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A Dozen or Seven Tapestries, Big Nothing, Chris, Deadbeat Beat, Far Away, Lolas, Lousy, Perspective A Lovely Hand to Hold
Here’s a whack of artists that power up their poprock in creative and original ways. The melody meter is registering hooks that are off the charts!
Detroit’s Deadbeat Beat are hard to pin down. At times they sound like a punky Shins or maybe the Velvet Underground covering the Beach Boys. Detroit Metro Times writer Jeff Milo boils down the Deadbeat Beat sound as “catchy as hell, with melodies like kites caught in a summer breeze …” Their new album is Far Away and is it their most polished and melodic release to date. Opening track “Baphomet” showcases many of the band’s essential elements: a jangle acoustic base, a slightly discordant yet poppy vocal, and a host of unpredictable but delightful hooks. “You Take Me Up” sounds a bit rougher by comparison but when the singer hits the line about ‘the county line’ I hear James Mercer doing a poprock cabaret punk. And the guitar work here is exquisite! Reverby and surf-like, and yet not. “From What I Can Tell” vibes a bit of the Beach Boys, the Ramones, and yet the influences add up to something new and original. Another strong track that screams radio-friendly is “Fair” with its hooky lead line and smooth vocals. Really, the strength of the album is in the songwriting. I love the band’s sound but most of the songs here could also survive pretty well just on acoustic guitar. Case in point: the jaunty “I’ll Wait” or swinging cool of “The Return.” As an album, Far Away is a great listen, again and again.
It is so great to have Birmingham, Alabama’s Lolas back with a new record, A Dozen or Seven Tapestries, and it’s another winner. Bandleader and songwriter Tim Boykin has consistently delivered the goods when it comes to hook-laden songs dosed with chimey guitar and reverbed-up vocals and they are here in abundance. The record’s opening cut and title track “A Dozen or Seven Tapestries” gives it all away: hooky guitar lines and shimmering vocal harmonies everywhere. Boykin does change things up in terms of song styles, channeling mid 1960s American poprock on “Dj Girl” or an updated Merseybeat vibe on “Lightning Mountain (NSFW)” or even a Steve Miller Band sound on “Assailant.” You can dip in anywhere on this record and find a melodic treat. Personally, I’m loving the low key jangly “Wish You Were Loud Enough” and the more straight-up barrel-ahead poprock blast of “You’d Go Without Nothing.”
Philadephia PA’s Big Nothing has been described as a ‘90’s influenced indie supergroup’ (Rolling Stone) but all I hear are great songs and a muscular, crunchy poprock sound. Their debut album is Chris and it’s 32 minutes of sonically pleasing songcraft. Sometimes a bit heavy (“Always Prepared”), sometimes sparkling with an easygoing jangle (“Carried Away”), the record typically delivers a taut yet melodically-rich sound, apparent on tracks like “Waste My Time” and “Real Name.” But one of my faves is “Untitled” with its almost country rock and live-to-tape feel. “Honey” is another standout track, changing things up stylistically and tempo-wise. Overall, Chris delivers a great batch of songs that amount to an impressive debut.
Nashua, New Hampshire, population 86,000, is responsible for our next band, Perspective, A Lovely Hand to Hold. There must be something in the water in Nashua because this band is wonderfully weird, both strikingly original songwriters and performers. The band describe themselves on their Facebook page as an ‘indie/emo/math rock/whatever your mom calls it band.’ So, no help there. Here’s what I hear on Lousy, the group’s new (third) album: swooping fattened up vocals and unique hooks, with just a touch of jazz sensibility, particularly on tracks like “One Wrong Turn” and “Subject to Change.” But then check out the straight up poprock hooks all over “The Gang Goes On Tour” – bliss! The record does have some challenging avant garde moments but spending a bit of time with songs like “Those Few Words” and “Your Own World” ultimately pays melodic dividends. From a mainstream poprock point of view, Perspective, A Lovely Hand to Hold are more than a bit out there. But, like Nashua, ultimately worth the trip.
Personally, I think this line-up of bands are freakishly talented and worthy of a horde of manic fans. Preferably with some disposable income. Visit Deadbeat Beat, Lolas, Big Nothing, and Perspective, A Lovely Hand to Hold online to find out how out to become manic.
Top photo courtesy Larry Gordon.
Set your phasers to ‘reverb’ for this edition of Jangle Thursday as it’s a ‘celebration of sibilance’ of the ringing guitar sort.
