BOLDED titles indicate personal picks - Check 'em out!
TSAR - King of the School
JASON FALKNER - Can You Still Feel?
QUEENS OF THE STONE AGE - R
SUPERGRASS – s/t
THE DANDY WARHOLS – Tales From Slabtown
THE DROWNERS - Is There Something On Your Mind?
XTC – Wasp Star: Apple Venus Vol. 2
International Pop Overthrow - Volume 2
Fountains of Wayne - Utopia Parkway
Hydrofoil - (Self-Titled)
Dragster Barbie - (Self-Titled)
The Katies - (Self-Titled)
International Pop Overthrow - Volume 1
Thrush Hermit - Clayton Park
Gigolo Aunts - Minor Chords and Major Themes
Shuggie - (Self-Titled)
The Cinematics - Meringue
Walter Clevenger & The Dairy Kings - Love Songs to Myself
Ultimate Fakebook - This Will Be Laughing Week
Poptopia - Power Pop Classics of the 70's
Poptopia - Power Pop Classics of the 80's
Poptopia - Power Pop Classics of the 90's
Superdrag - Head Trip in Every Key
Juliana Hatfield - Bed
THE .357s – Hour After Dawn
RABBY FEEBER – Disposable Zeros of Rock
THE ALBUM LEAF - An Orchestral Rise to Fall
ELLIOTT - False Cathedrals
THE MINKLUNGS - The Better Button
THE LIMES - Turn Your Lights Off
SUNDAY'S BEST
PARASOL'S SWEET SIXTEEN II (Comp.)
STEADMAN - Loser Friendly
TEENAGE FRAMES - Kingsize Sessions
THE DEARS - End of a Hollywood Bedtime Story
RECTANGLE - Bunker
DIFFUSER - Injury Loves Melody
THE GRINDERS - Somewhere Between Ape & Man
POP STAR KIDS - The Rise and Fall Of
FURTHER SEEMS FOREVER - The Moon Is Down
HALO EFFECT - Waves
SPACEHOG - The Hogyssey
MOSHI MOSHI – Pop International Style
GLUECIFER - Get The Horn
LAVA BABY – In The Right Place
ANNE SUMMERS – Very Classy
THE SWINGIN’ NECKBREAKERS - The Return of Rock
THE SPINANES – The Imp Years
ACCEPTANCE – Lost For Words
A FISTFULL OF ROCK n’ ROLL
THE FORTY FIVES – Get It Together
Lael Lerory & The Loved - Diary
The Modifiers - Show & Tell
Shapeshifter - Opiate Sea
Nevada Bachelors - Carrots & So On
The Dusters - Simplicity
The Revelers - Day In Day Out
The Brodys - Goody Goody
They Might Be Giants - Severe Tire Damage
The Byrds - ...In The Beginning
Green Pajamas - Indian Winter
The Pixies - Live at the BBC
The Red Telephone - (Self-Titled)
Gomez - Bring It On
GT-350 - (Self-Titled)
Engine 88 - Flies n' Death n' Stuff
Fiver - Eventually Something Cool Will Happen
Lagwagon - Let's Talk About Feelings
The 360's - Strawberry Stone
Sparklehorse - Good Morning Spider
Manual Scan - All Night Stand (Best Of...)
Pezz - Warmth & Sincerity
Click HERE for More Album Reviews!
THE MINKLUNGS - The Better Button
THE KATIES - (Self Titled)
INTERNATIONAL POP OVERTHOW (CD Compilation)
THRUSH HERMIT - Clayton Park
GIGOLO AUNTS - Minor Chords & Major Themes
INTERNATIONAL POP OVERTHROW - Vol. 2
THE 360'S - Strawberry Stone
THE CINEMATICS - Meringue
HYDROFOIL - s/t
DRAGSTER BARBIE - s/t
LAEL LEROY & THE LOVED - Diary
THE MODIFIERS - Show & Tell
MANUAL SCAN - All Night Stand (Best Of...)
SHUGGIE - (Self-Titled)
THE REVELERS - Day In Day Out
WALTER CLEVENGER & THE DAIRY KINGS
ULTIMATE FAKEBOOK - This Will Be Laughing Week
THE BRODYS - Goody Goody
FOUNTAINS OF WAYNE - Utopia Parkway
SUPERDRAG - Head Trip in Every Key
JULIANA HATFIELD - Bed
THEY MIGHT BE GIANTS - Severe Tire Damage
CRACKER - Gentleman's Blues
POWER POP CLASSICS OF THE 70's (Compilation)
POWER POP CLASSICS OF THE 80's (Compilation)
POWER POP CLASSICS OF THE 90's (Compilation)
NEVADA BACHELORS - Carrots & So On
THE DUSTERS - Simplicity
THE BYRDS - ...In The Beginning
GREEN PAJAMAS - Indian Winter
PIXIES - Live at the BBC
THE RED TELEPHONE - (Self-Titled)
GOMEZ - Bring It On
GT350 - (Self-Titled)
ENGINE 88 - Flies n' Death n' Stuff
FIVER - Eventually Something Cool Will Happen
LAGWAGON - Let's Talk About Feelings
SPARKLEHORSE - Good Morning Spider
PEZZ - Warmth & Sincerity
SHAPESHIFTER - Opiate Sea
MOSHI MOSHI – Pop International Style
GLUECIFER - Get The Horn
LAVA BABY – In The Right Place
ANNE SUMMERS – Very Classy
THE SWINGIN’ NECKBREAKERS - The Return of Rock
SUPERGRASS – s/t
THE SPINANES – The Imp Years
ACCEPTANCE – Lost For Words
A FISTFULL OF ROCK n’ ROLL
THE FORTY FIVES – Get It Together
THE DANDY WARHOLS – Tales From Slabtown
THE DROWNERS - Is There Something On Your Mind?
