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NEW RELEASES!
Sugarbomb - Bully
OTHER RECENT RELEASES...
TSAR - Self-Titled
The Mockers - Living in the Holland Tunnel***
Fu Manchu - California Crossing***
Every Single Saturday - Building***1/2
Jimmy Eat World - (self-titled)****
Chauncey - (self-titled)***
THE PILLS - Kick In***
PHAMOUS PHACES - New Pop City****
THE RUMORS - Mind The Gap***
RUBBERSIDE DOWN - This Side Up***
THE GRAVEL PIT - Mass Ave. Freeze Out****
GALLYGOWS - Give It To Her ***1/2
It's no surprise to many power pop fans that, in recent years, Spain has been churning out bands by the truckloads who embrace melodic pop as strongly as any other fine Spanish tradition. One of the newest Spanish bands to reach American soil (thanks to a licensing deal from the pop-friendly Rainbow Quartz label) is the Gallygows, a four piece from Barcelona who spin sweet, soft pop in a vein similar to Teenage Fanclub, Big Star, Mayflies USA and neighboring French compatriots Tahiti 80. Production work from Posie Jon Auer lends even more credibility and melodic fervor to what is already a very polished collection of songs with hummable melodies, subdued, yet up-tempo drumming and lush, elaborate harmonies. As might be expected, the lazy summertime pop vibe becomes almost formulaic toward the album's later moments; but thanks to strong songs such as "Tone Generator" and the beautifully plodding "My Citizen", the Gallygows rise ever so peacefully above soft pop mediocrity.
TSAR - (Self-Titled)*****
Once in awhile an album comes along that is so full of melodic bliss and pure rock and roll energy it can't help but rise to the top of the heap. The debut, self-titled release from LA's TSAR is one such album. Of course, ultra-tight production work from renouned rock ringleader Rob Cavallo doesn’t hurt either. From start to finish, TSAR offers a non-stop ride of instantly engaging rock anthems with distinct pop undertones, catchy sing-along choruses, lush harmonies and guitar pounding that recalls the better side of 80's rock. Singer Jeff Whalen's edgy, yet sweetly melodic vocals add a bit of glaminess to the mix as well. Looking at the spectrum of sounds in the TSAR mix, it's easy to tell they've been inspired from many different angles. But the most important thing is, TSAR is fighting to bring back the good side of rock and roll; a rather daunting task in a musical world dominated by bubblegum drivel and angry teen anthems that ask you to "break stuff".
FRISBIE - The Subversive Sounds of Love****
Despite being formed less than two years ago, Chicago's Frisbie are raking up accolades and generous reviews of their debut, independent release The Subversive Sounds of Love. And rightly so; the album is a polished pop gem from start to finish. With songwriting and musical prowess befitting a band of more tenure, Subversive… offers a colorful rainbow of influences from the smart pop leanings of XTC to the edgy, yet elaborate sounds of contemporaries like Splitsville and Fountains of Wayne. Guitarist/vocalist Steven Frisbie's beautifully wavering tenor is perhaps the band's most prominent feature and at times recalls the plaintive style of the late Jim Ellison (Material Issue), another Chicago pop icon! Hooks abound, especially on the album's openers "Let's Get Started", "Polyanna" and the beautifully melodic and hypnotic "To See and Be Seen", perhaps this year's most gleaning pop moment. Keyboard and trumpet embellishments over the polished package of ringing guitars and stellar harmonies make this album and absolute winner from start to finish.
SUPERDRAG - In The Valley of Dying Stars****
After being dumped from Elektra and laying low for the
past two years, Knoxville, Tennessee's greatest (and only)
power pop band returns! This, their third full-length
album is probably their best yet - a solid, melodically
driven, hook filled gem from start finish with just enough
edge and grit to maintain credibility to their rock roots.
The album's best track (#5: Lighting the Way) is easily
one of this year's most stellar pop music moments. Sigh…
THE MINUS 5/YOUNG FRESH FELLOWS****
Scott McCaughey is out to save rock n' roll! The genius behind The
Minus 5 and YFF has assembled a clever package that delivers the
goods from both of his Seattle-based bands…
THE MINUS 5 - Let the War Against Music Begin
YOUNG FRESH FELLOWS - Because We Hate You
ASA CRUZ - Pop Star***
Perhaps the most poignant aspect of music in the 1980's was the unabashed, shameless homage to excess; both with image and the music itself. Los Angeles' Asa Cruz have embodied this spirit of 80's rock to pure perfection. Equal parts new wave and riff-heavy arena rock, Asa Cruz is a decent exercise in 80's excess with big drums, over-effected guitars, lush vocals, and primped and propped rock star looks to match. Listening to Pop Star, their debut album, one might swear they were hearing outtakes from a Simple Minds, Mission UK or Peter Murphy album circa 1987. Despite the sheen and schlock, periodic memorable moments shine through on such hook heavy songs as "Grey", "Silence" and "Broken Hearted Playground". Unfortunately, other tracks fall by the wayside of mediocrity and are left shrouded with over-production.
JACK & THE BEANSTALK - Cowboys in Sweden**1/2
JASON FALKNER - Necessity: The 4-Track Years****
Most fans of Jason Falkner know that his steadfast DIY approach to music making has made him one of the most unique artists in pop music. His two albums, 1996's "Author Unknown" and 1999's "Can You Still Feel?" are exemplary exercises in how one person can write, arrange and perform every single instrument and present an amazingly polished and engaging piece of pop music perfection. His latest release, a collection of home recordings on his beloved Tascam Porta-one 4-Track, harkens back to the days following his brief stints in Jellyfish, The Three O'Clock, and The Grays when he was honing and polishing his craft of creating music completely by himself. Half the album's tracks are songs that appear on his subsequent "proper" albums and showcase them in a more stripped format but as a solid foundation for potential magic in a major recording studio. Other tracks are previously unreleased gems heard for the first time in their most basic and honest format. As expected, if anything on this collection suffers, it's the thin, unforgiving, lo-fi production quality of the four-track; but for any fan of Falkner and the magic behind creating well-arranged homemade music, this album is a must.
SANFORD ARMS - Too Loud For The Snowman**1/2
THE LIVING END - Roll On***
The Living End are a three-piece alternative punk band from Australia who have garnered enormous success in their homeland and are beginning to make waves here in the US with their brash, aggressive, yet infectious brand of rock n' roll. While the "alternative-punk" branding (ie: Blink 182, Green Day) brought The Living End their first taste of success in the US a few years back with their radio-ready single "Prisoner of Society", it's their adoration and ability to embrace many styles within the rock spectrum that makes this band truly special. A sampling of the first few tracks on their sophomore effort "Roll On" proves just how all over the map these guys are. The debut single and album opener "Roll On" is old school punk with modern rock sensibility and an infectious, sing-along/pub chant chorus. "Pictures in the Mirror" and "Staring at the Light" are equally infectious, yet are straight-up, no frills power pop with subtle New Wave sensibilities and very little punk ethic; while Track #5 "Carry Me Home" is a psychotic, breakneck-speed thrash rock thrill ride complete with buzz-saw rhythm guitar and over-the-top speed metal licks. The band even makes a successful attempt at reggae, with the rootsy, mid-tempo "Blood on our Hands". The driving force behind this musical mosaic is primarily guitarist/vocalist Chris Cheney, who plays as if he were born with the electric guitar strapped around his neck. Bassist Scott Owen and drummer Trav Dempsey adeptly carry the hard-driving low end to keep up with Cheney's guitar mayhem. With songs, musical chops, and a chip on their shoulder the size of a Fosters can, The Living End are worthy of world domination …and as an added bonus, they don’t have to fake their English accents.
