by Scott Yohe
In 1946, the New Towns Act was passed in the United Kingdom, and in 2024, the Bay Area jangle-rockers Neutrals released their newest album, New Town Dream, via Slumberland / Static Shock Records. It might seem strange to think that something that happened 77 years ago and over 5,000 miles away could lead to New Town Dream, but stranger things have happened. It becomes easier to understand when you spend some time with Neutrals. The band comprises vocalist/guitarist Allan McNaughton, bassist Lauren Matsui, and drummer Philip Lantz, combining to create some of the best post-punk tinged jangle-pop you can find today. New Town Dream is a testament to bygone days, but it is also a look at the things around us and the future.
The record starts simply and slowly, with the eponymous “New Town Dream (Version),” a quiet introduction to the world of Neutrals. It is accompanied by various samples that lay down the groundwork of what the New Towns Act was about: how population overspill of various UK cities would be moved into newly and often shoddily put together towns that were not built to last. The record then chugs along into the first proper jangle-pop song, “That’s Him on the Daft Stuff Again.” It is here where we are greeted by McNaughton’s thick Glaswegian accent that is so perfectly suited for this type of music, jangling back and forth at a head-bobbing pace. The next song, “Wish You Were Here,” is a real jangler, all about missing a friend that you used to have great times with but is no longer there.
Perhaps the most interesting song, at least inspirationally is “Stop the Bypass.” The band says that the song is inspired by the Pollok Free State protests, and they recommend watching the documentary “The Birdman of Pollok.” Since the song is so great, I did exactly that and now have gained an even greater appreciation for it and the record; the song even features real protest chants. Both “Chaos at the Jasmine” and “Last Orders” tell wonderful stories of the restaurant lifestyle with a sharp and funny wit. Other songs like “The Iron That Never Swung” and “Phantom Arcade” are wonderfully crafted and inviting. The song “Substitute Teacher” is especially funny, all about someone cool and interesting being a substitute teacher, someone who makes a big impression one moment and then is gone the next.
The biggest departure from Neutrals' jangling sound is “How Did I Get Here,” a pulsing electronic song with McNaughton narrating a tale of being stuck in a dance club that he clearly has no interest in being at. The record ends with “Leisureland,” which is a magical closer for such a good album, the clearest example of McNaughton’s singing voice, which sees the band end on a very sincere note.
As with all great jangle-pop albums, New Town Dream is over before you want it to be. In just 32 minutes, Neutrals create such a vibe that it feels impossible not to enjoy. McNaughton’s guitar is always jangling, except on “How Did I Get Here,” and his lyrics are always funny, witty, and charming in the way the Scottish always are. Matsui’s bass playing is completely on point the entire record; you can always lock into the bass line to bob your head along with it. Lantz’s drum beats never miss, always providing the perfect backbone to every song. Neutrals take inspiration from the great jangle-pop and C86 bands, turning the sound into something that is distinctly their own.
In the long list of amazing jangle-pop records, New Town Dream is a welcome addition. It has everything that a good album should have: it’s funny, sincere, witty, and most importantly, it jangles. It has become a soundtrack to the seasons changing, to the warmer weather and sitting outside. Neutrals show why they are a band worth listening to, and it seems like everyone should enjoy New Town Dream. You owe it to yourself to learn about the New Towns Act, to learn about the Pollok Free State, and most importantly, you owe it to yourself to listen to the album.