With autumn just around the corner, time to twist the dial on some hooky new tunes from this crew!
I loved the acoustic swing + harmony vocal-stylings of Cape Cartel’s breakout single, “More.” The rest of 2018’s Close Talker was a bit harder to nail down but still great, mixing styles with the effortlessness of a latter day NRBQ. So a new single from the Montreal band had me on the edge of my seat – and I can report I am not disappointed. “The Matador” is the first of five singles that will comprise the band’s new EP Vitamins and it’s a flowing rush of melodic hooks and charming vocal harmonies. I love the bowl-you-over tempo of the song, bolting right out of the gate, and the carefully crafted arrangement. This certainly bodes well for the rest of the EP, which arrives late September.
The multi-talented Joe Adragna pretty much is The Junior League. He writes the songs, he plays nearly all the instruments, he produces the records. I imagine he answers the phones too. Well, clearly he’s an effective multi-tasker because Adventureland, the band’s latest long player, is a thrilling theme park of re-invented garage rock. Opening cut “Heavy” sets the tone for this outing with a 1980s indie grind that successfully reinvents the more rough and ready 1960s rock and roll sound. It says, effectively, this record is going to be a more muscular rocking affair (with a few notable exceptions) than past Junior League outings. Check out the REM-ish cover of Scott McCaughey’s “Have Faith in Yourself” – the song is anchored by a hypnotic synth that sounds like it’s on loan from the MGMT equipment room. “Everybody Wants to Play” and “Town in a Box” would not go amiss on a renewed Nuggets compilation brand. “No More” and “Adventureland at Night” are like love letters to that great crunchy 1960s rock sound. But the album does hold a few contrasts, like “Falling in Love” which sounds like it’s going kick into The Archies’ “Sugar Sugar” before going its own distinctive melodic way, or “Delete and Repeat” which adds a bit of Beach Boys to the broader garage motif. I don’t often have call to recommend this but Adventureland begs to be PLAYED LOUD.
Milwaukee’s Fuzzysurf have an interesting mix of influences covering their musical sleeves: Beach tremelo’d surf guitar, Beatles hooks and harmonies, and large dollop of self-effacing humour. The new album is Fuzzy & the Surfs and it both conjures past glory while moving in a new direction. In terms of past glory, “Problems” has a swinging early 1960s pop sound, “Please Please Me Do” lovingly riffs the Fabs, while “Denny” and “When I Fell I Love With You” work the melodrama side of that decade. And the band’s early surf focus appears on tracks like “Vomit” and “Sign of the Times.” All this is great but when the new direction kicks in, the effect is breathtaking. The ear-wormy “Don’t Worry Baby” has hit single written all over it, vibing Guster at their poppy best. “Enemies” reels off seemingly effortless jangly guitar lines in support of a wonderful neo-1950s tune. Or check out “Alone” with its beguiling background vocals and spare guitar work. I love where these guys are going – hookville.
There’s an early 1980s rock sound that balances melody with a certain no nonsense rock and roll sensibility. Ex Hex have dialed that up for their latest LP It’s Real. The album’s opener “Tough Enough” would not sound out of place on an early Pat Benatar album, “Rainbow Shiner” evokes Billy Squier’s guitar flashes, while “Good Times” has a punky Go Go’s vibe. The whole album is like a time trip back to an era (really, the transition from the 1970s into the 1980s) when some spare rhythm guitar work could set the tone and pace of the tunes, showcased nicely on the slower tempo “Want it to be True.” The songwriting here is strong and cast in a very consistent style, with a few departures like the more poppy “Cosmic Cave” and the Beatlesque/Go Go’s “Talk to Me.” Want to bolster your next 1980s theme party with some fresh material? Ex Hex have got your record here.
Click on these hyperlinks to Cape Cartel, The Junior League, Fuzzysurf, and Ex Hex’s internet real estate to get the skinny on musical product, tours and basic band shenanigans.
Bold new visions are all that make the cut on today’s dial twisting installment. Each of our featured acts puts a unique spin on the poprock genre.
