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A Man Called E returns

15 Friday May 2026

Posted by Dennis Pilon in Artist Spotlight

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A Man Called E, E, Eels, Mark Oliver Everett

LA-based Eels are an edgy indie rock outfit led by the mercurial Mark Oliver Everett. Over the course of 15 albums of original material he’s constantly pushed his creativity, boldly venturing into different genres and trying out new sonic textures. And that’s what great creative artists should do. But selfishly I can’t help longing for his early days when he was just a man called E. Before Eels became a thing Everett debuted as a solo artist in 1992 under the moniker E, releasing a confident, fully realized long-layer simply entitled A Man Called E. The record was a delightful mash of whimsical wordplay and hooky tunes, cast in a distinctive style. Lyrically, songs like “Hello Cruel World,” “Fitting in With the Misfits” and “Nowheresville” captured the early nineties youthful sense of disoriented ennui. Musically, the songs got into your head and tended to stay there. The 1993 follow up Broken Toy Shop furthered developed the formula, delivering another load of superbly melodic tunes like “The Only Thing I Care About,” “L.A. River” and “Tomorrow I’ll Be Nine.” When that didn’t take off it seemed that E closed shop in favour of Everett’s new, rockier vehicle Eels.

But what if E never really went away? Maybe a little bit of that early E vibe remained a part of the Eels project. It’s worth a look. To that end we’ve examined every Eels LP in search of suitably E-worthy material and the good news is that all 15 Eels albums have their E-moments. Some more than one. Below is a list of Eels’ releases and our E selection for each – enough for a double album – with hyperlinks to sources where they are available and some indication of our faves.

Beautiful Freak (1996) “Your Lucky Day in Hell“
Electro-Shock Blues (1998) “P.S. You Rock My World”
Daisies of the Galaxy (2000) “Mr. E’s Beautiful Blues”
Souljacker (2001) “Friendly Ghost”
Shootenanny! (2003) “Wrong About Bobby”
Blinking Lights and Other Revelations (2005) “Going Fetal”
Hombre Lobo (2009) “In My Dreams”
End Times (2010) “Mansions of Los Feliz”
Tomorrow Morning (2010) “Swimming Lesson”
Wonderful, Glorious (2013) “I’m Your Brave Little Soldier”
The Cautionary Tales of Mark Oliver Everett (2014) “Where I’m From”
The Deconstruction (2018) “The Deconstruction”
Earth to Dora (2020) “The Gentle Souls”
Extreme Witchcraft (2022) “Learning While I Lose”
Eels Time! (2024) “And You Run”

I think these 15 cuts have that distinctive early E aura about them. They’re poppy, sometimes a bit twee, and tend to be concise and carefully assembled, at least when we compare them to other Eels material that can be more abrupt and earthy. Hands down “Wrong About Bobby” from Shootenanny! is the most E track not appearing on an E LP. “Going Fetal” from Blinking Lights and Other Revelations would come next for me. It’s got those alluring pop hooks that draw you in. Then a strong third would be “Mr. E’s Beautiful Blues” from Daisies of the Galaxy. The vocal is so solo E. Of course, you might make different choices. Frankly, the most recent “And You Run” from 2024’s Eels Time! is another strong contender.

Artists will go where the muse takes them. Sometimes that takes them in a direction away from what any individual fan may cherish most. For me, A Man Called E will remain one of my fave albums of the 1990s. Luckily a bit of that E keeps showing up on everything Mark Everett puts out.

You can keep up with Eels at their website and Facebook pages.