THE .357s – Hour After Dawn
RABBY FEEBER – Disposable Zeros of Rock
XTC – Wasp Star: Apple Venus Vol. 2
QUEENS OF THE STONE AGE - R
THE ALBUM LEAF - An Orchestral Rise to Fall
ELLIOTT - False Cathedrals
THE LIMES - Turn Your Lights Off
SUNDAY'S BEST
PARASOL'S SWEET SIXTEEN II (Comp.)
STEADMAN - Loser Friendly
TEENAGE FRAMES - Kingsize Sessions
THE DEARS - End of a Hollywood Bedtime Story
RECTANGLE - Bunker
DIFFUSER - Injury Loves Melody
THE GRINDERS - Somewhere Between Ape & Man
POP STAR KIDS - The Rise and Fall Of
FURTHER SEEMS FOREVER - The Moon Is Down
HALO EFFECT - Waves
TSAR - King of the School
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Creative, quirky, and downright dissonant lo-fi indie pop
to make the indier-than-thou and artsty-fartsy set swoon!
Once you get past some of the musical inaccessibility of
this disc it can be rather engaging and a small handful of
songs are almost catchy! The Minklungs play like a lost
Flaming Lips or early Pixies record with ample doses of
sonic experimentation...or, as their bio suggests, a "punk
rock Partridge Family". ROCK ON!
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This band's bio describes their sound as "The Beatles jamming on
stage with Led Zeppelin and Nirvana" but Mr. Power Pop thinks
it's more like Cheap Trick in a horrendous bus crash with Dishwalla
and Better Than Ezra. Stupid comparisons aside, this CD rocks
good and hard and offers a glimmer of hope that Rock & Roll may
not be dead after all. This is straight up, no frills, explosive
power pop with all sorts of accessible elements in place: up front
melodies, nice textured guitar, solid back beat and nice vocal
harmonies. If this is too "commercial sounding" for you, better
fall back on the indie/emo schtick. LONG LIVE ROCK!
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This is the compilation disc from the debut pop festi-
val of the same name held in LA in August 98 and
features an array of talented pop bands. The focus here
is on upbeat, melodic, hook-filled pop and power pop.
Influences run the pop spectrum from the Beatles,
Beach Boys and Big Star to more recent pop icons
Jellyfish and the Posies, among others. Although the
suggested tracks tend to embrace a more solid, mem-
orable musical approach, there is not a downer in the
whole bunch. PLAY THIS CD!
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Although there are no pictures inside to prove it,
Thrush Hermit have grown out their hair and dusted
off their Les Pauls for this latest release. No longer
part of Electra's major label roster of alternative shlock,
this Canadian foursome has delved into the roots of
classic rock with beefy power chord riffs and rock
posturing that recall the sounds of Thin Lizzy/BTO/
KISS/Exile-era Stones and Led Zeppelin among others.
TH have not lost their pop edge, however; there are
still memorable musical hooks and ample harmonies
to be found despite the obvious homage to classic rock.
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Despite recent disputes with their record label, the Gigolo
Aunts remain one of the most stable and long-lived pop
bands in recent history. This new album (their first full-
length since '94) will not disappoint the connoisseur of
hook-filled, melodically-driven rock. 'C'mon C'Mon',
the album's kick-off anthem is pure, unadulterated power
pop complete with driving guitar and a sing-along chorus
that recalls the hard-edged pop of the Posies and Redd
Kross. There is plenty of tempo and sonic variety, with
slower, more stripped-down songs showing a more
introspective and personal side of the band.
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This is the compilation disc from the festival of the same name
held in LA in early August and features an array of talented pop
bands and artists. The focus here is on upbeat, melodic, catchy/
hook-filled pop and power pop. Influences run the pop spectrum
from the Beatles, Beach Boys and Big Star to more recent pop
icons such as Jellyfish, The Posies, Matthew Sweet and Redd
Kross among others. Many tracks (Disc 1: 2, 10, 20 - Disc 2: 5,
12, 15) have a distinct, ultra 60's lo-fi retro vibe. While the sug-
gested tracks tend to embrace a more solid, memorable musical
approach, there is not a downer in the whole bunch.
