After the recent brilliance of the Diners Domino album, Portland’s Brenden Ramirez’s (aka Bory) is the latest act to benefit from Mo Troper’s seemingly unrelenting production quest to wrestle power-pop firmly into the hands of today’s youth.

Nestled gently on Ramirez’s soft, inviting vocals that are so perfectly under-produced in the hands of Troper, tracks such as Five Course Meal, Our New Home, North Douglas, We Both Won, and Wreck drizzle the slightest of fuzz persuasions into soft Teenage Fanclub power-pop, which is then just about shaken enough to reveal a melancholy that is perfectly accentuated by a hushed essence that never fights to be heard, but simultaneously persuades you to listen (repeatedly).

Although the above heaves the beauty of the best of melodic power-pop, the album was always going to need a touch of the obtsuse to save it from the ravages of saccharine.

Thankfully, this arrives in the opening double salvo of The Flake and Feel the Burn, which both turn up the fuzz, distortion, and occasional feedback to take the aesthetic careering toward a noise-pop direction. Similarly, the absolute outlier of End of the World feels like the greatest lost track from the Kid A album that Radiohead never quite goy around to releasing.

We are in a glorious era where two-minute modern day power-pop continues to unearth superb pioneers and Bory is most certainly one.

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Although the above heave the beauty of subtle power-pop the album was always going to need a touch of obtuse to save it from the ravages of saccharine. Thankfully this arrives in opening double salvo of The Flake and Feel the Burn which both turn up the fuzz, distortion and occasional feedback to take the aesthetic careering toward a noise-pop direction. Similarly the absolute outlier of End of The World feels like the greatest lost track from the Kid A album that Radiohead never released.

Two minute power-pop tracks have never sounded so vital.