The Small Square - Ours & Others (2023) Hi-Res

New project from Paul Chastain (Velvet Crush, Matthew Sweet) & John Richardson (Tommy Keene, Gin Blossoms, Badfinger). Anybody else suffering from an unfulfilled power pop craving – as if the passing of Dwight Twilley wasn’t debilitating enough? A powerful elixir is at-hand. Blending together the prodigious talents and collective firepower of long-time friends and bandmates, Paul Chastain and John Richardson, Ours & Others is just what the doctor ordered. Aptly named, this release greatly benefits from true collaboration with like-minded players, painstakingly created over the past 8 years – since their debut – and formulated across two continents.

The masterful Paul Chastain (Velvet Crush, Matthew Sweet, Tommy Keene) brings guitar, piano, bass, synth and patented vocals to the party while the equally accomplished John Richardson (Tommy Keene, Jay Bennett, Gin Blossoms, Shoes) provides drums, piano and all manner of percussion.

Consider the beefy guest list across these eleven tracks, which includes: R. Walt Vincent (Pete Yorn, Liz Phair), Jeff & John Murphy (Shoes) J, Caleb Means (New Ruins), Cory Wong (Vulpeck, Power Station, Jon Batiste), Adam Ollendorff (Will Hoge, Keb’ Mo’), Ryan Liestman (Demi Lovato), Kevin Gastonguay (Ariel Posen), John Moremen (Matthew Sweet, Orange Peels), Gary Klebe (Shoes), Jeffrey Underhill (Tommy Keene, Velvet Crush), Adam Beard (Will Hoge, Ruthie Collins) and Adam Fabrini.

As expected, what results from this musical Think Tank of talent is a sumptuous blend of influences with its starting point in the undeniable pop craft of the Beatles, Byrds and Beach Boys – extrapolating well beyond, informed by a more current amalgam of their respective musical pathways. Ours & Others positively explodes with the wide-reaching benefits of like-minded players guided by the skilful hands of these two power pop pioneers.

The tape effects/lazy piano intro to “Twenty-Third” which sets up a mournful vocal is quickly transformed by Richardson’s fat drum sound and a wall of vocal harmonies which take hold as Moremen’s guitar generates a key focal point, Richardson’s piano picking up the pace. Quirky sound effects – used throughout – and Chastain’s expressively-doleful vocal inject a melancholic spark as this too-short song closes with a final, resounding piano chord.

The comparably high-spirited “The Hourglass” kicks things up a notch, propelled by Richardson’s well-pummeled percussion as Chastain adds crunchy guitar to acoustic strumming, piano and bass, together with a stand-out vocal. Again, ending on a final, heavily-reverbed piano chord.

“Found Object” features Chastain’s haunted vocal, riding atop a firm, piano-driven shape. Upbeat percussion joins with Liestman’s prominent synth effects, which work together as Cory Wong and Chastain’s guitars merge to lift this 4-minute gem aloft. Gastonguay’s prominent piano work cements itself into your brain almost immediately as the harmonized outro beguiles.

“Open Up (Closer)” ramps the power-pop energy up a large notch as Gary Klebe’s tough guitar and vocal assist join that of his fellow Shoes who – in union with Chastain and Richardson – present one of the album’s true highlights.

“Tilt” distinguishes itself immediately with its Rickenbacker jangle as guest Adam Ollendorff’s 12-string helps set up Chastain’s McGuinn-like vocal to take this song over the top and into a wonderful space. Chastain’s falsetto contribution, alone, could bring a loving smile to Brian Wilson’s face. Best song on the record.

Dedicated to the late, great, far-too-unsung Tommy Keene, “Can’t Let Go (Oh, Tommy)” similarly scores with its ringing guitars and lush harmonies while slightly other-worldly keyboard effects and the fat, warm bass of the song’s author, R. Walt Vincent, help unearth the obvious emotion packed into the song’s heartfelt chorus.

Underhill’s quirky, distorted guitar intro to “Insta” ignites another power pop powerhouse tour de force with its upbeat 12-string guitar and buoyant, simpatico harmonies which refuse to quit as Richardson’s perma-beat and Chastain’s synth effects join Jeffrey Underhill’s deep-cutting guitar to create a newfound classic.

“Days In” is – comparably – a soft, soothing composition mirroring 12-string guitar to synth effects as Chastain offers a breathy vocal coupled with effects-laden lead guitar. This magical little song moves past its sleepy, conga-like accompaniment to eventually explode with a full-fledged band fade-out in its last 30 seconds.

Pounding drums and the disarming effects of a Wurlitzer keyboard and synth meet a pulsing bass on “N. Main Blues” – a Chastain/Richardson arrangement which could stand more of the colour hinted at by Chastain’s guitar.

Closing with the equally gentle “Baby Face” – a redistilling of the Tommy Keene original (‘84) – gets off to a somewhat awkward, slow start until Chastain rejuvenates it with one of his strongest vocals on the record – a true demonstration of his eye-opening vocal range. Odd instrumentation aside, the hook is reinforced, remaining undeniable.

Subtle power, disarming hooks, compulsory guitar jangle, warm reverb, confident vocals and honeyed harmonies – all delivered with conviction and the passionate intensity which is the calling card of good, muscular power pop, The Small Square’s second release helps elevate the bar of this much-beloved genre. Ours & Others is a treasure. Art from the heart, indeed.