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Glammy, psychadelic, acid rock with a slight 70's flair and
subtle pop elements, the 360's serve it up good and loud.
They are definitely out to blow your mind with walls of
trippy, textured guitar and a droning hypnotic, rhythym
section. Track 1 has a slight Black Crowes/Southern rock
vibe while Track 7 (at 10+ minutes) can be an excruciating
exercise in patience or a complete mind-altering experience
(depending on what controlled substance you may be on)
Tune in, turn on, drop out!
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Although they are from Seattle, city of rain, doom and
gloom, The Cinematics offer bright, polished, bouncy
pop music that exudes more sunshine than a clear Spring
day. The production is clean and polished; the basic
guitar formula is sprinkled with quirky, atmospheric key-
boards and other interesting sounds that evoke a subtle
New Wave vibe (Track 3...think Berlin). Track 1 is a
peppy instrumental that might make good theme music
for your show. Spread some sunshine...PLAY THIS CD!
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Well-produced, polished (ie: "commercial sounding")
pop/alternative from Toronto, Canada. The only problem
is Hydrofoil is NOT a commercial band (ie: "safe for
college radio"). Many songs have a mid-tempo, folky
Toad the Wet Sprocket kind of vibe while other songs
tend to rock out in more appropriate places. Track 6
is a current single and highly recommended - great
melodic bass line!
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In an indie-music niche inundated with Sleater-Kinney
wannabes and artists unable to create decent music while
maintaining a little lyrical creativity LA's Dragster Barbie
prove that it's not that hard to meld good catchy pop music
with funny, thought-provoking, gut-jabbing lyrics. Fans
of the Breeders, Veruca Salt, Liz Phair school of pop/rock
will dig DB. Sure, it's nothing new or enlightening; but
they do it with such conviction and honesty it almost
seems legit! VIVA ROCK!
------------------------------------------------------------------------
This Portland-based quintet plays clean, intricate pop music
with a slight Brit-pop flair. More upbeat moments recall the
Dandy Warhols or World Party, while the mellower tunes
have a slight commercial folk-rock vibe a la Toad the Wet
Sprocket or Counting Crows. There is plenty of instrument
variation (including piano and horns) and tempo changes
to keep the mix interesting.
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Straight-up, no frills, rock and roll from Boston! These guys
don't sound quite as hammered as the Replacements did on
the making of "Pleased to Meet Me", but I'll be damned if
the music doesn't smack left and right of a HEAVY 'Mats'
influence. There are also shades of other Beantown natives
Buffalo Tom. They don't deny their hardcore roots either
(ie: track #9). For those about to rock...
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Manual Scan were a mod revival sensation in San Diego
in the early 80's. This 20+ song CD embodies the core of
their career from 1980 - 1992. The sound is unmistakable
garage/mod inspired power pop with a distinctive and
energetic 80's flair. Think of the Jam and the Knack with
the rough edges of the Kinks and the early Who thrown
into the mix. WATCH THE CLOCK.....most songs time
in around 2:00 minutes or less!
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Pure, unadulterated, good times, kick-ass ROCK n'
ROLL! Shuggie plays Exile-era Stones to a perfect
tee...with accolades to the raw, drunken angst of early
Replacements and a touch of 90's production sensi-
bility (ie: the new Thrush Hermit record). In an in-
creasingly vapid world of new music, it's refreshing
to know that some bands out there still know how
to rock. PLAY THIS CD!
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Formed almost 10 years ago, The Revelers are still
going strong and are poised to carry the shimmy n'
shake banner of Mod/R&B into the new millenn-
ium. Playing heavily on 60's Mod influences such
as the Kinks, the Move and the early-Who, the
Revelers' sound also nods to later influences such
as the Jam, the Lyres and Supergrass.
- Love Songs to Myself
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'Love Songs to Myself', the latest release from renouned
SoCal popster Walter Clevenger is 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. As
the title suggests, the lyrical focus is on basic, heartfelt
love and relationships; a perfect match for the album's
sweetly melodic overtones.
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This Lawrence, Kansas-based power trio pumps out
crunchy, aggressive guitar rock with slight pop over-
tones in the vein of Weezer, Gigolo Aunts, Summer-
camp, the Caulfields, etc. Drawing heavily on their
corn fed, small town influences, there are ample
lyrical references to teen romance, high school and
garage bands. Not ground-breaking by any means,
but warmhearted and honest enough to "keep it real."
-----------------------------------------------------------------
This Davis, CA four-piece belts out punk and twang-
tinged power pop with ample doses of classic rock
guitar posturing and hometown reverie. While the CD
fails to completely capture the fun, raucous energy of
their live show it hints at the vices that provide inspi-
ration for the Brodys' sound: beer, classic rock, beer,
parties, pop culture, girls and did I mention.....Beer?
