Posts Tagged ‘Katy Goodman’

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All three Vivian Girls miss the rain. “It replenishes,” says Cassie Ramone, singer, songwriter, and guitarist. “It nourishes life!”

The band, who grew up and made their name on the East Coast, live in Los Angeles now. It’s far from the New Jersey basement shows, the 24-hour diners they frequented together as teens, and the tattoos they got to commemorate it all.  Ramone, now 33, singer-bassist Katy Goodman, 34, and drummer Ali Koehler, 32, have been secretly rehearsing for months. They were recording “Memory”, their first album in eight years — and the first since they announced their break-up in 2014. “When we broke up, we broke up for real,” says Goodman . “We had been going hard for a long time, and we were exhausted. But we always knew we had something special, and even when we broke up, we knew there was a strong chance we would reunite some day.”

Vivian Girls are back and they haven’t forgotten what they went through,” reads the band’s press release for “Memory”. Their fans haven’t forgotten either; more than any other buzzing indie band that emerged in the 2000s, Vivian Girls saw the worst of what an intensely misogynistic music community was capable of. Social media had come into its own as a constantly brawling free-for-all, and many still recall the chauvinist thunderdome that was Brooklyn Vegan’s unmoderated comments section, which finally shuttered in 2016 — and all the hate it housed for the band. Kathleen Hanna  said that the comments left on Vivian Girls’ posts made her cry; “Vivian Girls reuniting has me reflecting on how terrible it was to be a ‘female musician’ in 2009,” wrote singer-songwriter Hether Fortune.

“I remember crying a lot!” says Goodman. “I would look out into the crowd [at shows] and see the one person who looked bored or mad. Being an anonymous internet troll was still a new thing to us… We felt like if we could just meet them, they wouldn’t hate us.”

At the time, the Vivian Girls easily stood out amid the lo-fi garage rock boom of the aughts: they revived the jangly fuzz-rock sound of Slumberland bands à la Black Tambourine; infused it with the cherubic, girl-group harmonies of the Ronettes; then knocked it all off-kilter, like proto-grunge punks the Wipers. It was a winning combination, and would spawn a decade of imitators. But that wouldn’t stop the trolls, who incessantly took swings at the band over their 12-year career, for what is now best explained as a poorly masked hatred of women coinciding with the boom of blog-fueled indie rock. The hate wore on the band, even after their break-up.

“We’re coming out swinging,” says KoehlerVivian Girls played their first show in 2007, opening for Bikini Kill drummer Tobi Vail’s band, Old Haunts. “[Vivian Girls] sound like C86” — a 1986 indie pop compilation — “Because they are a pop band who listens to punk. Or maybe they are a punk band who happen to write pop songs,” Vail wrote in her zine, Jigsaw. Indie rock critics would later describe Vivian Girls’ music as “unschooled,” “amateur charm” and “rustic instrumentation,” but most listeners are likelier to call it what it is: “punk.” “We were intentionally lo-fi because we were a punk band,” says Ramone. “We did not want a highly-produced sound.”

“The first practice we ever had, our band goals were recording a record and going on tour,” says Goodman. “And being in Maximum Rocknroll,” adds Koehler, referring to the influential punk zine.

Goodman studied physics and education at Rutgers, and Ramone studied art at the Pratt Institute. Between them, the two friends managed to forge a stellar network of indie rock musicians between New Brunswick, New Jersey, and Brooklyn. “It was this frenzy of creative energy going on amongst our peers at the same time,” says Goodman. They counted Screaming Females, Matt and Kim, and Titus Andronicus as their peers in the scene. “They were our high school friends,” she says of Titus Andronicus. “They were touring America! They were putting out real records on labels! So we thought, ‘We should do that too!’”

“The band was starting to take off my senior year of college,” says Ramone. “I basically pulled a Cher from Clueless  total bullshittery and excused myself for going to SXSW one year to play shows. I was turning in Vivian Girls art for all my art classes ’cause I didn’t have enough time to do my homework. But it worked out! I was able to graduate.”

By the time Vivian Girls released their self-titled debut in 2008, they had also graduated from the basement shows that served as the genesis of their sound. They were opening shows for Jay Reatard, Black Lips, Sonic Youth, and Yo La Tengo. The band then invited Koehler, Goodman’s friend at Rutgers, to replace former drummer Frankie Rose; within a matter of months, they found themselves touring Puerto Rico, Europe, Japan, Australia, and New Zealand. “I’d just finished college,” said Koehler, who majored in German language and literature. “I said to my mom, ‘Katy and Cassie asked me [to] join Vivian Girls full-time, but I’d be gone a lot.’ And my mom was like, ‘What else are you gonna do? Sit at home all summer?’”