TWIN PRINCESS - The Complete Recordings*
Just when you thought Ken Stringfellow (The Posies) couldn’t spread himself any thinner with recent stints in bands such as the Minus 5, REM, Orange Humble Band, and Lagwagon, not to mention continuing projects with the Posies, his own band Saltine, and various solo endeavors, the Seattle madman pops up again in an obscure new collaboration with Seattle writer, painter, clothing designer, and all-around weirdo Bootsy Holler. To say Twin Princess is a musical endeavor is a stretch. This bizarre collection of various home-recordings, 7" singles and previously unreleased material is pop weirdness at its best; or perhaps performance art trying to become music. Anyway you slice it, it's a difficult pill to swallow: agonizing, lo-fi, dissonant, atonal, artsy-fartsy and self-indulgent, Twin Princess will probably appeal the most to the die-hard Seattle artiste or perhaps the next Jackson Pollock wannabe who's searching for the perfect work music.
TRUE LOVE - (Self-Titled)***
Imagine Superdrag fronted by Elvis Costello. Throw in a dash of late-era Posies and Fountains of Wayne and you'd have the tasty power pop concoction that is True Love. The New Jersey power trio's self-titled debut is chock full of crunchy pop songs with enough edge to show their rock roots and enough pop smarts to appease the most discriminating connoisseur of melody. Vocal duties are shared by all three members which adds diversity to the mix and the catchy melodies are supplemented by stellar harmonies and tasty guitar textures. Standout tracks include the driving "Hey Man" (a spiteful ode to the music industry), the whirling "Why Did You Change Your Mind?", and the sweetly melodic "Wrong" which features stellar Posies-esque harmonies. True Love maintains its momentum all the way through, and song-for-song is a definite standout pop music release for 2001.
I LOVE SPARKLE JETS U.K. -
A Tribute to Sparkle Jets U.K.**1/2
How audacious is it for a band to produce their own tribute CD? Well, not overly if you have a slew of willing participants; 20-plus in fact, who all share SJUK's knack for simple, fun-loving, fuzzed-out power pop. Of course, it doesn’t hurt that most of the tribute participants are also in the same tight-knit, nearly incestuous circle of Los Angeles/Orange County, CA pop bands have helped put underground pop on the radar screen through such events as Poptopia and International Pop Overthrow. Most bands on this tribute do a fine job of capturing the gleeful, sometimes self-effacing songs of the SparkleJet's repertoire, while others lack for nothing other than less than stellar production. Standout tracks include contributions from The Masticators, Ed James, Mike Randle (of Baby Lemonade), and David Koval. The CD even features introductory words from IPO founder and pop music godfather David Bash, an enhanced CD-ROM bonus, and a hilarious, unrehearsed "roast" from The Andersons. This tribute is a must for IPO die-hards and fans of the LA pop music scene. For more information, visit: www.crabapplerecords.com
TIME BOMB SYMPHONY - Rules Get Broken***
In the same vein of Myracle Brah, Linus of Hollywood, Cloud Eleven, and others in the indie pop world Time Bomb Symphony is yet another power pop "band" that is really driven by one individual. Darren Robbins is that individual, and while his duties are only limited to vocals and guitar, the underlying vision of TBS is strictly his own. A host of guest musicians, including drummer Brad Elvis (Big Hello), and fine production work from Chicago pop icon Adam Schmitt helps make "Rules Get Broken" a delight from start to finish. Most songs hover in the mid-tempo range and are 3-4 minute tidbits of rich, melodic pop with just enough crunch to engage any fan of good power pop. Robbins' raspy, yet soft-toned vocals are a fine mix of Tommy Keene and Mike Mazzarella (Rooks) and even the full, well-produced and sometimes jangly pop sound melded with simple, heartfelt lyrics sounds very Keene-esque. Perhaps what might set TBS apart from the average pop crop are the subtle sexual innuendoes on "Rules…". The hard-driving, ultra-catchy "Can I Come Inside?" begs interpretation and the "exposed" female model behind the CD tray is certainly catchy in a purely non-musical sense.
CHRIS & TAD - Hand Me That Door***
According to their bio, Chris & Tad started as a "challenge band" where each member was allowed to make only one trip to the car for equipment and whatever they could carry in one trip would be used for recording. The end result is a surprisingly "big" sound despite their decidedly minimalist approach which consists of only guitar, keyboard and a children's drum kit. The "band" itself consists of Tad Hutchinson of the Young Fresh Fellows and Chris Ballew of the Presidents of the USA, each trading duties on their small array of instruments. The songs were initially developed for Tad's animated TV show "The Shelby Jenkins Show" on local TV, but eventually blossomed into a full length album of quick and dirty pop songs that range in style from simple jazz/blues romps to 60's bubblegum pop ala The Troggs, The Turtles, and nods to the early Beach Boys. The fuzzed-out, suckerpunch style of Chris Ballew and the Presidents is definitely heard throughout the album and yields perhaps its most memorable and catchy tracks. "Jilted on the Tarmac" and "Radio Control" are frenetic, addictive pop nuggets with more unbridled energy than a double shot of espresso. While they won't earn originality points for their choice in band names, Chris & Tad have definitely found a unique niche in creating a "whole" that is greater than the sum of its parts.
SILVER SCOOTER - Goodbye (EP)**
Silver Scooter have been trodding on the prolific Austin, Texas indie scene for the past several years. With two independent releases under their belts and accolades from US and international music press, they are taking that ever expected step forward with the release of their 3rd full-length release "The Blue Law" (due in stores in February 2001). The 4-song "Goodbye" EP offers a sampling from the forthcoming album and represents the band's knack for simple, understated, yet intricately produced approach to indie rock. Comparisons to the Wedding Present and the geeky, deadpan brilliance of the Lightning Seeds immediately come to mind, but Silver Scooter are much more; a band that seamlessly blends the intellectual, self-effacing aspects of indie rock with the simplicity of straight-ahead pop. Singer Scott Garred's soft, heartfelt tenor glides poetically over the bands clean, yet driving guitar-based sound and sporadic keyboard and organ add a subtle 80's vibe to the mix. Paying homage to their 80's roots, the EP also features a respectful rendition of New Order's "Run". In a town with a uniquely saturated music scene, Silver Scooter have definitely let their uncompromising approach and natural talent put them near the top of the indie rock heap.
