When he recorded the 2018 album
The Other
,
King Tuff
's
Kyle Thomas
had grown weary of the power pop-meets-punk sound of the band and the rock & roll party-guy persona he had crafted to go along with it. Instead, he started making music that was more introspective and darkly psychedelic. 2023's
Smalltown Stardust
moves even further away from the
formula in many important ways. Swearing off his sneering vocal style in favor of a heartfelt croon and stashing his guitar away for the most part,
Thomas
created the album in tandem with housemate
Sasami Ashworth
. She has a hand in the songwriting and production as well as adding many of the keyboards and strings that add color to the songs. The pair cook up a sound that's warm and comforting enough to perfectly capture the sense of nostalgia that imbues the lyrics and melodies.
wrote the songs while thinking back to his days growing up, figuring things out, and making music with friends in Vermont, and the tenderness that comes through in his words and voice is immense. Maybe not what anyone might expect from
in this guise, but he proves just as good at getting down to some serious emotions as he does rocking out.
Ashworth
's help is invaluable; her backing vocals are one click past beautiful, the instrumentation she adds gives the record a widescreen beauty, and having her as a foil seems to have opened
up to being completely vulnerable and free. The combination of talents works almost like a superpower that unlocks the best from each musician. While the album does have a few tracks with a little bit of the rock & roll spark one might associate with
-- both "Portrait of God" and "Rock River" bounce along nicely and feature guitars more heavily -- where the album really hits home is on the ballads. Songs like "How I Love" or "Pebbles in a Stream" are like beacons from a lonely heart, "Love Letters to Plants" conjures up the warped sweetness of late-'60s
Beach Boys
, the Baroque pop-leaning "Always Find Me" is almost painfully pretty, and "Tell Me" uses the very familiar
Fleetwood Mac
trope but manages to escape scorn by being wonderfully light and melodic.
also dips into fairly traditional singer/songwriter territory on the story song "The Bandits of Blue Sky," but he keeps it weird and wonderful with some oddball bass sounds, swooping synth strings, and
's rich vocal harmonies. Basically, this new direction for
is a perfect left turn, pulled off with a maximum amount of feeling and imagination. Aided by
's sure hand, the new leaf
turns over here means that
is just as good a mellow, meaningful
album as
Was Dead
is a rollicking, down-and-dirty rock record. Which is to say, really, really good indeed. ~ Tim Sendra