As Vivian Girls’ star began to shine well outside the sanctum of their local punk scene, the space that used to insulate artists from their critics had all but disintegrated, thanks to the increasing ubiquity of blogs and social media. “We wanted to produce music that would resonate with people in the [D.I.Y.] scene, and maybe elsewhere,” says Ramone. “Once we weren’t in our general circle of friends anymore, the misogyny jumped out.”

“People Had No Fucking Clue What to Do with Vivian Girls,” wrote critic Annie Fell for Vice just last year. Ten years prior, though, the same outlet openly indulged in rating women on their appearances. Hipster Runoff, the now-defunct cesspool of countercultural crit, referred to Vivian Girls as “slutwave” and titled a post, “The Vivian Girls show off their banging bikini bodies . The comments section of Brooklyn Vegan, the de facto media hub for the indie scene at the time, had already united against the band. Though it should have been a net good that women were tipping the scales and starting more rock bands of their own — such as Best Coast and Dum Dum Girls — men on the internet insisted on framing Vivian Girls as foils to other women in the genre, placing special emphasis on their appearances.

“My poor dad didn’t have to read all that,” says Koehler, whose father created a Brooklyn Vegan account to spar with anonymous naysayers. “I will always remember one comment: ‘Oh, look. It’s too fat, too skinny, and too tall.’ I think it’s funny now, but it’s really not. We’re all straight, cis white women — and it still sucked! What hope is there for anyone else?”

The band eventually found their own crafty ways of coping with negative attention: “We played a college show one Halloween in Connecticut,” says Koehler. “We saw some kid tweeting mean stuff about us. When we found out he was going to write about [our] show for the school newspaper, we reached out and told him he could interview us if he wanted.”

“We just killed him with kindness,” she continues. “Someone was being shitty about us so we sat down with him face to face and and disarmed him, ’cause he saw us as people and not some buzz band to troll.” It’s rare, though — and hardly recommended — to meet every detractor face-to-face.

The Compa-NY Studios in Glendale, California, is littered with shakers, tambourines, and a red Fisher-Price xylophone — which producer Rob Barbato will later filter through a delay pedal. In the booth, Goodman tries out harmonies in front of the microphone. “Baby angel voice,” she sings, jazz-like, before the reverb sets in. “Haaaah!“

Babies are the topic du jour in the studio. Koehler is seven months pregnant with her daughter Wendy at the time of the recording, but only complains about her shortness of breath. Otherwise, she powers through drum fills and harmonies with ease. The last time Koehler had been in a recording studio was in 2014 with Upset, her project with ex-Hole drummer Patty Schemel; before that, she drummed in Best Coast. Koehler pats her belly. “I’m gonna see how being a parent goes, before we think about touring again.”

Goodman, who parents a toddler with Todd Wisenbaker — her husband and counterpart in the indie-pop band La Sera — imparts the occasional bit of wisdom. In the early days of Vivian Girls, she taught high-school science full-time in Princeton, then commuted to Brooklyn to play shows. She now develops programs for fellow STEM educators. “I’m such a Virgo,” says Goodman. “I love to know the rules of the game. But then I found out that having a baby is not a game!”

Ramone doesn’t do baby talk, unless it’s about the Babies, her project with singer-songwriter Kevin Morby. She wanders in and out of the studio, often tending to her journal and checking the time during every step of the recording process. By night, long after Goodman and Koehler return to their families, Ramone leaves her journal open and lets her guitar unwind, cranking out rambling solos and feedback into the wee hours of the morning.

“There’s a Day Cassie and a Night Cassie,” explains Barbato. He first came into contact with the Vivian Girls’ universe producing La Sera’s 2012 LP, Sees the Light, then later produced the Babies’ 2012 record, Our House on the Hill. “Day Cassie is pretty pragmatic. She keeps a list, checks it off and moves everyone forward. Night Cassie is freer, and more vulnerable.”

Although Koehler and Goodman relocated to Los Angeles years ago, Ramone stayed behind in the Northeast, volleying between Brooklyn and her parents’ home in New Jersey. D.I.Y. venues began shutting down left and right, and the people she knew in the scene were leaving New York. She used to churn out new songs on the road with Vivian Girls — often teaching the band their parts during sound checks — but Ramone had grown increasingly secluded and focused on her visual-art practice. It was during a regular phone call one day that Goodman said, apropos of nothing, “Let’s do the band again!”

