Tags
Bears, Candy Butchers, Christmas music, Freedom Fry, Holiday songs, Mojochronic, Over the Rhine, Pop Etc., Spirit Kid, The Futureheads, The Primitives
I grew up in a totally secular home where Christmas was largely understood as a kind of socialist event. A little something for everyone, and something thoughtful (rather than expensive) was the gift-giving philosophy. Holiday tunes rather than Christmas hymns were de rigueur. My mother had a stack of 45s that would come out every year– Bobby Helms, Brenda Lee, Rolf Harris – you get the picture. So, for me, it can’t be Christmas without some merry melodies!
This year’s mix runs the gamut from power pop to new wave to mash ups to folky acoustic. Coventry’s own The Primitives kick things off with their trademark mix of hooky power pop on “You Trashed My Christmas” from the Elefant Records special holiday album. Love the use of the bells! Then to Sunderland, UK where The Futureheads keep the energy up on their “Christmas was Better in the 80s.” There is something about the vocal delivery of this band I love. This song sometimes exudes the sonic feel of their first album but also develops in different directions with kooky abandon, pushing the boundaries of traditional holiday fare. Then we tamp things down a bit with the pleasant melodies of Cleveland’s own Bears on their “I’m a Snowman.” While technically just a winter themed number, who can resist the fun organ sounds and sweet harmonies? Not I. Rounding out this first batch of tunes is the eclectic West Coast poprocker Spirit Kid with his new wavishy “Santa Claus is His Name.” This song is an interesting mix of old and new influences – in many ways, a very late 1970s take on 1950s motifs worthy of David Edmunds.
Ok, let’s shift gears here in round two. Ohio-based Over the Rhine seem to be channeling Jennifer Warnes in full Leonard Cohen mode on their winter themed “Snow Angels.” Lovely piano and an understated vocal give this a haunting and lasting quality. In the ‘something completely different’ file, check out Mojochronic’s unusual and very effective mash-up of “Rudolph the Red Nosed Reindeer” with the Police’s “Roxanne,” interspersed with dialogue from the original stop-motion animated movie. Mike Viola’s Candy Butchers bring us back to familiar territory with their poprock ode to seasonal forgiveness on “Give Me a Second Chance for Christmas.” Just listen to these holiday-coated hooks! Viola is a master of the poprock form. The Franco-American duo Freedom Fry return to the holiday music scene with their great Holiday Soundtrack EP. Their reinvention of the traditional classic “God Rest Ye Merry Gentlemen” as a hooky keyboard-based instrumental is pure ear worm brilliance, while their time shifting “Next Christmas” vibes a very Simon and Garfunkel melodic warmth, particularly in the chorus. Wrapping up this season’s musical presents is a brand new acoustic Christmas contribution from Pop Etc. “All I Want for Xmas (Just My Baby)” is a swinging pop gem, sure to become a regular addition to your seasonal playlist.
Snow AngelGive Me a Second Chance for Christmas
To have readers who make the bands I write about just a little more popular by checking them out, buying their songs, telling their friends, etc. is really the best present I could ask for this holiday season. So don’t disappoint me – I’ve been good. Visit The Primitives, The Futureheads, Bears, Spirit Kid, Over the Rhine, Mojochronic, the Candy Butchers, Freedom Fry and Pop Etc. today!
This turn around the dial offers up some real variety, from melodic indie to spacey jangle to neo-1950s to straight-up heartland poprock.
With a name like The Front Bottoms I just assumed the British vaginal slang meant they were from somewhere in the UK. But New Jersey hasn’t been part of the United Kingdom for hundreds of years so I guess you can’t judge a book by its title. Nor can you judge a band by its past efforts. I’d heard some cuts from this group years ago and it wasn’t particularly my cup of tea with its mostly-talking-rather-than-singing vocal style and attitude-oriented punk esthetic. But something happened on their 2015 release, Back on Top – the band dramatically increased the melodic quotient of their songs while actually singing a bit more, with “Cough it Out” and “Help” (great keyboard opener!) real stand-out tracks. This year’s Going Grey just solidifies this new sound. The hit single for me is clearly the anthemic “Peace Sign.” The song opens with lovely echo-y keyboard and builds from there, from spare verses to crunching choruses that hit you with hooks that make an impact. Even the bridge is worth mentioning – it’s the musical equivalent of edging given the way it holds the melodic tension. Other album highlights include the staccato groove of “Bae” with its surging chorus and the hooky drone of the more musically muscular “Grand Finale.” But really, the whole album hits all the marks of intense listenability.
