Ciudad's rock 'n' roll circus

If life is like a circus, Ciudad is the ringmaster on its latest release, “Follow the Leader,” showing you what life’s like inside the bigtop.

Circus imagery is sonically evident, from the marching snares to the calliope keyboards on opening track Due Dates. In fact, the general bigtop vibe of some songs suggests this is Ciudad’s “Sgt. Pepper”: a carnival of pop ideas. It’s safe to say that Ciudad members Mikey Amistoso, Justin Sunico and Mitch Singson have been imbibing a lot of ‘60s music lately. They have that glow. But “Follow the Leader” isn’t just some retro trip; it’s always fascinating to hear what Mikey’s songs transform into in the hands of this combo. While Hannah+Gabi’s “Haha.Yes” from 2010 (Amistoso’s solo release) was a more introspective affair, Ciudad’s outing is more or less a celebration.

Several songs — opener Due Dates and When You Get to the Top, e.g. — bear a Beach Boys influence, either in the legato organ lines and mounting harmonies, or in chord changes that are decidedly Wilsonesque.

You Know the Answer, Just Follow the Leader is another pop wonder — reggae by way of Obla-di, Obla-da, decorated with female backup vocals (provided by Marie Jamora) and ersatz strings, until midway it all turns into a gentle Beach Boys sunset number, with low-crooned harmonies taking the song out amid tambourines and splash cymbals, melting into undulating synth waves. What can I say? Gorgeous.

There’s a Lonely Road to Sunday Night has a more indie pop feel than much of the album. In fact, the sad ballads (like Johnny) are where Mikey tends to drop the pop mask and simply milk the emo for all its worth. Those moments are among the strongest on the album.

“Maturity” is a word that gets thrown around a lot to describe this third (fourth, fifth depending on who’s counting) Ciudad release. If “maturity” means musical growth, sure; if it means these guys are ready to wear tweed blazers and smoke pipes, not bloody likely. The lyrics still mine the tropes of adolescent angst and modern man confusion.

Leads is a waltz-time weeper that recalls Elliot Smith a bit, except for the middle eight which is pure Ciudad, complete with fuzz bass (and perhaps a few kazoos?). While the ‘60s influences are easy to spot, note how Amistoso channels ‘50s doo-wop too with those call-and-response choruses (“I’m turning blue…”) and especially on How You Do It which channels the Beatles’ Oh! Darling, with its ‘50s rock ‘n’ roll structure and shouted choruses à la Paul McCartney.

Mikey and the gang sent several songs to New York, where Plus/Minus members James Baluyut, Chris Deaner and Patrick Ramos added tracks and helped with mixing. That’s Deaner’s drums galloping along in Things I Don’t Need, a recital of sorts: stuff the guys can do without. (Sample: “plastic forks … classic rock …”) It opens up into a ‘70s-style middle section with tambourines and a staccato piano riff, then heads back to glockenspiel, organ and slide guitar restating the verse and chorus. Clearly, pop music is not on the list of things Ciudad is prepared to jettison. Maybe, after the final curtain call is done, pop is all you need, to paraphrase the Beatles.

“Follow the Leader” is such an unrelenting carnival ride that, before you know it, the album’s 36 minutes are done. Bitin! At that point, press “replay,” and discover new sonic Easter Eggs. Having mastered the pop songcraft structure — which tends to run about two to three minutes, at least by classic Beatle standards — Ciudad has fun decorating their outros, throwing in every musical instrument that tickles their fancy, from harmoniums and cellos to unusual percussion.

When You Get to the Top is a more anthemic, almost marching band number with the usual catchy chorus decked out in lush descending chords. Again, Beach Boys choir-like harmonies are much on Ciudad’s mind(s). Has Mikey been digging on “SMiLE”, the long-lost, recently issued Beach Boys classic? Everything goes into the mix, eventually.

Final track Justin in New York (Justin’s sole writing credit) is a coming down from all the preceding carnival hilarity; its elegiac tone surprises, especially in the outro — clicking drumsticks on one channel dueling with the snare rat-a-tat on the other — almost like a Morse code of spelled-out indie melancholy.

Along with the Plus/Minus patrons, there’s a strong Jazz Nicolas feel on “Follow the Leader” too — not surprising, since he’s credited with extra drums, “Arrangement” and “Musical Direction” along with Amistoso. And anyone who can’t get enough of the Mikey and Jazz tag team should definitely seek out (this September) the soundtrack to Marie Jamora’s Cinemalaya Audience Award winner Ang Nawawala, which was scored by the duo plus Diego Mapa. (Their original soundtrack even bagged a Best Score award, a rare example of worthy music propelling a worthy movie, and vice versa.)

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Ciudad’s “Follow the Leader” is released by Liquid Post. Visit www.ciudad.bandcamp.com.