The Rollo Treadway

The Rollo Treadway (Rollosound)

By Erin Wolf
Published: December 17th, 2008 | 9:00am

East Coast or West Coast? The age-old question is put to the test with Brooklyn-based group the Rollo Treadway, which delightfully confuses listeners with its distinct Beach Boys/Zombies worship. Wispy, choirboy harmonies and lilting organ embellishments, characteristic of baroque pop, are what make the Rollo Treadway’s self-titled debut album feel like it was born 30 years ago — where daisy chains, paisley, and bell bottoms were everyday attire.

David Sandholm’s boyish tenor was bred on the Turtles’ California sun and a bit of the Lovin’ Spoonful, who were the original coastal sound-confusers (also from New York), exporting their brand of urban sunshine via the classic “Do You Believe In Magic?” The Rollo Treadway takes these influences and adds even more quirk by creating a concept album centered on the story of two kidnapped children, Johnny and Kay, which brings the dark lyricism of the Zombies and even Simon & Garfunkel into play. The album starts with the scene-setter, “Kidnapped,” introducing the unfortunate protagonists’ situation: “This blindfold’s pretty tight / I can’t tell if it’s day or night / You know I don’t think we can get away / Hey, hey, hey,” Sandholm sings brightly, amid a beach-blanket wave of music. Not quite what one would expect sonically, what with such a serious situation at hand.

The story of Johnny and Kay unfolds throughout the album, leading listeners through bends and turns — curiouser and curiouser — just like the famous Alice. In “Dear Mr. Doe,” the narrator writes a ransom letter for the two children; the song’s introduction of percussive typewriting is wonderfully appropriate. “Dear Mr. Doe / I guess by now you must know there’s something wrong / Johnny and Kay are safe and sound / They won’t stay that way for long” is the kidnapper’s threat, dramatized with shuffling percussion, jangly guitars, plodding organ, and sweeping strings. The plot thickens, but the music fails to become sinister, fascinating the listener further with its lyrics as the story dismally unfolds. New York’s spin on Cali baroque pop is ultimately, delectably blackhearted.

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