Orville Peck comes on like the bastard love child of Elvis Presley and Morrisey. His voice has the spine chilling warmth of the King on tracks like “Nothing Fades Like the Light.” But his phrasing on cuts like “Winds of Change” and “Dead of Night” are so the Mopester. It would be easy to shrug off Peck’s killer debut album, Pony, as just another bit of kitsch or retro country a la early K.D. Lang or K.C. Musgraves (prior to her most recent release). Obviously songs like “Roses Are Falling” and “Take You Back (The Iron Hoof Cattle Call)” encourage such a response. But Pony is so much more. Despite the obvious fun Peck is having there is deep sincerity to the performances too. Peck isn’t just kidding. When he hits the ‘alright’ part of the vocal in “Turn To Hate” something happens that’s hard to explain. You hear the mastery, the control, the hurt. The song could easily have had a pumping Pet Shop Boys synth backdrop but Peck has crafted a distinctive bit of musical synthesis, drawing from retro rock and roll, country and a gay club esthetic. This guy is something big waiting to explode.
London’s Scandinavia wrap an acerbic critique of empty consumerism and widespread inequality in a delicious melodic coating throughout their latest long player, Premium Economy. At first I thought the title was a jokey, ridiculous play on how the corporate world increasingly sells status inequality to different gradations of the striving middle class. Actually, it’s a real thing, offered up by SAS airlines! Satire is getting harder and harder but Scandinavia still give it a go. Empty-headed contrarians take a beating on “I Don’t Believe in Anything,” corporate interests disguised as a ‘love of science’ are exposed on “Choose Science,” and American imperialism is rightly condemned on “Pax Americana.” But hey, at the end of day the record stands or falls on the quality of the tunes. And here I can attest that they are pretty amazing. “Melody Glade” is a stroll through a lush grove of jangle. “Ghetto Blaster” exudes a blast of sunshine, particularly with its harmony-drenched chorus. And “I Own An Island” manages to skewer the depths of wealthy over-consumption while wooing us with killer hooks in the chorus. And don’t miss the back catalogue for more of the high quality same.
It’s a fairly predictable hipster transition to see former punkers mellowing into the roots music scene in old age. But Nic McNamara has gone the other way. After two respectable neo-folkie albums with his band Black Bears Fire he’s back with a more muscular, punky rock and roll sound with new band Summer Colds on their debut album, Here Comes Nothing. The result is a fascinating synthesis of country harmonies with a poppy American punk sound. This is particularly apparent on opening tracks “Low” and “Found,” both featuring vocals that remind of such alt-folk luminaries as You Won’t and Good Old War. When we get to the single “Whiteout” the comparisons to Weezer start to make sense with its grind of buzzing guitars and smooth hooky vocals. Special mention: check out the great western country harmony lurking under the rock veneer on “Killing Flies.”
It’s a mix of styles on this turn around the dial as we travel from Thailand to California up to Seattle and over to Little Rock, Arkansas. But it is worth the trip!
While the band may hail from Nashville, Escondido clearly embody the southwest vibe of the California town that is their namesake. From the rumbly Morricone guitars to the occasional splash of Tijuana Brass horns, the songs all have that indie-country crossover charm of First Aid Kit, Neko Case and even Rilo Kiley’s Jenny Lewis. The songwriting is particularly strong on the band’s most recent longplayer, Warning Bells. “Bullet” has a great electric guitar opener and nicely shifts between languid country to a swinging chorus. “Crush On Her” takes up the tempo, adding a mid-1970s Fleetwood Mac ambience to the mix. “Roam” cranks up the horns but with the pedal steel and paired vocals it ends up sounding like a great lost Nancy Sinatra single. But the album’s highlight is undoubtedly the low key but moving “You’re Not Like Anyone Else.” This one is destined for countless cover versions and it deserves the attention. If you like Warning Bells, check out Escondido’s back catalogue – it’s pretty special too.
