The shining luminance of DIY royalty is a guiding light that graces the paths of our daily walk and rocky roads. They make hope feel possible, the impossible no longer an impracticality but an accessible accomplishment of unlimited splendor and unrelenting exuberance. Never mind the gatekeepers and the cost prohibitive price tag stickers displayed on the rogue’s gallery walls at Stranded Records, Amoeba Records, Rough Trade [or insert your favorite record shop here] — these are the songs, arts, albums, EPs and artists that could be our lives. The soundtracks that score our existence, the overtones and undertones that elevate our spirits in ways unknown, the rhythms and beats that influence the pace of our step to the lyrics that speak to the things that we ourselves have difficulties in articulating.

It is in this spirit that we welcome the new album from San Francisco’s venerable pop art institution The Reds, Pinks & Purples with The Town That Cursed Your Name from independent stalwarts Slumberland Records. Beloved cult pop hero and idol to all with hearts and spirits of limitless sentimentality Glenn Donaldson presents Week in Pop with an exclusive selection of inspired arts, albums, oddities, illuminations and a whole more in celebration of the latest diamond in his repertoire. The Town That Cursed Your Name is like the novella about quandaries of settling into the arms of townie-dom or fleeing the coop for greener and brighter pastures and metropolises of illustrious promise & prosperity. Musings on mortality languish lavishly on the beautiful "Too Late for an Early Grave" that gingerly dovetails with the impulse to take flight for something/somewhere/anywhere/anything other on the timeless ballad of actualization and autonomy — "Leave it all Behind". The sound, vibe, prescient presence and utter immediacy of the record feels both rooted in the now while leaning toward the feelings from days of many futures past. "Life in the Void" is an anthem for every working stiff, the clock punchers of the world, those born with a plastic spoon in their mouths that missed the boat on all the suspect startup tech money luxuries, the every-person of whom were never handed anything but a nametag, a broom, dustpan and a corporate company polo shirt replete with insufferable color palette choice combinations.

The sands of time motif moves like molasses on the melancholic majesty of "Here Comes the Lunar Hand", right before the power chord rocker "Burning Sunflowers" blazes like a floral fire in the sky to light the darkness of our lives. Psychic premonitions and fixations find a jangling flight of fancy on the gently swaying "Waiting on a Ghost to Haunt You", to pondering the nature and strength of sacred bonds on "What is a Friend?", right before diving into the undertow of lamentations and meditations on human error(s) with "Mistakes (Too Many to Name)". The little 80s underground aura can be heard and felt on the gorgeous "Almost Changed" that could have been the best Biff Bang Pow! jam that Alan McGee never made, to the eulogy of the imprints, domiciles and days that once were that are now no more on the expressive title track ode to fallen constructs and eras. Homages to influences and other figures of import are paid tribute on "I Still Owe You Everything", closing with the piano key gilded "Break Up the Band" that completes the course of the record full circle with a passionate reminder that all things must come to a ceremonious (or perhaps unceremonious) end. The Town That Cursed Your Name is an album for all hapless romantics who hold on to the legacies and mystical lore of their favorite artists and arts close to their hearts like the sacred books of beliefs for all the pop culture religions that could have been but never were or were just never meant to be. The iconic Glenn Donaldson joins us after the jump for an exclusive exploration of inspirations, affinities and a whole lot more…

The Reds, Pinks & Purples half-dozen

Mark Eitzel, Caught In A Trap And I Can't Back Out 'Cause I Love You Too Much, Baby LP (Matador)

A few reviewers have compared my songwriting to Eitzel and it is probably no accident they are hearing that. I find his songs very moving, especially the American Music Club stuff. This solo record is the closest he came to sounding like the AMC days in his solo career (so far). It features Steve Shelley, James McNew, and Kid Congo Powers as the sparse backing band, a darn good substitute for his old band. Sadly this excellent record seems to have disappeared except for used copies on Discogs.

Shudder to Think, Funeral at the Movies & Ten Spot (Dischord)

I am in a full-on Dischord revival lately, a depressed pandemic-era throwback to my teen years I guess. Shudder to Think really holds up. It’s still completely original and very far-out art rock with classic DC hardcore influences in there as well. These albums soar like nothing else. Like a mash-up of MBV’s Isn’t Anything and Bad Brains’ I Against I with a touch of Queen II? Like I said, there is no way to explain what this is, just let it wash over you.

Voivod, Outer Limits, Angel Rat, Infini, and self-titled

I don’t always listen to sad pop music; half the time I am enjoying heavier stuff. I have been catching up on the Voivod albums I missed back in the day. These four are incredible. Except for the era when the singer Snake bailed, everything they have done is consistently good. Voivod is an alien world where you can hear metal, prog, thrash and SST and Touch and Go Records influences with signature sci-fi art and imagery tying it all together.

Cindy, 1:2 (Tough Love)

The first couple Reds, Pinks & Purples shows were with Cindy and along with a few other bands, they really got me excited about local music again. There’s a great new LP not even announced yet, but here’s one from 2021. Guitarist-singer Karina Gill is one of my favorite songwriters right now. It’s all very low-key, dark, slowcore-ish stuff, but she has a wicked way with words. The upcoming record (on the same label as me in the UK, full disclosure) will turn some heads. There are also two other wonderful albums to check out.

Peter Tosh, Legalize It (Columbia)

Tosh is a songwriter I return to often for inspiration, a master. I love the soul influence on this one and every song sounds like it should have been a hit single. “Why Must I Cry” is such a lovely heartbreaker co-written by Bob Marley. The title track is up there with the best political songs of all time: “Meat is Murder” by the Smiths, “Black Steel in the Hour of Chaos” by Public Enemy and “Do They Owe Us a Living” by Crass spring to mind.

The Replacements, Let it Be (Twin/Tone Records)

I wanted to capture some of the feeling of this record in my latest batch of songs to make it to vinyl. My voice is nothing like Westerberg, but I wanted to kick out some heartfelt college rock anthems in my own style. It’s probably one of the best records of all time, but I do always skip “Gary’s Got a Boner”. Fuck that song. The Replacements loved being sublime and stupid on the same record.

The Red, Pinks & Purples’ The Town That Cursed Your Name will be available March 24 via Slumberland.

Catch them on the following tour dates:

March

31 – San Francisco, CA – Make Out Room

May

4 – Atlanta, GA – The Earl #
5 – Asheville, NC – The Grey Eagle #
6 – Carrboro, NC – Cat’s Cradle #
7 – Richmond, VA – Richmond Music Hall #
8 – Baltimore, MA – Ottobar #
9 – Hamden, CT – Space Ballroom #
11 – Burlington, VT – Higher Ground #
12 – Woodstock, NY – Levon Helm Studios #

# = w/ Destroyer (solo)