Back in 2023, The Summertimes released one of the year’s best albums with their self-titled disc. Their follow up release, the ‘Luminous’ EP offers fans (and soon to be fans) more of the same in many ways. Rather than suggesting a lack of imagination, it proves that the Aussie power pop band knows instinctively where their musical strength lies and, as a result, the five songs that make up the short release sit very comfortably alongside the previous LP’s best material.
Opening with ‘Save You Now’, a track that’s absolutely loaded with ringing guitars over a solid mid tempo, The Summertimes offer a brilliant throwback to the early 90s. Throughout the number, shiny guitar sounds (courtesy of The Church’s Ashley Naylor) underscore a slightly rootsy sounding vocal, creating something retro but also very commercial. After repeated listens it’s impressive how well the song holds up; the riff is a simple one, but Naylor’s sound gives it a striking quality, and the harmonies that flesh out a very catchy chorus are a match for the best sounds on the debut LP. Factor in a slightly rougher lead guitar briefly introducing a rockier edge, a retro sounding organ moment and a solid bassline supplied by Icehouse’s Steve Bull that does some heavy lifting, and this should appeal to fans, but also those all-important first time listeners.
A little less immediate, though no less well performed or produced, ‘Horses’ presents a shimmering rhythm guitar beneath a bouncing bassline, which works brilliantly throughout atmosphere tinged verses. The track wastes no time in flaunting a fine arrangement, but really springs to life on the chorus where The Summertimes and their guesting friends increase the tempo and share a pleasing blend of rootsy pop rock and Americana that wouldn’t feel too out of place on a “later period” Teenage Fanclub album like ‘Home’. A melodic vocal – occasionally not shying away from showing off an Aussie accent – works brilliantly in tandem with lighter harmony vocals, while a soaring lead guitar occasionally gives the feeling of something a little grander. It might take a few more spins than ‘Save You Now’ to click, but when it does, ‘Horses’ has the potential to become a long term favourite.
Tapping into more of a sixties influenced sound, ‘See Me’ opens with a grand sounding guitar tone set against a buoyant bass riff, coming much closer to a couple of Motown hits and soul bangers than the usual Summertimes touchstones. A broader guitar sound bringing forth a jangling chorus melody offers something a little more typical – with hints of Easybeats fare for good measure – but the soul infused bassline is never lost, and as things progress, works brilliantly against a full organ sound. It’s great to hear the band confidently branching out without going completely off-piste or trying something that’s massively misjudged, before ‘Falling’ changes the mood again to uncover strong influences from 90s singer songwriters with a solid acoustic core. The stripped back sound uncovers more of a great vocal, and provided you can get past the fact that the main riff sounds a bit like Deep Blue Something’s ‘Breakfast At Tiffany’s’, the arrival of a full band – driven by electric guitars and organ – takes the tune into the realms of sounding more like a Connells tribute which, much like the similar sounds from the debut LP, drives a familiar but enjoyable listen.
In closing, the title cut reverts to full on power pop sounds, moving between a world of melodic vocals and jangling guitars, into a rockier interlude that strongly resembles something with a 70s heart, and back again. Musically, the arrangement leans upon the tried and tested, but it’s good to hear the band rocking out just a little more, but without losing sight of their adult pop credentials. Those familiar with the debut will certainly hear sounds here that resemble past works, but a sunny demeanour and strong musical hooks allow this to shine in a way that appears almost effortless.
For power pop fans everywhere, this is a genuine treat. Although the five song, EP format initially brings a little disappointment due to its brevity – particularly with the title track leaving everything on such a massive high – in other ways, it suits the material, since its a decent vehicle for some shorter songs, and provides absolutely no filler. If you enjoyed the band’s previous release, you’re almost certainly going to find more than enough to enjoy within this small musical package.
September 2026
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