Effluxion, the new album from Seattle’s Telekinesis, builds on a distinctive indie poprock sound honed on four previous releases, with an extra shot of 1960s swagger on tracks like “Like Nothing” with its killer ‘whoa-oh’s and the hooky “Running Like a River.” “Suburban Streetlight Drunk” hits the keyboards heavy with a vocal that is oh so Shins, in a very good way. At other times, like on the track “A Place in the Sun,” the similarities in vibe with Ruler, another great Seattle poprock outfit, seem pronounced. Overall, this is a super album, one that develops while continuing to deliver on the great songwriting promise showcased on 2009’s self titled Telekinesis!, particularly the flawless pop craft of a song like “All of a Sudden.” Effluxion is a solid repeat-play release.
Secret Friend is the musical project of Thailand-based producer Steven Fox, one where he brings together a host of musical friends to help him perform his songs. His latest effort has Roger Manning Jr. (formerly of Jellyfish) and Linus of Hollywood playing with vocals by Christopher Given Harris. The resulting single – “Power” – is a fabulous slab of ELO-inspired pop goodness. From the crunching guitar and keyboard stab opening to the candy-coated, silky smoothness of vocals, you know this is going to be something good. And it is, recalling a distinctly 1980s poprock radio golden age of hooky singles.
From Little Rock, Arkansas comes Mondello with Hello, All You Happy People, an album that is the product of a twenty-year odyssey of songwriting and procrastination. The record has a melodic, sometimes discordant, DIY poprock charm. Though some tracks do have a polished sheen, like the obvious single, “Not For Lack of Trying” and the hooky “Heather Martin.” Vocally Mondello sounds like a rockier Tim Finn at times, as on “You Do You” and “Not About to Let You Know.” Other highlights for me include the indie poppy flavour of “Around in Circles,” the slightly harsher hooks on “Stack of Bibles,” and the breezy throwback groove defining “Don’t Say Anything About My Baby” (not the Cookies song!). Better late than never on this release, an LP of solid material and fun graphics/artwork.
Time to twist the dial and see what playing across the poprock-o-sphere. This time it’s mostly Europe, with a special guest appearance from Canada!
It’s melody central today on Around the Dial. The station appears to be just stuck on hooks. But that’s OK.
Just getting around to raving about last spring’s hottest poprock release, Starbelly’s Four. I’ve raved about Starbelly member Cliff Hillis’ catalogue before but I have to say, there is nothing like putting a whole bunch of really talented guys together to get even more amazing results. As an album, Four is a strong hook-filled jaunt clearly influenced by the Beatles, solo McCartney, Squeeze and all those others great melodic groups, with a few surprises. I’m digging the low key melodic swing of “Lay Low” and the staccato groove of “Yes, I Love Her Again” with it’s great lead lines and background vocals. “Emily Says” sounds very mid-period Squeeze to me. “Jesus Freak” starts very pop psychedelic Beatles but then throws in a Billy Joel melodic twist in the verses while “Antidote” I swear is a great lost Aimee Mann deep cut.
Seems everybody is loving Bill Lloyd’s new record Working the Long Game and I am no exception. I’ve really liked the few songs I stumbled on from his past work and only just figured out he was one half of the amazing country pop duo Foster and Lloyd! But this new album is something else, solid all the way through. “Satellite” is the killer hit single material, at least on my poprock radio station. It’s got the chorus that hooks you in and keeps you waiting for it to come around again. “What Time Won’t Heal” has a very cool late 1960s folk pop vibe. The album also clearly channels some Elvis Costello-isms on “Til the Day that I Break Down” and “Interrupted” while “Miracle Mile” and “Shinning” had me feeling very Marshall Crenshaw. And then “Yesterday” is just brilliant rocked up pop in a Matthew Sweet sort of way. All this name-dropping is just my way of saying, this guy’s got the poprock goods.
