Sometimes I dread writing about an artist for the fourth or fifth time. What new thing can I say?
Fortunately, Mikey Erg isn’t just prolific -- he mixes it up, a lot. Last time around, I opined that the last two tracks seems to show a new direction and I’m going to argue that ‘90s rock-influenced tone is exactly where things have gone on Love At Leeds, a new record that bears the Mikey Erg moniker though it’s a full band, backed by Jeff Rosenstock, Alex Clute, and Lou Hanman.
It was also recorded fully analog, by Steve Albini at Electrical Audio studio. I look forward to listening to the LP, as reviewing mp3s feels a bit perverse when so much is being made of the method. But I digress a little. The Albini connection is definitely interesting as I’m not sure my brain would have turned to the Pixies and Nirvana influence if it weren’t the same man turning the knobs. But it’s definitely there. This LP takes Erg’s romantic pop-punk sensibility but adds more guitar depth and a new singing style. The songs are a smidge longer and the vocals are elongated instead of the quick punk delivery. I hear a lot of alt-rock influence mixed with power pop and pop-punk. The biggest “punk” giveaway is probably in the vocals, as Erg is a great pop-punk singer but he sometimes stretches his limits a bit with Love At Leeds.
“Sick As Your Secrets” is a familiar Ergs-like teaser, and songs like “Caroline Told Me So” and “Almost Like Judee Sill” follow that punky vibe too. But the title track is heavy on the crunchy grunge riffs, “On A Carousel” takes us ‘round the rock ‘n’ roll bend with ‘ Kinks-style guitar rock meets heavier ‘90s stylings. There are even some ska backbeats and a couple acoustic flourishes to flesh it out. Then, album closer “Brandy and Congratulations” shows similarly complex depth and influence. I hear more radio friendly alt-pop like Gin Blossoms than the DIY-adjacent grunge era heaviness. It’s poppy and potent, but also clean and crisp with a few reaching-for-epic moments. On first listen I thought Mikey’s vocals felt flat at times, but on repeat I’ve blocked that out. It fits, adding a vulnerability that shines in contrast to the bigger melodic focus. Songs like “Goodbye Vienna” and “Landmines” fall somewhere in the middle of the spectrum (and the middle of the record). I really like the midtempo “Landmines,” which straddles the line between pushing-forward punk and churning noise-rock.
This record is rooted in punk but it crosses all kinds of invisible genre boundaries. In that sense, it has a strong parallel to the ‘90s post college rock and punk-influenced grunge era I keep namedropping. The songwriting is advancing in new directions while simultaneously celebrating the classics. Love At Leeds won’t go down as “Mikey Erg’s analog album.” Instead, it will go down as an explorative rock-focused record that pulls the DIY punk musician’s songs in a new, yet familiar direction.
