Album Review – One Way Ticket To Midnight by Mainland Break (2023) (Self released)
The debut album of Portland-based quintet Mainland Break shows that they are plainly disciples of late 80s and early 90s jangle-pop.
As such, the primary sound is one of push and propulsion as the juxtaposition of The Woodentops’ acoustic / electric thrum dominates Talking in the Cinema, whereas superlative tracks best represented by Calling After, Split Time and Replacements fill the cracks between the agitated The Feelies-style anxiety with beautiful jangled riffs that feel so very Gin Blossoms in texture.
Even when the above drive subsides, the album never loses any edge in quality, as The Ranger, the title track, and All Night move within the more languid, jangly 90s jangly guitar pop structures that current acts such as the Lost Ships,The Shop Window, and the re-birth of The Chesterfields are bringing a renaissance to.
Mainland Break are a totally new band to me (I somehow missed their equally superb Short Stay debut EP in 2019), but they are one that has the potential to be a lifelong musical friend.
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