“I was originally trying to recruit a backing band for my next solo album,” Ramone says. “It sounded cool, but it just wasn’t going as smoothly as it did with [Vivian Girls]. I tried so hard to fit a square peg into a round hole with other people. So when Katy called me up, I was relieved. Once I got to L.A., I wrote most of the [Memory] songs in two weeks.”

“You don’t see too many bands with a bond like Vivian Girls,” says Barbato. “You usually see a one-person project, then they [hire] people to play with them. Cassie, Ali, and Katy have been friends since they were kids. But I think when it comes time to express stuff, it’s still hard for Cassie to maybe say things in front of them sometimes. It was easier for me to turn the lights down in the studio and let her go.”
“I’m a big [Burt] Bacharach fan,” says Cassie Ramone. “But I also love grit and punk simplicity. When I write, I try to merge those two ideals.”

From the very beginning, all Vivian Girls songs were written in conversation with the pop legacy built by titans like Brian Wilson, Burt Bacharach and Phil Spector. In their 2008 seven-inch, featuring the jangle-punk title track “Wild Eyes,” the Vivians conjure the hormone-fueled melodrama of the Crystals: “Say you’ll hold me till I die/Wild, wild eyes.” Flip the record and you get its chilling companion song, “My Baby Wants Me Dead” — a slow-cooked, escalated update on Carole King’s “He Hit Me (And It Felt Like a Kiss)” — eerily relevant in a time of surging mass gun violence.
“Since I was a child I was analyzing pop song structures,” says Ramone. “Even with Disney music. That’s why I’m such a big Bacharach fan. But I also love grit and punk simplicity, so when I write, I try to merge those two ideals. People can dislike my music if they want, but it bothers me when they’ve said it’s not thought-out or ‘lazy.’”

In writing the overcast surf-rock track, “Something to Do,” Ramone calls to mind Bacharach’s “I Just Don’t Know What to Do” as she roves between New Jersey diners and beaches. And in the listless, psychedelic march that is “Sludge,” she cites Jimmy Webb’s baroque pop masterpiece, “MacArthur Park” — filtered through a X-Vex Fuzz Factory pedal. But much like the architects of pop’s golden age, Ramone harbors an impenetrable melancholy beneath the sanded-down, bubblegum shellac of Vivian Girls’ music.

Drowsy with reverb, her verses ricochet between walls of static; her lyrics, more intelligible in Memory than in most releases, recall both the sighing theatrics of an embattled Brönte heroine and the blunt force of Minor Threat. “I lost it all/My final brain cell banged against the wall,” Ramone sings in the shoegazing lead single off Memory, “Sick.” As usual, her bleak visions are softened by Goodman and Koehler’s harmonies. “Tomorrow maybe I’ll wake up and say/Enough.”

“The main themes are poor mental health — a classic,” Ramone says with a laugh. “And love lost. For the first few records I only shared the lyrics where I wanted harmonies on, but with [Memory] I was like, ‘Whatever.’ If you’re gonna go there, you might as well just go there all the way.”

While 2011’s Share the Joy sardonically basked in the bubblegum (case in point: the Shangri-Las pastiche “Take It As It Comes“), 2019’s Memory shares both sonic and thematic D.N.A. with their 2009 LP, Everything Goes Wrong. The album came out during the advent of the glossy synth-pop sound known as chillwave (think: Washed Out, Toro Y Moi), when music critics already began foretelling the waning relevance of indie rock at large, as electronic-based music began to saturate the market. But instead of capitulating to the demands of any trend, Vivian Girls leaned harder into their punk-pop roots.

In Everything Goes Wrong — the only other album featuring KoehlerVivian Girls first crash through the gates with brackish opening track “Walking Alone at Night.” They ramp up the energy with the hardcore push-and-shove of “I Have No Fun,” then go darker in “You’re My Guy” — a satirical jab at the band’s male antagonists and their warped fantasies. (“You’re my guy/You fuck me all the time/I’m lonely every night,” hisses Ramone, “Love ya’ though you love to see me fall.”)

Altogether, their 2009 album painted a grittier picture of the scene they’d come to occupy: a wilderness of faces they weren’t sure they trusted anymore. Yet Vivian Girls maintained their sense of humor, even as they continued to be publicly vivisected in the indie blogosphere. While touring in support of the album, all three members of Vivian Girls got matching tattoos that read COOL DUDE ATTITUDE.

