Category Archives: Around the Dial

Around the dial: Slack Times, Papercuts, Bill Lloyd, and Kids on a Crime Spree

24 Sunday Jul 2022

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Summer’s dank days need some tunes to get that blood pumping. This turn around the dial has jangle, chamber pop, inspired cover-age, and some Brill Building noise pop. Start warming up the wireless.

Carried Away is both a sprawling 14 track introduction to Birmingham, Alabama’s Slack Times and summation of their work to date, combining two previously released EPs with six new tunes. In reviews of the album, scribes have been quick to point out the band’s obvious links to the solid southern jangle lineage of REM, Guadalcanal Diary and Let’s Active. I hear that but I also think there’s something more. Title track “Carried Away” opens the album with the band’s signature distinctive lead guitar tone but the vocal is a surprise, delivered in an Americana style not unlike recent work from Sam Weber. “Look at You” gives us a more rush jangle feel while the noise pop vocal is reminiscent of Indoor Pets. Then “Leave Me Alone” really marks out this band’s range, departing from the standard jangle script to evoke a more sophisticated Rogue Wave vibe. Listening to tracks like “I’m Trying,” “Bad Move” and “My Time” it’s hard not to see the lead guitar work on this album as the real star. But the song-writing is giving it a run for that designation. Just get your ears around “Can’t Count on Anyone” – the track is guitar pop perfection, a should-be hit single for sure. The band even offer variety in their approach to jangle, with “Yips” striking a Manchester pose while “Let Down” captures that deep southern US sound. Personally, I’m also digging the short sombre guitar instrumental “Slack Times,” named for the band. It’s not like any other tune here but somehow still fits in.

Past Life Regressions is an album of mystery and imagination. Jason Quever’s seventh Papercuts outing is another oh-so precisely produced collection of chamber pop but one with a few surprises. You can find them in the myriad musical textures that give these songs shape – the sprightly guitar picking that launches “I Want My Jacket Back,” the strings backing “My Sympathies,” the mellotron-sounding keyboards anchoring “The Strange Boys,” and so on. Each one is a carefully painted pop miniature. And yet none of the musical settings seem to stay the same. Listen to how Quever twists the musical trajectory of “I Want My Jacket Back” from a jaunty Peter and Gordon aura into a late 60s neo-psychedelia Moody Blues direction. You don’t need to spin this record too many times to realize it’s a real aural treat. I love the freaky keyboard tones animating “Hypnotist.” Or the droney guitar look driving “Remarry.” But arguably it’s the songs that allow everything to shine here. “Lodger” is the obvious should-be chart-climbing single, a pretty sweet reinvention of paisley pop tarted up with a load of inventive keyboard shading. “Sinister Smile” is another strong singles contender, contrasting a rock solid pacing with a dreamy pop melody. “My Sympathies” and “Palm Sundays” are also pretty solid sixties-inspired, hooky tunes. Past Life Regressions may just be Papercuts best album yet.

Somehow I overlooked Bill Lloyd’s fabulous collection of covers from 2016, Lloyd-Ering. Now re-released by Spyderpop in concert with Big Stir Records, it’s definitely time to give it the love it deserves. The project gathers together 12 rare tracks Lloyd has recorded for various tribute albums since 1990, covering artists as disparate as The Lovin’ Spoonful and Wreckless Eric. Thematically, the record is an homage to classics of melody-rich rock and roll, a genre Lloyd has made a significant contribution to himself. In terms of covering style, Lloyd remains pretty faithful to the spirit of the originals, with a few twists. The opening take on Bobby Fuller’s “Let Her Dance” is just riveting fun while the shiver-inducing version of the Byrds’ “The World Turns All Around Her” could be easily mistaken for an alternate-take from the original sessions. Probably my favourite cut here is Lloyd’s reinvention of The Raspberries “Going Nowhere Tonight.” He adds the muscle the song was missing IMHO, taking it out its original soft rock register for a more guitar-ringing poprock style. Favourites? Who I am kidding. I’m favouring just about everything here, though if pressed the dBs, Let’s Active, and Badfinger covers would rank just a little higher. And then there’s Lloyd’s genius reworking of Wreckless Eric’s “Whole Wide World.” Two chords never sounded so good. If you love classic poprock reinterpreted by a master, do yourself a favour, pick up a copy of Lloyd-Ering. You deserve it.

Is Kids on a Crime Spree just the best band name ever? You can debate that in the comments section but my take is that it really does captures the reckless fun demeanor of this group, at least as it is captured on their decennial recordings. The band rocketed onto the indie music scene in 2011, fueled by an uber cool lofi Phil Spector sound on their debut EP We Love You So Bad. Critics put a run on the superlatives bank praising it so much. And then – nothing. Now more than ten years later they’re back with Fall In Love Not In Line and the wait has been worth it. If the first record channeled a Ramones punky charm then the new one is more Magnetic Fields. The Brill Building song popcraft is still here but now delivered with more polish and hooky finesse. “Karl Kardel Building” signals this shift effectively. The opening is so Crystals but quickly goes quirky in a pop boheme style. “When Can I See You Again” has its rumbly guitar lead track the vocal, nicely merging a punk and pop sensibility. “Vital Points” chunks up the rhythm guitar but without surrendering its melodic vitality. “All Things Fade” is another genre-mixer, coming on with a punk guitar ferocity only to seduce us with a heavenly mix of harmony vocals. I could go on. There isn’t a bum track on the album. There’s first album nostalgia cuts (“Goods Get Gone”), Who guitar chord wonders (“Overtaken by the Soil”), noise pop Shangri Las reinventions (“Steve, Why Are You Such a Liar”), and just plain good old guitar pop fun (“Boomdoom”). This album is a ‘must get’ LP for 2022. But be careful. I’d vote Fall In Love Not In Line as the dance platter most likely to be stolen from the party.

Sometimes you leave the radio on and discover something unexpected. But mostly these days you come to a place like this. You can still pretend you’re fiddling the dial.

Banner photo courtesy Swizzle Studio.

Around the dial: Lund Brothers, Grant Lindberg, The Orion Experience, and Scoopski

06 Friday May 2022

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I was tuning in to my own late night dial when I ran across this crew of creative tune-sters. No anesthetized feelings here. Just some of the melodic magic they deliver regularly.