ABSINTHE BLIND - Music For Security**1/2
College towns have always been fertile breeding grounds for highly talented young bands. Certainly the growing Midwestern musical node of Champagne/Urbana, IL is no exception; giving us the likes of Hum, among others; and most recently Absinthe Blind. Perhaps it's more than coincidental that Music for Security, the band's third full-length release, shares some subtle musical similarities with their hometown comrades: soft, intricate song structures that build and meander through powerful crescendos and focus on complex musical arrangements that push the envelope beyond the traditional pop music formula. Consisting of six members who bloom off the talented nucleus of siblings Adam, Erin and Seth Fein, it's no surprise the musical arrangements on the album are thick and complex. Equal parts progressive, pop and ambient, Music for Security is a musical delight that highlight's this young band's penchant for distinct musical expression.
TAHITI 80 - Puzzle ***
For its size and stature France has never really produced a dearth of stellar contemporary pop music, compared to its European counterparts such as the UK, Sweden or even Spain. What little that has emerged in recent years, such as indie/electronic fusionists Air, seem to sacrifice the virtues of immediately accessible music for the sake of artistic expression or poetic epiphany. Tahiti 80, relative newcomers to the French scene, may perhaps finally meld the gap between the lush attributes of pop and the loungy, techno-flavored backbeat that is distinctively French. Drawing heavy influence from 60’s pop (Track 5, “Mr. Davies” is a direct nod to Ray Davies) and blending it seamlessly with splashy keyboards, drum programming and other musical embellishments, the band’s formula works well…and is immediately engaging. Perhaps the band’s strongest link is the soft, smoky and sweetly melodic tenor of vocalist Xavier Boyer, the creative force behind the album’s melodic backbone. With Ivy’s Andy Chase producing and musical guest appearances from Adam Schlesinger (Fountains of Wayne) and Eric Matthews, Tahiti 80 may garner even more credibility among American and UK audiences.
MIKE RANDLE - My Music Loves You Even If I Don't ***
For years, Los Angeles has been an ever-growing pool of amazing pop music talent. Slowly rising to the top of the heap since their formation in 1992, the band Baby Lemonade has certainly joined the critical ranks of many fine SoCal groups and their ever-restless leader, Mike Randle, has been eager to forge new territory into the wonderous world of pop music. Randle succeeds with fine results on his debut solo venture which offers a smooth, mellow pop tapestry that recalls the California flavored soft rock of the early 70’s melded with exquisite Beach Boys inspired harmonies and sweetly melodic vocals reminiscent of contemporaries such as Elliott Smith and the Pernice Brothers. While Randle’s formula relies primarily on the soft rock backbone, there are some notable musical sidetracks on the album including the jazzy, smoky, Parisian-flavored “Flat By The Sea”, a perfect backdrop for Frederico Felini and the frenetic, fuzz-bassed “Ingrid”. Randle’s admiration for Los Angeles is notable through numerous lyrical references, but perhaps his finest achievement is soaking up his hometown’s pop music influences and giving us an album that is amazingly fresh and distinctively his own.
THE POSIES - In Case You Didn't Feel Like Plugging In *****
For a band that broke up almost two years ago, the Posies have been quite busy lately. Not only have they released 4 albums in the past year, but founding members Jon Auer and Ken Stringfellow also embarked on month-long tour of the U.S. this past Summer as an acoustic duo, playing an even spread of songs from the Posies' 10-year history as one of the most revered pop bands of the 1990s. "In Case You Didn’t Feel Like Plugging In" is the most recent of the band's releases this year (which also include 'Dream All Day', the near-hits compilation from Geffen, "Alive Before the Iceberg" featuring live electric tracks, and "At Least…At Last", the long-awaited 4-disc Box Set from NotLame Recordings, featuring live and unreleased tracks, demos and other Posie rarities.). "In Case…", recorded live on February 24, 2000 at Seattle's Showbox Theater, is strictly Jon & Ken and two acoustic guitars; plain and simple. The songs, which represent an even sampling from the band's five original albums, work extremely well in their stripped down acoustic format, thanks to Jon and Ken's unprecedented knack for amazing songcraft and shimmering, spine-tingling harmonies . The enthusiastic and interactive crowd heard throughout the disc is testament to the love and dedication the band's followers and devotees have held throughout the years as well. Posie fanatics and mere acquaintances alike will relish in this album…a stellar example of perfect pop in its most basic form.
BIKERIDE - Summer Winners/Summer Losers *** 1/2
Just in time for Winter, Illinois indie rockers Bikeride have assembled a cheery 19-song full-length sure to keep the summer vibe in check. Compiled from previously released 10" singles, B-sides, and other unreleased material "Summer Winners, Summer Losers" is a breezy ride through the indie pop spectrum. Relying heavily on a definite 60's influence, lead Bikerider Tony Carbone has fortified the band's basic guitar-based/lo-fi indie pop sound with a wide range of unique instruments including the Moog Rogue, Farisa and Hammond organs, toy pianos and a Theremin. The concoction is a homegrown pop sound that is as engaging as it is derivative. Standout tracks include the breezy "Meghan", complete with reverb-soaked vocals and a frantic, jazzy slide whistle, "New Years Girl" with its hypnotic and catchy New Wave vibe, and the band's ode to Smile-era Brian Wilson "Carl Wilson Suite" with a bouncy pop backbeat and dead-on Beach Boy harmonies. The album also features two stripped down covers of Chad & Jeremy's "A Summer Song" and the Go-Go's "Our Lips Are Sealed", a move that perhaps begs the question "How many albums from the 70's are in the band's collection?"
BRAD BROOKS - Sanctified Into Astroglide ***
Brad Brooks is a San Francisco singer-songwriter who has been working the in mines of the local music scene for years, in addition to earlier musical stints in his hometown of Tucson Arizona. Finally coming to terms with his well-versed pop music acumen, Brooks has assembled a fine collection of compelling mid-tempo pop on his debut album "Sanctified Into Astroglide". With the help of various Bay Area musicians, Brooks has melded his piano-based songs into rich, complex and sometimes psychedelic songscapes with sweetly melodic 60's and 70's pop overtones. Album opener "Frosty Chronic Memories" has a distinct Zombies flair with its soft vocals and rich gliding piano, while the punchy "Juliette Lewis Day Off" is pure 70's pop indulgence ala 10cc and Queen. Equally adept at just guitar and vocals, Brooks offers a change of pace with the sweet, stripped-down "Mildred Cross", perhaps the album's most memorable track. As if searching for even more variety, "Sanctified's" later tracks astroglide into mid-tempo pop that is almost country-tinged. Certainly not lacking influence and ability, Brad Brooks is a pop solo artist on the rise, who will hopefully take his pop appeal beyond the reaches of the Bay Area.
THE CHEVELLES - Sun Bleached ***
The Chevelles are an Australian pop foursome that have been a staple of their homeland's music scene for over ten years. Though their repertoire and accomplishments are extensive for a homegrown, DIY-driven group, they've remained somewhat on the periphery of the indie pop scene in the U.S. Their U.S. appeal will hopefully grow by leaps and bounds now that the band has signed on with San Francisco-based Zip Records, who plans to bring their new 5-song EP "Sun Bleached" to a larger U.S. and international audience. While "Sun Bleached" offers nothing ground-breaking to the meat and potatoes power pop formula, the band plays with a certain refreshing, unbounded Aussie spirit that is captured by such bands like The Finkers, The Valiants and Jack & The Beanstalk. The band's ragged guitar style is usually kept in check with sweet melodic song structures and well-placed harmonies keep the songs firmly planted in pop territory that not too distant from the mid-tempo stylings of Teenage Fanclub. A rollicking rendition of Air Supply's "Lost in Love" gives The Chevelles solid props in the "coolness factor" to boot!