Those days still sting, 10 years later. Writing and recording a new album also meant bracing themselves for another wave of sexist backlash. “Doing our press shots for this album, at one point I asked the photographer, ‘Can we shoot one that’s just our faces?’” recounts Koehler over the phone. “When we left, Katy said, ‘Thanks for saying that. I fucking hate taking pictures of my body.’ I was like, ‘I do too!’”

The misogyny leveled at the band was inextricable from their narrative. But now, the story of Vivian Girls no longer belongs to their detractors, most of whom remain as nameless as they are unremarkable. “Every day that came before is just an empty shell,” sings Ramone on the title track; with Memory, the band is committed to writing new stories together.

“Back when Vivian Girls started, we weren’t in control of the narrative,” says Goodman, who recently established the band’s first Instagram account. “We were a lot more reliant on blogs and music publications. They would take the art we make, process it themselves, and people would rely on those sources to form their opinions on things. Now you can just follow all your favorite artists on social media. Which is powerful!”

“It took a lot for me to just like leave the comfortable little hole that I had dug for myself in Brooklyn,” says Ramone. “But no risk, no reward, you know what I mean? To come out and do something like this — I have a feeling it’s going to be worth it.”

Memory is set for release September 20th via Polyvinyl Records.

Vivian GirlsCassie Ramone, now 33, singer-bassist Katy Goodman, 34, and drummer Ali Koehler, 32 — will release ‘Memory, their first album in eight years, later this fall.

In 2011, Vivian Girls were written off by the only indie music outlet that mattered. Of their third and thought-to-be final album Share the Joy (the band officially broke up in January 2014), Pitchfork wrote that it was “more admirable for its willingness to stretch than its execution.” They called singer and guitarist Cassie Ramone’s riffs “flat and stiff as dry spaghetti,” and declared that “there are an increasing number of bands beating Vivian Girls at their own game.” Prior to that dissertation, Pitchfork had awarded Vivian Girls’ self-titled debut album Best New Music and ranked it sixteenth on their 50 Best Albums of 2008 list.

Now, after a five-year break, Vivian Girls are back with one of this year’s most consistent rock records. From the opening bars on “Most of All,” the first track on new album Memory, it’s clear the band had nothing to prove at all. Memory picks up where the trio left off in 2011, drenching sweet, bubblegum melodies in distortion and reverb. This time, though, the band is tighter than ever. The lo-fi quality of their early records has been replaced by a slick studio polish. Bassist Katy Goodman says they wanted Memory to sound like “three people playing the songs as hard and fast as they could together, like a tight power trio.”

The dream-pop heavyweights Vivian Girls came out of the woodwork earlier this summer to announce their first new album in eight years. Memory marks the band’s first return to performing as a trio since parting ways in 2014, and welcomes back their core lineup of vocalist-bassist Katy Goodman, vocalist-guitarist Cassie Ramone and drummer Ali Koehler. Described as an album filled with personal reflections on toxic relationships, mental health struggles and accepting oneself, Memory captures a sense of desperation and longing and the “trademark mystery that set the band apart during its first incarnation,” per a press release.

The new album  from Vivian Girls’ new full length album, Memory, out September 20th, 2019.

Music for Listening to Music to is La Sera’s fourth album and its first with singer/bassist Katy Goodman’s husband Todd Wisenbaker officially on board. Produced by Ryan Adams, it finds its way to a blend of Adams‘ alt-country and their winsome take on alt-rock. Goodman says Adams’ excitement about taking La Sera into the analog realm inspired her to embrace the back-to-basics approach. Considering that, it’s the slower, more spacious tracks — like the spare and moody “Begins to Rain” or the grunge-kissed closer, “Too Little Too Late” — that best illustrate how far La Sera’s come since 2011’s self-titled bedroom-pop debut and 2012’s brighter (if still emotionally overcast) Sees the Light. Goodman’s knack for swoon and gloom, first heard via Vivian Girls, is only enhanced by the addition of Wisenbaker’s voice. As she sings on “A Thousand Ways,” arguably Music For Listening to Music To’s dreamiest song, “Love can do all of these things.” Knowing Goodman there’s a sly wink in there, but it’s easy to imagine, if only for a beat, that the carefree flame of the oldies La Sera hold so dear still burns here

1. High Notes (0:00)
2. A Thousand Ways (2:07)
3. One True Love (5:01)
4. Begins to Rain (7:58)
5. Take My Heart (10:51)
6. I Need An Angel (15:12)
7. Time To Go (19:01)
8. Shadow of Your Love (21:02)
9. Nineties (24:16)
10. Too Little Too Late (27:37)

La Sera’s 4th full-length album, Music For Listening To Music To, released March 4, 2016 (produced by Ryan Adams).