Imagine being a band rejected by a major label for sounding ‘too Beatles.” What?! But that was Geffen’s excuse for not signing The Lund Bros. after initially financing some recordings in 1990s. Well the late Beatles influences remain despite the years, plastered all over their newest recording Across State Lines. The album puts acoustic guitar and blood harmonies at the forefront of the songs, while still delivering the band’s distinctive ‘heavy pop’ sound. This combo is most striking on the lovely and haunting “The Front Lines.” Or check out how “Living is Easy” opens with stripped down acoustic guitar and vocals only to break out a bigger sound in the chorus and instrumental break. “Love U” delivers some solo Lennonesque twists in the song structure and melody while “Killin’ Me” is more Lennon in White Album mode. The songs sometimes feel very Ten Years After with their combination of live sounding vocals and acoustic guitar intros and interludes e.g. “Harder They Fall” and “Red, Blue and Gold.” There’s a country rock vibe on “Want Your Money” and it’s also got a hit-it-out-the-park chorus. Turning to should-be hits, the two obvious singles for me are “Bender” and “Flyin’,” the latter combining some Cars-like guitar shots and a Beatles-worthy chorus. Across State Lines marks a triumphant return for The Lund Bros. Definitely worth that trip to the border.

By the looks of things over Bandcamp Grant Lindberg has released an awful lot of music over the past two decades. Where have I been all his career? I’m just joining the Lindberg train with his most recent long-player Function Over Form but man, it seems as good a place as anywhere to start. There’s quality melodic rock and roll right off the start with opening cut “Things Have Been Strange.” It’s got a touch of that droning power pop vibe I associate with Jeff Shelton’s Well Wishers. Or there’s a bit of Weezer in “Your First Mistake,” a Chris Collingwood in Look Park mode vibe on “Nothing I Can Do,” and echoes of Cheap Trick all over “Shame On You.” But then I also love how Lindberg lightens things up with the lilting acoustic-guitar heavy “Your Heart is my Light” and “The Words” (even if the latter has something of an ominous atmosphere). “She’s a Mystery” opens with a great 1970s melodic guitar blast before settling on 1990s hooky grunge vibe. “Things We Do” is bit pop gungy too. But the clear should-be hit for me is “Always Been A Lie” with its lovely swinging melodic chorus and early FOW sound. Here’s a music veteran whose sound is still post-teenage fresh and exciting. Function Over Form definitely deserves some of your precious new music time.

Seems I’d just finished raving about The Orion Experience last fall only to overlook the release of their latest album Fever Dream. Well there’s no stale dating this release because the sounds are all timeless. Warning: this record is much more pop than rock, but it’s still great. Things open with “All Dolled Up,” a dance-y number vibing bits of Bony M, Blondie, and Queen. Then “Digital Affection” reminds me of ELO’s disco interventions circa 1978. “Night Eyes” keeps the disco party going, this time with a smooth Abba feel. “Cosmicandy Girl” is all pop while “Honeysuckle Kisses” combines both rock and dance elements. But the track I can’t stop hitting replay on is “I Can Read Your Mind.” I love the song’s swing and the percussion is so toe-tapping good. Fever Dream is a feel-good party platter, with melodies and grooves to help you sing and dance the night away.

On See You Soon Philadephia PA’s Scoopski harken back to an era of fun 1990s poppy rock tunes, flavoured with a bit of a Weezer or FOW discordant edge. The band’s original take on these themes can be heard on album opener “Living in Key” which combines kicking-up-your-heels pop-country verses with more rocky choruses and instrumental interludes. Need a state song update? “Pennsylvania” brings on the state love with Weezer keyboards and some They Might Be Giants lyrical twists. The Weezer influences carry on into “Hoodie Weather” which nails a very Cuomo vocal delivery. “While We Wait” and “See You Soon” are just great AM radio poprock songs. But the really striking tunes here are “Contrarian” and “Elon Send Me to Mars.” Both are carefully crafted, finely textured sonic treats, with lyrics that really do sing. I love the lead guitar and other-worldly keyboards that launch “Elon Send Me to Mars” as well as the chunky power chords that carry the tune. The chorus hook seals it, helped by the hilarious, over-the-top lyrics. See You Soon is a solid highly listenable 44 minutes of tune-age. And there’s a back catalogue for those that want more.

Yes, radio was a sound salvation. Now we gotta do it for ourselves. Pretend this post is your radio selection for the evening. And the best part, you don’t even have to leave to house to rush to the e-record store after.

Around the dial: The Forresters, Allan Kaplon, The Exbats, and The High Heaven

20 Sunday Feb 2022

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Today’s dial turning is finding guitars aplenty with a decidedly country, sometimes western flavour. But there’s a celebration of sixties garage and girl group sounds too. Get your ear close to the speaker for these made-for-transistor-radio selections.

The back catalogue of Sydney, Australia’s The Forresters has inspired comparisons to The Jayhawks, Teenage Fanclub and Big Star. But frankly, in my view, they’ve got a distinct sound all their own – apparent all over their recent long-player Something To Give. The intro guitar work defining opening cut “On My Way” puts the challenge up front, a bit sombre but uplifting at the same time, later enhanced by some great organ, ‘ooh’ing background vocals and a Harrisonian bit of lead guitar work. Familiar ground but a different synthesis than its source material. Meanwhile “Are You Ready” is a delightful rush of country Byrds meets Big Star. “Tightrope” moves in a different direction again, this time channeling some serious Matthew Sweet-like hooks. Pedal steel plus jangle? Yes please! That’s what you get with “Back In My Arms.” I love how the band throw ‘woo hoo’ background vocals over a whole load of material, framing the chord slashing “Pretty Little Thing” or the more languid rocking “Falling Star” or amid the horns and searing guitar solos of “Get To You.”  No surprise, the band ace their cover of Big Star’s lovely “Thirteen.” But the slow burn fave for me here is “Fall Back In” with its harder edge guitar sound and touch of melodic ennui. Having said that, you won’t go wrong giving Something To Give a full-album spin. It’s a no-regrets kind of commitment.