Back to Britpop

24 Friday Apr 2026

Posted by Dennis Pilon in Artist Spotlight

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Britpop, Keyside, Marseille, The Guest List

Jangly guitars don’t really go out of style. Especially if they’re wrapped up in a gauzy, shoegazey atmosphere and feature strong melodic hooks. The 1990s Britpop scene brought jangle back into the mainstream of the music charts and since then it has maintained a niche popularity. Now three new bands grab the torch and look poised to set the charts ablaze all over again. All hail from the north of England, though some are more northern than others. Manchester’s The Guest List have a restrained demeanor on their recent single “Something Real,” the vocal a laid back contrast to the bright lead guitar lines. At least until they get to the chorus where the vocals flare out with a bit more melodic vitality. Keyside are an exciting outfit from Liverpool that have rallied a glut of fans over the past two years with a series of killer 45s. The latest “Lemon and Lime” is a sunny, chime-driven bit of tune-age. Bit by bit there are filling out enough of a catalogue for a superb debut LP. Derby’s Marseille are the most southern of the groups and also the most hard hitting guitar-wise. The amps occasionally inch up to eleven here. You can hear the strong psych rock notes mixing with sheer Britpop jangle on the band’s last single “Out of the Blue.” If this is the beginning of a Britpop renaissance, count me in.

Click on the hyperlinks above to learn more about these fabulous Britpoppy bands.

Photo “American Poison” courtesy Thomas Hawk Flikr collection.

One year supply of Luxury Fruit

05 Sunday Apr 2026

Posted by Dennis Pilon in Artist Spotlight

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Luxury Fruit, Westside Daredevils

Sometimes you really don’t know what you’re missing until you stumble across it. Like Luxury Fruit. I mean, what is such a thing? Just pieces of fruit in really nice condition? Or a cheeky musical outfit offering hours of fun for the discerning listener?  I’ve just discovered the latter and their recent EP In Case You Didn’t Feel Like Selling Out and I’m still recovering from how funny and smart the songs are. “Liked You Better” kicks things off lowkey, like some off-Broadway exposition song, before breaking into a gorgeous chorus. Then “Cowards” sounds 1970s California pop smooth with just a bit of edge. “Tekken Liberties” appears to combine Japanese fighting games and pretty raunchy sex. And to wrap things up the band offers up “Space Bees,” a mini-rock opera about bees, complete with performance instructions contained in the Bandcamp lyrics drop-down toggle. There’s something really 10cc-meets-Todd Rundgren’s Utopia going on here. My only complaint is the brevity of the whole enterprise, barely filling their allotted 15 minutes of fame.

But this is where things get good because Luxury Fruit are not some indie rock slackers serving up an EP and a lame live album in alternating years. Over the past twelve months they’ve served up three EPs. That’s right, for the low, low price of just $12 US you get a whole year’s supply of Luxury Fruit. And I can attest that level of productivity comes at no cost in creative quality. EP #2 Neo Rococco is full of slightly twisted poppy delights. “Please Mr. Deputy” is like a country add to the A Mighty Wind soundtrack. “discofugazi” pop course corrects, with this EP’s sex content. “Cynical Man” is carried by a notable George Harrison lead guitar quaver. The EP ends with “No Alibis,” a finely structured pop masterpiece.

This brings us to the band’s first installment in this year-long trilogy of EPs, Being Calm is Fun. I don’t want to appear to play favourites with the children but this one is my fave. “Jesus Christ or Spider Man” is both pop song and pop culture genius. And it sounds like it could easily slip into the 1960s cartoon soundtrack. ‘Spider Christ amen’ indeed. Then “Grifters on the Grind” kicks off with an uber cool guitar riff before scaling up in the chorus with some amazing vocals. The message is pretty on-point timely too. “My Deadly Gender Reveal” vibes some ethereal Moody Blues before launching a Blue Oyster Cult rocking interlude. “You Know Like You Do” is a big-finish pop wonder of a tune.

Luxury Fruit combine pop culture smarts with winning hooks that falls somewhere between XTC and They Might Be Giants. So don’t delay, get stocked on up your one-year supply right now. And when that runs out, you can check out their cheeky earlier outfit, Westside Daredevils! Psst, don’t forget to explore the lyrics tabs on Bandcamp for some hilarious hidden commentary.

