I am happy to say that the new Restorations album kicks an immense amount of ass. This is about as good of an opening track as we are going to get this year. Restorations were a big part of that burgeoning Philly scene in the 2010s and henceforth. Algernon Cadwallader’s Joe Reinhart (later of Hop Along) worked on their early stuff as well, so you know they would be worth their weight in gold. And as the years rolled by, call them ‘dad rock’ or whatever, they always lived up to the building. True Americana rock ‘n roll, with nostalgic cuts and a post-rock hue that fans of The Gaslight Anthem, Well, with their fifth EP — aptly titled “Restorations” (which cements their first self-titled as LP1) — finally released, it’s safe to say Restorations haven’t lost any of their magic.
Now, let me preface this by saying, LP2 is a juggernaut. A titan of a record few bands could ever live up to. The fourth full-length, oddly titled LP5000 though was less angsty and felt like a sonic shift — nothing too far gone but a simple reminder that bands do evolve and ache for something new. This album feels like the best middle ground someone could ask for who is familiar with their archive.
Off the cuff, the band’s strength is on display with “Field Recordings” post-rock gem that nods to songs like “Nonbeliever” — quiet when need be, but melodic chaos as it swells. This gives way for songs like “Cured” — dynamic shout alongs and that effervescent, smokey bar energy that is, for want of a better word, Its vintage Restorations. I have always enjoyed that songs like these are rough, not too anthem-y, and just catchy enough in their call-and-response nature. Of course, I think their shorter, punchier tracks are straight-up jams, too. Not everything needs to be loud, explosive bangers, right?
“The Cost” is one of their most remarkably-written jams. At this point, I’m not gushing. Sure, there are gorgeous soundscapes but a few tracks do lose some momentum along the way. But all in all, Restorations (working with Retro City Studios, Spring Garden Studios, The Greenhouse and Mission Control Mastering) are every bit as good as when they polished their tunes back home at Miner Street Recordings. The music is still lush, nuanced and hopefully optimistic. Even the nihilistic parts that hint there is no light at the end of the tunnel but that we still have to do our best to enjoy the harsh rigours of life in this reality resonate with a meaning and sentiment.
The Fat Angel Sings 