Contemporaries of BRMC, The Warlocks and Beachwood Sparks (with whom they originally traded members), The Tyde seem more informed by '80s Anglo-suburban pop than anything West Coast. Following on from 2001's much-lauded debut Once (what else?), the drafting of Velvet Crush's Ric Menck on drums/percussion adds liberal splashes of sunshine to singer/songwriter Darren Rademaker's Lloyd Cole-on-Prozac delivery. There's much to admire in the fretwork of Rademaker and Ben Knight, too, joining the dots between Johnny Marr, Roger McGuinn and Felt's Maurice Deebank to underpin the hooks with sun-blonde crispness. "Crystal Canyons" breezes along like The Loft's "Up The Hill And Down The Slope", while "Shortboard City" grafts '70s Quo onto The Kursaal Flyers yet remains cool as hell.
Contemporaries of BRMC, The Warlocks and Beachwood Sparks (with whom they originally traded members), The Tyde seem more informed by ’80s Anglo-suburban pop than anything West Coast. Following on from 2001’s much-lauded debut Once (what else?), the drafting of Velvet Crush’s Ric Menck on drums/percussion adds liberal splashes of sunshine to singer/songwriter Darren Rademaker’s Lloyd Cole-on-Prozac delivery. There’s much to admire in the fretwork of Rademaker and Ben Knight, too, joining the dots between Johnny Marr, Roger McGuinn and Felt’s Maurice Deebank to underpin the hooks with sun-blonde crispness. “Crystal Canyons” breezes along like The Loft’s “Up The Hill And Down The Slope”, while “Shortboard City” grafts ’70s Quo onto The Kursaal Flyers yet remains cool as hell.
