Idiot Glee

Idiot Glee sounds like a transmission from a transistor radio found in an attic. James Friley crafts a world where the earnestness of mid-century doo-wop meets the fractured, hazy aesthetics of modern bedroom pop. The music is anchored by simple, resonant piano melodies and drum machine beats that feel both skeletal and comforting, all submerged in a thick layer of reverb that suggests a vast, empty ballroom.

What makes the project distinctive is Friley's vocal approach. He possesses a classic crooner's sensibility, layering his own voice into lush, ghostly harmonies that recall the Beach Boys if they were recorded on a warped cassette tape. It is 'post-doo-wop' in the truest sense, stripping away the polish of the 1950s to reveal the lonely, haunting core of those melodic structures.

Newcomers should start with the self-titled 2016 album for a more refined take on his sound, or 'Paddywhack' for the raw, essential charm of his early work. It is the perfect companion for moments of quiet reflection or when you want to feel a specific kind of beautiful, low-stakes melancholy.