There’s something undeniably refreshing about an album that chooses optimism without naivety, that acknowledges life’s struggles while extending a hand to pull you through them. Major Spark‘s “Walk Among The Poppies” is that kind of record, a collection of rock songs built by two veteran musicians who understand that sometimes the most radical act is simply lifting up your friends. Mark Goodman, whose indie credentials stretch back to collaborating with Velvet Underground’s Moe Tucker and Camper Van Beethoven’s David Lowery, has joined forces with producer/engineer Brian Charles to create something that feels both timeless and urgently needed in our current moment.

“Walk Among The Poppies” is refreshingly anti-cynicism in a world where depressing rock dominates so much of the modern landscape. Instead, it bursts with infectious guitar hooks, driving rhythms, and lyrics that address those dark moments and offer genuine solidarity. From the harmonica opener to the harmonically rich duets with Miranda Serra, this album maintains an unwavering thread of hope and positive energy without ever sacrificing its rock and roll teeth. This is music that believes in the importance of truth-telling, and the simple act of reminding someone they’re good enough exactly as they are. Let’s walk through each of these ten tracks and discover how Major Spark turns uplift into art.

Opening with a danceable, infectious groove, “The Other Side” immediately establishes the album’s mission statement through its harmonica-driven melodic motif. Its catchy chorus invites you to pull your friends to the other side to a different, more positive perspective with openness and love instead of anger. Moe Tucker’s drumming here brings that unmistakable Velvet Underground looseness, a fitting tribute given Goodman’s history with the legendary band. Marissa Nadler provides backing vocals, adding depth to this bold opening statement that wears its heart on its sleeve from the first measure.

“Be My Key” is a supremely wholesome duet between two friends going through life and supporting each other. It features vocals from Mark Goodman and Miranda Serra and a melodic, fuzzy guitar solo alongside some really catchy guitar hooks. Jamie Rowe’s drumming provides the steady heartbeat that grounds this tender exchange, while the interplay between the two vocalists feels genuinely conversational rather than performative.

The album’s most heartfelt moment arrives with “I’ll Make it Up to You,” a promise to do better and start over. The bell-like lead guitar tone here is remarkable, and alongside the incredibly tight drum performance by Dave Brush, they are the reason this heartfelt apology song works as well as it does. What could easily become maudlin instead feels earnest and genuine, a testament to Goodman’s ability to communicate difficult emotions without drowning in them.

With Miranda Serra returning on backing vocals, “Strawberry Road” stands as the most pop-influenced song of the album. But not the modern era of pop. It’s spiritually like a Beatles song more than anything, with similar harmony and catchy hooks. Lyrically, the band invites you to forget what you know and “throw your mind to the unknown.” It’s an invitation to be open. I like to think of this as a play on the yellow brick road: journeying towards enlightenment by checking your ego at the door.​

Country bluesy perfection arrives in the form of “Take it Too Far,” featuring a standout piano performance by Tom West that adds sophisticated texture to the track’s rootsy foundation. Brian Charles takes over drum duties here, and his dual role as both producer and performer shines through in the song’s careful arrangement. The piano work dances between honky-tonk and something more refined, never quite settling into either camp.

At the album’s title track, “Poppies” reassures a friend that they are good enough to hang with the rich and popular, delivering this message through a riff on an Australian expression, “cut down the tall poppies.” That saying addresses the importance of taking down the cocky people who believe they are a step above others. It’s a song that understands the insidious nature of imposter syndrome while refusing to let it win, turning a phrase about tearing people down into an anthem about building them up.

The swing in the rhythm section drives “Mountains” forward with addictive, bouncy energy that is, most importantly, mountains of fun. Lyrically, it appears simple. “A rock is a rock and a tree is a tree; it’s just a place to be” is an example of a lyric with a lot of hidden wisdom. Sometimes we can take life too seriously. Sometimes we get lost in what things are underneath the surface and the socially constructed layers of meaning we give them, but at the end of the day, this is just a place to be. 

In “Back in Time” the band reminisces about a simpler time and indulges in a bit of nostalgia. With an arrangement like this that’s almost cheesy, you can’t really help but smile and sing along. The guitar tone here is fuzzy but drowned out in the background; it almost sounds like a fanfare. The wistful quality never tips into melancholy, maintaining that thread of warmth that runs through the entire record.

Friends lifting up friends takes center stage in “Perfect Star” as one character considers trying the latest medical tricks to reverse the aging process. It’s a song that could have been preachy but instead feels like genuine concern from someone who cares, adding perspective to the conversation about embracing who we are versus chasing impossible standards.

The album concludes with “Birds Aren’t Real,” and the titular phrase is a popular term that refers to an anti-establishment ideology and questioning the narrative of those in power. But there’s also a borderline paranoid and absurd aspect to it where you don’t even know what’s real anymore, and I think that’s conveyed brilliantly in the music itself, specifically the syncopated drum groove delivered by Matthew Zajac. “Your dog is a data miner” is a lyric that could be straight out of a Frank Zappa song, and that’s the highest praise one could give. It’s a delightfully weird way to end an album that’s been so earnest.

“Walk Among The Poppies” ultimately succeeds because it never mistakes simplicity for simple-mindedness. Major Spark showcases mature songwriting that understands that sometimes the hardest thing to do is stay positive without being naive. In a landscape saturated with irony and detachment, that might be the most punk rock stance of all.