La Sera have a new EP, Queens, that’s out Friday on the 30th September via Polyvinyl. The record concludes with a cover of Led Zeppelin classic “Whole Lotta Love,” a song that La Sera have been covering live for a long time. Katy Goodman and crew don’t mess with the original too much, but deliver with a whole lotta energy.


The cover makes its premiere in this post and you can listen, along with Queens‘ title track, below.
La Sera’s tour with Springtime Carnivore (with whom Katy made a covers record of there favourite songs recently)



Katy Goodman (La Sera & Vivian Girls) and Greta Morgan (Springtime Carnivore) took on an ambitious project by covering 10 punk tunes from 70s and 80s and knocked it out of the park. I’m by no means the all-knowing word on punk music. Of the 10 songs on the album, I was really familiar with half while the other half were vaguely familiar or new to me. The ladies transitioned these tunes of frustration and angst sung from a male perspective, and stripped them down and them made all sorts of beautiful with shimmery reverb-laden guitars with beautiful female harmonies.

Naturally, I was initially drawn to the tracks I knew. Bastards Of The Young by The Replacements was my first taste and I must have spun that track 10 times the day they released it. I was absolutely mesmerized on what they did to one of my favorite tunes by The Mats. Next up was Where Eagles Dare by The Misfits. Hearing them harmonize, “I ain’t no goddam son of a bitch, you better think about it, baby” is sexy as fuck. Then I dug into the tunes I didn’t know that well by listening to their version and going back to the original. Ever Fallen In Love by The Buzzcocks just sounds wonderful in their hands. Pay To Cum by Bad Brains turns the tune on its head in a bewildering manner.

I’m usually not that big of a fan of cover albums. But this is every bit as good as The Day of Dead compilation released earlier this year.


You might know Katy Goodman as the former bassist of Vivian Girls or as one half of the husband-and-wife indie rock duo La Sera, who coincidentally just announced a big North American tour. But you might not know that Goodman is also a huge fan of ‘70s and ‘80s punk and new wave and in a recent interview she professed her undying love for The Smiths.

Goodman has teamed up with fellow punk aficionado Greta Morgan of Springtime Carnivore to release a full album of punk and new wave covers, appropriately titled Take It, It’s Yours after lyrics heard in the great Replacements song “Bastards of Young”. The cool thing is, they’re not just sticking to covers that seem easy to pull off. The album kicks off with “Over The Edge” by Portland punk legends the Wipers and then covers territory ranging from DC hardcore (Bad Brains’ “Pay to Cum”) to Detroit proto-punk (The Stooges’ “I Wanna Be Your Dog”).

989adb14 6bea 4fcb a58c d886f781c9951 Katy Goodman and Greta Morgan cover Misfits Where Eagles Dare    listen

But nothing on this album is likely to beat Goodman and Morgan’s cover of the Misfits“Where Eagles Dare”. Originally a bass-heavy burner punctuated by Danzig’s guttural howl, the song has become something else entirely under their direction. As Morgan explains, “This is the song that inspired Take It, It’s Yours in the first place. We were goofing around singing it in my backyard and there was something powerful and interesting about hearing our voices harmonize such a traditionally aggressive song.”

She continues: “The Misfits are one of the punk bands I think of as being most influenced by girl groups of the ‘50s and ‘60s (the other being The Ramones), so somehow our voices really suited these melodies and the simple chord progression.”


Take It, It’s Yours drops August 26th on Polyvinyl Records. check out the album art and tracklist below.

01. Over The Edge (Wipers)
02. Pay to Cum (Bad Brains)
03. Bastards of Young (The Replacements)
04. Sex Beat (The Gun Club)
05. Ever Fallen in Love (Buzzcocks)
06. Where Eagles Dare (The Misfits)
07. I Wanna Be Your Dog (The Stooges)
08. In the City (The Jam)
09. Dreaming (Blondie)
10. Rebel Yell (Billy Idol)

La Sera’s Katy Goodman and Springtime Carnivore’s Greta Morgan have been hanging out and spending their time productively, reworking old punk songs by the likes of Bad Brains, The Misfits, The Stooges and more, calming the frenetic pulse of these songs and creating a much mellower vibe. The collection is called “Take It, It’s Yours”and it’s due out this August.

