At a glance Hamburg’s The Catherines appear to be the bastard child of The Smiths and The Magnetic Fields with their jangly guitars, parade of gorgeous 1960s diva single covers, and outrageously long and involved song titles. But that is just scraping the surface – there really is so much more. Yes, track titles like “Is Your Bigmouth Girlfriend Really So Charming” obviously vibe Morrissey but this band takes things further. Much further. Into the hilarious and absurd. I love how over the top things get with “If You Come Back You’ll Know What’s in the Fridge” and “Yes You’re Beautiful to Look at but So Ugly Inside.” Still, things live or die on the quality of the tunes and they are excellent. Janglepophub put me on to this band and he wasn’t wrong.
Let’s start with “Everytime You Say It’s Ok, I Know It Is Ok,” the latest single, a song that adds some stylish 1960s California pop sounds to the band’s distinctive jangle. Here is proof that band’s potential range exceeds the late 1980s Britpop scene. Of course, when they’re time-traveling back to the 1980s, it’s pretty special. “Good Golly Goo” has a delightful musical roll out and vocals that sound a bit more polished than the group’s usual melodic drone. Another Smithian homage must be “If You Knew What’s Behind Her Smile You Wouldn’t Want to Make Her Happy” with a ringing guitar right off that Manchester band’s debut album. Then “Let’s Kiss Goodnight in the Morning” combines a low key vocal delivery, jangle, and wordplay reminiscent of Stephen Merchant while “I Just Want to Lie Here and Listen to Our Heartbeat” combines a bit more crunch at the start and some lovely background vocals. I even hear some very Kinks influences on tracks like “May I Say I Love You Or Will You Faint?” So, I’m basically saying, you may come for the bombastic titles and cool covers but you’ll stay for the songs and performances.
You can buy The Catherines as load of singles here or get their album (which brings together some of the singles) here and keep up with their adventures here.
Excuse me, I’m having a D.A. Stern moment here. Sometimes when you’re clicking through hundreds of new tunes by all manner of artists something just jumps out as strikingly original and different, just a bit off the poprock beaten track. That would be the new album from D.A. Stern, Aloha Hola. Oh, all the usual influences appear –the Beatles, Beach Boys, 1970s mannered radio pop, 1990s indie, etc. But you get a sense from the execution here that Stern’s endearingly oddball personality makes all those influences different, without necessarily becoming eccentric. The album opens with some nice trippy pop numbers – “Am I Ever On Your Mind?” and “Bluegenes” – with ever so shoegazey vocals. But then Stern shakes things up with tracks like “In Pain” and “When I Said That You Were Right” that draw on different song forms and add more weight to the vocals. For instance, “When I Said There You Were Right” has a great Rubber Soul-era Beatles acoustic shuffle, artfully laying a load of bitter lyrics over a bed of musical pleasantness. “Spirit of New York” changes things up again with sunshiny pop quality that says single to me. There are other moments where Stern really does channel a lovely Teenage Fanclub vibe, like on “Miami” and “Isn’t It Obvious?” the latter from a maxi-single released a month after (and not included on) the album.
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.
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.
Poprock Record 