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Bruce from Not Lame said this about "Sunset on a Daydream:"
Take sparkly sonic textures sprinkled throughout the arrangements, add some shiny vocal harmonies all over the place(again, ala J-fish) that shine and a bit of spice around spunky, upbeat melodies and, finally, spread them out like sweet marmalade on a piece of crunchy, pop toast and you have one classic gem of a power pop album that is going to be one of the strongest indie releases of year.

BOSTON: SUNSET ON A DAYDREAM

After releasing three albums of "amphetamine pop" with mod/garage combo The Pills, guitarist & singer David Thompson finds himself with a stockpile of songs that aren't quite hyperactive enough for that group. He decides to record a “solo album” with a "side project", but detesting these terms and preferring "ROCK BAND", he starts THE SCHEME.

And a ROCK BAND it was, when brothers Paul & Jay Natale (Den Mothers, Astroslut) joined on bass & drums. With Dave Aaronoff (Details, Pills, Bosstones) playing the trickier keyboard bits & the better guitar solos and Eric Donohue (Ad Frank, Quick Fix) taking over bass duties on half of the songs, this lineup recorded the 12-song CD, "SUNSET ON A DAYDREAM."

The album was produced by the fantastic Ducky Carlisle - when Thompson felt he was branching out with his more experimental songs, Ducky set him straight, saying "Hey! This is POWERPOP! I love this shit!" And the album is indeed anchored by pure Beatlesque pop, with detours into Nuggets-style garage rock ("The Sun Also Sets"), pop-punk ("Gone"), nylon-string bossa-nova ("Year & an Inch") and of course a hypnotic, minor-key dirge with drum-loops & clarinets ("Effigy")

Beyond the power-pop “B” troika of Beatles, Badfinger & Big Star, Thompson found inspiration from the sophisticated pop of Elvis Costello, XTC & late-period Beach Boys, the classic melodic punk of The Clash and The Buzzcocks, the modern art-rock of Beck & Flaming Lips, and the energy of current British bands like Arctic Monkeys, Fratellis & Kaiser Chiefs ... plus the best bands that The Pills had shared stages with: Supergrass, Sloan & The Figgs.

SEATTLE: NOW

Thompson relocates to the great Northwest, and as fate would have it, so does bassist Gary Miller. Having spent years in Chapel Hill, NC playing & singing with indie-rock band Gumption, Miller was looking for a new hometown. When he showed up at Thompson's house with a "Figgs" sticker on his bass guitar case, he was hired on the spot.

After an exhaustive search for a drummer, the pair lucked upon Chris Campbell, who had recently left the garage rockin' Zero Points. After a few rehearsals, they found that Chris could not only bash his drums, but sing while doing so and lovely 3-part harmonies were added to the group's high-energy rock.

This new rhythm section provides serious indie-rock muscle to the pure-pop songs from “Sunset” and supplies sharp arrangements for newer songs, like the Weezer-esqe “You Let Me Go”, freshly recorded with Rob Sharp (of New West Motels.) On this track, bassist Gary Miller displays his lead guitar chops & plans to move to that position whenever The Scheme can find a musician to fill his big, bassy shoes (know anybody?)

Even before the "official launch" of The Scheme "West Coast" this trio of musicians have somehow managed to receive airplay on KEXP, garnered favorable mention from Three Imaginary Girls and played a show at the Crocodile - three milestones of the Seattle rock scene. With the addition of a fourth member, world domination seems inevitable.