Photo Credit: Michael Selby
New Album Second To None Releases June 19, 2026
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Public Stream Album June 19, 2026
Toronto’s The Get Alongs return with Second To None, their sophomore LP, out June 19, 2026 via Having Fun / We Are Busy Bodies. It’s a guitar record built on jangle, push, and instinct, pulling from 60s garage, 70s power pop, and that sweet spot where The Replacements, The Lemonheads, and bands like The Shoes blurred melody with a bit of wear and tear. There are flashes of baggy looseness and modern jangle in the mix, but nothing feels pinned to one scene. It’s just a band that’s figured out how to write hooks without sanding off the edges, the kind of songs that feel just as at home rattling out of a bar door on Queen West as they do in your headphones the next morning.
Since forming in 2017, Harrison Pickernell (vocals, rhythm guitar), Rory Pickernell (lead guitar), Eric Wood (bass), and Tristan Catenacci (drums) have carved out their place in Toronto’s underground the long way, packed rooms, steady releases, and songs that travel by word of mouth. Their debut Weather Permitting introduced that balance, scrappy, melodic, and instinct-driven, earning CBC radio play, European dates including Reeperbahn, and support slots with Limblifter, Wunderhorse, and Cardinals. Second To None doesn’t reset anything. It tightens it up and pushes it forward.
Recorded at Holy Mountain Sound in Montreal with producer Clayton Dupuis, the album marks their first fully studio-focused effort. Tracked across a year in concentrated sessions, the band stepped away from their usual live-off-the-floor approach and got deeper into tone, pacing, and arrangement. Living out of the studio, they had the time to chase details, let songs stretch, then pull them back where they needed to land. Contributions from Dupuis, Shallow’s AJ Krome, and Josh Campos add texture without clutter, while mixes from Ryan Dahle, Brandan Bak, and Tom Nixon keep everything clear and grounded. Across Second To None, the band leans into contrast without losing cohesion. “Come On” hits fast and direct, loose, loud, and wired for late nights, while “Sunday Afternoon” opens things up, jangling guitars, a slower groove, and a lead line that wanders before snapping into place. Elsewhere, the record moves between punchier power pop moments and more open, psych-leaning stretches, always circling back to melody. It’s a broader palette, but it never drifts.
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Lyrically, the album sticks to what The Get Alongs do best, relationships in motion, time slipping by, the in-between stretches where nothing is fully settled. The writing leans on feeling over narrative, letting moments hang instead of spelling them out. You can hear where this record comes from without it being spelled out. A half-full room, amps buzzing before things click, the low hum of a streetcar somewhere in the background. Summer nights that don’t really end, winter days that feel brighter than they should. Second To None lives in those in-between moments, nothing overstated, just real life happening at full volume. With UK and European dates lined up around The Great Escape Festival, The Get Alongs are stepping into their next phase with a clearer sense of what they are. Second To None doesn’t try to reinvent anything. It just hits harder, lands cleaner, and sticks around longer.
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