Right out of the gate U.S. Highball join the renaissance of great Scottish jangle poprock with their debut, the aptly named Great Record. The 14 songs included here immediately draw comparisons with the best of Teenage Fanclub, Dropkick, and The Boys with the Perpetual Nervousness. Perhaps that shouldn’t be surprising as Calvin Halliday and James Hindle have long played together in the delightfully whimsical group, The Pooches. Yet U.S. Highball is not merely a rebranding of their previous efforts, but a logical development of those influences. Great Record leans more heavily on a Brydsian jangle and a complex use of the duo’s voices on songs that alternate effortlessly between hooky popcraft and hints of highland folk. Case in point – these twin influences meld beautifully on “Summer Boy” with its distinctive jangle lead line opener. Or another candidate for lead single might be “My Frankenstein” with its swinging chorus. Then again, I love the mid-period Simon and Garfunkel vibe of “Old Place.” But then hear how the duo change things up with the rock-pop groove on “Where’d the Century Go?” Overall, you can get a clear sense of what U.S. Highball is doing by checking out how the band bookend the album. They open and close the record with their distinctive folk poprock sound on “Kelvinhall” and “Old Dumbarton Road,” leaning a bit more on the folk side of the equation.
If rock and roll is the bastard child of an illicit encounter between country and western and rhythm and blues then I’d characterize poprock as bearing a bit more of the genetic stamp of the former. So calling country time is totally in order around here!
A very exciting batch of genuinely breaking bands and songs on this post that bridge the Atlantic, going the distance from California to Michigan to Uppsala, Sweden.
The Brothers Steve debut album #1 is a concentrated dose of poprock goodness. This baby is all killer, no filler, beginning to end. From the double A-side blast of “Angeline/Carolanne” to the hip-shaking good time feel of “She” to the tongue-in-cheek hooky hilarity of “We Got the Hits.” And it sounds especially sweet on blue vinyl! I love the mix of acoustic guitars, electric leads and sweet harmonies. Check out the mix on “C’mon Pappy” with its 1970s English power pop sound, particularly the vocal stylings. “Songwriter” ups the crunch with a great driving beat, adding just a hint of a “Paperback Writer” refrain on the chorus. “Carry Me” pushes the jangle pedal hard while the vocals have a lovely Byrdsian swirl. “Good Deal of Love” is my current fave, a track that would not sound out of place on any Marshall Crenshaw album. “Sunlight” has listeners exiting the album on a sunny, acoustic guitar-drenched mellow vibe. With three-quarters of the melody rocking heroes from Tsar in the band, perhaps it’s not surprising how strong this debut is. And yet it’s a clear departure from their earlier work in style and delivery. Look for this on my top album list this year, a ‘you-can’t-go-wrong’ album recommendation from Poprock Record.Good Deal of Love
Los Angeles’ Bleached advance from the punky beach esthetic that defined the sonic palate of their earlier work to a more confident glossy poprock sound on their new record, Don’t You Think You’ve Had Enough? It’s immediately apparent on the opening track “Heartbeat Away” – now the vocals are upfront and taking charge of the tune, to great effect. But that can’t prepare you for “Hard to Kill,” a delicious slice on late 1970s ska-influenced new wave. The track practically leaps out of the speakers, oozing Parallel Lines-era Blondie riffs and vocal mannerisms. The album is full of retro-brushed delights, from the Go-Go-ish “Somebody Dial 911” to the dreamy “Silly Girl” to the more straight-up melodic rock and roll vibe of “Rebound City” and “Valley to LA.” This is another full play recommendation. In a world of seemingly interminable single-teasing, Bleached have dropped an album that is worth putting on repeat at your next party.
Joe Sullivan’s Growing Up Schlockstar is more than a sequel to his 2014 debut Schlockstar, it’s a clear advance on what were already recognized as formidable talents as a songwriter and performer. The record teems with familiar sounds: a Glen Tilbrook-esque turn of phrase and delivery, a bit of Jeremy Messersmith’s understated wordplay, and riffs clearly paying homage to bands ranging from the Beatles to Queen. And the hooks! They’re slathered all over tracks like “Mr. Positivity,” “Greenfield Acres” and “Time Machine.” Fans of clever lyrics are going to love “Gifted and Talented,” “Cheerleader” and “Space Princess.” Anyone who can effortlessly name check Starbuck, Captain Kirk and Jean-Luc Picard in a song should get extra points!
Everest is actually the 2019 American re-release of In Deed’s 2018 record. Still, I think the band from Uppsala, Sweden can rest on their laurels a bit as Everest was their first release in 16 years. Luckily, it’s fantastic! From the attention grabbing opener “Another Start” (with its distinctive Killers-like guitar opening) and throughout the breadth of the album, it quickly becomes clear this is a group full of surprises. Indeed, the very next song on the record marks a striking shift in sound and tempo: “Five Times a Day” is a more melody driven tune, delivered with acoustic guitars and a lush vocal-focused sound reminiscent of work from Holland’s Sunday Sun. At other times In Deed channel a modernized mid-1960s beat sound on tracks like “Don’t Need, Don’t Care” and the jangle-heavy “According to You” or shift to a late 1980s UK poprock sound a la the Darling Buds or The Primitives on “Heart Attack.” Sometimes they just melodically rock out with great driving numbers like “Song to You” and “Flavour of the Month.”