This charming band: Lavventura

06 Friday Mar 2026

Posted by Dennis Pilon in Artist Spotlight

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Lavventura, Toronto

Everything about Toronto duo Lavventura’s debut LP is charming. From the wide range of styles to the idiosyncratic choice of instruments to the album’s curio sonic texture, That Particular Charm definitely delights. The band’s penchant for the eccentric and unusual is evident right away on opening track “Neato Favorito” with its Penguin Café Orchestra launch and lilting singsong rhythm. “Waiting for Your Sweet Love” has a Donald Fagen jazzy undercurrent married to a low key soul thrust. Then “Ladybug” turns up the guitars with a tune that is equal parts Andy Partridge and Yellow Submarine-era Beatles. Listening through this album it’s clear these guys really know their melodic rock canon, dropping easter eggs all over the LP. “Trauma” reincarnates the spirit of the Beach Boys. “Fallen Leaves” is like a collaboration between the Everly Brothers and Sergio Leone. “House in the City/Camp Ptarmigan” puts a George Harrison lead guitar bit into an early 1970s country rock tune. “Must Be the Devil” also travels that country rock road with a dash of vaudeville and rock lead guitar. “Slippery Raincoats” and “Requiem for a Starman” are like two sides of 1970s, the former giving off a Big Star vibe, the latter exuding a rock opera grandeur. Closing out the record are two fine rock and roll songs. “Love You Like Guitars” is just stripped-back guitar goodness, full stop. However, the undeniable should-be hit-single in this package is “Flatline Dialtone.” This one has me hanging on the telephone for sure.

Get your copy of Lavventura’s That Particular Charm at their bandcamp page. That’s where I got mine!

Curses! It’s Pony and Triples

23 Monday Feb 2026

Posted by Dennis Pilon in Artist Spotlight

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Pony, Toronto, Triples

I can hear this stock villain refrain when confronted with our double-whammy of Toronto power pop goodness. I mean, there is something rather Dudley Do-Right about Canada’s largest metropolis. The place tends to register a ‘meh’ on the list of world class cities. Recently though the local music scene been blowing up the world stage, gaining international attention for its eminently discoverable talent. These two acts are ready for their close-up.

I’ve been waiting for Pony’s new album to drop for some time. Clearly Cursed really delivers on the promise of its early release singles and even adds more stylistic diversity over its ten tracks. “Superglue” and “Freezer” came out last year, brimming with should-be hit-single hooks. My immediate go-to comparisons were The Primitives for the former and Juliana Hatfield on the latter. These were headphones-on, soundtracking-your-life, spirit-lifting stuff. The band presser made mention of inspiration from The Cure and Jesus and May Chain but I think “Middle of the Summer” opens more like a 1983 synth-rock entry, aided by some cool guitar riffs and a Tristen-worthy vocal. Then there’s the striking vocal turns-of-phrase on “Blame Me” and “Sunny Something” that are just so Juliana Hatfield. Things do get a bit more rocking on “Hot and Mean” and “Every Little Crumb” where the band crank the amps and add some crunch to the guitars. But the pop instincts on this record is where the real magic happens. I hear it on “Clearly Cursed” with its swinging Go Go’s vibe and “Swallowing Stars” where we head back to a shoegazey Tracy Tracy territory. If Clearly Cursed is an affliction let’s hope there’s no cure.

Triples was originally a duo of sisters, Eva and Madeline Link. Then Madeline left to focus on another musical project, leaving sister Eva to either go solo or re-invent what Triples was about. She opted for the latter, filling out the band’s early indie DIY sound with a more expansive full band feel. Every Good Story is the EP evidence of this transformation. It’s just four songs but the selections give us a good snapshot of what is going on here. Opening cut “Old Routine” pushes some dissonant guitar work to the forefront but the vocals are pure power pop in a Liz Phair kinda way. “Gonna Be Good” gives us some crashing rhythm work that slides a hummable vocal melody overtop. “Happy” too opens with some big guitar noise only to resolve into a skipping along, singalong vocal. “Be Around” builds its sonic cocoon around some neat lead guitar licks. The only misstep here is that the whole EP adds up to a miserly 12 minutes of recorded music. Cruelty. That’s what I call it. Only a full LP will soothe my savaged breast.

Villains always react poorly when obviously good things arrive on the scene. Pony and Triples bring a little Canadian light to our increasingly dark world. Soak it up via the hyperlinks above.

Photo ‘There Was Someone That I Knew Before’ courtesy Thomas Hawk Flikr collection.