BLUE SKY ROADSTER - Roller Coaster Goodbye ****
In the early 90’s the San Francisco music scene was alive and vibrant with a slew of promising young bands that captured the spirit of alternative rock in a very cohesive and homespun manner. Rising from the ashes of that era and breathing new life into a local scene that is in desperate need of a melodic revival is Blue Sky Roadster, perhaps the Bay Area’s most promising up and coming new band. After two well-received EPs, the San Francisco foursome have unleashed their first full-length LP, a perfect alternative pop gem that is filled with melodic hooks, clean, polished production and enough rich, full-bodied guitar to lure any pop music fan into a musical hypnosis. Revolving primarily around singer/guitarist Todd Herfindal’s distinct tenor drawl, BSR’s songs range from brooding, Brit Pop flavored grooves a la Oasis, to straight-up, hook-filled and lavishly melodic tracks that recall a distinct Posies/Teenage Fanclub flair. True to their power pop roots, the album even features a surprise ghost track cover of Redd Kross’ 1993 commercial radio sleeper hit “Jimmy’s Fantasy”. Forging a solid foundation with a strong local following and an amazingly solid and engaging debut album, Blue Sky Roadster are poised for success; and just as importantly, offer hope for putting San Francisco back on the musical map.
FINE CHINA - When The World Sings **
After one listen to Phoenix, Arizona's Fine China it becomes immediately clear that the 90''s never existed - at least in the musical minds of the band's four members. The group's debut album "When The World Sings" is pure 80's inspired electronic New Wave from start to finish. Lead vocalist/keyboardist Rob Withem makes no apologies for his die hard adoration of early 80-'s icons such as Berlin, New Order, The Smiths, Pet Shop Boys; and the influence is certainly evident in the group's polished electronically driven sound. Splashes of over-effected guitars and real drums here and there remind us that there is actually a "band" playing at times, and Withem's falsetto faux-British tenor provides the appropriate vocal backdrop. Despite the appealing nostalgia, the formula begins to wear thin as the album progresses, perhaps due only to a lack of standout songs or hooks. If anything, Fine China has done a stellar job of capturing the synthesized indulgence of the "Me Decade".
SMART BROWN HANDBAG - Just Like Driving Backwards** 1/2
Guitarist/vocalist David Steinhart is a true romantic. Anyone who can pen lyrics about living and loving in Los Angeles with such precocious passion and self-assured sincerity is certainly onto something. But the lyrical romanticism is part of the allure of this latest release from LA’s Smart Brown handbag, their sixth full-length album since forming in 1993. Steinhart’s plaintive, dramatic vocals are wrapped delicately around a clean pop package that musically lands somewhere between pure orchestral over indulgence and crafty, structured pop music genius. The band’s basic trio foundation (with bassist Cindy Albon and drummer Slim Glogovac) sound is rounded off nicely by a host of other musical touches including organ, piano, synthesizers vibraphone and even a glockenspiel! If the album suffers at all, it’s perhaps in Stenihart’s over-dramatic lyrical approach that overshadows SBH’s potential for writing a more memorable musical accompaniment. Nevertheless, “Just Like Driving Backwards” is a well-crafted pop music accomplishment that will hopefully continue to drive Smart Brown Handbag forward.
THE FIGGS - For EP Fans Only****
Upstate New York’s hardest working band returns with an aptly titled 7-song suckerpunch of pure, unadulterated pop rock. In fact, "adulterated" is the unapologetic approach the Figgs decided to take on this album, their 8th release on almost as many record labels. The album’s liner notes even point to original rough mixes being used on final tracks. Despite being very short, “For EP Fans Only” provides full bodied, yet fleeting moments of what the Figgs have mastered over the past 10 years: guitar-driven hooks, and a heartfelt passion for rock n’ roll that lands somewhere between the rowdy drunken genius of the early Replacements and the rootsy, poetic-tinged leanings of bands like Wilco and Son Volt. “For EP Fans Only” promises a future for memorable, hook-filled, no frills rock n’ roll…and a hopeful future for the Figgs, who will continue to speak of its virtues.
STARFLYER 59 – Everybody Makes Mistakes***
Fans of sweet, dreamy melodic pop and the trippier, distorted
side of Brit pop (ie: Ride, My Bloody Valentine) will gobble
up this latest release from SoCal shoegazers Starflyer 59.
This, their 5th full length release, finds them perfecting their
craft with amazingly polished production and musicianship.
SF59’s genius is in chief songwriter/arranger and vocalist
Jason Martin who weaves delicate guitar, piano and orches-
tral arrangements into a sometimes complex and melodically
appealing tapestry. Fans of early New Order should check
out Track 2. Track 1 is the best song The Candyskins never
wrote! DIG IT!
HAPPY STARS - Punk & Soul: The Ballad of The Electric Sheep***1/2
Not since the demise of the revered Posies has anything so
uniquely melodic and soaked with pop music genius emerged
from the flannel soaked burbs of Seattle. The Happy Stars
take an array of obvious 60’s pop influences (Hollies, Buffalo
Springfield) and create inventive, appealing melodies that
transcends alot of “cookie cutter” pop music. Fans of the
DIY sensibilities of the Apples in Stereo, The Minders and
High Llamas will revel in the Happy Stars’ homegrown
approach to pop music. The BONUS DISC is another
complete album that is more raw, gritty and unpolished…
perhaps a therapeutic release for the band’s jangly, melodic
labors on the main album. PLAY THIS ALBUM!!
ANTON BARBEAU - A Splendid Tray***
Since the early 1990’s, Sacramento’s Anton Barbeau has
been revered as somewhat of an underdog pop music
genius. Melding bizarre, esoteric lyrics and strained Dylan-
esque vocals with simple guitar-based song structures, A
Splendid Tray (his 4th full-length release) comes off as
fresh and poignant with many fleeting moments of sheer
brilliance. Fans of Space Oddity-era Bowie will dig the
poetic, stripped down structures of the later tracks. If you’re
looking for more electrified pop moments, check out Tracks
1, 2 & 5. Scott Miller (Game Theory/Loud Family) makes
several notable appearances.
RICH CREAMY PAINT - (Self-Titled)****
Most pleasant musical discovery of the year! Rich Painter
is a power pop wonderkid from Nashville who has played
every single instrument himself on this release. The music
has a solid pop foundation, but is peppered with quirky
keyboard arrangements, super fuzzed out bass and clever,
gimmicky guitar lines. The hard musical crunch combined
with the corny, heartfelt lyrics about high school, summer
and teen romance evokes an Archies meets Weezer kind of
vibe with a bit of Redd Kross thrown in for good measure.