You get the picture. Down a Sixer and crank to 11.
-----------------------------------------------------------------
Fountains of Wayne suffer the curse of most major label
pop bands - their sound may seem too "commercial" for
college radio and not enough like Korn for MTV and
commercial radio. Nevertheless, they have garnered an
extremely loyal following among their ranks and have
crafted one of the finest, most melodically rich and
hook-filled releases so far this year. Nearly every track
will stick in your head and have you rocking along in
pure pop bliss.
-----------------------------------------------------------------
The long-awaited follow-up to their 1996 debut is
here!! The same tasty power pop concoction is alive
and kicking with more polished production and wider
variety of instrumentation including piano, strings
and even horns on some tracks. Don't be led astray
however, the basic guitar driven formula is the pre-
dominant theme here with Beatles/Stones/Cheap Trick
inspired melodies as the driving force behind the song
structures. A solid effort all the way around!
-----------------------------------------------------------------
This anticipated new release from former Blake Baby
and occasional Lemonhead bassist does not disappoint.
JH serves up a solid guitar-driven album that is more
upbeat than her most recent EP, yet less poppy and
more rock-oriented than previous albums. Her penchant
for introspective and personal lyrics with stand-out
catch phrases have not ebbed either. JH fits nicely with
the Liz Phair/Tracy Bonham school of female artists
who would rather rock out than whine over mid-tempo
folk-based Lillith schlock.
-----------------------------------------------------------------
Tracks 1-17 are fun collection of new and old TMBG
classics recorded live and semi-live at various locations
during their illustrious career. Tracks 18-24 are lo-fi
(ie: bootleg quality) live homages to their Planet of the
Apes fetish. The overall sound is strictly TMBG to the
core: quirky guitar/accordian based indie pop with
witty, sarcastic and intellectually coated lyrics loosely
referencing everything from politics (Ana Ng) to New
Wave (XTC vs. Adam Ant). Their more well-known
tunes are the best (5, 7, 8, 9, 12).
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Dave Lowery and company are back in the saddle
with a bevy of new folk/country/blues tinged rock
songs all neatly wrapped with Lowery's traditional
raspy drawl and eclectic, sarcasm-tinged lyrics.
Style-wise, this album can't quite find it's place, but
the host of great guest musicians such as Bob Rupe
(Silos), Benmont Tench (Tom Petty), Tommy
Stinson and others, make it a solid effort all the
way around. The more catchy, upbeat, straight-up
rockers are by far the best tracks.
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The first in a 3-series CD set of Power Pop classics from
Rhino Records. The mid to late 70's saw an underground
revival of melodically-driven rock first established in the
60's British Invasion. Sure... the lyrics are benign, simple
odes to unrequited love, but the music is so catchy you'll
want to crank the volume, roll down the windows and sing
along to every single one! The focus here is shimmering
guitars and lots of melody and harmony. Most on here are
now Masters of the power pop craft, including the Rasp-
berries, Big Star, Todd Rundgren, Cheap Trick, Nick
Lowe and the mighty Knack.
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The second in a 3-series CD set of
Power Pop classics from Rhino Records. The sorely
under-appreciated revival of melodically-driven pop
brought to life in the 70's was made more mainstream
in the 80's thanks to a clever New Wave twist and the
popularity of bands like the Plimsouls, Romantics and
the Bangles. But, it's the lesser known tracks on this
CD that really shine. As befitting the power pop genre,
all tracks are concise, catchy guitar-driven pop anthems
with lots of harmonies and sing-along choruses sure to
stick in your head like bubblegum!
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The last in a 3-series CD set of
Power Pop classics from Rhino Records. By the 90's,
power pop had become a definitive style that embraced
all the elements of classic 60's and 70's pop and lavished
them with more polished production and musical
textures. Masters of the craft on this compilation include
Matthew Sweet, the Posies, Jellyfish, Redd Kross and the
ever-elusive Velvet Crush. The focus here is still guitar-
based pop that ranges from intricate and orchestrated
(Jellyfish, Rembrandts, Wondermints) to thundering
power chords (Posies, Redd Kross, Gigolo Aunts). All
tracks are excellent and sure to stick in your head.
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Quirky and aggressive Brit-flavored power pop in the
tradition of Supergrass and the Jam and even shades
of Elvis Costello. The song structures are unique and
the clean, yet intricate and aggressive guitar lines show
the Bachelors have their chops! The slower songs are
kind of trying, Radiohead-inspired efforts. For the
Doc Martin crowd Track #9 is a double-timed punk/
pop ditty. Track #12 is an unlisted ghost track.
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Hi-energy punk-tinged noise pop from D.C. The
Dusters have a full-force guitar assault somewhat
reminiscent of Flop, the darker side of Sebadoh and
the pop leanings of Jawbreaker. The Dusters definitely
draw their inspiration from across the board, but the
end result is a solid, well-defined album full of un-
bridled rawk energy and just enough angst to make
it interesting and not contrived.