Jeremy Messersmith’s Minnesota goddamn

23 Friday Jan 2026

Posted by Dennis Pilon in Artist Spotlight

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ICE, Jeremy Messersmith, Minnesota

Normally Minnesota pop songster Jeremy Messersmith is pretty much Mr. Affable. I mean, the man wrote eleven cheery songs for ukulele and then recorded them as 11 Obscenely Optimistic Songs For Ukulele, with a tab book included so fans could play along. His five full-length albums released since 2006 are full of perfect portraitures of quirky characters struggling for love and fast times in Minnesota. But lately Messersmith has been turning his attention to more political themes. “The Mall of America” offers clever commentary about consumerism disguised as a tribute to a gigantic shopping centre in Minneapolis that “[i]f you blew it up I know they’d only build it all again.” With “Billionaires” he wonders what life might be like if everyone had a billion dollars. What sounds like an innocent query really amounts to a clever paean to equality and against economic exploitation. Then “Boomers” sardonically offers a ‘plan’ to tackle today’s generational inequality arguing today’s economic and social problems could be dealt with if we just “wait for all the boomers to die.” Tough love or exasperation? And then Trump’s ICE descended on Minnesota and Messersmith’s Mr. Nice Guy mask dropped. “Fuck This” is a artfully insistent repudiation of the politics of hate that ICE and Trump represent as well as a call for all good people to be clear in their absolute denunciation of such politics. Buffeted by strings and Messersmith’s usual understated delivery, it loses none its searing intensity despite a disarming delivery.

When the going gets tough in America nice guy melody-makers like Messersmith are needed more than ever. And it turns out there’s also some pretty steely resolve behind his glasses too.

They might be genius

15 Thursday Jan 2026

Posted by Dennis Pilon in Artist Spotlight

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Eyeball, They Might Be Giants

A new They Might Be Giants EP is definitely something to shout about. The announcement that one was coming only came out late last week and now it’s here. Behold Eyeball. It’s so TMBG but also pushes in new directions. Title track “Eyeball” has all their usual hallmarks: a distinctive medley of sometimes-competing, sometimes-overlapping vocals, a unique array of instrument choices, and – always – a solid hook thrown in somewhere. And yet some elements of the melodic arc that play out here sound like nothing I’ve heard the duo do before.  Certainly multi-playable, even in one sitting! The EP contains two other originals “The Glamour of Rock” and “Peggy Guggeheim,” the former an example of the band’s stylistic flexibility – jazzy, a bit western, and stagey – very musicalish, while the latter is a horn-based instrumental workout. It’s a combo you won’t get anywhere else. The EP also includes a stripped-down version of “Eyeball” that really allows the song to breathe. As an EP it’s not really very extended, running to just 9 minutes. But I don’t think TMBG fans really mind because the band behind ‘dial a song’ never phone it in. Every note that makes the cut of any TMBG release has been carefully chosen and lovingly rendered. They might be the most serious band to not take themselves seriously. All this is a teaser prelude to their 24th full album of original tunes, due out sometime this spring.

Yes, They Might Be Giants have done it again, delivered a hooky little marvel just when we needed it most (these days, that’s just about any time). Give in to the genius that is TMBG!

Welcome to Jerry Paper’s “New Year’s Day”

01 Thursday Jan 2026

Posted by Dennis Pilon in Artist Spotlight

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Jerry Paper, New Year's Day

Hey there. New to 2026? Welcome to Jerry Paper’s “New Year’s Day.” It’s as good a place as many to land on today and certainly better than some others. Who’s Jerry Paper? That’s a tougher question that you might think. Dig back in his ten plus years of material and you’ll find a host of recordings that sound like an art school installation sponsored by Moog. In fact, Jerry Paper is more a what than a who. Lucas Nathan is the brains of the organization – writer, performer, otherworldly bon vivant. Or is he? Early recordings pleaded for sales to ‘keep Jerry’s host body alive.’ So maybe Jerry’s in charge of Lucas but keeps him alive and in the credits for tax purposes? All of which is to say that Jerry or Lucas or whomever is running this show is weird. Wonderfully, creatively weird. And I mean that in a good way. The weird of this world push boundaries, tread on the stand-offish, and create space for the rest of us to defy conformity just a little bit more than we’re comfortable with.