BEAT PARTY! - Worldwide Power Pop Compilation***1/2
Perhaps nothing is more universally embraced than the love of the melodic hook and the 3-minute pop song. This adoration is certainly found on Beat Party! a power pop compilation featuring a multitude of bands from around the globe. Despite the broad geographic and cultural distances between participating bands' there is a surprising cohesion and oneness to this compilation. Most notable entrants include Spain's The Meows and The T-Shirts who have both mastered the edgy, upbeat late 70's/Paul Collins and the Beat brand of power pop with clean polished production to boot. Australia's Valiants serve up a hypnotic, driving and wonderfully catchy refrain "...eyes like Sinatra" in the song "Shirley's Boyfriend". The Shambles, a long revered pop band from the U.S., provide a stand-out track ("She's Got Everything") with a punchy, Kinks-inspired mod rock feel and Australia's talented Jack & The Beanstalk sway even further to the end of the power pop spectrum with the gritty, Cramps-inspired "Slave Girl". Europe's only representation is from Norway's Kywet Kings who's stand out track "Radiated By Your Charm" offers a frenetic, polished power pop punch. Quite a few contributions are offered from Japanese bands, the most notable of which are the Treeberry's and More Fun who have both drawn uncanny inspiration from the Posies, complete with layered harmonies and uniquely melodic song arrangements. While some tracks suffer from less-than-stellar production and language barrier that prohibits many English-attempted lyrics from being understood, the emphasis on hooks, melody and fun pop energy is clear. The world awaits...
BIS - Social Dancing ****
Weaned on a steady diet of New Wave and 80's techno, Scotland's Bis explode like an all-star jam of Banarama, Berlin and Bow Wow Wow with a dash of 90's Brit Pop sensibility thrown in for good measure. At the end of a decade which has virtually buried the notion of blending melodic pop music with an aggressive, steady dance groove, Bis are out to re-forge the path laid by their 80's and early 90's flagbearers. Fronted by the sweet, yet sharp-edged vocals of Ms. Manda Rin and brothers Sci-Fi Steven and John Disco who share guitar duties, Bis' rhythm engine is driven by an extensive backline of drum machines, samplers and driving bass lines. Only on the slow and wispy "Detour" does Bis take a silky detour beyond the dance floor.
Produced by Gang of Four guitarist Andy Gill, it's not surprising that "Social Dancing" has a decidedly 80's feel. If the music alone doesn't plant you firmly back in 1985, the bands lyrical affection for the "Me Decade" surely will on track such as "Action & Drama" where vocalist Manda Rin echoes the melodic refrain "give me action and drama...give me 80's Madonna".
If a band can be refreshing and re-hashed at the same time, than Bis fits the bill. Any group that can carry the banner for the absurdity and immodesty of 80's rock with such passion, energy and legitimacy can certainly bring a ray of hope to the dreary state of popular music that is entering the new millennium.
EYTAN MIRSKY - Get Ready For Eytan ***
After several brushes with fame penning songs for various indie films, including the title theme for Todd Solodnz's black comedy classic 'Happiness' (sung by Michael Stipe), New Yorker Eytan Mirsky has emerged with a sucker punch of 14 simple, peppy pop nuggets on his debut LP Get Ready for Eytan.
Eytan is well aware of his own vulnerabilities and sometimes wears his heart on his sleeve like a shiny new cuff link. One can't help being sympathetic when he sings about the various trappings of the opposite sex on "All the Guys You've Loved Before",
and "Vulture of Love" where he likens his quest for love to that of a carrion-seeking vulture. Particularly amusing and instantly likable is the fast paced surf-rocker "Allergic to Fun", where Eytan frankly extols his loathing of popular activities.
While the music on "Get Ready..." is sometimes less inspired than his direct and heartfelt lyrical approach, it is nonetheless melodically enticing and catchy. Drawing heavy inspiration from 70's pop with a subtle surf rock vibe; the 14 songs on "Get Ready..." rattle off in machine gun fashion like a fast ride to the beach with Jan and Dean and Rockpile-era Nick Lowe.
There are two bonus tracks from earlier recordings that offer a more rocked-out, lo-fi punch but his proven approach is still evident. Eytan Mirsky is anxious to bring you into his quirky, modest and brutally honest world of pop. Get ready...
DOUBLE NAUGHT SPIES - The Shoephone Conspiracy ****
That well-defined microcosm that is the world of independent pop music could use more bands like Double Naught Spies. The LA-based foursome have mastered the beauty of the pop hook without being afraid to rock out. Landing somewhere between Redd Kross and Cheap Trick with a heavy Beatles/70's rock vibe thrown in for good measure, Shoephone Conspiracy, the band's debut full-length release, explodes with furious guitar abandon, well-crafted song structures and warm gliding vocal harmonies. Double Naught Spies ARE power pop!
Shoephone's most notable tracks include the stellar "Fortune Teller", a perfect power pop anthem full of aggressive guitar hooks and an insanely catchy refrain; the driving album opener "Automatic", whose amusing lyrics analogize a souring relationship to spy movie characters; and "Mirage", a lively rocker full of frenetic energy and quirky chord changes. Two of the album's more delicate numbers ("Sonny & Cher" and the shimmering "Strawberry Afternoon") have appeared on the recent International Pop Overthrow CD compilations. With an assortment of other musical campaigns including appearances on various TV and film soundtracks, other pop music compilations, and burgeoning radio airplay, The 00 Spies are succeeding in making their mark on the pop music world.
THE ANDERSONS! - Separated at Birth ***
Los Angeles' renouned popsters The Andersons have returned with a new full-length release of catchy, well-crafted, uncomplicated guitar pop. Bassist Derrick Anderson's strong, sharp-edged vocals bring a tight, distinct quality not unlike Elvis Costello or John Faye (The Caulfields). Rounding out the band's guitar duties are LA pop veterans Robbie Rist and Bill "Anderson" who have both played with a number of other local pop concoctions. Although he doesn't seem to be shown as a regular member of the band, the album also features the tight drum work of Brian Bawinkel.
The music on "Separated at Birth" is a happy medium of the pop spectrum; clean enough to sparkle and not offend your parents but aggressive enough to rough the edges a bit. Notable tracks include the hypnotic " In This World", the intently kinetic and lyrically sharp "Defensive" and "From the Get Go", an up-tempo power popper with an insanely catchy refrain and well-placed guitar lines and vocal harmonies. The Andersons fit nicely into the genre of talented LA pop acts (Chewy Marble, Twenty Cent Crush, et al) who, with the aid of recent pop festivals and lots of local press, have helped put independent pop music on the radar screen.
DELPHONIC SOUNDS TODAY! - Del-Fi Records ****
After a 25 year-plus hiatus the legendary Los Angeles label Del-Fi Records has slowly been resurfacing with a slew of new releases and classic re-issues from its rich catalog of artists. During its heyday in the late 50's to mid 60's, Del Fi was known as the "anything goes" label and its fervent, open door policy on eclectic, burgeoning artists brought us the likes of Frank Zappa, Ritchie Valens, The Bobby Fuller Four and Barry White among others.
