True or false: Doug Martsch is the Peter Frampton of 1990s indie? Sure, he might not have the hair, the tight pants, or the voice box, but it's difficult to think of another soul more worthy of resident guitar god; maybe J Mascis, but he never brought the pop side like King Framp. That's the side most in evidence on There's Nothing Wrong with Love, before Martsch started bringing the sprawl in spades. Humble, wry song-tales about heads-up-seven-up, Albertson's stir-fry, and Bowie-hating stepdads abound, while earnest tracks like "Twin Falls" and "Big Dipper" set the pace for the entire Northwestern indie-pop scene. Ooo baby I love the way that dark cello elbows its way into the wishlist of "Car", the way Doug's craypaper voice lends a layer of giddiness to the slack romantics of "Reasons", the way the louds and softs of "Some" still pack a wallop. If you feel like I do, you think Perfect is closer to perfect, but there's very little wrong with There's Nothing Wrong with Love.