Kingdom of Mustang

Pitch Perfect Indie Music Album Reviews

Alternative/power pop rock quartet Kingdom of Mustang hail from Charlottesville, Virginia. Tales from the Atomic Tambourine is the group’s third offering. The band is a collaboration between Mark Roebuck (The Deal, Big Circle, Sub-Seven), Michael Clarke (The Deal, Left Lane), Tim Ryan (The Gladstones, Jeebus, Left Lane), and Rusty Speidel (SGG&L), who first came together in 2016 to perform songs from Roebuck’s album The World and All Within. Discovering a mutual love for songwriting and making records, Kingdom of Mustang has since spent most of its time writing and recording, but occasionally pops its collective head out and plays some live music for the people before heading back into the studio to make the next record. The twelve-track album was recorded at Studio 607 in Ivy, Virginia. The collection of songs has overtones of The Beatles, The Shoes, Teenage Fanclub, Big Star, The Byrds and others. Jangling guitars, soaring vocals and inquisitive lyrics are staples of Kingdom of Mustang music. Like many bands over the past year, Covid posed some logistical challenges. For Kingdom of Mustang, songs are typically presented with vocals and acoustic guitar, and then arranged and recorded through the band's interpretation.
 
The first track is “Heart of the Matter” and its words are universal in nature – like they could apply to any situation that calls for action right now. For Kingdom of Mustang, it could be about personal relationships, or perhaps some social or political issue that effects more people beyond their circle of friends. Whatever it may be, the guitars are bright and jangly, and vocal harmonies harken back to early pop bands like the Beatles and the Byrds. “At the Hi Lo Ha” finds the band reflecting on a place that brings back good times and fond memories – a happy little tune! Next up is “Jeannie When You Killed the Stars.” This one has more mystery and figure of speech behind its title and words. The music has a mysterious feel to it as well, and I really liked the low-end bass lines, drumbeats, string arrangement/additions and guitar solo. Great number! “South on the Crescent” reads like two friends or lovers saying goodbye for what could be their last time – at least that’s my guess. Likewise, the music has a sad tone to it and reminded me of some of the soft rock ballads of the ‘70s. 
 
I sense that lyrically “Yesterday’s Blues” is about trying to come to terms with one’s life, taking stock and refocusing your energy. Another way could be just telling yourself “There’s no use crying over spilt milk.” A faster, upbeat tune here with some great vocal harmonies, too.  “Each Time that You Break Down” reads like a relationship that’s coming to a bad breaking point – if it hasn’t done so already. Another song with a faster rhythm, good vocal harmonies and quick chord changes among the band members. I liked this one a lot and, in some ways, it reminded me of Big Star and/or R.E.M.  “It’s a Perfect Day” tones the pace of the album’s tempo down a bit and features a greater presence of keyboards. The instrument arrangements here reminded me of McCartney and Wings. Next up is “Until Saturday Comes” and lyrically it offers more mystery. It starts off with acoustic guitars, congas and a heavy melodic bass guitar. I guess you could say this is the band’s more experimental / hippie-ish song, without being too hippy. I thought the vocal harmonies were fantastic and I really liked the lines “There are no horizons / Only places in our minds that cannot die.” A lot of imagination in this song for sure – not to mention, Saturday must be a special day for these guys.
 
“Lemonade and Innocence” suggest two friends who grew up together, got closer to one another and now, they’re getting married (“I hope the bells will chime”). Just a thought in this song that features heavier drumbeats and an electric guitar. Style-wise, I thought this one sounded like a mix of Tom Petty, Big Star and R.E.M. “Nothing at All” is another low-key number with a slower rhythm, contrasted with a melodic bass line and nice backing vocals. “Railbird Elegy” was a hard one to figure out, lyrically anyway. I couldn’t tell if it was a song about betting on a prostitute at the Charles Town bar or speaking to the ghost of someone (a “she” in this case) at the same bar. After all, an elegy is typically a poem for someone who’s dead written by someone expressing deep sorrow. At any rate, it’s a somber song musically – featuring a piano melody, deep bass grooves and more great vocal harmonies. The band’s style and tone remind me again of something from the early ‘70s. Last up is “All You Know is What You Know.” The words imply a bad break up or perhaps even a divorce, (“So give the boys my very best”).  The band’s sound here is more reflective of a country ballad, without too much twang, if any. If you listen closely, it sounds as if there is a harpsichord (aka keyboards, I presume) playing during the chorus part. How many bands do you know put that into their instrument line up, then throw in some strings and top it off with a soulful guitar solo?  A great ending track and solid third effort overall from these Virginian rockers.