Local post-punk inspired album with a ‘80s sound, coed vocals, and a refreshing energy. San Francisco natives Warren Teagarden and the Good Grief have four previous albums to their name, but frontman Warren says this is his best and most layered work yet. The band drifts seamlessly from lighthearted pop to darker sounds but still manages to craft a sound all their own. Enjoyable and doesn’t drag at any point.

FCC warnings: track 1 for “asshole,” track 5 for “shit.” Otherwise, clean.
Favorites: 3, 4, 11, 12, 13.

RIYL: Talking Heads, Joy Division, Siouxsie & The Banshees, The Smiths, Pixies

1. (3:37) FCC warning. Mid-tempo. Low, gritty guitar and detached vocals enter, build up to a catchy chorus with full band and female backing singer. Laid-back vibe throughout.
2. (2:20) Fast. Cheerful, straightforward drum beat, great bass, allover beachy tune titled “California Calls.” Short and sweet.
3. *(2:15) Mid. Low notes and drums create a lazy/drawling mood at the beginning, bit of a Pixies sound. Paced really well despite lack of a chorus.
4. *(2:09) Mid to fast. Bright, sunny-day strumming, think The Smiths’ “This Charming Man.” Sarcastic Morrissey-like vocals ordering you to “love your city, now.” No word from Sleater-Kinney on this endeavor.
5. (1:31) FCC warning. Fast. Distorted riffs with some electronic noise, cheerful and upbeat to mask biting lyrics once again.
6. (3:37) Slow. Acoustic, then psychedelic sounds chug along vacantly. “The life I’ve lived has killed me/and if I die it’s okay.” So much Morrissey in the vocals here. Melodic, melancholy chorus. Female vocals and soft drums join in before the close.
7. (2:23) Mid. Higher riff, jumps right in. Quick, catchy, the vocals about a subpar barmate are much more David Byrne this time. Nice little solo in the bridge.
8. (2:26) Fast, energetic, one to nod your head to. More high notes. Abstract lyrics with gems like, “Love is not an accident, but who can really tell?”
9. (1:41) Mid to fast. Tambourines and a groovy, school-just-got-out-we’re-heading-to-the-beach-in-1987 pop sound.
10. (1:48) Mid. Interesting song structure. Noisy, distorted high guitar layered over a lower, persistent one. David Byrne voice that’s reaching for notes too high and doesn’t care. Just a fun track.
11. (3:15) Mid. A consistent, driving, low rhythm guitar, floor toms. Great section when the bass comes in around 1:33. Then some clapping, coed vocals, back to full band.
12. *(3:31) Slow- to mid. Mellow, lighthearted picking. Pleasant “ahh”s from the female backer to add to the dreaminess. Very Belle and Sebastian.
13. *(3:11) Love this one. Mid-tempo, featuring a hazy and slightly ominous riff that runs through the song. The coed singing here creates a nicely eerie vibe, like children chanting their learned verses, to accompany the lyrics about a cultlike ritual.