A new Washington DC band where no one is actually named Randolph. Lead by John Ratts (Vocals/Guitars) and Eric Kern (Keyboards/Vocals) they approach the music with a smart enthusiasm reminiscent of Fountains of Wayne and early Joe Jackson. The opening track “Be The One” starts the party atmosphere going (you can easily imagine this live) with strong lead guitars, keys and a beat that recalls The Isley Brothers “Shout.” The next tune “Happy” is a straight ahead power pop song, and the harmonies between Ratts and Kern are tight. The next few songs, “Milky Way Girl,” “The Same” and “When” seem to channel mid-nineties college rock pretty well. The tracks slow down a bit after the Oasis meets Sloan “Versailles” with changes in both tone and tempo. Both “Arizona Blue” and “Yours and Mine” have almost an alt. country earnestness. The album ends with a huge song cycle called “Longplay” which is almost a whole different album. Highlights here are the stellar “Got To Have Your Love” and piano ballad “Dreams of The Night” could be a full musical show tune. When you add it up that’s almost 18 tracks – a lot to absorb here. Maybe too much – as the throw it out and see what sticks method doesn’t always produce a cohesive album experience (sometimes it does work). But you’ll have to judge that yourself. Either way you’ll get an excellent value for your musical dollar.

Boatclub is a five piece rock band that has a wonderfully organic sound that reminds me of Buffalo Springfield crossed with The Lemonheads. The band boasts a potent line up Mark Hanley flanked by grizzled Rain Parade veterans Matt Piucci and John Thoman, bassist Tommy Carns and drummer Stephan Junca. The loose harmonies of “I Used To Fly In My Dreams” is a brilliant Dennis Wilson styled intro to this album. The laid back follow up “Love” has that Neil Young meets Byrds expansive guitar sound. “My Bad Self” compares well with Evan Dando’s catchiest tunes and the ever present guitar rhythm drives everything forward. “Never Gonna Let You Down” then takes guitar textures to the extreme with this Beatles meets Pink Floyd jam, which uses the “Dear Prudence” riff across a dissonant chorus. The ballads approach Robert Pollard-land with great experimental distortions and minimalist melodic beauty. Examples of this contrast are the oppressive “Close” and majestic “Reason for Living.” After a few more listens, you’ll appreciate all the great sonic details stuffed into songs like “Peace and Quiet” and “Tell Me Things,” where they sing “it’s all good fun until someone loses an eye..” It’s almost a revolutionary approach on this massive 18 track beast of an album. The quality of songs don’t drop off here and get both surreal  (“Mouse’s Head”) and psychedelic (“Complacent Americans”). In other words, the band’s batting average is pretty good. Find a nice low lit room, headphones and lose yourself in the boatclub.