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#1, Bleached, Don't You Think You've Had Enough, Everest, Growing Up Schlockstar, In Deed, Joe Sullivan, The Brothers Steve
A very exciting batch of genuinely breaking bands and songs on this post that bridge the Atlantic, going the distance from California to Michigan to Uppsala, Sweden.
The Brothers Steve debut album #1 is a concentrated dose of poprock goodness. This baby is all killer, no filler, beginning to end. From the double A-side blast of “Angeline/Carolanne” to the hip-shaking good time feel of “She” to the tongue-in-cheek hooky hilarity of “We Got the Hits.” And it sounds especially sweet on blue vinyl! I love the mix of acoustic guitars, electric leads and sweet harmonies. Check out the mix on “C’mon Pappy” with its 1970s English power pop sound, particularly the vocal stylings. “Songwriter” ups the crunch with a great driving beat, adding just a hint of a “Paperback Writer” refrain on the chorus. “Carry Me” pushes the jangle pedal hard while the vocals have a lovely Byrdsian swirl. “Good Deal of Love” is my current fave, a track that would not sound out of place on any Marshall Crenshaw album. “Sunlight” has listeners exiting the album on a sunny, acoustic guitar-drenched mellow vibe. With three-quarters of the melody rocking heroes from Tsar in the band, perhaps it’s not surprising how strong this debut is. And yet it’s a clear departure from their earlier work in style and delivery. Look for this on my top album list this year, a ‘you-can’t-go-wrong’ album recommendation from Poprock Record.
Good Deal of Love
Los Angeles’ Bleached advance from the punky beach esthetic that defined the sonic palate of their earlier work to a more confident glossy poprock sound on their new record, Don’t You Think You’ve Had Enough? It’s immediately apparent on the opening track “Heartbeat Away” – now the vocals are upfront and taking charge of the tune, to great effect. But that can’t prepare you for “Hard to Kill,” a delicious slice on late 1970s ska-influenced new wave. The track practically leaps out of the speakers, oozing Parallel Lines-era Blondie riffs and vocal mannerisms. The album is full of retro-brushed delights, from the Go-Go-ish “Somebody Dial 911” to the dreamy “Silly Girl” to the more straight-up melodic rock and roll vibe of “Rebound City” and “Valley to LA.” This is another full play recommendation. In a world of seemingly interminable single-teasing, Bleached have dropped an album that is worth putting on repeat at your next party.
Joe Sullivan’s Growing Up Schlockstar is more than a sequel to his 2014 debut Schlockstar, it’s a clear advance on what were already recognized as formidable talents as a songwriter and performer. The record teems with familiar sounds: a Glen Tilbrook-esque turn of phrase and delivery, a bit of Jeremy Messersmith’s understated wordplay, and riffs clearly paying homage to bands ranging from the Beatles to Queen. And the hooks! They’re slathered all over tracks like “Mr. Positivity,” “Greenfield Acres” and “Time Machine.” Fans of clever lyrics are going to love “Gifted and Talented,” “Cheerleader” and “Space Princess.” Anyone who can effortlessly name check Starbuck, Captain Kirk and Jean-Luc Picard in a song should get extra points!
Everest is actually the 2019 American re-release of In Deed’s 2018 record. Still, I think the band from Uppsala, Sweden can rest on their laurels a bit as Everest was their first release in 16 years. Luckily, it’s fantastic! From the attention grabbing opener “Another Start” (with its distinctive Killers-like guitar opening) and throughout the breadth of the album, it quickly becomes clear this is a group full of surprises. Indeed, the very next song on the record marks a striking shift in sound and tempo: “Five Times a Day” is a more melody driven tune, delivered with acoustic guitars and a lush vocal-focused sound reminiscent of work from Holland’s Sunday Sun. At other times In Deed channel a modernized mid-1960s beat sound on tracks like “Don’t Need, Don’t Care” and the jangle-heavy “According to You” or shift to a late 1980s UK poprock sound a la the Darling Buds or The Primitives on “Heart Attack.” Sometimes they just melodically rock out with great driving numbers like “Song to You” and “Flavour of the Month.”