Allan Kaplon’s got a deep gravelly voice you might associate with those mid-1960s trucker songs from the likes of Red Sovine. But he manages to apply it to a variety of unpredictable styles on his thoroughly enjoyable recent record, Notes on a Napkin. Case in point: album opener “One Big Parade” is a brilliant Harry Nilsson-ish kind of late 1960s message song, one where Kaplon’s baritone adds gravity to an otherwise upbeat tune. Indeed, Kaplon’s voice should be seen as a crucial and unique instrumental contribution here, adding a depth of feeling to pop folkie material like “Keep You You” and “Every Single Day,” sort of like Jim Croce or Leonard Cohen once did. The record’s got country going on too, from the Hoyt Axton/Glen Campbell 1970s cross-over country feel of “Painted in a Bad Light” to the more late 1960s country-rock mix on “Wonder Where the Angels Are” and “Slow Down Cowboy,” the latter vibing The Band and Dylan’s “Lay Lady Lay” respectively. But Kaplon gets his rock on too. “Flesh and Blood” has the cheeky swing I associate with Dire Straits’ first three albums, with a similarly understated yet precise vocal approach. Title track “Notes on a Napkin” even has a bit of a Yardbirds meets Bond aura with its tuneful menace. But the star track here is undoubtedly “Restless Ones” with its killer, slow-build earwormy hooks. The verses advance with a Highwaymen’s sense of balladeering anticipation, only to blast off in the chorus. Notes on a Napkin will surprise you, it’s a wonderfully eclectic marriage of strong song-writing peppered with inspired vocal performances.

What kind of cool time travel has brought us Bisbee, Arizona’s The Exbats? As their Bandcamp presser suggests, the group are like some kind of “dystopian garage rock … Shangri-Las” or a “pre-Velvet Underground doo-wop wannabe Lou Reed.” Their most recent LP is Now Where Were We and it is one serious love letter to Phil Spector, the Wrecking Crew and the 1960s California pop sound, though shot through with a punk DIY sensibility. “Coolsville” is oh so Mamas and Papas. “Best Most Least Worst” really does sound like a garage rock take on the Shangri Las. “Practice On Me” moves things in a more dirty-country cowpunk direction. “Best Kiss” is like an R-rated Top of Pops hit single circa 1965. The band can also do mellow. Songs like “One Foot in the Light” and “Like a Song” have a slower, more manicured pop feel akin to Sonny and Cher or Nancy Sinatra. There’s also a pop psych thing going on here on tunes like “Ghost in the Record Store.” I like how they meld different styles – check out the way “Hey New Zealand” combines a bit of The Zombies with the Mamas and Papas. I could go on. Each track vibes on a different flavour of the sixties like some sonic Pot of Gold chocolate box. Very tasty indeed.
The debut album from Melbourne, Australia’s The High Heaven Fairytales of the Heartland casts a Cormac McCarthy-like western spell refracted through a Sergio Leone cinematic filter. And that would be deliberate. These guys clearly love all those Clint movies and their distinctive Ennio Morricone soundtracks – and it shows. But they don’t just throw some spaghetti over any old songs, these tunes are right out of Americana central casting. Opening cut “Wanted Man” is on point, both in musical style and lyrical content. Immediately we’re thrust into the action, our protagonist drawing us into his dilemmas against a solid western-country sonic setting. “Dead Dollar Bill” ups the rock quotient in the country rock balance, with nice Morricone embellishments. “The Evening Redness in the West” adds some rollicking, saloon-worth piano and western-appropriate whistling. But the twin price of admission here can be found in “The Desert” and “Nowhere Bound,” the former a kick-up-yer-heels should-be hit single, the latter a lovely folk/country ballad. The record’s denouement is captured in the ominous sounding title track “Fairytales of the Heartland,” providing an unsettling end to an album that has alternated between glorious send-up and utter sincerity. Despite this, both here and on the band’s subsequent EP Outlaws, Vol. 1: A Few Tales More, the main feeling is a joyous sense of fun in the proceedings. These guys are having a blast so guess what? We are too.

When it comes to melody-packed music, it’s no desert out there. Come in out of the sun and crowd up to the bar with any of these fine artists. You’ll definitely slake your thirst for some quality tune-age.

Around the dial: Eggs on Mars, pseudonym, The Embryos, and Pet Symmetry

08 Monday Nov 2021

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Radio play used to be the main arbiter of who went where on the charts. While some people would spin the dial constantly in the car searching for the perfect tune, I tended to stick to one station, loyal to Raccoon Carney’s afternoon drive show on LG73. I like to think that the Raccoon would dig some of these brand new should be hits. I like to think that …

They’re the Kansas City band that’s not from Kansas. And that’s not the limit to the confusion as Eggs on Mars actually sound more like they’re from Glasgow than Missouri. Here I’m alluding to the band’s sonic affinity with such lofi jangle wonders like U.S. Highball and Dropkick. So, Glasgow Scotland, not Glasgow Kentucky. It’s all there on the opening cut and obvious single, “Fingers and Lips,” with its engaging rhythm guitar work, re-invented Brydsian vocals, and inspired lead guitar solos. Brighter Now contains seven songs but running at just 16 minutes it’s more like an EP than a full-on long-player. But what a delightful seven-pack! Most of the songs have an uplifting feel, driven by some creative lead guitar adornments on tracks like “More” and “All That I See” and some subtle yet catchy 1960s organ work on “Hand Tools.” The guitar on some tracks even gives off a slight Smiths-ian feel, e.g. “Oil Spill Rainbow.”  Things do mellow on tracks like “Feels Like Always” but, on the whole, Brighter Now is a chipper, aptly-named collection.

San Francisco band pseudonym come by their psychedelia honestly, given that town’s 1960s musical heritage. But the purple haze on this record is cut with a serious dose of dream pop and the combo is both luxurious and captivating. Case in point, title track “Before the Monsters.” Just check out the amazing bass line on this song, how it just keeps reeling you in long enough to land a load of guitar hooks, a seductive vocal melody, and some exquisite horn shots. I feel like there’s a bit of The Primitives on this song and the next, the more minimalist “Anonymous Sources.” Despite the overall psych pop vibe, there’s plenty of variety on this record. Sometimes thing go enjoyably shoe-gazey, like on “As You Well Know” and “Stare Down.” But at other points a punchy poprock sound comes to the fore (as on “Photograph”) or even a more urgently rocky demeanor (e.g. “Tell Me”). My personal fave is “Astronaut” with its rollicking bass and lead guitar interplay threading through the song supporting a very Lolas-style vocal and tune. “Maybe” is another winner, alternating a low-key build up in the verses with a strong chorus. And so on. Before the Monsters is eleven quality psych-pop tunes. It’s a trip man, and you can enjoy it without leaving the house.

