David M Rangel / October 7, 2026 / Review
Teenage Fanclub has long been a band making music where you know exactly what you will be getting. From “Sparky’s Dream” to “Star Sign” to “Ain’t That Enough”, the band, over the course of 13 albums, has been defined by a style of infectious pop music that is the audio equivalent of the most colorful confetti birthday cakes with 10 different kinds of ice cream. Their sound is of a modern guitar rock style, but with a 60s style slant and vocal harmonies that are rivaled only by the upper echelons of music of this type, such as The Beach Boys’ Pet Sounds and The Byrds. With each record throughout their 30 year history one could wonder how a band could possibly be continuing with the same general song formula, but still keep things interesting. Yet, they have been doing exactly that.
A sometimes overlooked second component of their music that is often overshadowed by their upbeat “power pop” is the introspective, reflective songwriting of co-songwriters Raymond McGinley and Norman Blake. The pair who are the two original members of the band always seem to posses a youthful exuberance and appreciation for the world around them, bringing out the best in even the worst of subjects and situations. There seems to be a sort of fascination of being alive that runs through them and it has been reflected most prominently in their more recent records which still contain their pop richness, coupled with relaxing, often hypnotic soundscapes.
Do Not Dare To Dream, despite its negative connotations, presents the band’s ever optimistic outlook, even in the face of the world‘s current chaotic state and their own vulnerability. There’s a sense of brightness to these easy flowing grooves that take on an almost folky feel of loose bucolic spaces. And that’s something that isn’t random as the band recorded the record on a remote Scottish island, continuing with their tradition of bringing the atmosphere of their surroundings, into their music.
The album kicks off with an easy going sing-along track called “There Was You”. I can’t help but hear Cat Stevens in the cadence which is the kind of start-stop short phrases that end with a tuneful resolution. The song is the one that strikes closest on the album to the Big Star-ish pop guitars for which the band has become known. “Over And Over” brings a sort of 90s Britpop style of chiming guitar, accompanied by harmonious vocals that ring out as if the song was written in some earlier bygone time. Keyboard player Euros Childs leaves his mark at the end of this track that almost feels like Crosby Stills and Nash could have recorded it in a monastery.
While this record is mostly devoid of the energetic power pop that put Teenage Fanclub on the map in the early 90s with albums like Bandwagonesque, Grand Prix and Songs From Northern Britian, the “Fannies” are showing a side of themselves that reveal a band that is comfortably aging, remaining relevant, and not turning into another heritage band that’s just riding on nostalgia. On “Take Time”, the singer proclaims that there will be “no more running in circles / no more wasting our time”, hardly a sentiment that needs to be sung by a band that ranks among the most respected indie bands of all time, with Death Cab For Cutie’s Ben Gibbard and the late Kurt Cobain counted among its legions of fanatics. An accompanying flute gives the tune a pastoral, slightly psychedelic feel.
“I Do Not Dare To Dream” the record’s namesake, is an upbeat 70’s style sun drenched number that brings a very L.A./ Laurel Canyon vibe that might sound like the Partridge Family if they had adopted a Woodstock-era hippie sound. My personal favorite, “Day In The Sun”, brings out confectionary vocals with its double-tracked harmony and carnival keyboards that make the song sound as if it’s swirling. It’s so engrossing, you hardly feel as if any time has gone by, when you reach the song’s end.
Their later years have revealed Teenage Fanclub to be reflecting more on life, living it, its sadness and its resilience. Though Do Not Dare To Dream may take some getting used to and a few listens for those fans who champion the band’s upbeat, candy-coated pop, they will likely find that the musical bedrock that made those earlier songs what they are is still present, even if slowed down with a touch of melancholy. It’s the evolution and progression of a band who still seem to have a natural curiosity and sense of melodic optimism in their songwriting and approach to life.
The album is out everywhere Friday, October 9th on Merge Records. Listen to the pre-released singles here.
