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I've read of comparisons to Elvis Costello and Thin Lizzy, but I place Ted Leo very close to another (formerly indie) singer-songwriter, the key-tickling Ben Folds; while he doesn't touch a piano specifically, he treads a lot of the same ground including tempos (at least when we're not talking about ballads), vocal range, melodic sense, and relatively streamlined production. Of course, the comparison falls apart when comparing lyrical styles, as Leo's style is much more stream of consciousness and complex, in addition to being several years of post-graduate study beyond your typical indie lyricist. In fact, the closest analog I can think of is The Shins's uber-literate James Mercer, despite Mercer's career being a couple years behind (and therefore possibly being influenced instead of the influencer). Maybe hence the comparisons to Elvis Costello.
After being introduced by the Moody Blues-y mini-song "Building Skyscrapers in the Basement, the band kicks into high gear with "Where Have All the Rude Boys Gone?"****, and one of the album's catchiest riffs. The barreling energy and melodic riff of "2nd Ave, 11AM"**** is pure Husker Du, and Leo heartily yodels "Come over the hills now To your darling, The dead voices are near now Hear them calling" in the anthemic "Dead Voices"****. Leo dabbles with new wave punk (Gang of Four or Talking Heads) on the title song, Elvis Costello pop on "The Anointed One", soul "First to Finish, Last to Start," and the jangle pop "Bridges, Squares," but most of the rest of the album is a similar brand of Superchunk-y indie-pop-punk. The chanted "The Ballad of the Sin Eater" (the "you didn't know they could hate you now didja" song) and the aggressively chromatic "The Crane Takes Flight" can get repetitive, though the string duet that ends the latter is a striking way to the album.
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