On Demolition Derby, Toronto’s Paul Erlichman travels beyond the eccentric sophisti-pop sound of his previous releases to explore the tranquil terrain of the singer-songwriter. The former Goosebump member and Ducks Ltd. collaborator earned acclaim for his 2020 solo album, Heaven’s Mayor (Bobo Integral) described by Allmusic as “a 21st century Emitt Rhodes with an extra dose of cynicism.” Two years later, Elrichman returns with a new set of meticulously crafted pop songs, patiently unfolding without losing their lyrical edge.

“Toronto is kind of like a demolition derby racing to destroy itself,” he says. “There are obviously a lot of problems with that, but I mainly just wanted to use the title because I found it funny. It sounds hyper-aggressive, and I don’t make particularly aggressive music.”

Drawing on the esoteric influences of John Martyn’s One World and “Blue” Gene Tyranny’s 1978 avant-pop classic Out of the Blue, Elrichman’s third album moves at an unhurried pace. “I typically throw every musical idea I have at the wall to see what sticks,” he explains. “It’s really hard for me to sit back and let a part in a song play out for as long as it should, because I always want to jump into something new. On this album, I tried to counter that.”

Demolition Derby was recorded in the first pandemic winter of 2020, as Erlichman handled co-production with Alex Gamble (Alvvays, Fucked Up, PUP). Several other frequent collaborators lent a hand, such as Ducks Ltd. drummer Jonathan Pappo, who miraculously added his contributions on the kit after all other instrumental parts had been completed. Pappo also runs Remains Records, the new Toronto imprint that will release the album. James Harris (Hemingway) added drizzling synths, while Alex Hamlyn supplied shimmering clarinet on the absurdly titled opener, “A Jamiroquain Werewolf in London, ON.”

Lyrically, these songs focus on Erlichman’s conflicted feelings of fragility. While he remains thankful for the friends he can depend on during hard times, he also acknowledges the issues with “being a white guy who needs to be told when I’m doing something wrong.” This topic is addressed with a tongue planted firmly in cheek on “I Rely On The Community.”

On the jangly “Wilde Childe”, Erlichman judiciously explains how he loves to break the rules. “I’ll see you in court if you don’t agree,” he laughs. “Simon Says” begins with the regal sound of classical guitar before concluding with a triumphant coda of harmonized riffs. This time, he has a different subject in mind. “I’m just another Jewish songwriter named Paul trying to set the record straight about Paul Simon stealing other people’s music,” Erlichman quips.

Elsewhere, the album features three short instrumentals. “Demolition Derby” and “The Earth Is Round” serve the purpose of a symphonic refrain, teasing out variations of a bouncing melody.

While touching on serious topics, Demolition Derby highlights Erlichman’s sly sense of humour. Its approach can be compared to Edwyn Collins or Jonathan Richman’s solo work, stepping away from their beloved bands while maintaining the lyrical qualities that make them who they are. “I guess I’m a goof, so it just comes naturally,” Erlichman concludes. “For some people, deep-rooted emotional expression is easy, but that’s not the case for me. If I can couch my feelings in some sort of joke, that feels much more honest somehow.”