Last up a band I discovered commuting between Toronto and Peterborough, Ontario in 2005, Van Go. “Dear You” (from that year’s Pop Your Heart Out LP) just grabbed me like a good ear worm should. But after that I lost track of the band. That is, until their record company alerted me to the release of their latest full length release, Everybody Loves You When You’re Gone. I’m happy to report they’ve still got it! Things kicked off well with “I Wish I Could Be Grateful,” the obvious single with a great melodic hook in the chorus. It’s also great news that the band’s distinctive and addictive vocal attack is still in evidence here, particularly on tracks like “Miles Away” and “Tell Us How You Really Feel.” Title track “Everybody Loves You When You’re Gone” is also a winner melodically, while still delivered with some rocking muscle.
This turn around the dial lays on the sugar and spice with songs that highlight how poprock can embrace both smooth production values and a discordant note here and there.
Eric Blakely’s The Bottle Kids has a polished poprock sheen honed in the late 1970s by such melodic rock luminaries as the Raspberries and Rockpile. Tracks like “When You Come Around” and “Her Heart is Much Worse than her Bite” sound like great lost tunes from that era. But then “American Girls,” the obvious single from the latest album, Let Me In On This Action, goes in another direction, drawing more from the indie side of the early 1980s sound. “Let’s Put Some Power Back in Pop” is a master class in that style as well the theme song of record, giving voice to it’s underlying musical philosophy. Another surprise is the Lennon-esque “I Miss Her Goodbyes” with its interesting “A Day in the Life” piano shots and spot-on Beatles vocals. While you’re checking out the band, don’t miss “The Most Beautiful Girl in the World” from 2013’s Such a Thrill, perhaps Blakely’s greatest composition!
San Francisco’s Richard Turgeon deservedly made a lot of ‘best of’ lists for 2017 with his driving rock and roll debut album In Between Spaces. Now he’s back with a tribute to a nearby burg, Lost Angeles, and it’s another killer blast of nineties-tempered tune-age. Things kick off with what must be the artist’s theme song, “Big Break,” which contains all the elements of Turgeon’s sound: big guitars, slightly discordant vocals, and a sneaky hook that won’t let up. Then “Waiting for You” shifts gears, sounding like a grungy Matthew Sweet, complete with sparkly lead guitar lines and a very Sweet-like melody line and chorus. But the out-of-the-park single for me is the addictive “Look Away” – crank this up and keep the air guitar handy. Turgeon takes a number of chances on this outing, trying out different styles on songs like “Working for the Man” and “I Want to be a Shut-in” while also showcasing how rock can be touching on his loving tribute “Be My Wife.” Besides picking up this latest record, tune in to Turgeon’s various social media for semi-regular releases of new material and inspired covers.
The Spindles’ Past and Present is definitely heading for my ‘best of’ list for 2018. This release has it all: great songs, killer hooks, superb performances. The band is clearly influenced by the Beatles and other British Invasion acts like the Hollies, masterfully covered here on “Look Through Any Window” (which is not easy to do). But they manage to make those influences their own. Overall, the sound is very early 1980s poprock – think the Moody Blues Long Distance Voyager or even some NRBQ. “Prisoner of War” is a strong opener and potential single, while “I Want My Baby Back” sounds like the sure-fire hit to me. Another great number is “Whenever We’re Together” with it’s Jeff Lynne strings and background vocals. “Peace with the Past” has a nice Hard Day’s Night opening flourish before settling in to a more Rubber Soul vibe. Other strong tracks include “Young Heart,” “Annette” and the very Nick Lowe circa Cowboy Outfit sounding “Santa Fe.” On the whole, the record is very easy to listen to again and again …
There is so much great music out there, waiting to be noticed. I can hardly keep up writing about just a fraction of it! Our turn around the dial this time showcases a quartet of hardworking journeymen songwriters and performers who have done their time in the trenches and could use a little more glory.
