The Rainman Suite’s Quiet Little Monsters is Pure ‘90s Nostalgia In The Best Way Possible

While every generation has its version of “I was there first,” those who had the pleasure of being teenagers and young adults during the ‘90s might just have the upper hand. Spending your formative years witnessing the genesis of modern alternative rock leaves more than a fleeting impression. Although the recent wave of young bands rediscovering the genre is a welcome sound in the current musical landscape, there is something to be said for the musicians who were there for the first round.

Charming Los Angeles trio, The Rainman Suite, have combined their childhood influences with the early 2000s stripped-down tones of The White Stripes and The Strokes to create a sound that was raised on The Replacements and nurtured by East Coast art rock.

Justin Chester, Josh Robinson, and Jeff Robinson formed The Rainman Suite in 2002, releasing three albums and playing with the likes of The Donnas and The Dickies before going on hiatus in 2009. Re-forming in 2014, the threesome started their boutique label, Rosa Blanca Records. The label recently released The Rainman Suite’s six-song EP Quiet Little Monsters. While the album slides nicely into the current surge of guitar-heavy nostalgia, it has an extra dose of authenticity. 

The EP’s first two tracks, “Death by Distortion” and “Hey, Hey,” mingle big drum beats and soaring guitar riffs with melodic basslines and overt harmonies, creating a formula that continues throughout the album. Reminiscent of the late ‘80s punk rock hangover sound, the songs are an ample preview of what’s to come. 

The album’s third track, “Shades,” downshifts with a slower tempo and bittersweet melody. Lead singer Josh Robinson’s voice stands out with an extra air of sincerity that prevents the song from becoming a cliche love letter to the depressed pixie dream girl. The track’s doe-eyed alt-boy appeal continues through the EP’s fourth song, “Don’t Want To Wake Up,” a heart-fluttering power-pop love ballad. 

Quiet Little Monsters’ last two tracks are its most noteworthy. “Nothing New” is a bombastic slacker anthem with sharp cords and high-energy vocals. The song conjures memories of skipping afternoon classes to drive around in your best friend’s beat-up Toyota. “Maybe, Just Maybe” is an optimistic closing opus that serves as an endearing chin knock to listeners. Opening with a quintessential ‘90s guitar riff, the track is as infectious as its predecessor. With charismatic lyrics like “Stand up baby, your name’s in starlight. Stand up, love, open your eyes. Maybe, just maybe, the world is yours tonight. Maybe, my love, it’s no surprise,” the song is a teenage anthem waiting in the wings.

The Rainman Suite likes to refer to themselves as “dumpster pop,” as in music no one listens to anymore. I respectfully disagree. Even if the ‘90s weren’t back in style, Quiet Little Monsters would still be an undeniable collection of songs that could fit just as easily in an episode of My So-Called Life as modern alt-rock radio.