There’s a dog barking near the start Cult Canyon’s “Bitter Birdies,” the opening cut from their recent long player Smoke Tricks. It comes just before the rippling piano riffing really kicks in. It’s a small thing but it adds leavening to the impressive layered quality of the emerging, building soundscape. It’s like you’ve entered a room where a lot is already happening and you can feel the tension rising, in a good way. On “Good Good Habits” it’s the tone of the main guitar that is so alluring, allowing the vocal rise up and ride over it like something bobbing on the ocean. The emerging string section just increases the swell. “Real Sublime” sounds more rocking, paced with a low-key strut. By contrast, “A Longing” gives off a Lennon-esque atmosphere, aided by its pumping piano chords. The focus on creating unique musical ambiences on this record is striking. “Run Red Lights” evokes an era of early 1980s FM radio hit singles with its haunting rhythm guitar tone. “Overwhelming Odds” is something different again, soft, meditative, exploratory. “Ride” takes things to the album’s plaintive conclusion. Over the course of these eight distinctive tunes you can’t escape the feeling you’ve really been somewhere special.
A trip to Cult Canyon is really the best way to pick up some new Smoke Tricks. You can make an easy return to the band’s website and Bandcamp pages via the hyperlink highway.
A blockbuster release has heft. These are records that storm the turntable, letting up only to allow the shift from side one to side two. This specific blockbuster pack contains bands old and new, with some returning from a long break while others seem to pump out product every few months. Either way, get ready to be wowed.
It’s a comeback of epic proportions. The Greenberry Woods have returned after three decades with a long-player full of sparkling new material, aptly dubbed It’s All Good, Sugar … Truthfully, the potential hits just keep coming on this album. Opening cut “Summer Song” kicks things off in dynamic style, reminding us why the original band toured with the likes of Squeeze. Then things shift to the manic pop rush guiding “Waiting ‘Round For Something to Go Wrong.” And before you can catch your breath we’re on to very Matthew Sweet-ish “Whenever You Want Me Too.” This is an album where decades of influences come together, channeled through some very fine songwriting. Take “Very Good Year.” The track has a grinding Odds-like guitar pop groove but there are unmistakeable Beatles references too. “All I Want Is You” could be the Bay City Rollers, properly power-punked up. “That Girl” is very Elvis Costello circa 1980, right down the Steve Nieve organ runs and staccato back-up vocals. On “December Boy” the band extend the Big Star story from “September Gurls.” Personally, I’m digging “That Won’t Make You Love Me,” a song the album presser calls a ‘jangle heartbreaker.’ But the undoubted radio-ready should-be hit is the hard-hitting but still popalicious “The One That Makes You Happy.” What a soaring, sonorous slab of hit single-age! You know something is good when it gets covered mere weeks after it comes out (by the inimitable Grant Lindberg – listen here). I won’t be the only scribe telling you to make room on your record shelf for the triumphant return of The Greenberry Woods.
After the Lemon Twigs put out their tight rocking single “I’ve Got a Broken Heart” paired with the poppy garage-rock number “Friday (I’m Going To Love You)” in late 2025 I thought I knew what would be coming on their upcoming 2026 long-player. The songs seemed to signal a move away from their more baroque pop tastes toward 1960s power pop. The new LP Look For Your Mind! jams such easy expectations, not that that amounts to disappointment – far from it. But the boys just can’t resist showcasing multiple styles across the 14 tracks that appear here. Things started pretty much as I had expected. Opening cut “Look For Your Mind” offered up a lush Byrdsian power-pop work out. Yet just as quickly things harkened back to the baroque on “2 or 3” and “Gather Round.” Ok, so the shape of this record appears to be going in multiple directions, stretching across 1960s and into the 1970s. We can see this on “Nothin’ But You,” classic 1970s guitar pop. Another 1970s influence appears to be from Todd Rundgren’s Utopia on cuts like “Fire and Gold” and “Your True Enemy.” The two decades converge in the obvious single “I Just Can’t Get Over Losing You” with its poppy jangle and Beach Boys harmonies. The 1960s beach influences continue on “Mean To Me” and “Bring You Down,” the latter vibing Brian Wilson’s Chuck Berryisms. Stand out songs here for me include the great guitar pop tune “You’re Still My Girl” and the more operatic pop of “My Heart Is In Your Hands Tonight.” Look For Your Mind! confirms it’s good to have your expectations challenged.
There you have it, two bona fide blockbuster releases that do not disappoint. The hyperlinks take you to your local blockbuster dispensary.
A Swedish fast furniture company had a commercial that got a generation of kids yelling ‘start the car!’ whenever the family approached the vehicle. I don’t know that it helped to sell more of their particle board book shelves but it was briefly entertaining. And now we revive the slogan to celebrate two motor-themed bands with fab new platters.
On their most recent LP Never Sing Alone Toronto’s Motorists give off a strong rock vibe on opening cut “Cristobel” and tracks like “The Damage,” the latter cut with just the right dose of new wave. I get a lot of retro new wave from songs like “Anomaniacs” too. Then there are the efforts that really merge styles. “Scattered White Horses” uses dissonant rhythm guitar shots to throw us off the scent, slyly shifting to understated vocals that sound like Buddy Holly with a touch of ennui before breaking out the harmony vocals in the chorus. I can’t help but feel that the jangle cuts are the star of the show here. “Frogman” is the standout, sparkling hit single here. “Reprise” doles out more jangle, reminiscent of 1970s April Wine. Some material fits into no convenient genre box. Does “Stander” have a country gloss? It’s slight but effective. “Man in the Circular Window” and “Diogenes” are just jaunty fun. Singing along here isn’t mandatory but probably advisable.
With 17 contributions on their latest long-player Chattanooga, Tennessee’s Mythical Motors have definitely stepped on the creative gas pedal. Tremolo On The Punchline has been compared to Guided By Voices, Sharp Pins, and just about anything from those C-86 sessions. This embarrassment of jangle riches has far too many highlights to single out. But for me the album really takes off with the atmospheric “Solid Wall of Light.” The individual guitar parts shimmer and yet still stand apart. “Luna Relay” is another strong effort, vibing an early 1960s disaster tune with just the right amount of distortion. “The Queen of Fleeting Moments” also has a very 1960s pop propulsion, accented by its punchy rhythm guitar. “Dismantled Man Tells You” is more a rush of jangle, reminding me of The Friends of Cesar Romero. Tracks like “Harper’s Echo” and “Molecular Charlatans” have a great crashing energy while and “Replacement City” offers a more contemplative counterpoint. Personally, I think “Flashes of Now” is the hidden should-be hit single, lodged near the very end Tremolo On The Punchline. That’s the beauty of a collection like this – so full, so much to explore (and enjoy!).
These bands have got their engines and instruments tuned and are definitely ready to hit the open road and open stages. Join them at the Bandcamp hyperlinks to cruise awhile with their new releases.
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.
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.
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.
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.
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!
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.
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.
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!
Poprock Record 