So Rad

Musicians take heat if they stay the same (Jack Johnson). Musicians take heat if they change (Kanye West). It's just a different kind of heat. Little Joy has stamped out some broad territory on their debut LP (think back to Unattainable). They're chameleons. Haters beware. Changing genres or sounds so many times on one record usually sends a Rolling Stone or Pitchfork rock journalist into fits. One John Mayer reviewer claimed Continuum couldn't make up its mind: was it a blues record or a pop record? Conundrum. The artist either lacks identity or the ability to tell a coherent story. Instead of being praised for their varying musical prowess and capabilities they are told to stand in one spot. It's easier for everybody, thanks. Picasso-periods is what we want. Blue. Red. And so on. I can appreciate that. There is something to be said for doing one thing well. Marlow would call it a job well done. But Little Joy has packed a pretty punch. Bob Marley, Fleetwood Mac, Seu Jorge, Smith, The Velvet Underground and The Strokes all seem to find their own comfortable place to exist in each track. Like that niche in your neck babies have an uncanny ability to search out and make their own.

So snuggle up.

Little Joy's retro video for No One's Better Sake is right on the border of sponsoring Sesame Street with the letter L and J or appearing on an episode of Midnight Special.

Little Joy is just the coolest thing.
These three compadres never left the living room.
They're still just jamming.
And that's so great.