For artists to ‘break out’ people have to break with some cash. Visit The Brothers Steve, Bleached, Joe Sullivan and In Deed online to help make this happen.
Photo credit: Larry Gordon.
It is too early to start working up a best albums list for 2019? Because the crew on this edition of the breaking news team are going for broke on the ‘all killer, no filler’ kind of long players. These are album downloads – no point wasting your time buying them song by song.
I was minding my own business on iTunes searching out movie star names as song titles when I ran across No Win’s “Shelly Duvall.” And that led me to their new album, Downy, 36 minutes of muscular poprock with a decidedly Weezer vibe. I thought I’d stumbled across a real unknown find but almost immediately glowing No Win reviews started showing up across my blogroll. Well, they deserve it. “After Your Legs” opens things up, setting the tone with a melodic but hard-hitting edge, as does “Vision.” “2 Real” sounds a bit like Fountains of Wayne meets Weezer to me while “Being Teen” and “Waiting for a Call” change up the pace, establishing a slower, more acoustic atmosphere. But “Shelly Duvall” is the obvious single to these ears, with its slightly dissonant hooks and smooth vocals. It’s a track that screams perfect movie montage music.
Supercrush might be described as a ‘change of life’ band. The members foreswore their hardcore roots in other groups to go full on power pop with this project and their first complete album release, Never Let You Drift Away. The record brings together a group of singles that have been on a slow drip release stretching back years, but the collection has proven to be worth the wait. There is nary a weak track here. And for an LP that came together in bits and pieces, the whole thing has a consistent sound and style, with “Melt Into You (Drift Away)” and “I Don’t Want to be Sad Anymore” ready to be added immediately to any Top 40 hit singles rotation. On the other hand “I Can’t Lie” and “Walking Backwards” have a great 1960s jangle aura. This is a crank-me-up at the beach good time.
David Brookings has the look of a classic 1970s poprock star with his David Cassidy-like impish grin and wavy mop of hair. Now he’s got the album to go with it. Scorpio Monologue is a timeless slice of 1960s-70s infused should be hits. Brookings writes songs that echo a time when radio was dominated by standout guitar hooks and sweet harmony vocals. It’s all there on the opening track, “And It Feels Like,” with its driving, chiming guitar lines and mid-period Blue Oyster Cult feel for melody and menace. Things lighten up a bit with the winsome, summery jangle of “I Grow Up Fast” and turn on the late Beatles-era McCartney influences on “Rainbow Baby.” Brookings shows his mastery of styles whether dialing up the rock factor on “Big Gun” or adding a tasteful bit of yacht to “Be Gone (Whoever You Are).” “Silicon Valley” has a slight Billy Joel meets country flavor to me and nicely (but gently) skewers tech’s home town. And check out the great surf rock rumble guitar opener to “That Girl’s Not Right,” a song that shifts to a distinctive melody in the chorus, combining sunshine elements with a hint of malice. And then “Sleep to Dream” closes the album on surprisingly uneasy note, bittersweet ennui being a bit of a departure for Brookings songwriting-wise. Scorpio Monologue is an impressive development of the David Brookings and the Average Lookings sound. It should be on every poprock fan’s 2019 summer playlist!
Guitars to the front of the line! Great poprock relies heavily on the guitar, particularly rhythm guitar. As Nick Lowe said recently, it’s supposed to rock and roll but there’s precious little appreciation of the roll part, which is harder to get right than it sounds. This week’s breaking news puts the guitar’s rhythm in its proper place.
