Album Review: Sunday Dinner by Keath Mead

The debut album from 25-year-old South Carolinian Keath Mead, released on Toro Y Moi’s label, likely won’t dazzle at first listen, but it quietly seeps into one’s consciousness, by virtue of old-fashioned merits: songcraft and melodies. In a sentence, you could say it’s Teenage Fanclub if they’d formed in the post-chillwave, post-electronica age. It’s pretty consistently sunny guitar pop, embellished with little washes of electronic sound by producer Chaz Bundick (Toro himself), but assembled so deliciously it’s hard to quibble.

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South Carolina native Keath Mead is a self-taught musician, and from the sound of his debut album, Sunday Dinner, his education included lots of '70s soft rock, '90s power pop à la Teenage Fanclub, and 2000s chillwave. That last influence may be thanks to producer Chaz Bundick of Toro y Moi, who not only twirled the knobs but helped out with playing the music, too. The duo has crafted an unassumingly nice debut album, full of laid-back charm, pleasant hooks, and an overall feeling of peace and ease.

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South Carolina singer Keath Mead’s first record, Sunday Dinner, brings all the comfort and sweet fatigue its title implies. The album is, at its core, a straight-ahead sunburst of power-pop, but it is steeped in an early-‘70s singer-songwriter tradition that marries laid-back vibes with lush production. “Waiting” combines swaying keyboards with the slight crunch of guitar chords.

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