Springsteen appears on one of his songs speaks for itself. It’s funny how the brain sometimes works: The drum part spontaneously reminded me of “I’m On Fire.”
Yeah, I wasn’t expecting to like him that much, but I think he’s a good songwriter. Worth going back to the older stuff?
I haven’t explored Bryan in greater detail but definitely like the songs I previously covered: “Oklahoma Smokeshow” (2022), “Quiet, Heavy Dreams” (2020) and “Something in the Orange” (2022).
I like Zach Bryan’s sound a lot. When it started all I could hear is mostly country but as it went along I started to hear the Americana… I’ll check him out. I appreciate it.
Christian covered him before I did. He wasn’t someone I was expecting to like, but I think the songwriting is unexpectedly strong.