B-Side Guys

Reconciliation rarely sounds this exuberant. On “Impression,” a standout track from his sophomore album “fuzzer,” Austin-based artist Michael Sanders transforms relationship uncertainty into three minutes of power pop perfection that simultaneously honors tradition while pushing against its constraints.

From the opening invitation—a casual acknowledgment of potential reunion—Sanders establishes a distinctive vocal approach that balances conversational directness with melodic sophistication. This dual nature extends throughout the production, where fuzzy guitars create textural density without obscuring the intricate vocal harmonies that form the track’s emotional core.

What distinguishes “Impression” from countless other reconciliation songs is its self-aware playfulness. The recurring vocal riffs (“Tit tit tit tay woo woo”) function as both homage to 60s pop conventions and commentary on the performative aspects of rekindling romance. When Sanders pleads to “do my impression/To see if I still have what it takes,” he’s addressing both a former partner and pop tradition itself, questioning his ability to convince either of his continued relevance.

The arrangement brilliantly supports this thematic duality. Steady drumbeats create an unwavering foundation that contrasts with the emotional uncertainty expressed lyrically. Meanwhile, guitar tones shift between vintage warmth and contemporary edge, creating a sonic landscape where nostalgia and innovation coexist without contradiction.

Most compelling is the track’s structural evolution. What begins as casual invitation gradually intensifies into confession (“I swear that I have never moved on”), revealing the practiced nonchalance of earlier verses as precisely the “impression” referenced in the title. This revelation transforms seemingly nonsensical vocal riffs into emotional misdirection—verbal gymnastics designed to mask vulnerability.

“Impression” exemplifies Sanders’ description of “fuzzer” as reflecting “parts of Austin and its music scene that I see in myself.” The track captures Austin’s distinctive blend of reverence for musical tradition and willingness to subvert it, offering what Sanders accurately describes as “a fresh take on 60s tinged indie rock.”

At just under three minutes, the song demonstrates the album’s commitment to efficiency without sacrificing emotional impact. By the time the final “Shooby dooby” fadeout arrives, Sanders has crafted a power pop confection that satisfies immediate cravings while revealing additional layers with each subsequent listen—proving that his “impression” of reconciliation contains more depth than its playful surface initially suggests.