On his new release, Things Were Better, When, Johnny Stanec increases the frenetic pace of his beat-oriented rock and roll with plenty of shimmering guitars and ‘ooh’ worthy background vocals. Rhythm guitar anchors this record on tracks like “Secret World” and the outstanding opening number, “You’re the Only One (Not a Love Song).” Harkening back to a mid-1980s indie guitar sound that bravely withstood the synth onslaught, songs like “I’m Fine, I Swear” and “If I’m Wrong” remind of mid-period Grapes of Wrath. This is guitar-driven poprock, par excellence. Stanec only pauses for breath on the wonderful mixed-tempo “The Things You Fear.” I thought “Don’t Know What To Do” from last year’s The Future of Nothing was pretty special but Stanec clearly has not come close to peaking yet. Forget the singles, Things Were Better, When is a worthy full album purchase.
There are considerable parts of The John Sally Ride new album Nothing Doing that sound like great lost songs from a Squeeze recording session circa 1982-3. “Embarrassingly Single” has a very Squeeze-like song structure with a vocal that is pure Glen Tilbrook while “Nothing Doing” just oozes the Deptford fun sound. Other tracks on the album rock things up a bit more with a Kinks-like rhythm guitar feel – see “Considered It Considered” and “All or Nothing.” But my personal fave is the lovely “You Wear Your Heart On Your Both Your Sleeves” with its seductive harmony vocals. The guys also work up a dopey, endearing dad sort of humour on tracks like “I Won’t Let Failure Go To My Head.” All in all, Nothing Doing is a stellar follow up 2017’s great A New Set of Downs.
Whoa Melodic is an anagram for Michael Woods, the creative force behind the one-man band of the same name. It’s also the name of the project’s debut release. This obvious playfulness is all over the compositions featured on the record, which range from the strummy poprock of “I Will Never Let You Down” to the chimey, addictive repetition of “To See You Again” to ambling-along-on-a-sunny-day fingerpicking on “Sprint Forward Fall Back.” Woods is expert at embedding catch-you-off guard ear worm quality hooks all over this record. I love the almost pumping lurch of “Hopeless and Lonely,” the delicate tenderness of “Ring Your Friends” but the album’s killer track for me is “Hit Me Where It Hurts” with hooky lead line opener, swing feel, and organ and harmonic shots. This record is the fun house hit parade, just a bit wonky and out of synch but delightful for it.
It’s a new year – time to break out some brand new 2019 material. This collection of hooky poprock gems are fresh and date-stamped with the new year!
Manchester’s The Maple State formed in 2004, gigged until 2008, and then took a break before releasing a stellar comeback album in 2018, Things I Heard at the Party. Keeping up the momentum, they’re back this month with a double-A sided single release, “Germany” / “A Notion.” On first listen, the band sounds a bit post-punk until you hit the chorus on “Germany” and some pretty glorious power pop kicks in. Meanwhile, “A Notion” is more low key but still swinging, achieving an almost campfire sing-along sense of atmospheric fun. By contrast, Juliana Hatfield has never really gone away (and that’s a good thing!). Year after year she puts out pretty amazing albums, like last year’s phenomenal tribute to Olivia Newton John (check out Hatfield’s take on “Magic” – wow!). Her new, just released album is Weird and it is wonderfully so with another 11 strong tracks, though I’m presently hitting replay on “Sugar.” Somehow Hatfield makes her conflicted feelings about it clever, catchy and hilarious.
Scotland’s seeming bottomless pit of quality jangle gains more depth with Aberdeen’s The Vapour Trails. Their new extended 3 song single is named for one of the songs, “Godspeed It” but I’m more drawn the Rickenbacker-anchored jangle driving “The Inner Truth.” The vibe is a perfect distillation of late 1960s Byrdsian sibilant ringing guitar and nice harmonies. And the demo of their previously released “Golden Sunshine” is pretty special too. Though hailing from Pennsylvania and largely known for his distinctive guitar work, Steve Gunn has nailed a pretty ace Crowded House vibe on “Vagabond” from his new album The Unseen in Between. I mean, the guitar works here is still fantastic but it rightly remains secondary to his evocative melody and vocals. Rounding things out is some super-charged California pop from The Popravinas with their new single, “Sofia (CMU).” I love the candy-coated vocals on this track. Very late 1970s power pop, a vein mined by a host a great bands like The Connection and Tommy and Rockets. Looking forward to the band’s soon-to-released new album!
