Those keeping a close watch over the Boston music scene in a post-lockdown era will certainly be aware of The Chelsea Curve. Vocalist Linda Pardee and her band have really carved out a niche in feel good sounds, blending the hooks of the early 80s power pop bands with a mod driven feeling of power. Their short and sharp approach has delivered lots of superb sounding chorus oriented numbers that revel in their love of recycling the past, yet never sound stale.

For anyone who’s felt drawn to any of the Curve’s earlier recordings, this seven track release should be considered an essential listen. ‘Ride’ kicks everything off with a riff-laden workout celebrating the band’s love of motorbikes, inviting everyone to join a massive jaunt that’s being planned. Linda’s vocals curl very naturally against a world of chiming guitars, while a punchy rhythm section really accentuate the feeling of urgency within the song’s message. Often sounding like a harder edged Secret Affair, this really taps into the band’s love of old mod sounds, and while the recording captures the late 70s revival sounds of those early Jam records effectively, it’s the harmony vocals fleshing out a fun chorus and a crashy coda where the band unleash their inner Who that steals the show here. The more forceful sounds bring a sixties authenticity for a great balance. The sharp, muted chords that power ‘Outta My Head’ add a slightly punkier feel in places, but beneath the tougher edges, you’ll find a band working hard to keep a strong and flowing melody in place. Pardee’s bass takes a dominant role, and she allows her fingers to dance up and down the frets in a way that feels hugely confident but never aggressive; her meaty tones evoke some of Bruce Foxton’s finest work, providing a great melodic counterpoint to Tim Gillis’s no-nonsense rhythm guitar work. In many ways, the music outshines the lyric here, since this track relies a lot on simplicity and repetition. If over-thought, that could make it one of ‘The Rideout’s weaker cuts, but it has the muscle of something that would certainly be more effective in front of a live audience.

‘Never Come Down’ brings something a little more melodic to the table. From the moment a two chord riff hits with its see-saw like rhythm, it’s impossible not to draw comparisons between this track and the classic power pop sounds of 1981, and this is reinforced by a few shameless hand-claps. As usual with the Curve, though, it’s not a straight homage to that bygone time: broad harmony vocals draw a bigger influence from 70s pop, and a tough sounding lead guitar soaring through parts of the track suggests more of an 80s feel. It has one of the band’s most rounded arrangements, and n terms of sheer excitement it scores fairly highly, but isn’t quite as impactful as ‘Kindawanna’, which presents The Chelsea Curve operating at their absolute peak. It’s a really punchy number where the verse blends a classic power pop sound with a melodic punk spirit, and does so in a way that feels more natural than ‘Outta My Head’. It’s the perfect fit for an enthused, melodic vocal, but it’s when reaching a mod-fuelled bridge where harmonies rise that everything really hits the mark. With the aid of a simple hook, those elements would power these two minutes with ease, but a round of harmony driven “yeah”s and a world of hand-claps absolutely seal the deal. In terms of hearing the band at their most infectious, this is unmissable.

Elsewhere, ‘In Real Life’ makes great use of Bruce Caporal’s bass drum and toms, and he plays up a storm behind a wall of guitars. Taking mod driven sounds into a speedier arrangement with a slightly punky spirit, he adds a little extra power without ever sacrificing melody. Those who love the band’s sugary overtones won’t feel short changed here, though, as the chorus flaunts some great bubblegum-ish harmonies and the latter part of the track really sells the vocal elements with a wall of sound approach that brings more old school power pop charm to the fore. With the verses intercut with a great rhythm driven approach and a great chopping guitar riff, these three minutes feel like a celebration of all of the band’s musical loves, presented in a quick and direct hit. Dropping further into a world of power pop, ‘I Can’t Help It’ occasionally sounds like a Real Kids homage, and makes great use of some retro keys beneath typically sharp rhythm guitar lines. A warmer sound allows Linda’s bass to come through with a wonderful clarity, and a strong chorus brings out the best in a decent melody, and although nothing moves too far out of a comfort zone, the music has a genuine sparkiness that hits fairly swiftly. There are moments where Linda’s lead vocal feels a little unsure, but the music – and the use of harmonies on a great backing vocal – ensure this more than holds its own with the release’s more immediate tracks.

The closing number ‘Rally ’Round’ has a more melodic edge, but the lighter tone very much allows an important lyric to take centre stage. Regarding the importance of friendships and having a support network, the number has a celebratory feel, and works a huge harmony vocal to help add power a great hook. Against a very 60s influenced sound – falling somewhere between a 1967 mod number and classic power pop – a choir of voices calls out with a refrain that’s sure to stick. Sitting in the centre of a superb mod-ish arrangement, the message “Cheers to all of us!” comes like a clarion call, as a world of chiming guitars reinforces the Curve’s love of a retro sound. In addition, Linda is in superb voice here; her natural delivery glides effortlessly over the musical arrangement, and despite coming from a slightly poppier place, this still sounds like classic Chelsea Curve. If you’ve ever found a love for the band previously, you’ll absolutely love this.

Despite being promoted as an album, ‘The Rideout’ clocks in at under twenty five minutes. This, obviously, leaves no room for filler, so it’s lucky The Chelsea Curve’s short and sharp approach is genuinely effective. Hearing this in one sitting sometimes feels like the band are delivering some kind of musical drive by, revved up and ready to hit the listener with hook after hook. If you’ve enjoyed any of the Chelsea Curve singles, you know what you’re in for here…and you know you want this. If the band are new to you, check this out as soon as possible; if you have a liking of punchy mod influenced sounds, there’s a very good chance you’ll love it.

April 2026