Kingdom of Mustang

DANCING ABOUT ARCHITECTURE [Dave Franklin]

If much of the music that ends up being designated as “classic” seems to transcend the genre that it grew from, somehow taking on a wider appeal, a broader musicality, a less niche nature, then I would say that the music found on Glad Days could very well end up with such a label. The one thing that is out of your control is time, time to allow the music to marinade and percolate, time to ingratiate itself with not just the discerning music public but the mainstream masses too, but I would say that everything else required is in place, so let’s wait and see, shall we? It doesn’t hurt that the songwriting chops displayed here are pretty awesome, too. (Is this a best of… album? If you didn’t know any better you could be forgiven for thinking so.)

Kingdom of Mustang is expert at blending genres into new sounds—not radically new—that isn’t the point—but making music that is familiar enough yet fresh enough, and certainly fantastic enough to win the hearts and minds of the masses. With one foot firmly in the rock realm, it is the moves they do with the other that add the magic, deftly dancing through everything from new wave to country to indie to pop to create a sound that is truly their own.

If the opener, “More Than They Deserve,” is built on staccato riffs and driving energy, it is also soaked in lush harmonies and paisley-patterned, psychedelic power-pop vibes. This first taste shows you exactly how multilayered and mellifluous the music they make is.

The title track is wilfully lazy, louche, loose, and languid, and I mean all of that in the most positive of ways; as a result, it is relaxing to the point of being seductive. “Don’t Count Me Out” builds a bridge between sixties garage bands and the sophisticated pop-rock of The Cars and “Say Hey To Blue” sounds like Tom Petty and the Heartbreakers as they headed out of their early pure rock sound and experimented with more pop and new wave influences around the Southern Accents album.

Glad Days works because it allows itself enough freedom to explore a broad rock sound but pushes just far into enough neighboring genres to keep things exciting. However, Kingdom of Mustang understands just when to pull on the lease to stop things moving too far away from the uniting and cohesive rock glue that is always found at its heart.

REVIEW FIX

To some, music can be a very complex art form. Assembling the parts of a sound to create your expression can be daunting to even begin to think about, let alone assembling a team of people to work together to make it happen. In their latest album, “Glad Days,” rock band Kingdom of Mustang makes all of that look effortless as the album delivers right from the first track.

“More Than They Deserve” hits the ground running with some powerful drums and catchy guitar riffs to immediately grab your attention. The raspy vocals of Mark Roebuck are powerful and gives the track a scrappy attitude. This is especially true when you hear lines such as “We wanted it so bad we couldn’t believe. That there was only so much that we’d ever achieve. Letting go is just such a drag,” which hit hard and are full of heart. “More Than They Deserve” couples that lyrical power with a groovy instrumental that only gets better on repeat listens, especially with the guitar solo around the 2:20 mark.

The title track starts with a smooth guitar riff that instantly gets you into the track. The bassline is bold and grooves right behind the guitar while the drums and tambourine percussion keeps it all grounded. Each instrument makes an impression, which is especially pronounced around the 1:30-mark when they all dance with Mark Roebuck’s smooth vocal performance. It marks a slight departure from the raspy aesthetic to embrace the powerful message of perseverance of the track that’s reflected in lines such as “We’re going out for a very good time. Anywhere that we want now, and if I end up out of my mind, it’s ok cause I’m certain there’ll be glad days coming soon.” With sonic layers that hide little musical surprises, “Glad Days” earns its place as the title track which may earn it a spot on your personal rock playlist.

“Not The Special Girl” brings a powerful sense of forward momentum to its upbeat grooves. The free-wheeling guitar riffs are wild while the catchy bassline jams alongside the drums that march the track forward. This one has punchy lyrics that have that personal feel, illustrated clearly in lines such as “I followed you so long and for so far but the spell is gone and I see you as you are.You’re damaged and you’re vain and you’re never going to change” hit hard and while the sting is there so is the heartache in the chorus. “Not The Special Girl” has a decidedly different attitude that makes it stand out from the rest of the tracks before it, taking less pride in the jabs it takes to let the emotions breathe.

