Picture yourself in front of your record collection, deciding which one you'll listen to next. You finally choose Kilimanjaro by Teardrop Explodes; you haven't listened to it for a long time. In that moment, you notice that your partner placed your Face to Face copy in an incorrect slot. It goes with you to the record player too. A few minutes later, you corroborate that both Cope and Davies made prevailing, lucid and brilliant records. And you dream thinking how would they sound together, in an hypotetic alloy that feels almost impossible straight away. There are only fourteen years away from one record to the other, but they seem made in different centuries, different planets. We find the answer at the Electric Duck studios in San Francisco, Kelley Stoltz's base of operations. A Detroit-native, Kelley was an adolescent moved by post-punk and English new-age, and became an adult falling in love with the extensive pop legacy from the 60s. Both references define one of the strongest, most talented discographies of the last years. Filtering and tying those sounds together with freshness and distinction is what makes Kelley an unique composer. Stoltz gets ostentation and histrionics out of the best 80s pop and supplies it with outstanding melodies and sense of humour. What Brian Wilson doing a cover by Wire's The 15th would feel like
