Dylan Sires and Neighbors

"It’s not easy to pigeon-hole the Iowa based Dylan Sires and Neighbors. They definitely have a solid command of melody in the tradition of power pop, and are influenced by The Beatles, Vampire Weekend and 50′s styled balladry." Powerpopaholic

"With his 1950s-infused style and on-stage energy, the titular Dylan Sires reminds me of a young Chris Issak"- Chad Taylor DSM Cityview

Dylan Sires and Neighbors must be driven by the flux capacitator as they've successfully brought rock & roll back to the future. With pure pop-rock at it's core, these lover boy tunes, which at times feel like I'm at Peggy Sue's senior prom, pick up touches of Muse and Vampire Weekend. The vocals phase from boyish pining to wolfish hunger, while the drums and bass are solid, not heavy, and the arrangement melodious, with a surprising maturity throughout; it is crisp and concise, traveling easily through a range of influences by their Delorian of professional musicianship, making me want to pick up the phone and say, "You know that new sound you're looking for? Well, listen to this."
-Cody James Michael Beckman

Do you like ’80s pop? I’m talking about the joyful, heart-throb-ish, “recurring roles on General Hospital” Rick Springfield/Corey Hart kind of ’80s pop here. The stuff that, while it may not go down in history as genre defining, never ceases to make you tap your feet, and probably makes your girlfriend want to screw the lead singer. If there’s a little corner in your heart for that kind of jam, “Long Over” may just get the job done for you. Sires’ sound is a delightful mash-up: Beatles-esque harmonies, rhythm syncopation ala Modest Mouse, and guitars that hail from all over. Yes, if your normal bill of goods is something harder and faster, Sires’ pop sensibilities will come off as milquetoast. But variety is the spice of life, folks. And throughout most of “Long Over,” life is pretty good. 
- Chad Taylor Des Moines cityview magazine 

I’m pretty sure the first time I saw Dylan Sires was this show in Cedar Falls that I had come out to see The Wheelers several years ago. It was at this somewhat scuzzy bar off College Hill that basically never had live music except for maybe once every few years someone would talk them into letting a couple bands play on their dance floor one night, usually on hot summer nights when the students were away like this particular night was. I think the band I saw Dylan fronting that night might have been The Venom Electric. They took me by surprise with the maturity of their pop sensibilities for having popped up out of the blue on this smalltown indie-punk scene with these strangely well developed melodic songs like it weren’t no thang. I think I wound up at a poorly-lit house party in Waterloo afterwards. The whole night was a surreal mix of beauty, curiosity, longing, and mystery, and memorable for its odd mix of friendship and interesting strangers, and various unfamiliar situations. Something about that night stuck with me ever since like a puzzle I was trying to solve.

Later on Dylan joined his cousins, brothers Joel and Harper Sires, in their band The Teddy Boys, expanding their already excellent and well-appreciated four-piece into an unwieldy, raucous, and awesome triple-guitarist/lead-singer/songwriter lineup, while still keeping The Venom Electric going. This was the lineup I got to spend two madly fun-filled weeks in July 2008 as tourmates with while playing bass for Samuel Locke-Ward. All of the Sireses are crazy great songwriters and all-around great dudes, apparently having grown up all obsessively listening to the same Beatles records together and all genetically blessed with spiffy falsettos, but Dylan always stood out a bit for having several of the best tunes, arguably the cleanest vocal chops, and dashing looks besides. I git to hang out with them on a couple other occasions before I came to Des Moines and near as I can tell they just live music constantly. It’s been inspiring to know them, and naturally I was a little bummed out to discover that The Teddy Boys had faded out, with no accompanying news of them being up to any new projects until just recently.

So I was glad to find out that Dylan was back in the game on a solo-artist basis and Long Over is every bit as infectious and urbane and hopeless-romantic as I could have expected, packed with irresistably gooey harmonies, post-Big Star hooks, emotional swells, a couple generous dollops of tropical vibes, colorful instrumentation, and just enough of a seasoning of cool studio effects, fashioned into a set of poignant and cautiously optimistic songs the last couple of which turn a couple shades darker and more ponderous. It’s hard to even highlight specific songs here what with the consistency with which they all hang together, but basically, Dylan’s songs, and this album, feel like that delightfully strange summer night when I first saw him sing. Summer is upon us again and it’s exactly the time you need this album.
- Centipede Farmer