After teasing us earlier this year with their killer Britpop-reminiscent “Rattlesnakes” Chicago’s The Embryos now return with a full album of surprises on National Absurdatory. Oh there’s plenty here that rings familiar, from the Byrdsian country rock of “You Can Be a Mystery” to the distinctive jangle of “Rolling Wheels.” But there’s also a live rock and roll party vibe on a host of tunes that conjure of a very rooftop Let It Be vibe. Here’s I’m thinking of “Spend Tonight” particularly. Or check out the Philly soul undercurrent carrying album opener “Morning Birds.” Love those strings and cloud-light background vocals. The soul train continues on “Someone to Hold Me.” Of course, The Church influences get a look in on the country-ish “Catching Fire” and “Twisted in my Game.” There’s even folk rock here on “Smoldering Remains” with just a touch of 10cc in the chorus. With so much variety, National Absurdatory has captured a band that can seemingly take on any style with no loss of substance.

Still in Chicago, Pet Symmetry don their Future Suits for their latest release, a creative riffing on pop punk tradition and more straight up FOW-infused poprock. Forget Robert Palmer, “Simply Irresponsible” kicks things off with a performance right out of the punk-influenced rock and roll playbook. More again on “Objective Objectives.” But things start to change with the more sonically sophisticated “Cat and Mouse” with its alternation of rhythm guitar shots and hooky lead guitar work. This is pop punk perfection with a melodic sensibility akin to a latter day Green Day. And then things get even more interesting. “Pet Sympathy” has a latin flavor and some knock out background singing. With “2021: A Personal Space Odyssey” the band really start to lean on some impressive melodic counterpoint in the background vocals. It’s there again in “Portland to Portland,” a song that strikes a more FOW feel, songwriting-wise. “Bootlicker” changes things up again with its easygoing, almost languid pacing and subtle hooks. “Awesome Kingdom” ends things on pretty solid poprock footing with a Sugar Ray swing and ambience. On Future Suits, first impressions of this band can be deceiving. So get the full album, just to be sure. Actual Future Suits apparel sold separately.

If the Raccoon were here no doubt it would be time for news and weather by now. As we cut to other programming, don’t waste time on commercials, check out these fine artists directly and cut out the middle man.

Around the dial: Tommy Ray, Kiwi jr., Nicholas Altobelli, and The Jack Cades

27 Friday Aug 2021

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Today’s turn around the dial brings some glam rhythm guitar, Dylanesque vocalizing, folky poprock and a 1965 cellar full of noise.

With an opening guitar reminiscent of Greg Kihn or Tommy Tutone and a vocal vibing Phil Seymour, “In Love Again” gets Tommy Ray’s new album Handful of Hits off to an exhilarating start. Follow up “No No No No” seals the deal with a 1980s English guitar band remake of Marc Bolan, kinda like Modern English does glam. Again and the again this record captures that sense of seventies’ fresh punky excitement but with tunes that pack a melodic punch. It’s busting out all over “Loser’s Anthem” with its hooky organ and guitar lines. “If You Need Anything” is a rollicking romp of a dance stomper. Meanwhile “Feel the Pain’ channels that 1970s reinvention of fifties rock and roll to a ‘T’. But my fave tune here is addictive “Runnin’” with its catchy mix of chunky guitar chords and piano shots. This album hits all the classic melodic indie rock marks and then some. Soundtrack your party with this release and let the fun begin.

Cooler Returns is a confident album number 2 from Canadians Kiwi jr. “Tyler” kicks things off, reintroducing the band with a confessional vocal style not unlike Ben Folds. “Undecided Voters” continues to be jangle relevant and just in time for a Canadian federal election. “Maid Marian’s Toast” has a pastoral Dylanesque sound, if he were an eighties indie artist. And that’s just the first three tracks! Stylistically, this is sometimes an album of big choruses – just hear them burst open melodically on  “Highlights of 100” and “Omaha.” Or sometimes it’s more about distinctive rhythm guitar work, as on title track “Cooler Returns” and “Dodger.” And then there’s the occasional departure from the script songwriting-wise, like “Nashville Wedding.” I can hear the girl group double claps in my head in the verses as this one rolls out. It’s the kinda thing my 1980s FM radio stations would put in maximum rotation. I’m also really keen on “Waiting in Line.” Again, such a great roll out beginning to the song with its jangle guitar and plinky piano. You can even get a comic book of the record’s illustrated lyrics designed by Toronto illustrator Dmitry Bondarenko. Those Canucks!

I love the artwork on Nicholas Altobelli’s new album Technicolor Hearts. The purples and blues of the fairground at night give it a captivating allure. Sound-wise Altobelli veers out of his usual, carefully crafted, folkish pop lane, more solidly aiming at a contemporary, almost Hall and Oates poprock sound (which I’m loving). On the other hand, there is a very Darryl Hanlon vibe to what is going on here, with that guy’s ever so melodic mediations on sincerity and experience. The former is present in the title track, with those hypnotic keyboards and Springsteen “I’m On Fire” percussion. The latter is there on “Bless Yer Heart” despite the hard rock chorus and “Midnight Radio.” The record also offers up yet another reworking of last year’s stand-alone single “Ghost,” this time with some funky Kraftwork-worthy keyboards. 2016’s “Exit Polls” also gets a new treatment that tones down the guitar in favour of leaning into the vocal melody a bit more, with good effect. In our ‘what about surprises’ category, check out “Time Will Tell” with its Aimee Mann-ish keyboards. On the whole, I declare Technicolor Hearts a delight, an enjoyable accompaniment to your night out at the fair. And, hey, buy it over on Bandcamp and get five demos of songs from the record and a country version of “Time Will Tell” for no extra charge. That’s like getting a free, extra go-round on the roller coaster at the end of the night.

They might be named for an English insurrectionary leader from the 15th century but you won’t need a history class to appreciate The Jack Cades. I mean, not If you like a jangly, mid-1960s San Francisco-meets-swinging London sound, with just a touch of garage band immediacy and excitement. After two killer albums of strong original material the band return with an EP of covers to wile away the pandemic, cheekily entitled Infectious Covers. All four songs are fabulous, though I wish the band had provided a bit more background on some of the more obscure tracks. The Byrds’ “I’ll Feel a Whole Lot Better” is the easy one, while The Dovers breezy, lead guitar line-led 1965 single “What Am I Going To Do” wasn’t too hard to dig up. But “Once Before” and “Go Ahead” left me stumped. Both are super songs, performed with a psychedelic rock feel on the former and a lonely, singer-avec-some gentle jangle on the latter. One thing striking about this band is how they so effectively echo a past era without sounding stuck in it.

Each of today’s artists would love to meet you. Electronically, that is. Check out their websites, Facebook and/or Bandcamp to get the full deets.

Top photo credit: cropped from Nicholas Altobelli’s new album cover for Technicolor Hearts.