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Long before David Crosby discovered facial hair and
Gene Clark and Roger McGuinn discovered the rock
revolution of the late 60's, they were part of a unique
collaboration of L.A. folk musicians who were in-
spired by a new phenomenon from England called
the Beatles. This newly-compiled collection of early
recordings from godfathers of jangle-pop showcases
a burgeoning group defining themselves and drawing
heavy inspiration from the British Invasion and the
ashes of many early 60's folk heroes. Most tracks are
soft, lilting folk-pop ballads that pre-date their more
well-known, upbeat jangle pop sound.
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Late 60's inspired, tambourine-shakin' jangle pop
with a distinct lo-fi vibe and a sense of sweet frailty
reminiscent of the Flamin' Groovies or Alex
Chilton. This is a collection of singles and
miscellaneous recordings spanning almost an entire
decade. Some later tracks mature beyond the
stripped jangle-pop sound to a more thick,
guitar-heavy psychedelic sound.
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Well....what can I say? Just when you thought "Death
to the Pixies" had the coolest live compilation on the
planet, along comes the latest compilation of live
studio sessions from the legendary John Peel and BBC
producer Mark Goodier. You know the sound:
brooding, introspective, chaotic, never predictable.
This IS the Pixies! Two tracks are previously unreleased.
-----------------------------------------------------------------
Aggressive noise pop with a definite polished and
commercial feel that would slide easily into a Live
105-type format. Big production; loud, spacey
guitars in the tradition of Afghan Whigs. Track #1,
which is probably the most catchy, is a dead-ringer
for Fastball. Tracks 3&7 have interesting surf/thrash
intros that recall early Cramps.
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Stripped-down acoustic, blues/folk/rock with raspy/
rootsy vocals not terribly dissimilar to Eddie (Pearl
Jam) Vedder. Not a terribly engaging or enlightening
album, but spotted with interesting arrangements and
an inspired down-home feel. Some tracks edge into
grunged-out Beck territory and others lean danger-
ously close to Grateful Dead/hippy dance schlock.
-----------------------------------------------------------------
Late 60's/early 70's rock with a distinct lo-fi sound &
intentional blues-rock vibe. GT350 has completely
skipped the last 2 decades and gone straight for the
retro, big hair, bell-bottom bandwagon. Most tracks
have shades of Sabbath, Hendrix, Cream and hints of
early Zeppelin. Want straight-up no-frills rock?
This is it!
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After a brief stint on NY's Caroline Records, this
San Francisco foursome is back in true DIY fashion
with this latest self-release. The band has strayed a bit
from their original punk/pop roots and has moved into
a more noise pop/indie realm. The songs are solid
from start to finish and feature ample slabs of beefy
guitar, an aggressive rhythm section and over-the-top
vocals on some tracks. Lighter moments recall Buffalo
Tom among others.
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Quirky, spacey and slightly Brit-flavored pop from
semi-locals (Modesto). Although sluggish tempo is
the predominant theme on this album, each track is
lush with interesting musical textures and solid,
unique musicianship. Sounding like no one in parti-
cular, many tracks recall Radiohead and Blur in their
basic stylings as well as whispy, mellower moments
of B. Corgan/Pumpkins and even the Pixies. There is
also some gender swapping on lead vocal duties
which makes the mix even more interesting.
-----------------------------------------------------------------
Graduating from the Blink 182/NOFX school of
punk-pop, Lagwagon are back once again with an
album chock full of aggressive guitars and breakneck
tempo changes for ample moshing pleasure. Surpris-
ingly, the Single picked for this release is one of the
more mellow pop-influenced tracks (#9) and even
features piano and carefully placed vocal harmonies.
Track 7 is an interesting rendition of an Agent
Orange tune. Rock On!
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Mark Linkous must sorely miss the days of vinyl,
because scratchy record sounds kick off nearly every
track on this CD. Sounding like nothing in particular,
GMS offers an array of sounds and musical textures
with the predominant tempo falling in the super slow,
quaylude-induced arena. Sounds of cello, pedal steel
and violin give many tracks a down-home, rootsy
feel while the super fuzzed out vocal effects seem to
convey some other artistic approach. David Lowery
(Cracker/Camper van Beethoven) appears on some
tracks.
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Mega-producer Steve Albini brings this band to life with
a sonic guitar assault and plenty of thick, sludgy wall-of-
sound production to wake the neighbors. Unfortunately,
it can't save the fact that this album that meanders aim-
lessly through the forgettable realm of Blink 182/NOFX/
MXPX /_____ <--"insert ...X punk band here" world of
punk-pop. The vocalist shreds his voice better than Blake
from Jawbreaker and does his best throaty, snotty, psuedo
Johnny Rotten Mike Ness. As Elvis Costello once said...
"Everyone is a magpie and a thief..."