As the album winds down, “The Wrong Plane Home” is a track that stands out. While it may not be an epic outro track, it wears its heart on its sleeve like no other track. The guitar is smooth and catchy, with poppin’ riffs that give the whole track a sunny but busy feeling. The lyrics are where the heart lies in the track, however, and when Mark Roebuck hits lines such as ‘I land somewhere in Japan. Desperate, I tell them that I’ve just flown on the wrong plane home” followed by “You say that I’ve done it again, lies told and promises broken. Once more and you’re done for good” are packed full of palpable emotion that make you feel for his story as you listen that helps “The Wrong Plane Home” steal the show.

Kingdom of Mustang’s latest album is a delight. Each track feels unique and tells their own stories, making “Glad Days” a satisfying listen to get through. Tracks are punchy and full of lyrical attitude, though there are those such as “Not The Special Girl” and “The Best Thing” that lay the heart bare right alongside them. Packed full of addictive bass grooves, energetic beats and vocals that rise to the occasion, “Glad Days” is an album that deserves your time.

BORED CITY

Before even hitting play on Kingdom of Mustang, the name alone caught my attention—it’s got that rare combination of mystery and coolness that sticks with you. It doesn’t need to make complete sense to resonate; it just sounds right.

Their latest release, Glad Days, is a love letter to the golden age of music, a nostalgic nod to the transformative era of the late ’60s. Though it’s subjective, many would agree that something magical was in the air back then. Clocking in at a brisk forty-five minutes, the album’s fourteen tracks might seem hefty by today’s standards, but Kingdom of Mustang knows how to keep things tight.

Each song is lean and polished, with no filler to be found, making them all feel like potential singles. One of the album’s standout qualities is its seamless flow, creating a cohesive listening experience that feels like a well-curated setlist. While I always advocate for listening to an album in its entirety, as the artist intended, certain tracks beg to be featured on individual playlists.

Favorites like “Say Hey to Blue,” “And Then the King of Hearts,” and “The Best Thing” highlight the band’s talent for crafting songs that sound unmistakably like a band. In an era where that quality is becoming increasingly rare, Kingdom of Mustang’s Glad Days is a refreshing reminder of what makes a band truly great.

POWER POPAHOLIC

Charlottesville’s indie pop-rockers, Kingdom of Mustang, are back! The songwriting duo Mark Roebuck and Tim Ryan, along with the adept backing of Michael Clarke and Rusty Speidel, have crafted a distinct, consistent-sounding power pop style. Across fourteen tracks, it showcases the band’s workman-like attitude and authentic approach. Influences are easy to spot; Nick Lowe, Elvis Costello, and The Beatles. Fans of indie bands like It’s Karma It’s Cool or Vegas With Randolph will enjoy this too.

Starting with the catchiest tracks; “More Than They Deserve” and “Talk Talk Talk” it highlights Mark’s punchy guitar lines and cutting lyrics. The latter song tells you about a party that’s worn out its welcome, as you “drink up that Kool-Aid they serve to you.” They get a bit stronger riffs on the highlight “Say Hey To Blue,” along with a killer solo during the break between verses. “Don’t Count Me Out”  also boasts strong energy, but if I nit-pick I felt that the sound could have used a little more variety. That said, there are no duds here – and this is music that deserves to be heard.

BLOODY RED BARON [Mike Baron]

In 2002, Not Lame released a collection of The Deal’s recordings featuring Mark Roebuck and Haines Fullerton. That music is so powerful that today, 22 years later, I can instantly summon the first track, “Don’t Go Out,” in my head. Mark Roebuck is a phenomenal writer and singer. If you can find a copy of that rare record, get it.

Years later, Roebuck formed Kingdom of Mustang and began releasing a series of records noted for their melodic resonance and Roebuck’s distinctive singing. They weren’t power pop, they were achingly romantic pop. Until now. Mustang’s first release on Kool Kat is the hardest record Roebuck has recorded since The Deal. His songwriting is unique and instantly identifiable, like that of Hushdrops or Marshall Crenshaw. So is his singing, the way he goes up or down a half note in the middle of what would otherwise be a sustained note. “More Than They Deserve” grabs you and shakes you. “The End From the Middle” is a jaunty, cherubic song about existentialism.

The recording is remarkably crisp. You hear every word, which can’t be said for many power poppers. “Say Hey to Blue,” another distinctive Roebuck comp, features Rusty Speidel on guitar. I always laugh when I see a column named “The Ten (or Twenty, or Hundred) greatest guitarists of all time.” We have guitarists right here in my small town that rival the world’s best. There may be a thousand greatest guitarists of all time. Big major chords block out “All You’ve Got To Do Is Love,” with sweet two-part harmony. After all these years Roebuck’s still got it.