Music veteran Stephen Smith has been playing in bands and writing music since the early 1980s and his most recent vehicle The Morning Line bears the influence of all that history and experience on their latest record, Smoke. 1960s poprock, some jangle, that slightly muddy 1980s underground sound, with splashes of indie country and folk. “Los Angeles” opens the record with an acoustic guitar and builds a hypnotic pace into something very radio single-worthy. “Anybody Else” unleashes the jangle guitar while “All Mine” sounds very 1960s beat group channeled through 1980s with its great rumbly electric lead guitar. I love the opening to “Polygraph” which builds on a guitar riff in a very 1970s sort of way before segueing into a Graham Parker sound, if Graham was a bit more mellow. “Mailboxes” finishes things with slightly country poprock feel. Smoke is an enjoyable ride – hit play and hit the highway for at least 30 minutes or so.
Brighton UK’s Fur sound like an early 1960s British beat group offering up their versions of 1950s classics. The song structures are pure 1950s. “If You Know That I’m Lonely” could easily be mistaken for the sort of material the bubbled all over American radio circa 1958-9 while “Not Enough” mimics that airy ballad style honed to perfection by a legion of boy and girl singers at the cusp of the 1960s. “Trying” updates things somewhat with its fat sibilant lead guitar sound – this one is a bit more pastiche with its modern and classic touches. Would love to see the record collections that influenced this outfit! I love the sound they have created. It is somehow simultaneously both contemporary and wonderfully dated. Can’t wait to check out a whole album by this bunch.
We raved around Gordy Garris’ 2015 release The Pulse for its songs and understated delivery. Garris always seems to squeeze a hook out of his songs with the most bare delivery. Well his most recent album builds on his previous efforts as he becomes a first class songsmith. Never Give Up opens with “Let Me In,” which sounds like Garris going for the hit single with its slow build and smooth background vocals. This one starts sparse (in classic Garris style) but develops a slicker and more commercial sound, but in a good way. And from here there are so many highlights it’s hard to choose amongst them. “Good Times” starts with a great acoustic guitar hook and then gets its swing on with a catchy tune. “All That I Want” showcases how Garris uses a great vocal delivery to bring out the hooks in his songs. “Stole My Heart” sounds very Joe Jackson circa Body and Soul, minus the acerbic delivery. Other highlights for me include “Move Me,” “Remember Me,” “Out of My Mind,” and the ballad “Believe Me.” So, yes, basically the whole album. It’s that good.
Wrapping up this twist of the dial is the poppy Americana jangle of Mike Daly and the Planets. This is another performer in for the long haul. Mike Daly’s been making music and records in a host of bands for decades. It shows on this remarkable debut from his new outfit. Just check out the Beatlesque opening tempo of “Never Too Late” and its seamless shift into a great new wave vibe. Or the Costello feel of “No Simple Task” with its swinging melody. But the album’s highlight is undoubtedly the majestic “Salvation,” a song that manages to be both moving and insanely catchy at the same time. And to show where Daley comes from, check out these tracks from his former band, Every Damn Day. I love the banjo that kicks in half way through “Theme From an Imaginary Sitcom” and the full-on Costello-cum-Beatles homage in “It’s All About Tonite.” These are lost gems!
There are a variety of Bears with guitars out there. One has a former guitar player from King Crimson as a member. Another put out an album called Burrito Palace. But this group of Bears is from Cleveland and they peddle something they describe on their Facebook page as “indiepop! Or something else maybe.” They have a sound that is at times DIY and LoFi or even Elephant 6 when they really get excited. Their self-titled debut album Bears arrived in 2006 and the band’s two tonal moods are captured nicely with the moody “How to Live” (check out that crazy haunted movie music organ!) and the more upbeat, boppy “When You’re Away.”
2007 saw the release of two EPs, Shortest Day of the Year and Summer Tour. Here’s a song from each: “You Can Tell” features the band’s signature strummy sound while “Wait and See” has a very Apples in Stereo vibe. The latter song appears again on the band’s 2008 LP Simple Machinery with a lighter, more keyboard heavy arrangement. From the same record, “Your Help” opens with an Amélie-like accordion sound and a vocal that exudes Morrissey on a good day. “Who Knows” came out the same year as a stand alone single and represented a sonic departure for the band with its early Elvis Costello organ burst at the start and various intervals of the song.
