DINERS Share New Music & Announce Album Release Show – 9/15 at The Rebel Lounge!
DINERS SHARE “PLASTIC CACTUS“
NEW ALBUM, THREE, OUT 9/16 ON ASIAN MAN RECORDS
Photo Credit: Bob Vielma
Today, Diners have shared “Plastic Cactus,” the latest from their upcoming album, Three, available for pre-order now and due out 9/16 on Asian Man Records. Brooklyn Vegan, who premiered the track today are saying it’s a “melodic, clean-sounding guitar pop that recalls the mid ’60s era just before psychedelia kicked in.”
The most affecting pop music finds a unique space between honesty and fantasy. Tyler Broderick is the leader of Phoenix-based vintage pop band Diners, someone who composes in the tradition of immense pop maximalists like Brian Wilson or Harry Nilsson but never veers from an approachable and intimate indie pop scale. This fall Broderick will bring his band on the road in support of Diners’ third album, the simply-titled Three set for release September 16 on Asian Man Records. On Three, Broderick works confidently in the enduring vocabulary of pop’s biggest visionaries, and while he uses a bevy of playful sounds and reams of chiming melody, the entire affair never betrays a baseline modesty, a desire to reign pop fantasy into friendly confines.
In fact, there’s a single moment on Three that exemplifies this perfectly: the sunny, addictive strummer “You’ve Got It” is a rare bit of sonic density, containing some the album’s most potent and joyful reassurance as Broderick partners with Chaz Tyler on some particularly rich and high-energy harmonies. As the two of them reach their final refrain, the rollicking song rolls into a deservedly ripping guitar solo. But right at the solo’s gnarly apex, the whole thing gets blotted out by a high-pass filter, replaced by nothing but a lonely nylon string guitar flicking out the chords. This lasts for less than three seconds before the song, shredding guitar and all, warps right back to normal. It’s a moment where Broderick willfully reveals himself as the man behind the curtain, as though he doesn’t want to somehow deceive his listeners, making it clear that underneath the plug-ins and big production is one guy from the Arizona suburbs, toying with a few simple ideas.
This careful restraint is the album’s trademark. “In My Hometown” is a kaleidoscopic Nilsson cut, complete with dreamy organ and bellowing brass, and the sauntering strings and winking xylophone of “Thinking of You” are unmistakably informed by Brian Wilson, but the album takes pains to avoid sounding overstuffed with texture. Each moment is so focused, the instruments given space to shine, the ideas so patient and proud, that the listener can enjoy Broderick’s every single melodic morsel.
His voice is a sugary croon, at times reaching the pinchy projection of Beulah’s Myles Kurosky at that band’s mellowest. But again, certain tracks on Three (namely “In My Hometown”) are only ever-so-lightly coated in that sticky Elephant 6 psychedelia of goopy effects and phantom frequencies, never slipping into too trippy territory. Album closer “Am I Living in the Real World” contains plaintive lyrical minutiae like that of Dear Nora’s Katy Davidson, housed in the cozy digital comforter of Grandaddy’s synth somnambulance.
Always at the fore is this explicit lyricism, offering plainspoken odes to love and friendship. This is true even when the gloves come off. “Beauty” is as heavy as the album gets, overblown snare wallops punctuating distorted guitars, as Broderick recalls a road trip conversation with a friend who claims to have had a religious experience listening to a Randy Newman album. The heaviness of the conversation, and of the song, doesn’t linger for long, quickly clearing the way for more intimate simplicity: Broderick is left alone with his acoustic guitar on the chorus, where he spells out his unvarnished intentions: “I knew I didn’t believe in man / I believed in beauty / and that’s good enough for me.”