Del Fi's latest release, Delphonic Sounds Today! captures the fresh (and sometimes experimental) spirit of the label's most prominent singles of its day as interpreted by a slew of new pop bands and artists. Some of the finer tracks include the beautifully melodic Beauchamins classic My Lovin' Baby performed by Single Bullet Theory, the droning psychedelic treatment to I Fought the Law by the infamous Brain Jonestown Massacre and the delicately tuneful Things Will Work Out Fine (Beauregard Ajax) by Cloud Eleven (formerly Jiffipop). Nearly all artists/bands on this compilation do a fine job of capturing the integrity and vintage spirit of the original artists' sound: shimmering, reverb-drenched instrumentation and lush vocal arrangements. In addition to pop and surf classics of its day, Del-Fi was also notorious for spreading plenty of romantic cheese through song. The Mello Cads' cover of An Afternoon Affair by Verrill Keene and the Wondermints' orchestral interpretation of Eden Ahbez's Tropical Moon prove that the luscious, ultra-60's lounge shtick can be recreated with the finest of ease.
While many of the original tracks in Del-Fi's catalog may have proved to be "over the top" even for their day it's important
to have this collection brought back to life by the compilation's contributing bands and artists...and to prove to the world that diversity and an unrelenting thirst for eclectic talent can survive on a record label.
TRINKET - Self-Titled ***
Atlanta's Trinket has most of what it takes to be a major label recipe for success: a clean sounding, polished album; high-collared pastel shirts; close-cropped hair and sideburns; and a soulful, lanky lead singer to make the female alterna-shlock constituency swoon. What they don't have is an annoyingly catchy single that could easily be overplayed on commercial radio, but rather a fine batch of well-crafted pop and power pop songs that happen to have a good commercial rock sound. The album kicks off with a handful of driving power pop songs of which "Unbehaved", the album's opener, is the most memorable. Carefully punctuated e-bow and synthesizer lines give many tracks a subtle 80's/New Wave sound (think Sponge), but the full, crunchy guitars are the predominant theme which keeps Trinket firmly planted in the 90's. The pace slows down a bit toward the album's end with the acoustic guitar driven "A Million Years" and lilting, mid-tempo hip-swayers like "Burgundy Shine" and "Haunt Pallenberg" (think Oasis). While Trinket is not out to change the face of rock n' roll, they may be the first ray in a glimmer of hope this year (as a major label debut) to de-throne the Harvey Danger's of commercial rock for awhile. Rock on!
COCKEYED GHOST - The Scapegoat Factory ****
'I Hate Rock n' Roll', the leadoff track from The Scapegoat Factory, Cockeyed Ghost's third full-length release on NY's Big Deal records sets the stage for an emotional ride that takes lyrical twists and turns through dashed hopes, cynicism and sometimes downright angst. The pessimistic overtone of this new album undoubtedly reflects the band's tumultuous recent history which, among other difficulties, found the group virtually disbanded early in 1998. Nevertheless, the band has found its creative footing once again in 1999, thanks in large part to the songwriting force of chief Ghost Adam Marsland.
Those familiar with more pure pop leanings of CG's earlier releases will be surprised to find more of a raw, punk-tinged sound on the band's latest offering. Don't be lead astray, however, musical influences on Scapegoat Factory still run the pop spectrum from the super-fuzzed Weezer-esque 'I Wish I Was a Girl' to the ultra-poppy, piano driven 'Fates Cry Foul' and 'Something to Prove'. Subtle, effective keyboard lines also add interesting musical texture to the overall guitar-driven formula. Homage to the Beach Boys can be found in ample doses throughout Scapegoat Factory, mostly in the form of great falsetto harmonies that provide a memorable backdrop to the album's more pop numbers, and in the album's final track 'Coda for Carl', an aptly-titled surf guitar requiem for Beach Boy Carl Wilson.
While nearly every song on Scapegoat Factory offers an array musical textures and a rather unique approach to typical pop songwriting, the sparse sounds of the album's mellower tracks, such as the atonal, jazzy 'Falling Down the Hill' and the stripped, acoustic guitar laced 'Wonderland', tend to be forgotten in the overall mix; certainly not for a lack of good songcrafting, but perhaps due to a lack of richness, depth and texture that are given to the album's more upbeat tracks.
WALTER CLEVENGER & THE DAIRY KINGS - Love Songs to Myself *** 1/2
'Love Songs to Myself', the latest release from renouned Southern Californian popster Walter Clevenger is sure to be one of the more notable pop releases of 1999. Packed to the gills with lush, solid production and tight musicianship, 'Love Songs..' is a no-frills package of polished, uncomplicated guitar pop with a definitive country/folk rock vibe. (I have an alarming aversion to the word "twang" which seems to creep up in every description of Walter's work, so I've relegated it to this overly verbose footnote). The songs flow smoothly from start to finish with subtle variations in tempo and instrumentation and the main foundation being in short, concise song structures and catchy sing-along choruses. As the title suggests, the lyrical focus is on basic, heartfelt love and relationships; a perfect match for the album's sweetly melodic overtones.
The album's most notable track (and selected Single) is the beautifully melodic, acoustic guitar-driven 'Love in your Eyes' which draws subtle inspiration from Travelling Wilbury's-era Jeff Lynne/George Harrison. Sounding not too dissimilar to vocalist Pat De Nizio, Mr. C has also captured some uncanny similarity to the Smithereens. Walter and his band, the Dairy Kings, are embarking on an extensive West Coast tour this Spring in support of this new release; be sure to catch them at a venue near you!
STAR COLLECTOR - Songs for the Whole Family ***
For years I've struggled with the perfect definition of "pop" music, but as with any art from sometimes the best definitions come by example. Enter: Star Collector. Songs for the Whole Family seems to be the perfect embodiment of pop music: a solid foundation of rich, jangly guitars and melodic bass lines, mostly upbeat drum tempos and warm melodic vocals layered with ample harmonies. All four members of the band are equally adept with their sharp pop acumen as they share vocal and songwriting duties; the most prominent is guitarist Cord W. who's rich Tommy Keene-ish vocals carry the bulk of the album's tracks. Drummer Dusty Edinger's songs bring somewhat of a fluid, soulful edge to Star Collector's sound, but it's his bouncy, straight-ahead pop gem "7 Sermons" that is perhaps the album's most stellar track. Guitarist Joe Giddings' aptly placed song "#1",
a tongue and cheek ode to impersonal band fan clubs, is the album's lead-off track and is a perfect slice of energized power pop. Songs for the Whole Family is a delight from start to finish and truly exemplifies why pop music is such an enjoyable art form.
Stay tuned for more great things to come from Star Collector.
VARNALINE - Sweet Life ** 1/2
Not knowing a single thing about a band can sometimes be a crutch of ignorance for an album review; however it can also be a useful tool for delivering a completely un-biased opinion of their music. Disclaimers aside, Sweet Life, the latest offering from New York state's Varnaline is a bit of an enigma. Straddling the line somewhere between country and folk, Sweet Life is a soft, lilting tapestry of stripped acoustic-guitar and piano driven music that draws obvious inspiration from the singer-songwriter school of thought (ie: Neil Young, Son Volt, Wilco). With the exception of "Underneath the Mountain", the album's sole electric tour de force, all tracks are framed by sleepy, slow tempos and stripped vocal and acoustic structures that beg to convey a more heartfelt appreciation for the songs' simplicities rather than a carefully orchestrated or richly textured musical offering. Noting a subtle appreciation for Big Star, the often strained, falsetto "Chilton-esque" stylings of vocalist/guitarist Anders Parker offer an effective compliment to the music's cold, blue backdrop. Sweet Life is an album that begs to be heard. For what is lacking in richness is made up for by the acquired taste of its honest simplicity. The judges are waiting...
