Over the course of a decade and a half,
Dent May has carved out a nice little spot for himself on the indie pop scene. He convincingly plays the role of the nice guy, crooning sweetly over a gentle mix of soft rock, AM pop, and slow-motion disco that cuddles the listener like a broken-in fuzzy sweater. His 2024 album
What's for Breakfast? does nothing to dissuade people that he's a teddy bear devoted to being an all-around good egg, though he does give his usual formula an interesting tweak. This time around, he turns off the disco ball and gives guitars the spotlight in a way he never has before. Chiming six-strings propel the songs, jangling leads provide some melodic punch, and the overall effect is that of a '70s power pop band working at about half-power and three times the sweetness. Sort of like
the Dwight Twilley Band if they were secret fans of
the Captain & Tennille or
Cheap Trick if they were hiding a fondness for
the Carpenters. Even the jumpiest, most skinny-tie clad songs -- like "One Call, That's All" or "Heaven on Wheels" -- come equipped with syrupy vocal harmonies, humming synth pads, and production slick enough that
Jeff Lynne could take notes. Calling the record a power pop throwback only paints about half the picture, though, as much of the album is a further refinement of
May's immersion in '70s radio-ready pop. He's not shy about whipping out synth drums, corny keyboard lines, midtempo love songs, or harmonized guitar leads in pursuit of his goals; while all the elements are working in unity to come up with something familiar sounding, in
May's sure hands, it's dazzlingly new sounding. There's probably no reason yet another
Fleetwood Mac-y soft rocker like "Coasting on Fumes" should come across as anything but tired, yet
May and guest vocalist
Jordana imbue the song with just the right amount of restrained emotion to make it work. Likewise, "Cactus Flower" -- which is roughly the millionth time someone has done a take on
the Beach Boys' late-'60s/early-'70s sound -- should sound like a faded copy, but
May's strangely powerful vocals and the lovely even by
the Boys' standards arrangement give the style some unexpected life. It's pretty clear throughout the record that
May was looking to expand his musical horizons on
What's for Breakfast?, and he does it in the best possible way by adding new sounds with care and not subtracting what's made his music so good in the first place -- button-cute melodies, pristine arrangements, memorable songs, and
May's very winning normcore persona. ~ Tim Sendra