------------------------------------------------------------------------
Proving that grunge is not quite dead, Portland Oregon's
Shpaeshifter are not afraid to proudly fly the flannel and
serve up drudges of edgy, groove-tinged shlock perfect for
a cold, rainy day. Once you cut through the Collective Soul/
Eddie Vededer-ish drivel and lyrical cliches (ie: rhyming
"child" and "wild") there are a few decent musical elements
to be found. The instrumentation is solid and the production
is right up front.
----------------------------------------------------------
Following up on the success of the revered Pop American
Style compilation, pop-savvy March Records serves up
more heaps of underground indie/pop; this time with a
distinct international flair. The double CD comp. ranges
from geeky, lo-fi indie drivel to sweeping, orchestral,
techno-flavored pop to the straight-up, hook-filled three-
minute jangle pop song. Where the melodies are strong
and the production top-notch is where this compilation
really shines; but there’s enough variety within the pop
spectrum here to satisfy anyone’s tastes.
--------------------------------------------------------------
As if possessed by Satan himself, these fierce Norweigans
play loud, gritty, kick ass ROCK n’ ROLL…pure and simple!
Fans of Fugazi, The Cult, KISS, Motorhead, and fellow
Scandanavian thrashers The Hellacopters will gobble this up
and proudly thrust double-fisted devil horns into the air with
pride. LONG LIVE ROCK!
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With the exception of Sloan and Weezer, I’ve always been
leery of bands who put their faces on their album covers.
Not only does it evoke a certain sense of vanity, but it also
seems to be a bellwether for an album design that is as un-
inspired as the music inside. Narcissism aside, Lava Baby
is basic meat and potatoes bubblegum pop with a handful
of catchy choruses and periodic groove-rock breaks that
seem to come from nowhere. The album is smooth, clean,
polished and well-produced…but musically has about as
much staying power as the Macarena. Try for yourself…
-----------------------------------------------------------------
Geek rock returns! Banging their heads on the same rock as
self-effacing and lyrically sardonic bands like Weezer, Nada
Surf and Nerf Herder, Virginia’s Anne Summers throw in a
decidedly aggressive, mod-tinged power pop element to their
formula. Keen production from Don Fleming doesn’t hurt
either. Fans of the Jam, Elvis Costello and the early 80’s
approach to power pop will dig the music; and just about any-
one will appreciate their wry, sardonic and sometimes self-
deprecating lyrical approach to pop culture.
---------------------------------------------------------------
New Jersey’s Swingin’ Neckbreakers bring pure, simplistic,
no frills rock n’ roll to the table with subtle classic rock and
punk overtones. Despite the decent production, fans of the
Ramones, Iggy Pop/Stooges will dig the raw, garage band
style. If the annoyingly repetitive 2-3 chord refrains on some
songs drive you nuts, you can at least relish in the fact that
the Neckbreakers don’t claim to be anything more than
three hard-working dudes fighting to keep good old fashion
rock n’ roll alive.
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When Supergrass’ glammy, pop-influenced debut I Should
Coco hit the States in 1994 it was a breath of fresh air in the
storm of grunge that was howling through commercial music.
Six years and three albums later, their formula is a bit diluted
and lost thanks to the likes of Blur, Radiohead, Oasis, Pulp
and other Brit Pop bands trying to make their mark. Despite
playing second fiddle as far as commercial success, Super-
grass has always been the cream of the crop in the musical
department with sweeping, dynamic, and inventive arrange-
ments that borrow equally from the Beatles and Bowie and
other classic pop superstars. Suede comparisons are also
inevitable as vocalist Gaz Coombes shares an uncanny vocal
similarity to Bernard Butler, especially on Track 1.
------------------------------------------------------------------
Since their formation, indie rock critics have lauded The
Spinanes’ decidedly “bass-less” approach to the pure guitar-
bass-drums rock formula. The only problem is, the aggres-
sive pounding of drummer Scott Plouf and the driving,
chord-based guitar of chief Spinane Rebecca Gates con-
stantly cries for the low-end back bone of a bass line and,
to most rock-trained ears, leaves their music sounding flat
and one-dimensional. A lack of embellishments such as
vocal or other instrumental overdubs doesn’t help either.
What merit that remains, however, is Gates’ plaintive,
passionate and introspective songs that evoke a broad
range of lyric emotion and expression that rise far above
the musical mediocrity. The “Imp Years” is a collection
of the band’s first two singles and various unreleased mat-
erial. Try for yourself..
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Meat and potatoes Christian power pop from the bleak
Northwest (Seattle, WA). While these kids are talented and
can certainly rock, the music is somewhat derivative and the
lyrics benign and cliché. Musically they fall on the crunchier
side of pop (Weezer, Summercamp) with subtle pop-punk
sensibilities here and there (Green Day, Blink 182, etc…)
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Pure, nasty, unadulterated kick ass ROCK N’ ROLL is what
this Compilation is all about..pure and simple. “Let America
Choke on Bubblegum” is the mantra scribed in the liner notes
and the music collection here is enough to make any N’ Sync
or Brittney fan pee in their Tommy Hilfigers. All bands here
were surely weaned on a steady diet of KISS, Motorhead, The
Stooges, Fugazi and the MC5 as well as the required intake of
chicks, beer and fast cars. If you like your ROCK with a little
old school punk leaning (circa 77/78) try Tracks 7, 10, 15.