Around the Dial: Richie Mayer, Brent Seavers, and Rob Fetters

06 Thursday May 2021

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In this era of streaming and individual song downloads, we are told the album is dead. Or is it? Somebody clearly forgot to inform today’s featured artists. Gear up for a post full of five star quality LPs.

Richie Mayer’s experience shows on The Inn of Temporary Happiness. With a career stretching back to the late 1970s new wave scene, his new album effortlessly mixes influences from more than a half century of popular music. The record opens with the obvious single, “Dangerous Rhythm,” and it’s a winner. I love how it builds out of just voice and acoustic guitar, adding more instruments and taking unexpected melodic turns. There’s something a bit Colin Moulding in the chorus, a dash of ELO or Alan Parsons Project with the background vocals, and a heavy dollop of late Beatles guitar work in the solos. But don’t get comfortable because Mayer changes things up stylistically from track to track. There’s some folk rock (“The Inn of Temporary Happiness”), country-ish (“The Hall of Blame” ) and even music hall numbers (“How Can I Leave When I’m Already Gone”). But mostly there’s just great songwriting, in the way great 1970s and 1980s singles used to sound. The Beatles and Beach Boys figure prominently amongst the influences here, particularly “Love Will Find a Way” and “Warmth of the Sun,” though there’s a bit of a 10cc vibe on the former while the latter oozes some Hall and Oates Philly soul. “This is the Day” even has hints of Supertramp’s “Goodbye Stranger” particularly from the keyboards. I could go on – there’s not a weak track anywhere on the LP. Definitely check out the should-be single “She’s Taking It Too Well” (so many Beatle-istic touches here!) and the lovely acoustic guitar instrumental “Kat’s Guitar.” Spend some time with this record: your happiness will not be temporary.

The pandemic interrupted the recording of a new Decibels album so Brent Seavers filled the time making YouTube videos of himself covering a bevy of poprock classics (check out his fantastic cover of Marshall Crenshaw’s “You’re My Favorite Waste of Time” below) and recording a solo album. BS Stands for Brent Seavers sounds like The Decibels, not surprising, but also not like them too. The solo gig has allowed Seavers to drift a bit forward in time, from mid-1960s right up into the new millennium indie poprock scene. Obviously there some very Decibels material here, like “Out in the Rain,” “Clean Reflection,” and the jangle-heavy “All the Better.” The band’s sixties-meets-the-1980s vibe is also there on the Smithereens-ish “Flatline” and the muscled-up California pop hue all over “Running Me Down.” But I’m going to go out on a limb here to suggest the band haunting this record might actually be They Might Be Giants. That Brooklyn duo’s jocular sense of musical whimsey lurks on “Unlike Superman,” “Me and My Melancholy Face,” and most obviously on the fun sing-along “I Wrote a Song.” Seavers even sounds a bit like TMBG’s John Linnell vocally on the album opener, “Play.” On the other hand, should-be hit single “More Than a Friend” is Seaver’s own distinctive brand of melodic rocking out, with strong harmonies, and killer earworm chorus. This is another total album enjoyment collection.

I’ve been listening Rob Fetters’ new album Ship Shake on repeat for the last two weeks or so. The more I hear it, the more I like it. It’s the kind of record that grows on you, as more and more of its musical and lyrical subtleties reveal themselves. Part of the appeal is its hefty dose of positivity. “Turn This Ship Around” is an amazing slice of hooky, indie Americana but it’s also the message we need right now. Or “Not the End” highlights the little things we can do day to day to make the world just a little bit better, set to a carefree summer car-radio soundtrack. Not that all the message here is light. Fetters delves into issues of sexuality, abuse, loss and forgiveness with such a direct sincerity it’s disarming. Themes like these can get a bit preachy but he pulls it off. Ultimately Ship Shake is an album about what really matters in life: people, relationships, and what we’ve learned from our own experience. For instance, on the widely misinterpreted track “Nobody Now” Fetters sounds like he is complaining about the loss of fame and its trappings but what he’s really doing is moving beyond it. In the end, it’s the combination of this emotional depth with great tunes that will bring you back for more. Songs like “Can’t Take It Back” really capture this, showcasing Fetters’ hooky melodies and Tom Petty meets Warren Zevon vocal delivery. And let me say, the guitar playing on this record is pretty extraordinary. From the riff that kicks off the opening track, you know you are in presence of guitar god, but one that can temper technique with melody. This record is a must hear.

What did I tell you? The album is far from dead. Visit Richie Mayer, Brent Seavers, and Rob Fetters to get your living proof.

Around the dial: Nuevos Hobbies, The Lodger, The Stan Laurels, and Mason Summit

06 Saturday Mar 2021

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March brings the promise of a bit more musical sun on our blog horizon. Today’s post gathers new tunes from Madrid, west Yorkshire, Austin and L.A., all featuring big and bold hooks. Get set for some audio sunshine!

Last December I was all over Nuevos Hobbies’ single “No puedo esperar” and the song ultimately made my should-be hit singles list for 2020. Now the accompanying album is out and it is just as exciting. Monstruso, or Monsters, is a dynamite collection of jangle-infused melodic should-be hits. The title track ambles along with the breezy, carefree abandon of sixties acts like The Cykle or eighties pop groups like The Housemartins. I don’t want to generalize but there’s something distinctive about Spanish poprock acts, a particularly smooth vocal style that you hear on “Sentado en la esquina de tu cama.” Of course, at other times the album vibes Teenage Fanclub pretty strongly, as on “El viento.” On the whole, the record has a strong consistency, with a few departures like “De mayor” with its more jaunty feel and stand out guitar work. And then there’s my vote for the follow up single, the stunning “Cara limpia.” The lead guitar hook just sings! As an album, Monstruso is a monstrously delightful experience, maxing out on pleasant melodies and enough trebly guitars for everyone.

