Will I seem superficial if I admit that unusual band names get my attention? I don’t think so. A band’s moniker is the first indication of just how creative the outfit is. I know a lot of artists go through possible band names like Kleenex for precisely that reason. But the work can pay off because when a name clicks, both artist and audience know it. For me, a slightly out there name suggests I might be on to something a bit different but still 1980s AM radio accessible. Personally, I think today’s trio of bands have me hitting the name jackpot.

Jesus Christ Taxi Driver, now that’s an ear-catching name. It’s simultaneously evocative and potentially offensive. What’s not to love? On their 2023 debut album Lick My Soul this band showcased a mixture of rocking and more mellow material with eyebrow-raising titles like “Stupidmotherfucker,” “Poultrygeist,” and “Diabolical Catholic.” It was an impressive launch. But look out because their sophomore effort blows that debut out of the water. Taxi the Rich is a stunning collections of songs worked up with an immaculate new wave vibe. Now the thing about new wave is that most of the bands from original seventies era had pivoted to it from years of doing something else: country, arena rock, glam, art rock, you name it. That depth is all over this LP. Let’s talk about the album’s stupendous single, “Lana Del Rey.” The song is just so cool. Sliding in slow and building to a strut as it makes it way to a glorious hooky chorus so worthy of its namesake. Just try to not hit repeat on this one. Opening cut “Have It” is also pretty special. From the opening vocal hiccups and stringy rhythm guitar you know this groove is going to grab you. “Jesus Christ Taxi Driver” and “Alive Too Long (To Know If I Ever Was a Child)” are so impossibly genre-hybrid I’m not sure whether they should be filed under rockabilly, shockabilly or a roadhouse jam. Really, there are just so many highlights here: the jangly “Tractor Man,” the country-ish “White Roses,” and the flute-led, damningly satirical “Too Cold to Golf.” “Record Machine” is a personal fave. And don’t miss the album closer “Easy Love,” a gorgeous exit. Is Taxi the Rich headed for the ‘best of the year’ shortlist? Definitely.

Patrick Donders from the Substack Chiming Back put me on to A View of Earth from the Moon and he seldom steers me wrong. This is crafted pop perfection. The band name might be a mouthful, the current album title Rolled Over Like a Wave might be a tad overlong, but the content is precision itself, musically, lyrically, performatively. Going back to the band’s debut Closer to a Ghost I was already impressed but this new record raises the creative bar by some distance. “Emerson and Henry David Thoreau” is a strong opener, a wonderfully wordy group of lyrics set against a alluringly droney guitar. “Never Coming Out of My Room” has a seventies rock strut that makes sitting still a challenge. I’d swear “Blood to Wine” is an Aaron Lee Tasjan tune and band leader Jonathan Fickes has temporarily become ALT. “Eight Miles an Hour” is pretty Tasjan too and that is just fine. “Halloween in ‘93” reminds me of fellow Seattle power pop act Ruler. “Faith” is another tune the delivers hooks full of gravity and staying power. Now stay with me as I pitch “Cash In/Flame Out” like a Taylor Swift number as if she had a great guitar pop band backing her. A real treat here is the lyrical drollery going on throughout the album. In front of a stroll-along, whistling musical dynamic “Everything For Free” Jonathan sings ‘tell me about your sweater? Is it acrylic?’ and then riffs on The Smiths with lines like ‘Hey! Get this cow off my burger, don’t you know meat is murder?’ Really, no ordinary talent could be behind this.

Nate Amos’ solo project This is Lorelei is the ultimate indie DIY affair. Between 2014 and 2021 he put out an enormous number of releases with what his presser describes as a ‘straight to Bandcamp spirit.’ To be honest STB can sometimes be, well, amateur and ramshackle. No so this sprawling TIL back catalogue. Gems abound for the dogged listener. My favourite find is his cover of Bruce Hornsby’s hooky piano marvel “Every Little Kiss.” But if the prospect of wading through 60 different Bandcamp entries doesn’t float your boat, relax. After the unexpected mainstream success of his 2024 LP Box for Buddy, Box for Star he decided to go back and pick out a selection of songs to rerecord for this most recent release Holo Boy. The results are impressive: a record of immense variety that somehow flows seamlessly. It really is a great introduction to the artist. “I Can’t Fall” opens the album with a strong Jon Brion aura. Then “You Just Woke Me Up” moves things in more chipper direction, like walking out into the breaking morning sun. Those languid lead guitar shots are something else. “Dreams Away” is starting to sound like single material, ready for radio play. “SF & GG” is pretty poppy too. Overall if I had to boil down the vibe here I’d say there are strong echoes of Beck and Eels. Songs like “Name of the Band,” “Mouth Man” and “Holo Boy” all stretch our expectations of where the tune is going and I love the uncertainty. Or Amos just gives us a pleasant song experience on tracks like “This Is a Joke” and “Money Right Now.” And check out the impressive acoustic guitar ornamentation colouring “My Friend 2.” So there’s your choice – you can deep dive the catalogue or take up the Readers Digest condensed version with Holo Boy. Either option is a very good time.

Clever is never the main attribute that keeps you coming back to an artist. There’s got to be great songs and performances. But man ‘clever’ can sometimes be the unexpected value-added to a musical experience, that little bit extra seemingly tucked in just for a discerning listener like you. And don’t you deserve it? You know you do. Get your daily dose of clever right here by clicking the links to these artists.

Photo courtesy Thomas Hawk Flikr collection.