On a pair of albums released in 2022 and 2023, The Gypsy Moths served up a very melodic brand of rock pop, with a strong leaning towards influences from jangly 60s sounds and late 70s power pop. Their 2025 EP release ‘Five By Five From Four’ finds the band sticking firmly to what they know, but with a couple of huge choruses found en route and some very natural melodies playing to a very retro crowd, it becomes obvious that taking a familiar path is a wise move.
‘And You Know I Do’ throws the listener straight in to the 60s-centric end of the Moths’ sound with the help of a hard strummed acoustic guitar overlaid by a chiming lead, occasionally sounding like a rough hewn Byrds riff crossed with early Badfinger. This results in something that sounds like a track that could’ve been unearthed from any number of cult power pop compilations over the years, but the band’s obvious musical tightness and enthusiasm sells a great melody. As with some of the previous Gypsy Moths outings, Steve O’Brien’s lead vocals aren’t as sharp as some of his peers’, but between a strong musical arrangement and a particularly sunny vibe cutting through the guitar work, this certainly starts off this EP with a track that sounds like a worthy successor to the best bits of 2023’s ‘Sounds On’ LP.
Employing a tougher intro, ‘Before The Lights Went Out’ sounds, at first, like its going to take more of a 90s stance, but pretty quickly, The Gypsy Moths retreat into something of a comfort zone on a tune dominated by more hard-strummed acoustic work. An increase of harmony vocals and a finely played rolling piano (courtesy of Dave Buckley) brings a slightly rootsier feel that suits the band brilliantly, and these extra layers ensure that, despite any familiarity, the end result sounds different enough from the opener. What this doesn’t sound like, however – at least, lead vocals aside – is something from the same hands that released the rollocking ‘Tilt-A-Whirl’ single in 2023 with its vague allusions to the Springsteen-esque, complete with rousing sax work… That said, it’s perfectly enjoyable, and the kind of track that shows off some rather mature sounding melodies with ease. As for that tougher intro, it’s used to great effect on the track’s bridge sections bringing a little light and shade to an arrangement that otherwise could’ve ended up just a little too easy listening. At almost exactly three minutes, it’s a great example of how to construct a solid pop-rock tune, knowing the end result is tight and focused enough to not have to rely on any flashy distractions. A contender for the EP’s stand out track? Most definitely.
A similar electro-acoustic blend pumps the heart of the Beatle-esque ‘Cover For Me’, a really buoyant number that – busy electric piano work aside – sounds like a cousin to a deep cut from ‘A Hard Day’s Night’, albeit with a warmer sound. As you might expect, an obvious increase in tempo sharpens the vocal, while the rousing harmonies that fill a really catchy chorus are some of the band’s best to date. A track very much built from the “tried and tested” mould, it shows The Gypsy Moths approaching “Power Pop 101” with a knowing grin, before ‘Fold Up The Air’ pushes the piano to the fore, and finally makes a bigger play for Chris Conway’s electric guitar work. There are moments where the busy piano and the guitar fills work in an almost call and response arrangement, which lifts the track considerably. That’s lucky, because the semi psychedelic chorus – relying on a one-line hook, causes everything to sag. The best riffs sound like something dug from deeply within the Squeeze catalogue, and those just about make this track work, but with something that sounds like three half finished ideas glued together, this track is certainly the EP’s weak link, despite presenting more of an urgent style.
In closing, ‘Tell Me She’s Alright’ returns to a familiar jangle, allowing acoustic guitars to bristle beneath another bright piano line. Musically, it feels rather close to this EP’s first couple of tracks, but between more natural harmonies and a solid rhythm section understanding that less is more and with Matt Miceli on drums and Phil Thompson on bass holding everything together with ease, it manages to be a track that shows off The Gypsy Moths in a position of strength. As with a couple of other tracks here, it’s a little more easy listening than some of the Moths’ prior works, but this sound – power pop with light Americana leanings – feels very natural for them.
With a lack of politics, a lack of anger and the presentation of a surprisingly positive outlook in a failing world, these Massachusetts lads put the focus on escapist entertainment with ‘Five By Five From Four’. Aside from ‘Cover For Me’, the material isn’t always as instantly appealing as the band’s earlier songs ‘Home To You’ or ‘Tilt-A-Whirl’, or even as quirky as ‘Metronome’, but most of the tracks bring something enjoyable to the Moths’ growing catalogue – and with this EP acting as a primer for a 25 song double LP that’s in the works, fans are assured of more greatness to come. In the meantime, listeners who still enjoy old school melodies, bits and pieces from the Graham Parker catalogue, 90s indie bands who present tunes through a 60s prism, and a bit of unashamed power pop could certainly do worse than check out this short listen.
July 2025