Two new albums showcase the work of key figures from Columbia’s culture-defining scene.

One is a band of beloved players releasing their first record in about eight years. The other, a songwriter best known for his work in another medium, is now making his musical presence felt. Here’s a look at some great new music from Sissy Paycheck and Tampsen.

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Sissy Paycheck, “40 Days”

What if superlative classic-rock jams and ’70s pop-country ballads were recorded in someone’s bedroom? The question comes up early and often on 40 Days , Sissy Paycheck’s first album since 2016. The eight-song set fuses timeless sounds with a lo-fi aesthetic, resulting in one of the year’s strongest local albums.

On “40 Days,” singer-guitarist Ryan Pale, guitarist Travis Boots, bassist Lou Nevins and drummer Taylor Bacon — with a serious assist from multi-instrumentalist Josh Cochran — create something immediately appealing and quietly subversive. “Cover It Up” opens the album like a long-lost Southern rock classic; rolling drums, jagged guitar and Cochran’s heavy breathing (noted on the record) lend immediate momentum and credibility.

Sissy Paycheck takes a quick left turn on “Father Wishing Well,” with its tender rhythms and soft undertones; the cut sounds like Josh Tillman channeling Glen Campbell from somewhere just beyond the pearly gates. The guitar solo alone will send your heart and mind somewhere special.

Throughout the album, songs like “Land of the Child,” the title track, and “Marble Eye” continue the classic rock bite. Of these, “40 Days” is the strongest, weaving a bit of modal, George Harrison influence into the vintage fabric.

“Goddamn Ann” sits near the middle of the tracklist and is a real gem, a breakup tune that first directs its furious blues outward (“Oh goddamn Ann, what the hell happened to you?”) before pointing three fingers at itself. “Loser” sounds similarly sad and true, winding its way to a chorus that hovers somewhere between self-loathing and confession (“Why, I’m just a loser”).

Sexy and strange, “Baby Hang” closes the set on an impossible high, with direct Stones references and beautiful, abstract poetry. The cut flirts (“Take off your red headdress and give me some of your wine”) and rattles like it’s about to fall apart — in the best way possible.

It somehow encapsulates everything that makes “40 Days” so great. The song is a must-listen, but it still leaves you feeling warm and dizzy.

Sissy Paycheck celebrates “40 Days” with a 9 p.m. show Saturday at Hitt Records; Steven Senger shares the lineup.

Tampsen, “Stars on the Ceiling”

More than most, Columbia artist Tampsen’s new record lives up to its name. “Stars on the Ceiling” evokes the feeling of sitting back — in a forest clearing, on a moonlit beach, or on a bunk bed — and looking up to choose a light that’s uniquely yours.

The musical side of local filmmaker Chase Thompson, Tampsen brings together a host of Columbia musicians to bridge the gap between the intimate and the cosmic, while remaining true to a power-pop tradition that stretches back to artists like Squeeze and Nick Lowe and on to Islands.

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Peter LaMear’s drums open the record, sending “My Moon” into an easy orbit. Thompson’s clear vocals effortlessly evoke longing, comparing a lover to a celestial body for the first, and certainly not the last, time.

LaMear is part of a core band around Thompson, consisting of guitarist John Galbraith, bassist Wil Reeves, keyboardist Andrew Weir and multi-instrumentalist Lucas Oswald. The easy, gliding pop vibes throughout make it sound like the band has been working together forever.

The title track comes next, its guitars and parental devotion unfolding in real time (“I’ll bring the universe to you / While I still can / It’s getting far too big, my boy / To fit in my hands,” Thompson sings). The song is sweet but never saccharine, composed with a gentle but considered tone; the compact arrangement eventually expands to form a bridge that would fit on a late-’60s Beach Boys record or the Shins’ best efforts.

Elsewhere, “Run Wild Run Free” features guitar riffs and a jaunty backing chorus reminiscent of McCartney’s “My Brave Face” era. Thompson and co. lean on early rock and tropicalia sounds on “Arcadia” and embrace the wailing cadences of country music on “Crushed Velvet” (with its killer refrain, “Crushed velvet never felt so cold”).

Seamless in its sound and stride, the album meanders toward a fitting conclusion. “Unwalkable Rain” not only boasts a great title, but also a particularly present lead vocal from Thompson. “First Sight” documents true love within a literary brand of rock ‘n’ roll, underscoring the deeply felt connections at the album’s core.

“Pretty Sure” closes the set with Reeves’ forward-moving bass and the rising and falling sounds of the ocean. “Stars on the Ceiling” ends as it began, with melodic reminders that when you open your heart to love someone else, the rest of the world opens up to you, too.

Aarik Danielsen is the features and culture editor for the Tribune. Contact him at [email protected] or by calling 573-815-1731. He’s on Twitter/X @aarikdanielsen.

This article originally appeared on Columbia Daily Tribune: Listen to These Great Local Records from Sissy Paycheck, Tampsen