I caught up with the Jerry Paper project on the 2022 album Free Time which featured his first really great guitar-heavy number “Kno Me.” Even on that record his basic stylistic default was more jazz meets lounge, perhaps with Donald Fagan and Frank Zappa as consultants. Yet “Kno Me” has a 1979 new wave-ish rock feel. His most recent LP is 2024’s Inbetweezer and it carries on playing with recognizable song forms in what may be his most accessible collection yet. But I digress. We come to this recent record because it is the host of our seasonal single, “New Year’s Day.” I’m loving the aural chaos that launches this track. It sounds chopped up and put back together but the song’s strong hook somehow survives. The chorus bops along, threatening to become a singalong at any moment. Ok, the ending is a bit tortuous-sounding but what new year song shouldn’t have some dread lurking in the fine print? Gotta take the goof with the rumble, no-one ever said.

Given where we’ve been and what we’ve seen these last few years, lets dispense with the unrealistic wishes for peace and normalcy. Shit’s probably coming. Let’s just enjoy this moment with Jerry.

Back in business with Super 8 and Lisa Mychols

02 Tuesday Dec 2025

Posted by Dennis Pilon in Artist Spotlight

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Lisa Mychols, Super 8

Two great talents have gotten back together, tripping the tunes fantastic one more time. This time out on their new LP Unfinished Monkee Business Trip and Lisa seem to be lingering in the early 1970s, offering us an immediately recognizable sonic palette. “Time Out” opens the show with a carnivalesque bit of show-starting aplomb. It’s a bit of this and a bit of that, signalling the variety to come. So get ready for quite a ride. One minute we’re all motor city hip-shaking on “Love Connection,” the next we’re breezing through California to a Carpenters-like beach destination with “California Road Trip.”  The 1970s flavours keep on coming with the Jackson 5 keyboard-pumping that drives “Pop Radio CD” while a soft rock folkie vibe colours in the lines on “Falling for You.” Beyond the polyester suits and sun-dappled photo shoots, songs like “These Are the Days” and “Whenever You’re Gone” conjure comparisons to Neil Sedaka and the 5th Dimension. 1970s vocal group stylings also get a look in on “Honolulu” and “Eskimos,” though in very different ways. “House on the Hill” wraps things up in a slightly different Dylanesque register. The album is like a time trip to a warm and fuzzy early 1970s, without all the Watergate and Vietnam spoiling all the fun.

Nowhere does Unfinished Monkee Business actually promise to wrap things up on this duo’s collaboration. And that’s good, because when Super 8 and Lisa Mychols get together groovy things have a habit of happening. Get your copy of their further adventures direct from the source at bandcamp.

The Lemon Twigs revving at 45 RPM

30 Sunday Nov 2025

Posted by Dennis Pilon in Artist Spotlight

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The Lemon Twigs

It’s pretty much consensus across the power-pop-osphere that The Lemon Twigs are the perfect distillation of all those elements that made melodic rock great in the 1960s and 1970s. They kinda sound like all sorts of things but not exactly like anyone you’ve heard before. But the much-deserved hype will not prepare you adequately for just how great their latest 45 is. It’s a double-sided tour de force. A-side “I’ve Got a Broken Heart” conjures so many possible comparisons. The opening guitar lick is so Beatles ’66 but when the vocals kick in it could be The Hollies. Then halfway through the bridge goes a bit wild, like Paul Revere and the Raiders, with an instrumental break that follows that is so early Monkees. This is power pop ambrosia! B-side “Friday (I’m Going to Love You)” is pretty cool too, with a slight country-ish tinge to the overall Monkees-meets-The Cyrkle poprock sound. Then just past the halfway mark things dip into a more Beatlesque psychedelic direction, only to pump up the lead guitar instrumental back into the main tune.

Just when you think this duo has really blown you away they come back with even more poppy hurricane force. Warm up your download finger because you’re going to want to hit repeat on this single over and over again. You can purchase it on bandcamp or other e-retailers right now.

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