Review: Matthew Sweet, Tomorrow Forever; Lincoln Calling adds more bands (Pile, El Ten Eleven, Palehound)…

Category: Blog,Reviews — Tags: , , , — @ 12:55 pm July 6, 2017

by Tim McMahan,

Matthew Sweet, Tomorrow Forever (2017, Honeycomb Hideout)

What goes into writing a “hit song,” a song people will sing along to or remember or select for a play list or mix tape? It’s something I’ll have to ask Matthew Sweet if I ever get a chance, but I have an idea how he’ll answer: “I don’t know. If I knew, I’d have written more hit songs.”

“Come Correct,” the 13th track on his new double album Tomorrow Forever (2017, Honeycomb Hideout) and the last song on Side 3 has all the makings of a hit song — the crack rhythm track, chop guitar, a simple melody, sing-along lyrics. It’s a great song that stood out the first time I listened to the record. You can imagine it playing on your favorite FM channel… 20 years ago, back when there was such things as a hit record.

It’s not the only good song on the album. Tomorrow Forever is a return to form for Sweet and maybe his most accessible collection since 100% Fun or that Japanese “thank you” record, 2003’s Kimi Ga Suki. Old time fans will want to know how it compares to Sweet’s magnum opus, 1991’s Girlfriend. It holds its own, though it’s not quite as accessible or an obvious classic (only time will tell).

If you’re not familiar with Sweet’s sound, it’s sort of a power-pop amalgam of The Byrds with Big Star with Teenage Fanclub with The Posies with Sweet’s unique high-end, nasal voice. You could say there’s a ’90s flair to the music. His style hasn’t changed much since Girlfriend, but then again, why should it?

The only thing holding this album back is the lyrics, which too often are overtly obtuse or speculative — they’re too spacey and ungrounded, as if trying to be psychedelic. On the other hand, almost every song on Girlfriend was memorable thanks to lyrics that something anyone could identify with — love songs loaded with pain and/or redemption. “Come Correct” of this new one scores because the lyrics are obvious and real: “Don’t dance don’t dance / Get your head out of the sand / I don’t want to be in anybody’s band.”

The same holds true for tracks like “You Knew Me,” “Carol” and “Country Girl.”  But not so much for all those time travel/inter-dimensional songs, like opening track “Trick,” or “Entangled” and “Hello,” which have a ephemeral, hippy-ish quality wherein afterward you wonder what Sweet was trying to say (if you remember the lyrics at all).

In some of his past albums (and live performances) Sweet’s guitar noodling veered dangerously close to jam territory. Not so here, where the clear, simple arrangements keep the songs focused, as if Sweet was trying to write as many hit songs as possible. There’s more than a few on Tomorrow Forever, which is more than you’ll hear on most albums reviewed in Pitchfork. Rating: Yes

I only hope Sweet uses the same restraint when he plays The Waiting Room this weekend. The last couple times I saw him perform he and his band were more focused on rocking than trying to capture the subtleties of his best songs.

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As if Lincoln Calling wasn’t big enough, this morning they announced another wave of 67 bands for the festival that runs Sept. 28-30 in Lincoln (duh), including Pile, El Ten Eleven, Mount Moriah, Umm, See Through Dresses and Digital Leather. They’re also now selling day passes that run from $29 to $34. 3-day festival passes are $59. Find out more at

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Read Tim McMahan’s blog daily at — an online music magazine that includes feature interviews, reviews and news. The focus is on the national indie music scene with a special emphasis on the best original bands in the Omaha area. Copyright © 2017 Tim McMahan. All rights reserved.

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