We’re written about the sublime joy that is Dan Israel before. He writes a kind of cross-over, folk-inflected poprock that is increasingly rare in our hipster-hyphenated, genre lockdown. Here I’m thinking Cat Stevens at his most melodic or even a more upbeat Jim Croce. It’s all there on Israel’s new album You’re Free. This is a relaxing at the cabin or driving somewhere record, that deftly mixes more slow-moving introspection with uptempo rock and roll. The album kicks off kicks off with what sounds like a very Cat Stevens-like vocal and song structure on “Gets You Through It,” channels some early 1970s Paul Simon on the breezy “Make This Life Mine,” and vibes Tom Petty on the more rockin’ “Someday You’ll Say.” But the album highlight is the obvious single, “You’re Free.” This baby has a driving beat and melodic hook reminiscent of both John Lennon and Bob Dylan, when they deigned to cast out some hooks. You’re Free is another winner for Dan Israel, very much worth the cover price.
It’s hard to get a fix on Lane Steinberg. Whatever the genre, the guy is obviously supremely talented, with an enormous back catalogue of work spanning decades, performed by range of musical combos. The diversity is in evidence on his latest release, Lane Steinberg and his Magic Pony. The cover alone has gotten attention – its looks like a somewhat bizarre record store find, perhaps dug out of a bin alongside Spock’s Music from Outer Space. The record itself is a curious blend of melodic satire, gentle political commentary, and straight up poprock, with a few Noel Coward-ish piano tunes thrown in for good measure. Steinberg is clearly having fun, mocking everything from the technology (“You’re Not Connected to the Internet”) to fake social concern (“I’m Tony Hayward and I’d Like My Life Back”) to the sureties of both the political left and right (“Crazy as a Shithouse Rat”). But he is also deadly serious about his poprock craft. “Another Early Autumn” hits all the Beach Boys marks. “Everyone Thinks I’m Happy Now” channels the Beatles c. 1966, with help from that “Strawberry Fields Forever” organ. On a more contemporary note, both “Franklin and First” and “Who Does Your Mind Control?” have the confident melodic sheen of the best work by the Eels. But the standout track for me here is the mildly strident yet seductive “After Taxes,” a song that allows Steinberg’s varied influences to really gel into a distinctive sound of their own. I think Lee Dorsey would agree – it’s time to ride your (magic) pony!
You’re a celebrated national sports writer and best selling author but in your spare time you decide to put out your first album of 1960s-inspired poprock songs? That’s David Sheinin on his new album, First Thing Tomorrow, and it’s a winner. This is a breezy fun collection of pop ditties that draw from all the great artists from the 1960s through the 1980s. Just listening to the record you’d swear Sheinin is some twenties-something wunderkind, full of young idealism and enthusiasm. “Oh Amelia” captures this nicely with its rippling guitar lines, or “City You Left Behind” with it’s swinging hooks. Not that Sheinin just mellows out – there is a great new wave rock and roll feel to “Talking to Myself” that reminds me of Elvis Costello or Michael Penn. And then there’s the early 1960s throwback sound of “What’s the Matter.” The whole record is sonic treat, a soundtrack for convertible driving at sunset!
I wonder if KC Bowman sleeps. The guy has put out an enormous amount of material over the years, a lot of it available for free on his bandcamp site under his various band monikers: Lawsuit, Rhythm Akimbo, Agony Aunts, Preoccupied Pipers, Vinny’s Vipers, etc. I’ve heard the occasional single over the years on this or that compilation but haven’t really kept up with his career. Well now you and I can both catch up with his exquisite career-spanning compilation album Important with a Capital I. There are so many highlights on this record I can single out only a few choice cuts, like the opening should-be hit single “Blithering Heights” or the equally single-licious “Super Bad Report.” Bowman has unerring knack for squeezing a hook into just about any song form, utilizing a range killer guitar licks and sweet sounding compressed vocals. Check out his genius homage to Schoolhouse Rocks’ “I’m Just a Bill” on “Mine Called Somebody Else” – this is some pretty subtle referencing! And so on. This record will have you searching through the depths of Bowman’s back catalogue for what you’ve been missing all these years.
This turn around the dial is all about singles in their glorious yet circumscribed catchiness, ideally maxing out at just a few minutes of focused bliss. Today’s contributors vibe some solid poprock credentials, drawing from the post-1950s pop tradition, all things Beatles, stripped down new wave and various 1980s indie hooks.
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!
