Posted on: June 5, 2019 Posted by: John B. Moore Comments: 1

Just two tracks into Umpteenth, the sophomore LP from Brooklyn-based Onesie, you’d swear this was an early ‘90s college radio rock find, sandwiched between Pavement and The Breeders. Across 11 tracks, the band play a beautifully-cohesive brand of Power Pop, but it’s clear they also have a strong affinity for some of the classic Glam and 1970s rock bands as well after listening to the chugging guitars on a song like “Customers,” “Coin Op” or “Amour Phuss” (it doesn’t hurt that Ben Haberland put in his time with punk bands years ago).

One of the main appeals of Umpteenth is, despite being tethered to Power Pop, there is plenty of experimentation here, with synths popping in and out of songs and a violin that makes a cameo on “Final Days of Nineteen” (lyrically a song whose vagueness would impress even Michael Stipe). The downside is that not every track here is bound to please everybody. But fuck it, playing music strictly to appeal to the general masses is hardly something to be proud of.

Onesie – Umpteenth/11 tracks/Dadstache Records/2019 / Bandcamp / Facebook

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