In indie pop and punk music, maturity can be the enemy, with grown-up thinking compromising the scrappy fearlessness of youth. Given how joyously ramshackle
the Exbats were on their early cassette-only recordings, seeing the band tighten up and learn how to use the studio might make some fans worry about what they were giving up in the name of professionalism and growth. Those who treasured
the Exbats at their loosest will not be reassured by 2021's
Now Where Were We, which rocks less than their previous work and is their most carefully crafted album to date. That said, it sounds like the work of enlightened amateurs, not jaded pros, and they've gotten skillful enough to emulate the vintage pop sounds they love with an accuracy that still leaves room for a little good-natured chaos. Still featuring primary lead singer and drummer
Inez McLain, guitarist and sometimes vocalist
Ken McLain, and bassist Bobby Carlson, Jr.,
the Exbats spent considerably more time making
Now Where Were We than ever before, and the effort shows -- they've always had a passion for mid-'60s jangly pop and
the Mamas and the Papas, and on tracks like "Coolsville USA," "Hey New Zealand," and "All the Lovers Do," they've taken the time and the care to demonstrate that they can actually pull off this stuff with a panache that's not exactly a match for the Wrecking Crew, but certainly better than anyone had a right to expect. If you missed the leaner, more punk-inclined edition of
the Exbats, "Best Most Least Worst" and "Best Kiss" are cleaner and better crafted, but show they haven't lost the energy to make this stuff rock, and that
Inez still shouts with impressive skill, even though she's learned to croon. Matt Rendon, who produced and recorded
Now Where Were We in glorious analog, has cleaned up
the Exbats' attack in the studio, but the music sounds admirably uncluttered and open, using a bit of polish to refine the music without weighing it down. And "Ghost in the Record Store" confirms these folks have not lost their sense of humor. If this album has a flaw, it can be traced back to
Ken McLain, who takes the lead on what's easily the weakest track, the tone-deaf country parody "I Don't Trust Myself Around Jesus," though at least they had the good sense to tack it onto the end of the album so it's easy to skip. If you loved
the Exbats when they were ragged but right,
Now Where Were We will take a bit of getting used to, but if it was their joyous take on classic pop and rock tropes that lured you in, you're bound to find this pleasing. ~ Mark Deming