This particular turn of the dial takes us all over the musical map, sometimes to the very edge of poprock country. From indie folk-rock to proto-mod to alt country and then some, we have a lot of ground to cover.
On their 2012 debut album The River and the Road were a pleasant folk rock band, hailing from Canada’s major west coast city. But with Headlights, their 2015 release, some kind of transformation occurred. More electric, certainly, though the album also featured a number of strong acoustic numbers. No, something changed in their musical demeanor, kinda like they’d hit the musical gym, bulking up their sound and impact. Case in point – “Mistakes” rips open with a muscular electric lead line that keeps searing into the tune, aided by the full band dropping in at the 8 second mark. This is not really poprock. It’s got more of an edgy indie vibe but still there is something very hooky about the band’s guitar work. “I’m Broke” swings with a strong alt country melody, roughed up just a bit by the band’s more rocking sound. By contrast, “Strange Disease” reverberates with a drone-like banjo backing. And this is just a few highlights – really, the whole album is great. You may think you know what you’re getting with a band like The River and the Road (i.e. four on the floor Americana) but the record keeps pushing its own boundaries.I’m BrokeStrange Disease
When the name of your band is a reference to a 1976 song by another band, which is in turn a reference to a line from a 1965 movie, you’re deep into a very self referential world defined by its own measure of cool. Seattle’s Shake Some Action have been at it a decade now and they sound like a band whose sound has been forged in the fire of 1960s poprock, the late 1970s mod revival a la The Jam, with a healthy dollop of 1980s jangle pop. Their brand new album, Crash Through or Crash, is a sonic treat, all shimmery guitars and hooky reverb-drenched vocals. The opening cut, “Waiting for the Sun,” is a strong single, masterfully arranged to hit all the marks, from the hypnotic lead line to the seductive ‘ahhs’ that announce the chorus. I couldn’t help recalling all those great Mighty Lemondrops records, just for the sheer joy captured here. “Whose Side Are You On” is another tremendous song while “Starting Again” utilizes the Rickenbacker electric 12-string to great effect.
There is nothing precious about Rozwell Kid’s art. The West Virginia band specialize in the sort of ironic, sometimes goofy, sometimes smurky odes to nerdy dudes and their pathetic attempts to be cool. Thus their 2017 release, Precious Art, dials the irony up to eleven on a super collection of slightly off-kilter, buzzed-out guitar tunes. There are highlights galore. “Wendy’s Trash Can” sounds like Weezer meets Fountains of Wayne. “Mad TV” emotes a bit of Bad Books and some of Ken Devine’s solo material to me. “Michael Keaton” channels Weezer and tells a great story. And so on.
Toronto’s First Base are mining the same theme as Tommy and the Rockets and all the other bands whose origin story ultimately links back to the cartoon pop punk of the Ramones. Their bandcamp 
Heyrocco’s “Yeah” kicks off in a fairly standard rocking vein but then pushes the melody pedal at the 22 second mark in a way that really hooks me. The chorus says jump up and down and shake your head with 40 other people crowding the front of the stage. Melody is not Heyrocco’s main thing but when they make it a priority, they do it right. I usually find one tune I really love on their releases. On 2015’s Teenage Movie Soundtrack it was the great swinging slow rocker “First Song” with its Bernard Sumner vocal. “Yeah” is my fave from the band’s 2016 EP Waiting on Cool. Every now and then I hear just a bit of Sugar Ray in this band, which, personally, I think is a very good thing. Also, check out the fantastic demo version of “First Song” below, from the band’s 2013 Greatest Hits of the 1990s.Yeah
I was blasting through the Forty Nineteens new album, Good Fortune, thinking ‘ya, this is nice’ but it wasn’t grabbing me the way a new release needs to if I’m going give the replay button some exercise. Then I hit the very last song and completely changed my mind. “Two Pillows” is single-worthy magic. Great tune, killer arrangement, wonderful performance – I could go on. Laid on a bed of electric piano, the song has a poprock country feel, sharpened by a searing yet melodic guitar solo and great vocals. It made me go back and re-evaluate the whole album.