Diamond Rings

The collapse of the old commercial music model coincides with a broadening of the collective musical palette, as independent artists find more traction on the charts. Suddenly dance, world music, classic and modern pop find purchase in adventurous blends, finally moving beyond the backwards-looking movements (alt-country, garage, New Wave) of the last few years. It’s the perfect environment for Diamond Rings, the project of Canadian artist John O’Regan.

Though O’Regan’s touchstones are pretty readily identified as ’80s synth-pop, indietroncia, bedroom folk and college rock, he brings his own idiosyncratic flair and personality to the music. He first caught a buzz on the strength of a series of singles and accompanying videos; his colorful eyeshadow, art-school-weird outfits (with a nod to the Freaks & Geeks opening credits) and boisterous energy recalled Of Montreal’s glammed-up stage show. O’Regan plays with androgyny in his videos, on the album cover of last year’s debut, Special Affections, and in his press shots, but there’s more to him than concepts. He writes infectious songs whose lyrics are terse, clever and keenly delivered. He warns “When the night falls/ don’t make housecalls on a pre-owned heart/ stalled dead in the dark” and tenderly remarks on our isolation—“We’re tense and nervous, running at the mouth, afraid of just what everyone is all about/ but keep on keeping on to hide our doubt.”

The simple melodies often hark back to irrepressible gems like “Take On Me,” “Head over Heels” and “Tainted Love,” though Diamond Rings’ arrangements are more austere, employ guitar frequently, and feature contemporary production. Overall, O’Regan’s created both a throwback and a brand new thing, delivered with such vibrancy, panache and whimsy that it’s difficult not to love. —Chris Parker