SUPER DELUXE - Via Satellite ****
Via Satellite, the long-awaited second release from Seattle power-popsters Super Deluxe is one of the latest breaths of fresh air in a musical world saturated with the same old ska-punk-grunge retread. A perfect mix of the Posies and recent Redd Kross comes to mind when listening to Satellite, the band's follow-up to their awesome 95 debut Famous. There's no pretensions or pop gloss on this album, just pure, in-your-face power pop with soaring harmonies punctuated by singer Braden Blake's raspy lead vocals a la Jeff McDonald. Stand out tracks include opener "Your Pleasure's Mine" and current single "Farrah Fawcett", guaranteed to stick in your head like Aquanet to feathered hair. Super Deluxe have mastered the fine art of pure power pop by perfectly blending a full guitar assault with solid pop melodies and harmonies. Sadly, thanks to popular music's banal decline, Via Satellite will probably go down as one of the most critically overlooked albums of the year. A definite pick for one 97's best albums.
Jimmy Eat World - (self-titled)
Fu Manchu - California Crossing
The Mockers - Living in the Holland Tunnel
Every Single Saturday - Building
Chauncey - (self-titled)
Phamous Phaces - New Pop City
Minus 5/Young Fresh Fellows - Let the War Against Music Begin
The Rumors - Mind The Gap
The Gravel Pit - Mass Ave. Freeze Out
The Pills - Kick In
Rubberside Down - This Side Up
Gallygows - Give It To Her
Asa Cruz - Pop Star
Jack & The Beanstalk - Cowboys in Sweden
Jason Falkner - Necessity: The 4-Track Years
The Living End - Roll On
Chris & Tad - Hand Me That Door
Sanford Arms - Too Loud For The Snowman
Bikeride - Summer Winners/Summer Losers
Brad Brooks - Sanctified Into Astroglide
Frisbie - The Subversive Sounds of Love
Superdrag - In the Valley of Dying Stars
Twin Princess - The Complete Recordings
True Love - (Self-Titled)
I Love SparkleJets U.K.- A Tribute to SparkleJets U.K.
Time Bomb Symphony - Rules Get Broken
Silver Scooter - Goodbye (E.P.)
Absinthe Blind - Music For Security
Tahiti 80 - Puzzle
Mike Randle - My Music Loves You Even If I Don't
The Posies - In Case You Didn't Feel Like Plugging In
The Chevelles - Sun Bleached
Blue Sky Roadster - Roller Coaster Goodbye
Fine China - When The World Sings
Smart Brown Handbag - Just Like Driving Backwards
The Figgs - For EP Fans Only
Starflyer 59 - Everybody Makes Mistakes
The Happy Stars - Punk n' Soul: The Ballad of the Electric Sheep
Anton Barbeau - A Splendid Tray
Rich Creamy Paint - (Self-Titled)
Beat Party! - Worldwide Power Pop Compilation
Bis - Social Dancing
Eytan Mirsky - Get Ready for Eytan
Double Naught Spies - The Shoephone Conspiracy
The Andersons! - Separated at Birth
Delphonic Sounds Today (Tribute Compilation)
Trinket - (self titled)
Cockeyed Ghost - The Scapegoat Factory
Walter Clevenger & The Dairy Kings - Love Songs to Myself
Star Collector - Songs for the Whole Family
Varnaline - Sweet Life
Super Deluxe - Via Satellite
Chopper One - Now Playing
Gladhands - La Di Da
Click HERE for More Album Reviews!
Sugarbomb - Bully****
Power Pop's great white hope of entering the mainstream were quickly shattered as this Dallas, TX band was recently dropped from RCA almost as quickly as they were signed. It's unfortunate too; the merits of this album speak for themselves: stellar production, awesome arrangements that recall pop smarts of Queen and Jellyfish, and hooks galore. This is power pop as it should be!
Virginia's The Mockers have garnered acclaim from
nearly every corner of the indie pop world with the
release of their latest album "Living in the Holland
Tunnel". Not only does it have the indie pop cred of
production work from Mitch Easter and Brad Jones, it
exemplifies everything that is great about quality power
pop: instantly catchy hooks; sharp melodies; lush,
elaborate harmonies; and intricate, thoughtful arrange-
ments that evoke every intelligent pop auter from the
Beatles to Jellyfish.
Straight-up, no frills, balls-to-the-wall ROCK n' fucking ROLL!! No teen angst, no rap/nu metal overtones, no over-indulgent musical arrangements, no goddamn double kick-drum BS; just pure, driving ROCK w/ lots of manic drumming, fat-ass beefy power chords and songs about summer, chicks, and fast cars.
This is one of the new releases featured at NotLame.
Excellent, smart, well-crafted, well-produced pop that
is a step beyond cookie-cutter 3-chord pop. Very
Dada-esque. These guys are from LA and I hope they
make an appearance at IPO this year!
Posied for success with a new major label release on Dreamworks,
Jimmy Eat World are no longer that acclaimed "indie" band
from Phoenix. While "Bleed American" is a polished effort
with commercial rock viability written all over it (especially
with radio ready songs like "The Middle" "Bleed American"
and "If You Don't. Don't"), Jimmy Eat World still have the pop
smarts to rise above the mediocrity of alternative rock. Sharp,
poetic lyrics, catchy song structures, and an honest, heartfelt
approach to modern rock that is equal parts emo and power pop.
In an approach not too dissimilar to the late great band Jawbreaker,
Jimmy Eat World succeeds at being aggressive and forthright
yet vulnerable at the same time. An intriguing record.
Boston has always been fertile ground for some of this country's finest pop and alternative music. The latest young upstarts to rise from the culturally rich soils of Beantown are Chauncey, a 5-piece outfit of seasoned Boston-area musicians who formed a little over a year ago and have already finished an amazing debut album due to hit stores in early 2002. The self-titled debut is a smooth and sophisticated, Britpop-flavored gem that melds Bends-era Radiohead with the more accessible stylings of Travis and Coldplay. John Paul Powell's dry, sincere vocals have a folky quality reminiscent of Freedy Johnston and add an interesting dynamic to the full-bodied sound of the band. The band also knows the importance of a good musical hook, and on songs such as "You", "Release the Sun", and "Weather" strong, melodically-layered refrains drive home the musical message. What sets Chauncey apart from the humdrum masses is their ability to weave creative and interesting musical textures out of mid-tempo, and very radio-ready pop that could otherwise fall into complete mediocrity.
