Every day, Dave Segal sifts through the hundreds of tracks that bombard his inbox. On a biweekly basis, he tells you about the two artists whose music most impressed him. This time, Seattle trio Acapulco Lips return from a nine-year absence to deliver catchy-as-hell, fuzzy sunshine rock and Duvall-based one-mensch-band Gel-Sol creates exceptional music for diverse cinematic circumstances.

Acapulco Lips, "Slowly Disappearing" (Killroom Records)

On their 2016 self-titled debut album, Seattle trio Acapulco Lips nailed the reverb-heavy surf-/garage-rock moves that have fired so many imaginations over the last 60 years. Their special talent is not sounding like tedious museum docents for these vintage styles. That's down to the songwriting and instrumental chops of bassist/vocalist Maria-Elena Herrell, guitarist Christopher Garland, and drummer Davy Berruyer—consummate pros all. Cherry on top: Killroom Records cofounder Ben Jenkins's production perfectly captures Acapulco Lips' manifold charms. 

Now, AL's first album in nine years, finds them going for a more straightforward modern rock approach. Everything sounds bigger, brighter, and more danceable, thanks partially to Jenkins and Troy Nelson's production and Kurt Bloch's mastering. (Note: Jordan T Adams has replaced Berruyer on drums and Stefan Rubicz adds keyboards.)

Typically, going in this direction leads to a bland retracing of overfamiliar glories. But Acapulco Lips show that they have the golden melodic touch and unerring ears for indelible hooks. Herrell sings with classic girl-group boldness, sugaring up 10 of the 11 songs on Now in a manner that reminds me of Tracy Spencer from the '80s/'90s British pop group the Primitives. In the PR notes, Herrell observed, “I’d say pretty much every single song on Now goes back to the theme of time. There’s an urgency that comes with understanding you can’t get it back, and you don’t know how much you’ll get.” 

Album-opener "Welcome to the Other Side" sets the tone—instant radio-friendly gold in the form of danceable rock that's vibrantly produced with expertly layered vocal interplay. And it's been ages since I've heard Phil Spector–esque rock that's as majestic and beautiful as "Fuzzy Sunshine." The lone instrumental, "Pas d'echappatoire," is a roaring surf-rock opus that goes way harder than expected.

"Slowly Disappearing" brings robust, staccato rock with a seductive melody that hints at Love's "You I'll Be Following"—a rare occurrence in 2025, for sure—and a psychedelic bridge that I wish lasted at least twice as long. Speaking of psychedelia, "See You on the Other Side" simply rollicks and overflows with optimism... then fades out and—shocker!—a (faux?) tamboura drone enters the frame and heavenly bliss is attained. What a brilliant way to end the album. 

Over the last 25 years or so, conventional rock has rarely impressed me, but Acapulco Lips' songwriting and chops are so tight and well-contoured, it would be foolish to resist. Against the odds for a tiny indie release, Now screams HIT. 

Gel-Sol, "Zodiac Frontier" (Wax Thématique) 

For some musicians, the pandemic acted as a kick in the ass to lay down all of their ideas as quickly as possible. One local example of this phenomenon is Gel-Sol (Duvall-based producer Andy Reichel). For many years, Reichel has been one of the region's foremost ambient musicians and a key cog in the Monster Planet crew, who do live improvisations alongside the genius film collages of Leo Mayberry.

Since COVID-19 hit, Reichel's gone in a more cinematic/prog-rock direction, playing multiple instruments to manifest his ambitious, vocal-free tracks—of which he says he's created hundreds. The first album to receive a physical release from this prodigious burst of creativity, Mystic Systems, Inc. abounds with ingenious one-man-band action that sounds more like a quintet, at least. 

"Zodiac Frontier" auspiciously begins the record in sci-fi-film-score mode, building a feeling of awe and unbearable anticipation. The track's sense of vast space and shimmering beauty sounds like Spiritualized's "Electric Mainline" crossed with the hypermelodic synth work of French library musician Teddy Lasry. It's a great choice for the next single, following 2022's sublimely winsome "Nightshade" (which I reviewed on Slog). The B-side of "Nightshade," which also appears here, "Cuffed and Stuffed" represents Gel-Sol at his funkiest and most dynamic. It possesses the lascivious groove science heard on Finder Keepers' compilation of 1970s Hungarian funk and psych-rock, Well Hung—which is why I play it in almost DJ set I can.

In a not too dissimilar vein is the porn-flick funk extraordinaire of "Pot Roast," in which synth and Clavinet are in cahoots with bass and drums to form a methodical sexxx soundtrack, replete with explosive climax. More cinematic sonic delights ensue with "Hors d'oeuvres," a rich, orchestral miniature conveying elegant melancholy à la Jean-Claude Vannier's soundtracks, and "Mystic Systems, Inc."'s majestic, spy-thriller-theme vibes. "Surface Tension" recalls the most intense of Italian giallo scores, where sanguinary organ drone, scattered hand percussion, and stark bass intrusions cast a tense spell. The gripping prog rock of "Perimeter Scan" possesses a heroic thrust could serve as ideal backing for a sports-highlight reel. 

Like the best library-music releases (see also Everett musician Sean Wolcott's output), Mystic Systems, Inc. provides a diverse menu of sounds and moods for film and TV directors to plunder for aural enhancements.