Solid Dirty Impound Review

Pedaljets: What’s In Between (Electric Moth)

AOTW0816_Pedaljets When the Pedaljets busted out of Lawrence, Kansas back in 1984, their Replacements-meets-Meat Puppets brand of Midwestern bar punk received raves from such essential rock rags of the time as CREEM, CMJ and Trouser Press. However, by the time their sophomore set came out on the woefully missed indie label Communion Records in 1989, the band’s days were numbered and they broke up the following year following the disappointment they had experienced in what they had considered to be a poor final cut of their self-titled second album. Now, six years following a reunion that saw them triumphantly “fix the mix” of Pedaljets for the Kansas City imprint Oxblood Records, the ‘Jets return with their first collection of all new material in 23 years with the excellent What’s In Between (released June 25). Working with veteran producer John Agnello (Dinosaur Jr., The Hold Steady, Son Volt) at Headgear Studios in Brooklyn to ensure the security of someone knowledgeable at the mixing board, the new material might not be as raucous as their late 80s output. But the punched up twang and rogue Bowie influences of such highlight tracks as Conversations, Measurement, Tangled Up and Some Kind of One elevates the Pedaljets to new altitudes of craftsmanship that renders What’s In Between a true classic a quarter-century in the making. (RH)


Music & Musicians Magazine Review!


What’s In Between

The indie world’s sudden interest in all things ’90s is great news for the Pedaljets, which is funny, since they missed out on that decade the first time around. Formed in Lawrence, Kan., in 1984, this is one of rock’s classic “coulda been a contender” bands, and had they stuck it out after the 1989 release of their sophomore album, they might have found fame in the post-Nirvana era. On their first new record in 24 years, the Jets look to make up for lost time, revisiting a punky, garagey, power-poppy sound whose recent resurgence is more about timelessness than trendiness. Were they a new band, you might hear the jangly “Tangled Up,” chunky “Nothing Boy,” and aching “Goodbye to All of That” and accuse them of ripping off R.E.M., the Afghan Whigs and the Replacements. But the Jets were there back in the day, and these groups were peers, not influences. “Change will make us the same again,” frontman Mike Allmayer sings at one point, well aware of how things come full circle. He missed his chance to be a star, but his music will sound great in 20 years.



Read about the Pedaljets’ punk rock angle:


Great Blues Bunny Review!

Read the Blues Bunny review of “What’s in Between”: