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Daisy House are an American treasure. They know the past, they breathe the 1960s, but they somehow make it all sound new and relevant for now. Their latest album is Bon Voyage, the last installment of what the band’s musical visionary Doug Hammond calls their “modern Amerikan trilogy” (which includes Western Man and Crossroads). The record is another tour de force of sophisticated songwriting, inventive instrumentation, and breathtaking vocals, creatively stamped by the 1960s but not stuck there. Remember when you could listen to a whole album by your favourite artist without wanting to needle drop your way to the hits? Daisy House is that kind of band. Get comfy because Bon Voyage is a pleasure cruise from beginning to end.
Title track “Bon Voyage” kicks off the album sounding like a great lost Gordon Lightfoot song c. 1970, shifting a bit more toward Joni Mitchell as things develop. The song adds another shade to Doug’s already impressive range of vocal styles. On “Stop Looking at Me” Tatiana delivers a strong but cheeky post-feminist anthem. Then “A.I. Girls” showcases Doug channeling a bit of the Moody Blues’ late 1960s pop sensibility, particularly on the vocals. “Let’s Do it Again” is the kidnapped Chrissie Hynde vocal on this record, a song The Pretenders would be well advised to cover. “Over the Hill” is a lovely Byrdsian-inspired number which seamlessly shifts from the folk rock to country influences of that band. When we get to “Till the End of the World” things change up wth a striking piano ballad beautifully sung by Tatiana, full stop. One thing that never ceases to amaze me is Doug’s mastery of 1960s musical motifs, which he utilizes with inspired restraint, readily apparent on record’s only cover, “Letter to No One.” The band also offers a remake of an earlier song, “Like a Superman,” this time “now sped up to a proper Mama Cass-ian tempo” says Doug. And just when you think it can’t get any better, late in the album Daisy House hit it out of the park with what should be the surefire hit single, “Open Your Eyes,” a hooky bit of California sixties AM radio magic. Bon Voyage closes with a song that captures Doug’s call for an ‘approachable underground,” an acoustic ode to that classic, relatable mix of 1960s progressive values i.e. freedom, love and togetherness.
This is a band that should be going places. Get on over to their Bandcamp and Facebook sites to find out why. The current album and their whole back catalogue beg for a long road trip somewhere pleasant. With this on the car stereo, it won’t really won’t matter where you’re going.
Move over ‘Selsdon Man,’ Croydon’s got a new cultural pace-setter to offer the world and he’s music to my ears: Nick Frater. Oh Frater’s not new, he’s been around. He’s played in countless bands and produced an impressive body of solo work, much of it mining a late-Beatles era kind of chamber pop. But on recent releases Frater has muscled up the sound with impressive effect. Goodbye Kayfabe showcases a range of influences from melodic and power pop to more crunchy poprock and smooth 1970s hooks. And the guy’s got a sense of humour (check out his cheeky album title/cover take-offs!). This video for his stand-alone single “Sara” captures a bit of the madness that is Nick Frater.
The album races out of the gate with the incredible, obvious hit single, “Built to Last.” I hear Cheap Trick blasting through this song. Great guitars and background vocals keep the musical tension fraught right through to the end. But then “Paperchase” sounds like a radio hit too, with its strong rhythm guitar backing, elegant 1970s lead guitar lines, and strong vocal performance. “Fruit Punches” opens with some nice Shadows riffs before shifting to a 1970s-style, smooth vocal delivered over a spare Beatles-in-acoustic mode sound. Then – bang – a great surprise change-up in the chorus. All in all, a pleasant, delightful deep cut. “More Than This” reminds me of mid-period ELO, if Jeff Lynne had any element of restraint. Frater even manages to slip some Selsdon-meets-Brexit politics into the mix with the boppy “Remoaner.”
Ok, I can’t wait anymore. Winning Star Champion is the forthcoming debut album from Seattle’s Matt Batey, aka Ruler, due to drop May 25 of this year. But you need to hear this guy now. Besides, a few of his really catchy tunes are available now and won’t even figure in the line-up of the new record. Take “Easy Life” – my far and away fave Ruler track. This hook-filled treat swings just a bit, with a great break out in the chorus, only to drop out in the verses in an oh-so-seductive way. The layered background vocals are heaven! And the guy can afford to leave this gem off his debut album? Wow. Another free-standing single is “Complicated Mind,” a slow starting melodic burn than also takes off in the chorus. Winning Star Champion’s release is still months away but the three tracks in preview suggest this baby is going to cross the tape way ahead of the competition. The album’s opening track is “Petrified,” a perfect distillation of Ruler’s winning formula: ragged edges butted up against ever so expertly crafted poprock, with a few guitar riffs borrowed from your favourite New Order record. Another winner is “Unhindered Pace,” which reminds me Kevin Devine’s solo stuff and his work with Bad Books.
Hurry and get your hands on this really super collection from the mysterious and musically iconoclastic Paul Ryan, aka Super 8. As a record T-T-T-Technicolour Melodies is defined by an acoustic sensibility but never limited to it. Instead Ryan’s acoustic guitar acts like old faithful in the background, sustaining every song, which are then adorned with all manner of ear candy: harmonica, slide guitar, cello, horns, you name it. Naming influences on this record is a potentially endless task, it is such an amazing synthesis of musical styles. In terms of tempo and feel, I hear the laid back confidence of Van Morrison in his masterful early 1970s period. Over the range of songs, you can hear a bit of the Rolling Stones, Wilco, the Velvet Underground, even the Verve here and there. But overall, the performance really reminds me of Beck on Odelay in its freewheeling, seemingly effortless pastiche of different sounds and musical motifs. And then there’s the songwriting, which is pretty impressive. This batch of tunes is mellow, soulful, and hooky. Need some uplift? Put this on while tooling around the house and feel the colour of your day change.
We need to start 2018 off on the right foot. Why not chase the blues away with ukulele-fueled songs of love, solidarity, and kittens? Yes, kittens. And snowflakes. And a bit of magic. It may look and sound like a hokey project at first glance but Jeremy Messersmith’s amazing 2017 release, 11 Obscenely Optimistic Songs for Ukulele: A Micro Folk Record for the Twenty First Century, delivers the goods. 10 songs performed in just under 16 minutes with an intense but laid back delivery that oozes authenticity. Some are sweetly charming (like “Everybody Gets a Kitten”) while others are just touchingly sweet (like “Everything is Magical” or “I’m a Snowflake Baby”). In anyone else’s hands these songs would quickly turn to mush but Messersmith manages to wring out every last drop of authentic feeling. It helps that the songwriting is so strong, careening from simple three chord wonders (“Everything is Magical”) to more saucy and complicated pre-WWII era jazz structures (“Love Sweet Love”). There isn’t a bum track on this all too brief album, which fittingly ends with the beautiful, delightful, and inspiring “We Can Make Our Dreams Come True.” Buy it. Play it. Again. I feel better already!
Canadian Daniel Romano serves up a winning musical hand with the surprising release of not one but two new albums to kick off this new year. The records showcase two strong sides of his eclectic songwriting personality: country-folk and poprock.
Nerveless starts out strong with it’s title track, the spare and roomy arrangement recalling a classic 1970s sound. From there it’s pretty hard to choose highlights – there are just so many great songs here! “Anyone’s Arms” hits all the poprock marks with its great pumping piano and hooky acoustic guitar – very 1970s power pop. “Good Will” and the “Devil’s Handshake” exhibit Romano’s great talent to embed no end of catchy elements to sweeten the basic song hooks. “I’ve Never Tried to Understand” has a lovely grand and sweeping pop song structure. “Bored Enough to Love” starts out like it’s almost going to launch into “I Got You Babe” before turning into a creative pastiche of different styles.
By contrast, Human Touch is a more muted folk and country effort, the title perhaps a nod to some other guy’s paired album release from the early 1990s. The album kicks off with the very subtle built up on “Bring Me to the War.” “An Earthly Stretch of Colour” is a nice folky number with strong acoustic lead lines and slow burning hooks. “Don’t Fool Me” has that aching country ballad sound. But my favourite track is undoubtedly the understated title track, which sounds to me like a great lost 1970s country rock classic.
There are a variety of Bears with guitars out there. One has a former guitar player from King Crimson as a member. Another put out an album called Burrito Palace. But this group of Bears is from Cleveland and they peddle something they describe on their Facebook page as “indiepop! Or something else maybe.” They have a sound that is at times DIY and LoFi or even Elephant 6 when they really get excited. Their self-titled debut album Bears arrived in 2006 and the band’s two tonal moods are captured nicely with the moody “How to Live” (check out that crazy haunted movie music organ!) and the more upbeat, boppy “When You’re Away.”
2007 saw the release of two EPs, Shortest Day of the Year and Summer Tour. Here’s a song from each: “You Can Tell” features the band’s signature strummy sound while “Wait and See” has a very Apples in Stereo vibe. The latter song appears again on the band’s 2008 LP Simple Machinery with a lighter, more keyboard heavy arrangement. From the same record, “Your Help” opens with an Amélie-like accordion sound and a vocal that exudes Morrissey on a good day. “Who Knows” came out the same year as a stand alone single and represented a sonic departure for the band with its early Elvis Costello organ burst at the start and various intervals of the song.
Productivity slowed up after 2008. Aside from a holiday EP, fans had to wait for 2012’s Greater Lakes but it was worth it for the soaring and peppy “Wash My Hands” alone. In fact, the whole record had a stronger punch to the songs and arrangements. 2014’s double A-sided single “Friends/Choosing Your Words” is the last release from Bears, though more recent recordings from spin off projects are now emerging (see the Kalaika project 
I landed a copy of Adam Daniel’s 1999 debut Blue Pop sometime around 2008. From the opening strains of “Breaking Up” I was hooked. Reviewers at the time gushed about the brilliance of the record, comparing it to work by Marshall Crenshaw and Tommy Keene. Daniel’s genius was to overlay the discordant vibe of the 1990s onto some pretty classic poprock. The album has so many highlights it’s a shame to focus on just this or that song … but I will. “Battle Song” is a rock solid single, with hooks and tempo changes that give it first-class ear-worm status. “Cured” reminds me a bit of the bouncy guitar pop of Mary Lou Lord. “Her Shake” kicks off with the tear-away electric guitar fun of a Fountains of Wayne single before resolving into a more uptempo Elliot Smith feel. “Said Don’t Go” is one of those subtle, melodic deep cuts each listener thinks is the special song only they have noticed. “Guess I Got a Girl” updates some neo-1950s motifs for the 1990s to create some pretty hooky magic. Meanwhile the various acoustic guitar numbers (“You Wrecked Me,” “Lovebug”) demonstrate the songwriting strength on this album. Sure the distinctive production and instrumentation makes this record sound pretty special but it wouldn’t go far without strong material. The album ends on a strong note with “Say Goodbye,” a slower tempo number that has a languid beauty, a slow hooky groove.
My two-volume Oxford dictionary on historical principles informs me that an ‘overlord’ is not just any feudal ruler but a guy pretty far up on the Middle Ages food chain. The uber lord, if you will. But then the online urban dictionary claims its just a bit of modern slang for “one who excels greatly over their peers in any particular task.” I think either one could work for Overlord, the highly literate poprock band from Brooklyn, NY. Their new single is “Up for Anything” and it’s brilliant. A straight up, one minute and 18 seconds of manicured pop songcraft, no filler. But to really appreciate what Overlord has to offer, we’ve got to go back – way back – to the 1990s and track the evolution of a slightly noisy, fuzzed out garage outfit to the finely crafted poprock connoisseurs they’ve become.
The band’s discography is like a picture slowly coming into focus. The first albums and EPs are somewhat discordant, vibing a kind of DIY punk ‘tude. But everything becomes more clear and pristine over time. The turning point is 2001’s The Wonderful World of Chemistry. Both “Populist Anthem,” with its blurry take on late 1960s California pop, and “Meet the Situation Artist,” featuring nice strummy electric guitar and washed out vocals, up the melodic anti for the group. But it is the brilliant “The 70th Love Song (Class of 1993 Reunion Theme)” that gestures toward the wit and intelligence to come on future releases. Beyond the stylized vocal effects, the song features some killer lyrics. It takes a certain perspective on things to contrast “some boys’ lips are made for smiles” with “some boys’ lips are made for sutures.”
Populist AnthemThe 70th Love Song (Class of 1993 Reunion Theme)
These early tendencies are much in evidence on 2006’s Ticker Symbols. The deadpan drollery is there on “The Very Next Person to the Hold My Hand Can Have Me” and “When You Were Crazy” but things also get more melodically serious on the “We’ll Never Get Away” with its Brydsian and Beatles’ Revolver era élan. Meanwhile “The Song that Saved the World” sounds like a milder XTC take on the pretensions of ‘let’s give the planet a big hug’ musicians. 
Five years later In Soviet Russia, My Heart Breaks For You serves up another great batch of songs, particularly “Oh, My Mechanical Heart!” “Keep it from the Baby,” “Nothing is Wrong.” There is something very Hollies or even late 1960s Moody Blues in the broad sonic palette here, especially the vocals. The band’s mastery of form is even more obvious four years later on their note-perfect homage/send up of the mopey one on “I Want to Die with You Morrissey.”The Very Next Person to Hold My Hand Can Have MeWe’ll Never Get AwayThe Song That Saved the World
All this leads us to 2016’s The Well Tempered Overlord, the band’s undeniable masterpiece. The wit is cutting, the umbrage exquisite. This is deeply intelligent and catchy music, intellectually riffing on indie culture and beyond. Think of all those smart and clever bands – The Smiths, Magnetic Fields, They Might Be Giants, XTC – and this record adds a new member to the club. There really isn’t a weak cut on the album but I’m specifically loving the hooks on “You’re Gonna Love This One” or the great lead guitar and vocals on “It’s a Travesty,” the alternating tempo of “Incredibly Human” and the rollicking rush of “Posthumous Honors,” with its great line about ‘my whole life was a bad idea.’ And for those who came only for the sardonic wit you’ve still got “Give Up Your Dreams” and “My Absence Will Go Unnoticed.”
In 2006 I heard Ben Kweller’s “I Gotta Move” and I was hooked. His self-titled album released the same year only confirmed my initial strong reaction. The record was replete with should-be hits like “Run,” the magical “Sundress” and, of course, “I Gotta Move.” It’s a record where Kweller manages to bridge the guitar/piano divide that often divides poprock performers. Melding both instruments into the mix, he balances an aching pop sensibility with a familiar rock and roll sound. And all the songs are framed around strong hooks. Other strong tracks include “Thirteen,” “Nothing Happened,” and “I Don’t Know Why.” But why choose? There really aren’t any weak tracks here.RunSundressI Gotta Move
As an album, Ben Kweller spoiled me. I couldn’t wait for Kweller’s next record. Sure, I did a bit of digging, checked out his ‘sugar metal’ band Radish, as well as earlier solo recordings like the Ben Folds-ish “Falling” from 2002’s Sha Sha. But none really matched the mastery, both in terms of songwriting and production, of Ben Kweller in my view. When 2009’s Changing Horses arrived I must admit my first reaction was a bit of disappointment, as the album represented a fairly dramatic change of direction, away from the melodic poprock of earlier material toward an alt country vibe. While it has grown on me, I welcomed 2012’s Go Fly a Kite as a kind of musical course correction. The record opens with a trio of killer tunes, from the rockier “Mean to Me” with its Cars-like atmosphere, to the hooky “Out the Door,” to “Jealous Girl” with its distinctive piano and great ‘whoa ohs’. There is a country feel to some of the songs here too like “Full Circle” and “You Can Count on Me” but across all the material is a strong focus on melody. As a whole, Go Fly a Kite doesn’t hit a false note, with consistently strong songwriting and production.Mean to MeOut the DoorJealous Girl