Boston's hardest working band is back with a brand-spankin' new album filled with the familiar, super-charged power pop we know and love. For the most part, the Pills play loud, fast, sweaty retro pop with alot of early punk attitude, but where they really go down easy is when they ditch the cookie-cutter power pop formula for some more inventive musical territory. Tracks such as "Big Muff" and "Dictionary" are lavish, mid-tempo gems with sharp-tongued lyrical prowace that recalls John Faye (The Caulfields/John Faye Power Trip), among others. Perhaps the album's most stellar moment is the understated Ghost Track "The Angel's Song", a lilting acoustic ballad filled with complex chord changes and an inventive melody that shows the band has an undeniable fondness for Rubber Soul-era Beatles. Of course, if it's straight-up, no frills power pop you desire, "Musclecar" is probably the album's most stand-out track with its killer, rolling bass line and hook-filled chorus that draws some subtle inspiration from the Monkees' "Pleasant Valley Sunday". The Pills are a band that lives to play, and undoubtedly loves to play live; and their sweaty, energized live show will surely take their new album to a new level.
BINK! Records
Any music fan worth their salt knows that the paramount element of any good music is the SONG. In a world of watered-down and often forgettable pop music, Eugene Oregon's Phamous Phaces have an uncanny knack to deliver a familiar, yet fresh approach to pop...with a focus on solid, memorable songs. In addition to a sharp pop songwriting sensibility, the foursome's 3rd full-length album also offers crisp production, and a clean, well-seasoned playing style that recalls such classic stalwarts as the Smithereens and Nick Lowe. Getting back to the songs, one can hear a range of influence from the Beatles to Bob Mould; in fact, singer Jesse Ruggles' rich and raspy tenor shares a unique similarity to Mr. Husker. Stand out tracks include the ultra hooky "Love Me Alone", "And She Goes", the radio-friendly/single ready "What's Wrong" and the ultra-melodic meets psychedelic "Standing on the Stage". The album also features a tight rendition of Badfinger's via Paul McCartney's "Come and Get It", a track which further reinforces the band's homage to their pop music roots. With a recently inked distribution deal in Denmark, the Phaces have signed on to take over Europe. America is next...get ready!
Hailing from Southern Indiana, The Rumors play simple, straight-forward, yet heartfelt acoustic rock a la Toad the Wet Sprocket, Wallflowers, Duncan Shiek, etc. Guitarist, singer, and chief songwriter Rob Marlin's rich, unwavering tenor is the highlight of the group and showcases the melodic leanings of what could otherwise be rather simple, and forgettable pop songs. There's an engaging quality to the earthly honesty of the Rumors; an up-and-coming band worth checking out and certainly a better Indiana export than John Mellencamp.
New World Productions
Rubberside Down is fresh new four-piece band ready to take on the world with their self-released debut "This Side Up". Blending a raw, rootsy sound reminiscent of the Good Goo Dolls and the Replacements, the San Francisco foursome busts out nine cohesive pop rock gems chock full of anthemic chrouses, open chord guitar structures, and a driving rhythm section that relishes the overall pop sound with a good dose of rock energy. Singer Kevin Casey's vocals have a distinct Westerberg drawl with a hint of Tom Waits' poetic flair thrown in for good measure. There are no gimmicks here, just pure heart-felt melodic rock and a simple, yet-engaging approach to the tried-and-true rock formula without the rock star posturing.
Q Divison Records
The Gravel Pit is a seasoned Boston (by-way-of-Connecticut) foursome who play straight-up, old school rock, with a smart pop sensibility and a tinge of 60's mod attitude. Mass Ave Freeze-Out, the band's fourth full-length release on Boston's Q Division Records, is driven by singer/songwriter Jed Parish's whirling Farfisa Organ and stunning vocals that range from pure gravel (pun intended) to smooth, melodic drawl. The hooks are plentiful and Parish's direct, forthright approach to songwriting is immediately engaging. The production is top-notch and the arrangements are unique and calculated; all poignant signs of a well-versed band that knows how to make a good record. Catchy hooks help bring song's like "Baby Gap", "Unit Three", and "Why" to the forefront. Similar to bands like Sloan, Thrush Hermit and Urge Overkill, The Gravel Pit have successfully melded the basic pop formula with no-frills, in-your-face ROCK; a refreshing change from the world of often watered-down, basic pop music. Taking a cue from a town that's always relished in its great music scene, these Bostonians are ready to make their mark!
Houston Party/Rainbow Quartz Records
Hollywood Records
Hear Diagonally Records
Arena Rock Recordings
How can you go wrong with an all-star line-up that includes Peter
Buck (REM), Dennis Diken (Smithereens), Robyn Hitchcock, Ken
Stringfellow and Jon Auer (The Posies). The host of guest musicians
in the Minus 5 reads like a "Who's Who" of the Seattle music scene.
Driven by the twisted, melodic pop genius of Scott McCaughey, the
M5 is an engaging, yet complex pop band that evokes the pop smarts
of contemporaries such as Jellyfish, XTC, Zumpano and Apples in
Stereo while paying equal homage to pop godfathers such as the
Beatles and Beach Boys. A stellar album!
Scott McCaughey's other odd music bedfellow and a staple of the
Seattle scene since the grunge years, YFF mixes some of the pop
sophistication of the Minus 5 with a little more humor and punk
'tude. The added guitar assault from veteran Kurt Bloch (Fastbacks)
also gives YFF an edge in the RAWK department. This is straight-
up power pop with the exception of Track 7 (thrashy, noisy punk)
and Track 6, a 1:50 surf-rock homage featuring Chris Ballew
(Presidents of the USA). DIG IT...
Parasol Distribution
The first time I heard the Australian band Jack & The Beanstalk was back in 1998 when they appeared on Yesterday Girl Records' "Pop Under The Surface" compilation. The track, called "I Don't Know", was an insanely catchy, rocking power pop gem that stood out among that compilation's 20+ tracks. Still forging their roots in old-school power pop tradition, J&TB have returned with "Cowboys in Sweden", a new release on Parasol Records that blends jangly melodic guitar lines, bouncy mid-tempo rhythms and sweet, yet simple song structures that recall pop flag-bearers The Raspberries, Velvet Crush and Teenage Fanclub. Simplicity may have gotten the better of them on such songs as "Raspberry Jam" and "Baby", where on the latter singer/guitarist Joe Algeri pens a total of 4 lyrics consisting mostly of "baby, yeah". But obviously the band has found humor in these "non-lyrics" by bravely including them in the CD liner notes! The end result of "Cowboys..." is album rich in basic, derivative pop hooks but that lacks lack a lot creative energy to give the listener something to really sink their ears into.
spinART Records
Pattern 25 Records
Ben London, former frontman for indie rock upstarts Alcohol Funnycar, has emerged with a new project of sleepy, emo-driven pop that serves as an ideal soundtrack for the band's gloomy home base of Seattle. Like winter in the Pacific Northwest, the soft, understated tapestry that makes up Too Loud For The Snowman takes some getting used to, but beneath the cold, rainy song structures are some unique, melodic textures and heartfelt lyrics that bring the songs to a very personal level. Fans of early Wilco and Mercury Rev will relish in the soft, yet forthright honesty of London's singer/songwriter approach and fans of emotionally-inspired indie pop will find its unconventional take on song structures the next best thing to the new Built to Spill album.
Reprise Records
Parasol/Hidden Agenda Recordings
Cropduster Records
Crab Apple Records
Chequered Records
Orange Recordings
Peek-A-Boo Records
Hammerhead Records (Parasol)
Rich Creamy Paint Website
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