After taking a decade off West Yorkshire’s The Lodger are back with Cul-De-Sac of Love. Time has not dulled the melodic songwriting skill and performance driving this band. The record is a jam packed with intriguing tunes that combine both dissonant and complementary elements. Take the first single, “Dual Lives.” This song and “I’m Over This (Get Over It)” rehabilitate the disco rhythm guitar feel, subordinating it to a different kind of dance song. And yet these two songs are bit of an outlier for me, a departure from the more joyous poppy feel of much else that appears here. Personally I would have led the single releases with “Wasting My Time With You,” a track with a killer hypnotic lead line that reels you in and keeps you there. It might just be me, but there is something so English about the pop sheen all over this record, like the piano-led melody carrying the Paul Weller-ish “Perfect Fit” or the more New Order/Pet Shop Boys-ish “Stop That Girl.” And then there’s the interesting rhythm guitar and inventive chorus hooks on the title track, capped with an addictive droning guitar break and a glorious wall-of-sound finish. I could go on calling out each song’s unique merits but you get the picture. For me, faves include “I Don’t Want to Be It,” the country-ish “My Poor Mind,” and the timeless, manicured English pop sound on “Former Life,” a style that Robyn Gibson has perfected on his Bob of the Pops releases. Suffice to say, Cul-De-Sac of Love is a winning return for The Lodger, well deserving of 37 minutes of your time.

From the cover art to the general tone of the recording, The Stan Laurels’ There is No Light Without Dark is definitely a step into the shadows, a departure for John Lathrop given his usual sunny disposition. There was a bit of advance notice with last summer’s advance single “Lost and Found,” with its combination of somber melody and crunchy lead guitar flourishes. The song’s strong Pugwash vibe is even more apparent cast amongst all these new tunes. Opening cut “Florida Man” sounds like the b-side to the prior single, a bit achingly sad and strikingly tuneful. Other songs have amazing structural architecture, almost Alan Parsonian in their twist and turns, like the bewitching “Of Love, Wine, and Song.” My personal fave is the strummy beautiful “Red Handed Puppet,” a track that matches the mellow tenderness of the lighter side of Fountains of Wayne. Or check out the strong echoes of The Smiths in “On Paper” or The Beatles/ELO influences on “Mo Collins.” The play with light and dark all over this record is a testament to Lathrop’s cinematic approach to creativity, you feel and see the sound as much as hear it. And what I’m seeing is good. Very good.

This was an artist and album I somehow overlooked in 2020. I don’t know how because one listen to Mason Summit’s Negative Space and you know you’re on to something special. The record opens so inauspiciously with some acoustic guitar kicking off “Doomed from the Start” but by the time you’ve hit that brilliant but oh-so-subtle hook in the chorus, a shift worthy of Mark Everett or even an early Elvis Costello, it’s apparent the track is a minor masterpiece. From there Summit juxtaposes a few rockers with some beautiful, acoustic guitar driven tunes. On the rock side, I could have sworn I was listening to Eugene Edwards as “Confidant’ was playing. Both the songwriting style and performance seemed so in sync with Edward’s brilliant LP My Favorite Revolution. And then, just as suddenly, “Asterisk” thrust me into a full blown Elliot Smith experience, with perhaps some backing from Aimee Mann. The acoustic guitar numbers have a spooky, roomy feel, like the ambient “How Does It End?” and beautiful “More to Fear.” Variety? Sure. How about a killer take on a 1960s Bond-esque instrumental? “Point Doom” delivers that. Or perhaps a more Squeeze take on songwriting with the title track, “Negative Space.” Don’t let the title fool you: Negative Space is definitely something positive.

No static at all, not on today’s post. Nuevos Hobbies, The Lodger, The Stan Laurels, and Mason Summit are coming through clean and ready to (pop) rock.

Around the dial: Steven Bradley, Jim Shorts, Daniel Romano, Gary Ritchie and John Dunbar

04 Monday Jan 2021

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As we twist the dial for today’s post it’s pretty clear we’re not quite finished with 2020 yet. Well, musically at least. Still quite a few great releases to draw your attention to.

Producer, record label founder Steven Bradley decided to put his own musical creativity under the microscope on his debut solo record Summer Bliss and Autumn Tears and the results are definitely positive. Hints of Costello’s Punch the Clock with its inventive keyboard touches and clever wordplay show up here and there but cast in a 1990s discordant poprock vein, tempered with an ace feel for a hooky dose of background vocals. It’s all there on the obvious should-be hit single “Pre-Emptive Strike” with its addictive, driving lead guitar lines, subtle organ shots and vocal ear candy. Bradley leans on some jangle for “Hiding Place” but not in an obvious manner, burying the payoff in a surprising and delightful way. “You Walk By” kicks off with a nice smattering of paisley before riffing on some Beatles lyrics. And so goes the rest of this highly listenable album. So many great tunes here, from the opening track “Love Tumbles into Obsession” to the very Squeeze-like “Calendar Girl.” The record also has a number of great acoustic turns, like “The Bargain.”

DIY workaholics Jim Shorts have called it quits. After releasing 47 records over the past decade, a combination of both long players and EPs, the band’s musical force David Haynes has said that their 2020 release will be their last. Well, that’s the bad news. The good news is that Late to the Feast is undeniably their best, most polished and fully realized creative work. The songwriting is strong and playing is shorn of the DIY abandon that characterized most of the band’s back catalogue. Right from the kick ass opening bars of “Out on the Patio” you know this is band taking itself a bit more seriously. The hooks are prominently on display, sounding like Fountains of Wayne got together for a songwriting session with Pavement or Weezer. The crunchy lurch of “Max’s Front Porch” is head-bobbingly good. Or there’s the slow burn hookiness of the title track. “Angel Songs” says alternative radio hit single. Album closer “Balto” confidently rocks out over the credits. This is the Jim Shorts album you gotta have.

Musical chameleon Daniel Romano flooded 2020 with new material. I find myself particularly partial to the late release, White Flag, with its Beatlesque and late 1960s folk rock touches. Album opener “Bleu Heron” is a masterpiece of musical synthesis, from the horn arrangement to the poetic feel of the lyrics. Very Crosby, Stills and Nash in places. From there the album vibes a greatest hits of sixties song stylings, like the Rubber Soul folk rock feel to “Garden of the Heart” or the early McCartney solo sound on “Appolpourre.” The songwriting here is as strong as ever, with every tune sounding both familiar and unusual. And then there’s a few exceptions, like the more new wave pop flavour to “New Milk.” There really is nothing that Romano can’t do musically.

I can’t believe I somehow missed the release of Gary Ritchie’s Head on a Swivel early in 2020. This record is maximum fun in a meat and potatoes poprock sort of way. Ritchie has all the chops, from Merseybeat to 1980s American indie rock and roll, delivering an album that is as listenable as any Greg Kihn or Tom Petty release. And yet there is something distinctively English about the overall sound to me. So many of the songs have that 1965 beat group feel, passed through an ELO sonic retro filter. Just hit play on the title track or “Lean On You” or “Four Letter Word” to get what I’m banging on about here. Or for a more American 1980s poprock elan check out “Maybe It’ll Be Tonight” or “Arms Around a Memory.” Personally I love the roll out to “Tunnel of Love” with its ringing guitar and handclaps – and the rest of the song is pretty great too. Rounding this out, “Record Store” is a hilarious closer. So, all in all, for retro melodic rock fans, Head on a Swivel is a can’t-go-wrong purchase.

