The last two Lemonheads records were all covers, so the prospect of Evan Dando writing an all-new record for the first time in over a decade is a monumentally exciting prospect for a listener who spent all of 11th grade with It’s a Shame About Ray on repeat.
Early press suggested that Dando had pulled out all the stops, bringing in old pals like J. Mascis and Juliana Hatfield for his big comeback season, which includes this record and a memoir. Bryce Goggin, who engineered Ray and also worked with Dinosaur Jr., Chavez, Sebadoh, and Pavement, among others, produced Love Chant. That all sets up an expectation that Dando is gunning for a return to the power pop that made his star rise in the 1990s.
However, never one to play into expectations, Love Chant aims for the ragged indie sound of the earlier TAANG! records efforts instead of the Ray days. Love Chant suggests that he still has some juice left in the tank, even if he’s not aiming to recapture the vibe of his most beloved era. It’s not easy to set aside expectations as a longtime fan, but viewing Love Chant with as unbiased an eye as I can muster, this is a solid collection of indie rock songs.
The most underrated Lemonheads record is the self-titled from 2006. Backed by Descendents’ Bill Stevenson and Stephen Egerton, Dando sounded energized and fired up in ways he hadn’t in years, delivering a pop punk masterclass that wedded the quirky hooks of Stevenson and Egerton’s beloved Descendents follow-up ALL to some of his sharpest lyrics. That union is best exemplified by songs like “No Backbone”, “Become the Enemy”, and “Steve’s Boy”, three of Dando’s finest moments. The mix of sardonic and vulnerable lines backed by songs that could fit right in on an ALL record is irresistible. If you haven’t listened to that one, it is worth seeking out.
Love Chant incorporates some of that ragged charm on its best tracks, and it comes out of the gate strong. The first three tracks immediately took me aback, reminding me how much I loved the scrappy, sloppy thrills of records like Creator and Hate Your Friends. “58 Second Song”, “Deep End”, and “In the Margin” feature classic Dando vocals and insistent, driving riffs. The title track evokes X in their folk-punk vibe, and Dando’s vocals recall John Doe a little.
“The Key of Victory” is a warm ballad that showcases his ability to lead a pretty ballad with his vulnerable voice and words. It’s one of the highlights. The same goes for closer “Roky”, a psychedelia-tinged track that packs a lot of moods into just over three minutes. That is one of the moments where you can see a way forward for Dando’s next act.
The easiest path Dando could have taken would have been to take a stab at reheating past successes, especially with a memoir on the way that is sure to revisit his memorable early 1990s. In that regard, Love Chant makes it easy to root for Dando to keep on going. Evolving his signature sound with country and psychedelia is a good fit, and the aforementioned highs make the record worth a listen. Hopefully, this is the first phase of a new chapter for the Lemonheads.