Productivity slowed up after 2008. Aside from a holiday EP, fans had to wait for 2012’s Greater Lakes but it was worth it for the soaring and peppy “Wash My Hands” alone. In fact, the whole record had a stronger punch to the songs and arrangements. 2014’s double A-sided single “Friends/Choosing Your Words” is the last release from Bears, though more recent recordings from spin off projects are now emerging (see the Kalaika project 
If I liked them once, chances are I’ll probably like them again. So new releases by previously featured artists are always exciting. At least, until I get through the preview stage – then some are, on occasion, disappointing. But not this crew. It’s all pretty solid stuff from artists that I particularly dug the first time I encountered them.
Ezra Furman blew into my 2015 with a tantalizing catalogue of material: neo-1960s girl group meets Bob Dylan transitioning out of folk music, with just a dash of new wave and punk and cross-dressing. He lit up the now-closed Silver Dollar in Toronto with an eclectic and electric show that autumn with a both in-your-face punk and deeply vulnerable performance. This guy is a must-see performer if he comes near your town. Furman has a new album – Transangelic Exodus – set to drop in February of next year, with a few teaser singles available now. But I prefer here to draw from his year old EP Big Fugitive Life, which nicely showcases the incredible range of his talent. Just check out “Little Piece of Trash” with its neo-1950s vibe, particularly that honking sax. But just when you think Furman is doing nostalgia he breaks out an amazing frenetic chorus featuring great punky-new wave hooks. “Teddy I’m Ready” is another strong track from this EP with its brilliantly understated and tender vocal.Little Piece of Trash
Canadian David Myles is surely a reincarnation of Buddy Holly. He looks the part and his new album Real Love sounds like it takes up where Buddy would have left off in 1959. Myles has an amazing ear for the period – there’s a bit of Elvis, a lot of Marty Robbins, a hat tip to Roger Miller, and Buddy obviously. And yet this is not just a space age revival record. Unmistakable contemporary twists can be heard all throughout the album. Title track “Real Love” stretches its melody out of its neo-1950s groove here and there. The horns on tracks like “Look at Me” don’t quite obey the period norms. But as with all Myles releases, it is the songwriting that pulls everything together. The subtle and understated performance of “If You Want Tonight” underplays its classic song structure. I can hear Elvis or Marty doing this one. “Cry, Cry, Cry” is so Buddy. “Everybody Knows” opens large with a scat vocal reminiscent of so many Roger Miller records but quickly segues into a catchy period number. “Easy” also sounds very early 1960s with its slightly discordant vocals. Myles is big time love-song-singer and fittingly the album ends with the beautiful “Crazy to Leave.” Slip this baby on and teleport to those make-believe simpler times.
We went a bit wild for Berwanger’s back catalogue when we discovered it here at Poprock Record. The gleeful mixture of classic and indie rock, shamelessly tuneful, vibing a range potentially stretching from the Vaccines to the Tom Petty. The new record And the Star Invaders continues the band’s sonic mission to explore and inhabit new musical territory. Opening track “The Star Invaders” begins with Berwanger’s familiar catchy rhythm guitar but then suddenly shifts into a ‘she’s gone’ mini-chorus that sounds straight out the New Pornographers songbook. The hooks in this song are so addictive they should require a prescription. So too “Horror Show” starts off low key only to break out into a swinging poprock delight at the 37 second mark and never lets up. “Broken Moon” breaks out the acoustic guitars to ghost up a really nice but more meandering melody. All ain all, another strong outing.
I couldn’t get enough of Good Old War when I stumbled across their perfectly modulated poprock single “Broken Record.” The production, the tightly arranged acoustic guitars and vocal harmonies, the nice School House Rock nod with the double stop ahhs. Really, it was a mini-masterpiece. How could I know it was an outlier on a record that was itself a departure from their usual sound? In the end it didn’t matter. I fell in love with all the great songs on Broken into Better Shape with its slicker, more produced sound than their previous more folky vibe. Almost as a nod to older fans, the band followed up the record by releasing a series of more acoustic versions of some of the songs from the album. Now their new Part of Me EP scales back the production for a return to their earlier simpler sound. “The River” opens things up with a nice swinging melody, title track “Part of Me” is a finger picking slower mediation on love and belonging, while “Oak Tree” sounds like a traditional country folk ballad you might hear in church, if people in your church could sing. A very nice something to tide us over until a new album arrives.The RiverNever Gonna See Me Cry (Acoustic)