David M Rangel / April 29, 2026 / Review
New Orleans (by way of Houston) three piece, Pope, are one of those bands who seem destined to be top level college radio staples. This is not to say their music couldn’t cut it on mainstream FM radio. It definitely could. But there are components of their music that just seem to scream a bit louder for the indie rock crowd, despite being highly accessible. A band in a similar situation might be Death Cab For Cutie, who are a band with interesting pop sensibilities and legions of followers, but just possess the ability to inspire feelings and thinking that may be lost on or not as important to the typical mainstream listener.
Pope are a band with two writers (Matt Seferian and Alex Skalany) who each bring their own fresh perspectives. Between the two of them, they bring thought-provoking songs that range in flavor from newer indie post-country (like Wednesday, This Is Lorelei), crunchy 90s alternative guitar rock (Dinosaur Jr., Better Than Ezra) and delicate vulnerability (Death Cab For Cutie). “Newboi” the first single off BFM (Big Fuc*ing Music) is an angsty, riff-laden nod to 90s power pop about the singer’s inability to stop repeating bad practices. There is a Guided By Voices vibe to it that gives off the feel of the song ending, when it feels like it just started.
There’s a warm familiarity that pervades the melodies throughout this album that can only come with a realistic sense of self and ability to process feelings and make it through life situations with a strong sense of resilience. The band isn’t afraid to dig deep and wear their emotions on their sleeve. “Good Enough” is an airy piece of dreamlike self reflection that sounds a bit like a shoegaze song, minus most of the reverb. While “Back to the Center” has a groove that comes across as MJ Lenderman’s up and coming cousins on the rise.
One of the most appealing aspects about this band is their ability to weave in and out of different genres, while still retaining a signature sound that’s exclusive to them. It’s as if all of their songs are comfortable and familiar sounding in ways you have heard before, but they add something different to the mix that you can’t quite put your finger on. “Underdawg” is a prime example of a song you may have heard in the 60s, 70s or today. There are components of The Byrds/ Flying Burrito Brothers but the track has a modern twist that should appeal to the TikTok crowd.
“Nothing For Nothing” pulls back the instruments to mainly just an acoustic guitar and some layered, reverbed vocals as it gives a break to drummer Atticus Lopez who holds down a solid, understated beat throughout the record. “Town” may be in the running for the best song on the record, with its deadpan vocal delivery, chiming guitar and crisp, succinct drum hits. The indie credibility on this one is high and the track rings out like the best song Pavement never did.
BFM is a record that is sure to appeal to people who like a bit of depth with their pop-accessible music. The band and the music are honest without being overstated. It’s like that one kid you went to high school with who didn’t follow the crowd and was cool without having to try or think about it. The pop with punkish leanings coupled with today’s brand of lush Americana seems to have the timing just right, where you may well see this band takeoff and enter into bigger levels of ubiquity.
The album is out everywhere this Friday, May 1st, on Rite Field Records. Listen to the pre-released tracks here.
The Indy Review 