This Brisbane trio should sound very familiar to anyone who came of age in the late 80s or early 90s. There's the vaguely atonal punk guitar of any number of Touch and Go bands, the raggedy harmonies of Flying Nun, random horns and strings, and the general fuckit attitude of, say, Superchunk.

The Valery Trails The Sky Is Blue (self-released)

And so, of course, the band got Scott Solter (who is connected to pretty much every North Carolina band you've ever heard--and then some) to do the mix. Solter's low-key approach tones down a bit of the band's kitchen sink approach to sound, but his wide-open feel allows each element to exist in its own space while maintaining an intimate feel.

The best bands of my youth (and early adulthood) took great pains to establish a connection to the listener. I think that's what separated the indie crowd from the major label set (e.g., the difference between Kerplunk! and Dookie), and this album is terrifically inviting. The effect here is like walking into a friend's apartment and crashing on the couch for a spell.

There is a big pile of ferment on this album, and it is presented with all of its glorious mess. Perhaps there is a bit of a wallow here and there, but it's such a pleasant space that I don't mind. The notes on this album mention that the expansive ideas and arrangements have something to do with the pandemic. That's fine, as long as the Valery Trails realize that they've hit the jackpot. Keep going.

Jon Worley