LONG LIVE ROCK!
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New York City’s Forty Fives bust out fast and furious, soul-
spiked rock n’ roll with a definite 60’s “Go-Go” vibe and
lots of Mod-infused/garage rock sensibility. Fans of the Hi-
Fives, The Lyres, and The Jam will dig the gritty, retro
vibe. While the band’s style is limiting and musical variety
is somewhat lacking, The Forty Fives the offer enough
unbridled rock energy to breathe a little life into any radio
show. DIG IT!
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The long-awaited new release from the Dandy Warhols is
finally here….well, sort of. This 5-song EP features two
new tracks (#1 and #2) from the forthcoming album due
in stores July 2000 and three previously unreleased tracks.
The new songs have a polished, well-produced feel while
still clinging to the homespun, mid-tempo Psychedelic/
Brit Pop flair the Dandy’s are adept at. Tracks 3 and 4 are
more raw and spirited with a definite retro 60’s flair. Dig
the gritty Kinks-style guitar on Track 4 (“Kinky”). Track
5 is instrumental with various voice-overs.
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Hailing from a tiny town near the Arctic Circle in northern
Sweden, the Drowners pack a powerful and melodic pop
punch. They draw heavy influence from a wide array of
power pop influences, most notably the beloved Posies. In
fact, ex-Posie Ken Stringfellow appears on a few guest
vocal spots. The songs are polished, well-arranged and the
production is top notch. The hooks are plentiful and there
are ample harmonies to draw most pop fans into a hypnotic
frenzy. DIG IT! Louise Post (Veruca Salt) offers guest
vocals on Track 4 as well.
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This Lexington, KY trio plays straight-up, no frills rock n’
roll…pure and simple. There are no lavish embellishments,
just guitar, bass and drums and a driving back beat that pro-
pels the songs into Replacements/Figgs territory with a dash
of earlier Tom Petty thrown in for good measure. The weakest
link in the band may be guitarist/vocalist Jason Burchett,
whose flat, nasally, wavering tone is reminiscent of J. Mascis’
lesser moments. The opening melody line of Track 7
(“Elegance Splendor”), which is a DIRECT rip-off of Cheap
Trick’s “Surrender” doesn’t garner the band much cred in the
originality department either.
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Another Lexington, KY band on the homepsun Hello label.
RF dish out aggressive, hard-edged rock with a definite old-
school punk rock sensibility. While the formula is nothing
new, nods to the Ramones, X, Black Flag, and other early
melodic punk faves steer the band into an accessible, fam-
iliar territory. Now…if they could just get the hell out of
Kentucky! ROCK ON!
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The long-awaited follow-up to the Apple Venus series
is finally here! More accessible and musically upbeat
than AV Volume I, Wasp Star is a wonderous excer-
cise in bright, splashy and thoroughly engaging pop
music from start to finish. Andy Partridge does his
best McCartney and serves up lovely, intricate and
addictive Beatles-esque arrangements. Colin Moul-
ding’s contributions, as expected, are darker and
deeper, yet no less enticing. In a perfect world XTC
would rule the airwaves. This album is a MUST…
enough said!
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Pure, unadulterated hard rock; driving, hypnotic and
straddling the line between dissonant and melodic
with seamless beauty. Since their early foundation
with Kyuss, Josh Homme and Nick Oliveri have been
the flagbearers of dark, stoner rock with enough
Sabbath-inspired riffs to make Tommy Iommi proud.
Plus…with guest appearances from Rob Halford (Judas
Priest) and Mark Lanegan (Screaming Trees) you
can't go wrong!
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Quiet, dreamy, ambient orchestral music that meanders
between sparse melodic moments and experimental
soundscapes. Sporadic sound bytes and talking over-
dubs evoke kind of a spoken-word/artsy-fartsy feel.
There is nothing terribly focused about the musical
arrangements here, although some verses strive to be
annoyingly repetitive. All tracks good for insomnia.
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Second full-length release by this Louisville, KY
foursome. Not quite Indie…not quite rock, but some-
thing in between, Elliott have a distinct flair for the
dramatic and enigmatic. Most songs have a soft,
stripped down feel that build into loud mid-tempo
crescendos. Guitarist Chris Higdon's plaintive,
wavering vocals provide even more dramatic flair
for Elliott's dark, yet subtly optimistic sound. Think
of a more mellow Frank Black/Pixies.