The first track they dropped was a cover of The Replacements “Bastards of Young” which sounded splendidly feminine and forlorn, and below is their video for their take on “Sex Beat” by LA’s The Gun Club. The original was a jittery punk trackbut in the hands of the girls their song takes on a gilded Laurel Canyon earthiness.
“We decided on a simple performance video for ‘Sex Beat’ to show how the record was made,” explains Greta. “Katy and I played all the instruments on Take It, It’s Yours and filmed this video at CompNY Recording, the studio where we actually made the record with our friend and producer Drew Fischer. This is the first video I’ve ever directed and it was so fun that I’ve started working on a bunch more.”

Meanwhile Katy had this to say: “I’ve loved this song since I was a teenager and found Fire of Love at a record store in Seattle. This is one of the first covers we recorded. It came to life quickly and set an awesome tone for the rest of the record.”

The official music video for Katy Goodman & Greta Morgan’s cover of “Sex Beat” by Gun Club, taken from their 2016 collaborative album Take It, It’s Yours, out 8/26. Directed by Greta Morgan.


Katy Goodman of La Sera and Greta Morgan of Springtime Carnivore have teamed up for an album of punk covers entitled Take It, It’s Yours. The LP features the duo’s takes on songs by the Stooges, Blondie, Bad Brains, and a number of other classic outfits. Morgan provided us with some background behind the project’s origin:

The concept of the record began last September when Katy and I were messing around learning Misfits songs on guitar in my backyard. Once we started singing ‘Where Eagles Dare,” we couldn’t stop. Having female voices and girl group harmonies with the lyrics “I ain’t no goddam son of a bitch, you better think about it, baby” felt like a riveting turnaround.
The lead single from Take It, It’s Yours is a cover of The Replacements’ “Bastards Of Young,” the song from which their album title derives its inspiration. Opening not with a tin wire guitar riff but rather a reverb-dipped breeze reminiscent of Real Estate, Goodman and Morgan sweetly sing Paul Westerberg’s opening lines, “God, what a mess, on the ladder of success/ Where you take one step and miss the whole first rung,” as if they actually came from the last Jenny Lewis album. Replacing Westerberg’s guttural throttle with these women’s harmony-driven delivery shifts the original’s mood of dissatisfied confrontation towards one of sardonic defiance. Oddly enough, they omit the “Take it, it’s yours” section of the original.



Ex-Vivian Girl Katy Goodman recently announced that she’s releasing the Ryan Adams-produced La Sera LP Music for Listening to Music to on March via Polyvinyl. Today she shared the official release date, which is March 4th 2016, and the first single, “High Notes.” Rolling Stone mentioned that the album was going to have “moments of a country twang” and this track shows it, featuring a distinct country sound complete with a harmonica outro.

la sera

I absolutely loved La Sera‘s last album, 2012’s “Sees the Light” and I had also heard rumblings from those who had heard about this LP being completed for months before the release date.

singer-songwriter Katy Goodman‘s mellower, sadder earlier works under her nom de plume La Sera, was stressed. Goodman even said “I didn’t want it to be another record of me sad, alone in my room. I wanted to have fun playing music and writing songs with a band.”  adding Morgan also plays with Goodman in Books of Love,  the press is a bit misleading. When your lead-off track is called “Losing to the Dark” and chronicles the sadness and frustration of a lover’s decay from nightly alcohol and drug abuse,

Still, the music on this track is indeed faster and more aggressive than anything La Sera has done to date and like she does on some other cuts on the album, Goodman sounds more enraged than wistful. And like so much classic pop, it combines cheery, upbeat melodies with lyrics evoking the many struggles of everyday life. but at heart I think she knows that even the bouncy “It’s My Party” is lyrically a sad song with its references to crying.


After “Losing to the Dark,” the pace settles down a bit with the jangly, Roy Orbison-like “Summer of Love” before ace guitarist Wisenbaker unleashes a great Billy Zoom-like riff to open “Running Wild,” another tale of a wayward lover. The “go go go go” vocal part that then launches into the solo is a particular highlight.


Elsewhere, the title track, “Kiss This Town Away” and “Control” are all further highlights of this consistently great album. There’s even a track oddly called “10 Headed Goat Wizard” though as far as I can tell it has nothing to do with heavy metal or gaming . And don’t miss the gorgeous, Smiths-like “Fall in Place.”

Perhaps there is so much drama on the rest of the album that closing with the instrumental though it features ghostly harmonies from each band member) “Storm’s End” is appropriate here. And like the title implies, there is much more going on here than meets the surface. In short, this is one of 2014’s best albums and perhaps La Sera’s best work yet.