The Get Alongs are Toronto rockers who pull the finest ingredients from 60s garage, 70s power pop, and 90s psychedelia to concoct their own unmistakable sound. Second To None, their sophomore LP and first studio-recorded effort, finds the band confidently honing their craft, nestling sticky hooks in guitar-driven arrangements that alternate between boneshaking and trance-inducing, expertly riding the line between jangly melodicism and pure unadulterated rocking. The album arrives June 19, 2026, via Having Fun / We Are Busy Bodies.

Since 2017, the core four members of the band – Harrison Pickernell (vocals, rhythm guitar), Rory Pickernell (lead guitar), Eric Wood (bass), and Tristan Catenacci (drums) – have been refining their idiosyncratic brand of rock revivalism. What started off as simple two/three chord surf and classic punk worship has evolved into a more expansive and ambitious writing style, flirting with more complex arrangements and adding occasional members Ryan Storm (keyboards) and Jakob Brull (tambourine) to help tackle them. Their debut album, Weather Permitting, put the band on the map in underground circles; it earned the band CBC radio play, some EU dates (including an appearance at Reeperbahn), and opening slots for established artists like Limblifter, Wunderhorse, and Cardinals. Formerly a loose, anything-goes live act, the group now emphasizes succinct, punchy performances executed with airtight precision. While the intentionally abrasive and improvisational spirit of the early work remains embedded in their DNA, it has been relegated to just one part of a multifaceted sound, rather than the focus. This extends to their recordings, with the shambolic, homespun aesthetic of their previous output taking a backseat to the crystalline renderings on the new album.

Second To None was tracked in Montreal at Holy Mountain Sound, with studio owner/operator Clayton Dupuis serving as engineer and producer. The album was recorded throughout a calendar year, with band members converging and shipping off to record in week-long chunks whenever time-off requests would allow. Their first sessions with someone in the producer’s chair gave the band greater flexibility, allowing them to hone in on the minutia of performance and tone details with a competent engineer at the helm. Decampment to a different city aided this focus; the members all stayed at the studio to minimize distractions while tracking. This discipline permitted greater experimentation with sounds and structural decisions, a freewheeling yet structured approach that led to laying down the best possible iterations of the songs. Dupuis contributed additional guitars, Shallow’s AJ Krome lent backing vocals, and Josh Campos played keys. The band worked with several mix engineers to complete the record, including Ryan Dahle, Brandan Bak, and Tom Nixon. The album was mastered for CD/digital by Peter Letros and vinyl by Noah Mintz.

Keen listeners will hear a veritable grab-bag of tentpole rock influences. 90s psychedelic revivalists The Brian Jonestown Massacre certainly come to mind right off the bat; tracks like opener “Come On” wouldn’t feel out of place on a record like Thank God For Mental Illness. Other moments are a bit more Britpop leaning, tracks like “232” and “9 Times Out Of 10” bringing to mind the Manchester baggy of Stone Roses or the Marshall-cranked maximalism of Oasis. Elsewhere, elements of the contemporary power pop revival come into the mix, with tracks like “Merry Way” and “Sunday Afternoon” recalling fellow now-tro acts The Lemon Twigs, Uni Boys, and Mod Lang. Lyrically, the album mines familiar subject matter for the group – falling in and out of love, the growing pains of young adulthood, and the soul-searching brought on by periods of idleness. The songwriting is more concerned with evoking a feeling, rather than telling literal, narrative storylines. This is the record’s common thread; outwardly expressing the thoughts and emotions brought on by quiet moments of reflection while hoping to make some sense of them at the other side.