I’m not sure how Kelley Stoltz has escaped my ears, but it’s a damn shame. Pure lo-fi pop bliss this guy makes. I listened to a track off a new album called Double Exposure that he’s releasing on Third Man Records and that song was a mix of vintage synths and buzzy guitars. Something like The Cars jamming with White Fence. Very cool song. But at the moment I’m listening to his 2010 Sub Pop release To Dreamers. It’s pretty phenomenal. A scuzzy, scrappy mix of Byrds jangle, Kinks pop confection, and the spirit of late 60s garage rock. Hell, even the song “I Remember, You Were Wild” could’ve been a hit for Rick Springfield. No joke, check it out.
I am a bit perplexed, though. I don’t know how my mind differentiates one lo-fi scrappy pop rock musician from another. Why is it that I totally love Kelley Stoltz, but I just can’t get on board with Ty Segall? What’s the deal? I know Segall is a righteous dude, yet I can’t listen to more than a song or two before I want to turn the channel. His music just doesn’t do it for me. It could be that after awhile my mind just shuts down when song after song is a scrappy, fuzzy guitar. Kelley Stoltz, for example, has that scrappy production, but he mixes the songs up with synths, 12-string electric, and crunchy fuzz pedals. I need some variety. Yeah, maybe that’s it. I like the variety. I think that’s why The Kinks’ Village Green Preservation Society was such an important album for me when I was 18 years old. There were so many different things going on, yet it all remained cohesive. Pastoral pop, folk, psychedelia, and good ol’ rock n’ roll.
I don’t know. I’m probably just full of s**t.
All I know is that Kelley Stoltz is killing it for me this morning. I’m glad I came across him, and I look forward to hearing that new album. Until then, I’ll keep spinning To Dreamers until something else tickles my fancy.