Songs about years, songs with years in the titles … anything for a kooky theme. If you were born in the early to mid-1980s, or graduated from high school, these may be your years! While I searched in vain for a 1980 and 1982, I do have 1981, 1983, 1984 and 1985 covered.
Fans of Bruce Springsteen, John Cougar Mellencamp and Tom Petty at their hookiest are gonna love the Cerny Brothers’ “American Whore” from their late 2018 release, Looking for the Good Land. Like their inspirational sources, the brothers head a crack band and there’s some pretty amazing playing all over the album, particularly on the boogie piano-heavy “Laugh at the Devil” and the beautiful, moving “Million Miles,” with its light harmonica and banjo touches. But “American Whore” is clearly the centre-piece of the album, with AOR hit single written all over it. Curiously, though the band has nailed the sound and songwriting style of Springsteen and Mellencamp, the song’s message is decidedly different. Internet entertainment magazine 
Continuing on a summer theme, seasonal snacking has a musical side too where we seek out a bit of crunch, the tang of a few spicy licks, a selection of sweet treats, and something refreshing to wash it all down. This post delivers a variety of summer-proofed hooks in a sonic ‘bits and bites’-like format. Dip in anywhere.
America’s Pacific Northwest appears to be home to a host of super poprock talent of late, including Tacoma’s Vanilla. The band’s recent Mystik Knights of Tacoma is a testament to the abiding freshness of melody-driven rock and roll, at times channeling Macca or 10cc on tunes like “On a Night Like This,” or midperiod XTC on “Let’s Call it a Day,” or even the Everly Brothers on “Be Not Coy,” or ELO on “Bankside.” The album is flawlessly performed, smooth but not slick. And while you’re here, it pays to reach back in Vanilla’s catalogue for “Twilight” from 2015’s Vanilla 2.0, a real treat!
Super 8 put me on to Space Dingus, labelmates on Subjangle records, and what a great recommendation it was. This is a band with an original distillation of 1960s sounds going on, working in a variety of styles and tempos. “Ronald Raygun” sets the tone right out the gate with hooky bass runs, trebly rhythm guitar, and slightly punky vocals. But then the group effortlessly shift to a spacy jazz Classics IV vibe on “Check the Exits.” On the whole, the album has a rockin’ party feel on tracks like “Haunted Shoes,” “Intrepid,” and “Honey Teeth.” Clearly, this would be amazing live band to see! And then “George” changes the pace again, slowing things down into an electric folky rumination. But the album highlight for me is a song that sounds like a great lost Monkees cut, “Parchment Squire, Paper Knight.” Killer!
I had the car iTunes on shuffle and a sound came out of the speakers that was pure pop rock bliss: Rachael Gordon’s cover of Paul Collin’s “Rock and Roll Girl.” At some point I had picked up her 1999 compilation of the same name which collected various EPs and one-off singles together. But clearly I didn’t really give it a serious listen. Now I had it on maximum repeat! So many great tunes. Highlights for me include her cover of Moe Berg’s “Man’s Best Friend” (sounding like a female Eytan Mirsky – or is he a male Rachael Gordon?), “Goodbye to You,” “Fun at Your House,” the Beatlesque “And Sometimes,” and an inspired cover of the Plimsouls’ “When You Find Out.” Her 2004 release Coming of Spring is also top quality, channeling Nick Lowe on cuts like “Where Are You Tonight,” the Go Go’s and Bangles on “Ariel” and the remake of her own “Fun at Your House,” or folk rock on “Dresden Station.” But save time for the closer, “The Farewell Song,” a galloping, good-time melodic romp. Why haven’t we heard more music from Rachael Gordon? Life’s not fair.Rock and Roll GirlAnd Sometimes
When Ed Ryan suggests something to me, I run to check it out. He’s a distinguished 
Bruce Springsteen’s new LP Western Stars finds the Boss back in top form, in control of his muse, throwing off hooks shrouded in poprock adornments from the past fifty years. The album has strings, horns, Bacharach and David orchestrations, Born to Run sparkly piano, and Nebraska-era acoustic guitar appegiations. And the songs! Not since Tunnel of Love has Bruce produced such a coherent set of songs, such a thematically clear statement of where he’s at. There’s hope, love, loss and regret – the usual, in other words. But the balance of themes and performance captured here in on par with some of his very best work.
Ah, the heat! Summer is upon us and bevy of singles have arrived all vying to soundtrack the season for us this year. Get ready to roll down the windows and crank the stereo to test these ones.
Poprock Record 