THE SOUNDS WON'T STOP

Kingdom of Mustang, a Virginia-based outfit formed in 2017, has been a prolific force in the indie scene, releasing a steady stream of five albums. Their latest, Glad Days, stands out in a landscape often dominated by nihilistic, grid-formed sounds, instead embracing the golden era of recording with refreshing sincerity.

In a world steeped in doom and gloom, Glad Days offers a much-needed breath of genuine joy. The band's enthusiasm is infectious, evident from the opening track “More Than They Deserve.” Harmonies intertwine with just the right amount of fuzz-laden guitars, delivering a hook that’s impossible not to smile at.

Following is “Talk Talk Talk,” a track that effortlessly channels the spirit of beloved bands from the '70s and '80s. The accordion intro sets the stage for a nostalgic yet invigorating journey. The titular track, “Glad Day,” emerges as a standout, balancing introspection with optimism and hope, showcasing the band's nuanced songwriting. With fourteen tracks, the album unfolds naturally, a testament to the band's old-school approach to album-making in an era dominated by singles.

This adherence to the album format as a cohesive art form is both a nod to the past and a refreshing stance in the present music landscape. Glad Days is a triumph, a record that feels undeniably real in a sea of synthetic sounds. Kingdom of Mustang isn't just getting started—they're laying down a marker for what genuine, heartfelt music can and should be.

MESMERIZED

From the moment Glad Days by Kingdom of Mustang bursts to life, it’s like stepping into a time machine set for the golden era of the late ’60s and ’70s. The band’s commitment to authentic songwriting is immediately apparent, but it’s the production quality and overall aesthetic that truly transports you.

For those who grew up with the lush, analogue warmth of this musical epoch, the album is a nostalgic balm, a refreshing departure from the often sterile soundscapes of contemporary production. Clocking in at a robust fourteen tracks, Glad Days defies modern trends of brevity. There’s no fat to trim here—each song stands sturdy and compelling, a testament to Kingdom of Mustang’s dedication to crafting great music.

They eschew unnecessary embellishments, focusing instead on the core elements that make a song resonate. Tracks like “Talk Talk Talk” channel the frenetic energy of garage rock, infused with punk’s raw edge and a dash of pop sensibility. Meanwhile, “Say Hey to Blue” showcases the band’s versatility, pivoting in a direction that feels both fresh and familiar.

And then there’s “If Your Mama Don’t You Lies,” a track that wouldn’t feel out of place on a Beatles b-side compilation, shimmering with melodic brilliance. The album is a treasure trove of gems, each song a polished piece of the band’s meticulous craftsmanship. Glad Days isn’t just a nod to the past; it’s a revival of the era’s ethos, where every note, every lyric, is honed to perfection. Kingdom of Mustang has created an album that demands to be played in full, a seamless experience through a vessel that feels both timeless and urgently present.

RECORDING ARTISTS GUILD DIGITAL MAGAZINE

Kingdom of Mustang are from Charlottesville, VA and bring together the musical talents of Mark Roebuck, Tim Ryan, Rusty Speidel, and Michael Clarke. Their extensive discography culminates in their latest offering, Glad Days, an album that finds its groove in a blend of classic influences and contemporary sensibilities.  

Drawing inspiration from legends like The Beatles and The Byrds, Glad Days weaves in threads of power pop, punk, and alternative rock. Attentive listeners will appreciate the subtle shifts in style throughout the album, but the band’s penchant for crafting inviting melodies remains a constant.

Each track is a testament to their dedication to melody, making the album a treasure trove for those who appreciate well-crafted tunes. The unpretentious and buoyant nature of Glad Days makes it an ideal soundtrack for summer festivities, whether you're at a festival, hosting a BBQ, or simply commuting.

The fourteen tracks are polished, meticulously rehearsed, and radiate the sheer joy the band clearly had during recording. This is an album to hit play and let it run its course. While there are variations in style, the overarching mood is consistently upbeat and spirited, creating a cohesive emotional experience.

Standout tracks like “Say Hey To Blue,” “And Then The King Of Hearts,” and “The Best Thing” highlight the band's ability to deliver memorable hooks and infectious energy. Kingdom of Mustang is in top form on Glad Days, making it a must-have for your summer playlist. Don’t wait—dive into this collection of sun-soaked anthems and let the good times roll.