John Sally Ride member John Dunbar has dropped a fabulous solo record that channels a perfect mix of mid-1960s pop songwriting and a 1980s indie rock feel. Despite the COVID-enforced DIY one-man-band effort here Oh Wellness sounds like much more. The launch track “Born To Bore” has a cool Lou Reed hooky lurch going on. “The Problem with Being on Time” radiates a sunny swing and some cool 1967 moog organ. “The Girl Whose Heard It All Before” reminds me of Squeeze’s great country songs. I could go on about each track here. Pushed I’d single out “A Sentimental Heart and a Skeptical Mind” and “She Doesn’t Now” as pretty single worthy. Having said that I love the Rubber Soul-veneer and clever word play on “Maybe May Be My Favorite Word.” With Oh Wellness, Dunbar has created a collection of light, fresh sounding tunes, leavened with interesting instrumental choices and timely sentiments. Paraphrasing Seth Myers, this is just the sort of record we need right now!

Your radio dial is just anachronistic technology but as a metaphor for access to possibly great music it lives on! Click on these artists to go directly the source.

Around the dial II: Blank Pages, mylittlebrother, Geoff Palmer and Lucy Ellis, El Goodo, and Freddie Dilevi

09 Monday Nov 2020

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The musical deluge continues on this second installment of Around the Dial as we continue to pick up melodic-hooky signals from around the globe.

I’m glad robots are back in style, like the guy staring back from the cover from the Blank Pages new record Is This Real. Fun and menace in one attractive metal face! Now while I was looking the cover over I was thinking ‘who put this XTC album on?’ I mean, wow, the Andy Partridge vocal echo all over this platter is remarkable. But not exclusive. The build-up in “Before and After” has a nice late-period Police vibe, juxtaposing an interesting vocal interplay over a spare musical backdrop. “Your Generation,” the seemingly muted answer song to Townshend and company, has a more Joe Jackson vocal style. Meanwhile “Robots Will Not Win” reminds me of the manic fun approach of The Tubes. But “Fall Away” and “Waiting in Line” are sonically like XTC love letters. Of course, they work because the songwriting is strong. And then there’s lovely outliers like the sunny poprock gem “Hang Up.” Is This Real is a crisp, fresh, musically adventurous outing worth indulging in.

How does a band take a host of ordinary sounding musical elements and combine them to make something so striking and original? Cumbria’s Mylittlebrother work this trick on their just released Howl. Check out “Goldmine” – it’s just guitars, drums et al, no fancy special effects or wild solos. But it has some crazy alluring quality, drawing you in with its hypnotic ‘oh oh oh oh’s. Actually, that’s it, the distinct value-added here are the various vocal adornments to some solid tunes. Take “Play Hard.” It kicks off with an Ennio Morricone spaghetti western vocal before settling in to a sturdy yet subtle poprock gem. I can’t help but hear a bit of Jethro Tull’s Ian Anderson or even a mellow Futureheads vibe at work here. By contrast, “Howl” strongly reminded me of Hayden’s endearing alienation or the perky upbeat feel to “Responsibility” obviously bears comparison with the Beautiful South. The band even manages to wrestle the group singing sound away from the bombast of Styx and Boston to use for subtle melodic purposes, like on chorus of “Chicago.” Overall Howl works because it takes up a host of influences from the 1970s but manages to synthesize them into something new.

Geoff Palmer and Lucy Ellis are literally ‘having a party’ of sorts all over their new collaboration, Your Face is Weird, a wonderful mix of sprightly originals and inspired covers. Just click on “SWIM” and feel that swinging, grin-inducing, melodic charm wash all over you. Not surprisingly, given Geoff’s work with The Connection, the whole record has a winning Rockpile-esque sheen, but there’s something more here. Working with Lucy Ellis has brought to light another side of Geoff’s already sophisticated musical personality, as apparent on their tremendous cover of John Prine’s “In Spite of Ourselves.” Sometimes the songs are just hooky delights, like “In a Town This Size” and “Together.” At other times, the cover choices seem impossibly hard to improve upon (Kirsty MacColl/Tracey Ullman’s “They Don’t Know”; Sam Cooke’s “Having a Party”; Dionne Warwick’s “I’ll Never Fall in Love Again”) but the duo still manage to make them highly enjoyable. Surely “Crash of the Music,” with its punky poprock feel, suggests there a lot more mileage in this project. Sign me up for more!

With Zombie, El Goodo nail the sunny pop sound of the late 1960s even more so than normal. Basically, there less psych, more California pop sheen this time around. The album begins with “Things Turn Around,” a Beatles-inflected homage to their namesakes, Big Star. From there it’s straight back to 1966 with “Home,” a very Monkees excursion with Brydsian touches.  I’ve always thought that The Zombies and The Turtles were musical cousins of sorts with their delicate, carefully-crafted tunes and El Goodo seem to re-create that with “I Can’t Leave” and “The Grey Tower.” Late 1960s country-rock gets a look in with “Forever Casting Shadows” and the International Submarine Band-ish “You Let Me Down.”  For a bit of fun the band even throw in a spot of bubblegum with the Ohio Express-meets-Abba track “Fi’n Flin” and a hip take on a Benny Hill sort of theme, “Sound Good To Me, Man.”  The record ends strongly with the Beatlesque “If the Coast is Clear,” nicking lines from “And Your Bird Can Sing” and a vibe right off Let It Be. El Goodo’s Welsh village must have had an amazing record shop because Zombie is a fantastic sixties-infused album.

Freddie Dilevi is the band, Pablo Velázquez is the stentorian voice and co-songwriter of the band’s tunes, and Teenager’s Heartbreak is their knockout 2018 full album debut that is now getting a worldwide release via eclectic punk label Rum Bar Records. Imagine if Elvis headed to the garage instead of Las Vegas in the early seventies. From the title track you can hear this band’s effortless melding of 1950s song styles with a strong punk/new wave sensibility, carried off with Velázquez’s mesmerizing vocals. The new wave element is to the front on “Die Tonight” and “Dangerous Game” while “Half a Chance” and “We’re Alive” so punks up the fifties. And check out the Sergio Leone feel all over “Johnny Remember Me.” Now to give this project a bit of a refresh for 2020, the band re-recorded 5 selections from the album in a stripped-down form as an EP, Acoustic Heartbreaks. And it works too – lovely, lilting, acoustic guitar versions of the originals, with a different but still pleasing vocal intimacy.