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No frills rock n' roll from Dallas, Texas. The Limes
play more or less straight up rock with just enough
indie and punk influence to save them from the abyss
of mediocrity. In general, their style recalls Saturation-
era Urge Overkill, with shades of the Pixes and Meat
Puppets here and there. Track 7 (Solid State) plays
homage to KISS, while the melodic and hook-ladden
"If" (Track 4) is pure power pop. Warning: Track 5
has a long intro.
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Straddling the line between emo and pop, LA's
Sunday Best are polished and well produced, but have
just enough indie sheen for college radio cred. Shades
of the Promise Ring and Built to Spill can be heard in
their delicately aggressive, yet unpretentious guitar-
based sound.
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The second in a series of Sweet Sixteen compilations from
Parasol's family of labels (Hidden Agenda, Mud, and Spur
Records). Most artists here are on the cleaner side of pop
that ranges from new-wave influenced indie to downright
lo-fi agony (Vitesse, Toothpaste 2000). The tracks that
shine are those helped by solid songs/arrangements and
upgraded production (Diamond Star Halo, Mike Levy).
Track 2 is a campfire rendition of the old Buzzcock's
classic (FYI…the original is much better). Hey…is that
Brian Epstein on the cover?
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Groove-tinged Brit Pop with a generic, commercial radio
ready sound a la Travis, Pulp or Suede. Although similar
in sound, they fail to meet as much versatility as their
more notable British compadres. This album is kind of
like a bologna sandwich on white bread - it's neither good,
nor bad; just plain and in need of a little more inspiration.
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Trashy, snotty ROCK n' ROLL with lots of punk 'tude
and nods to everything from garage rock to the pouty,
soulful drawl of the early 70's Stones. MC5 comparisons
are also inevitable - the band even covers an MC5 classic
"High School" (Track 5). Dig it!
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Spooky, orchestral, hypnotic indie pop with lots of
sweeping instrumentation, musical theatrics and over-the-
top dynamics. No discernable musical comparisons come
to mind, except for maybe The Lyres. Lots of swooping
organ and keyboards add a slight retro touch.
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Indie rock…uggh! This is a very challenging album, even
after repeated listens. Agonizing, lo-fi, dissonant, atonal
artsy-fartsy indie rock that looses any hope for melodic or
even structural dynamic by being overly self-indulgent.
Kind of like a Jackson Pollock painting…you have to look
long and hard to find any beauty. Unfortunately, I couldn’t
find any. Good luck…
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Diffuser are a well-scrubbed, poised-for-success LA
alt-rock outfit, whose members all look like they just
walked off the set of a GAP ad. The music is about as
polished and derivative as their good looks and has
commercial drivel written all over it. Nevertheless, it's
well played, well produced and there are some engaging
musical moments that capture the sound major label
A&R execs drool over. Imagine a heavier Third Eye
Blind/Lit/Eve6. Yawn…
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Trashy, snotty garage rock with an old school punk edge
a la New York Dolls, Iggy Pop, and MC5. The singer's
voice has just enough whine and attitude to sound like a
cross between Alvin the Chipmunk and Johnny Rotten
and the band has no shortage of basic rock riffs. Nothing
new or invigorating here, yet they have some notoriety
for being one of Rochester, New York's best live acts.
Go figure…
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Despite the plurality of this band's moniker, PSK is really
one person - a skinny androgynous geek named "Andee"
who probably has one to many Cure or Prince albums
in his collection. Nevertheless, this, the "band's" 2nd
full-length release, is an engaging blend of 80's inspired
pop with splashy doses of guitar, drum machines, syn-
thesizer noodling and pouty, glammy vocals that would
give Robert Smith a run for his money. The only thing
that's missing is a really strong "hook", but there are some
potential, albeit lightweight, moments. Like, for sure….
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Straight-up, cookie cutter Emo a la Promise Ring,
Sunny Day Real Estate, etc. FSF plays true to the style
with soft/loud musical dynamics, odd chord and tempo
changes, and plaintive soft/loud vocals that pay equal
homage to the band's mellow and hardcore roots. While
there's nothing particularly unique or memorable about
the songs, the band's musicianship and arrangements are
tight and the production is top notch.
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Sluggish emo pop with soft/loud musical structures and
wavering, plaintive vocals that are as interestingly operatic
as they are annoying. Considering this band has been
around less than a year they've mastered their craft quite
well; and their atmospheric, emotive approach, although
derivative, is engaging. Track 6 is short (only 1:06).
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In a much-needed effort to boost promotion for this sorely
under-promoted band, Hollywood Records is giving us
a taste of "TSAR in the rough" - 7 tasty power pop con-
coctions, some of which are studio re-mixes from their
awesome self-titled debut (produced by Rob Cavallo),
earlier recorded demos, one live song, and a fun, rocked
out version of the Backstreet Boys' "Larger Than Life".
The sound is upbeat, aggressive power pop/melodic rock;
an engaging melding of glammy vocals, arena rock riffs
and pop melodies. ROCK ON!