2020 may suck for a lot reasons but recorded music is an undeniable winner of all this pandemic spare time. Get to know Blank Pages, mylittlebrother, Geoff Palmer and Lucy Ellis, El Goodo, and Freddie Dilevi via these conveniently supplied hyperlinks.

Around the dial I: Supercrush, Blitzen Trapper, Foxycontin, Bad Moves, and The Adam Brown

05 Thursday Nov 2020

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So much music, so many stations to tune into! In this first of two back-to-back installments of Around the Dial there’s hooky guitars and keyboards to spare.

If Matthew Sweet had joined a grunge band it might have sounded like Supercrush. It’s there in the sometimes unwieldy but always hooky guitar lines and breathy vocals on tracks like “Be Kind to Me,” “Get It Right” and “Have You Called Him By My Name.” Then there’s the should-be hit single “On the Telephone,” a song that pushes its hooks relentlessly. This is an earworm no doctor’s gonna cure. For contrast, there’s the shoe-gazey, Swervedriver-ish sheen of “I Didn’t Know We Were Saying Goodbye,” the hypnotic guitar riff-propelled “Parallel Lines,” or the hint of pedal steel on the almost country “Fair Weather Fool.” What stands out on this album is that no matter what kind of grinding guitars show up on any given track, a strong sense of melody carries the day. “I Can’t Stop (Loving You)” is a perfect illustration, sounding like a hopped-up Teenage Fanclub writing a Beatles tune. The album wraps up with what sounds like a great lost Big Star single, the wistful, acoustic guitar-driven “When I’m Gone.” SODO Pop is Supercrush’s first proper full album release (as opposed to just a collection of singles) and it’s a stunning, highly listenable introduction to the band’s considerable talents.

Sticking to America’s Pacific Northwest we head down the I-5 highway from Seattle to Portland to check out Blitzen Trapper’s fabulous latest album, Holy Smokes Future Jokes. Ten albums in and the eclectic band continue to fox expectations and easy labeling. Sure there’s the folky, country-ish vibe they’re known for on tracks like “Dead Billie Jean” and “Sons and Unwed Mothers” (the latter sounding like a wrong-side-of-the-tracks Paul Simon). But then things turn in directions that defy easy categorization. Both “Masonic Temple Microdose #1” and “Bardo’s Light (Ouija Oujia) have solid poprock feel, with a subtle depth reminiscent of the best work from Mark Oliver Everett’s Eels. Then the title track has that easy going laidback confidence that reminds me Aaron Lee Tasjan’s recent country-tinged rock and roll while “Magical Thinking” sounds like an indie reinvention of Crosby, Stills, Nash and Young. Then there’s songs that sound like 1970s AM radio should-be hits like “Hazy Morning” and the swinging “Don’t Let Me Run.” This record will undoubtedly be an end-of-year indie chart topper.

Philadelphia’s Foxycontin sound like they were inadvertently dropped from the Stiff records roster circa 1978. You can hear it on the title track “This Time You’re On Your Own” where it’s clear the band has somehow nicked Steve Nieve’s organ from Elvis Costello’s early records. What a killer single! While described in most reviews as pop punk I just hear a straight-up no-frills rock and roll sound like the kind desperately trying to escape the commercial bombast of the 1970s. Sometimes the band comes on like an edgier Romantics on tracks like  “Alive in Interesting Time” or an American Graham Parker on “It’s Starting to Show.” At other moments they are the ultimate kick-ass party band, tossing off a host of great covers ranging from Nick Lowe’s fun stomper “Heart of the City” to the more obscure Brian Seymour song “Junk Passion.” And there’s stuff like “The Whole World Knows I’ll Never Get Over It Now” which exhibits the steely passion of an Ike Reilly cut. You ready to party? If you’re looking dance-ready fun, you won’t go wrong with This Time You’re On Your Own.

When I read that Bad Moves had opened for Scotland’s Spook School it all made sense: the in-your-face-politics, the dynamic mix of styles, the achingly open emotional themes. This is band with something to say. “Local Radio” kicks things off, gearing up like a cross between Grouplove and the New Pornographers. “Night Terrors” is all over the place in a wonderful way, sometimes vibing Spook School with a bit of B52s or sounding like New Pornographer’s Neko Case. Then there’s the almost-anthemic single and video “Party With the Kids Who Wanna Party With You,” a perfect pop song distillation of political anger and social coping. The record is called Untenable, as in the state of things generally is not acceptable.  The band’s particular talent is wrapping this unstinting stand in accessible, inventive hooky 2-3 minute increments. Like “Toward Crescent Park.” The song’s got an opening guitar hook that reaches out and won’t let go. “Muster” has a Weezer-like pop intimacy with a punky Merseybeat break in the middle. I love the slow groove on tracks like “Settle Into It” and the more chipper clip defining “Same Bad Friends.” Then the record ends with another great should-be hit single, the swinging ‘ooh-oohing’ “End of Time.” As one reviewer put it, Bad Moves offers nothing but good moves here. I agree!

Montreal’s The Adam Brown absolutely nail the 1982 guitar/synth hybrid thing that was going on with “Indie Rock Has-Beens,” the opening track of their new long-player What We’ll Never Know. At the same time, I hear just a hint of Queen and The Vaccines. And that pretty much captures the dynamic animating The Adam Brown, a band that can effortlessly flash some influence without ever surrendering their own distinctive sound. I mean “Disco Mossman” had me thinking there’s something so White Album John Lennon going on here, perhaps with a generous dollop of Kraftwerk. But still, it is its own thing too. On the other hand, “Get Up” sounds like a new wave Bruce Springsteen to me, or “The Law Was Love” feels like all an out 1960s jam. Aside from the influence markers, what elevates this album is the songwriting craft. These are just some seriously hummable tunes. “Hummin’ Around,” “I Will Let You Run” and “Its Emotion” could all be heat-seeking hit singles, to my ears. What We’ll Never Know is the kind of record you’ll have on repeat a few times before realizing it’s run its course … and you’ll listen to it again.

Lockdown has meant little live music but a lot of great record releases! Click on Supercrush, Blitzen Trapper, Foxycontin, Bad Moves, and The Adam Brown to hear more.