Great music is breaking out all over this year and it’s a race to get them all in the blog before 2018 expires. Today’s crew has textured popcraft, a bit of blasty rock and roll, and even some dance grooves.
Just one listen to Legs & Luggage and there’s little doubt that Vegas with Randolph’s songwriters are conversant with the major melodic rock and roll motifs of the past few decades. They’re effortlessly combined on this album’s 13 winning tracks with a charm reminiscent of a more rough-hewn Fountains of Wayne. Opening track “You Could Say Yes” charges out of the gate with hooks that say radio-friendly hit single. Another single-ish release would be “The Girl Holding Out for Me” with its pure bliss hooky chorus. The album also sees the band vibing a range of influences, from the Plimsouls’ elan of “Jacob” to the chirpy Ben Kweller jaunt of “I Could be the One” to the Steve Miller touches on “The Weekend’s Coming.” And then there’s the wonderful FOW-meets-Partridge Family peppiness of “Women in Airports” and the veritable blueprint of perfect poprock song, “The Comeback Kid.” Forget buying singles, this one’s an album purchase.
Italy is producing an amazing bunch of melodic rockers of late (we featured stellar releases from 
A new record from Greg Pope is poprock money in the bank, he just doesn’t disappoint. I mean, one of his previous releases was aptly-named Popmonster, to which reviewers heartedly agreed – that gives you some idea what a prolific and reliable creative force he is. Now he’s back with A Few Seconds of Fame, which unfortunately could also double as a commentary on his undeservedly cool reception from top 40 radio. I don’t get it – to my ears, they’re all hits! Check the opening track “Forget About You” with its great driving tempo and solid yet subtlely hooky chorus, or the tightly delivered “Retread” – this is what radio-friendly singles used to sound like. But hey, I could just as easily recommend the wonderful 1970s ELO pop sound of “Hopes and Dreams and Fears” or the great late Beatles pop vibe on “Planet Earth” or the textured, layered sound of “Dreams About You,” particularly on the vocals. I guess nobody’s gonna make me a top 40 radio program director anytime soon but if they did …
Portland’s Hemmit have run the gamut of stadium-sounding rawk (ironically delivered, of course) to ‘punkish powerpop’ (in their words) to the electronic pop of their current release. The new EP, One Ultra, definitely channels some great 1980s synth pop influences, obvious on tracks like “Ultraviolet” and “Power” but subtlely lodged in others like “My Room” too. But consistent across their catalogue is the songwriting quality, evident on the obvious singles: the relentlessly driving “Friends” and the more melodic hooks of “Waves.” This is a band worth spending some time digging through various releases for a load of poprock gems.
The Appleton Post-Crescent described Car City as a “Fox Valley supergroup,” a reference to the fact that while all the musicians were long-standing members of the local live music scene they had really only recently come together to work on this project. Their experience clearly mattered because Car City, the album, sounds like the work of a cohesive band. The resulting sound is like Weezer on anti-depressants, a slightly dissonant, melody rich concoction that delivers on Jason Lemke’s great songs. It’s all there on the opening tracks, “Connecting the Dots” and “Like a Wave” with their earworm-worthy yet subtle melodic turns and twists. Then things get really interesting when “Hopeless” breaks out the Aimee Mann syth to good effect with some inspired full stops and background vocals, while “(Don’t) Give Up on Love” kicks off all Beach Boys vocal harmonizing before dusting off Steve Nieve’s organ. And the songs I haven’t mentioned? Also great. Frankly, I love all the tunes on this record. Car City deserves to be in your collection.
Given our staffing levels here at Poprock Record, not all breaking news is really breaking in the sense of being absolutely brand new and ‘just released.’ But hopefully it’s breaking to someone! This edition of BN taps a bit of that punky spirit that former punkers retain when they decide to go a bit more poprock and showcases what happens to DIY performers when they radically up their game. You might want to turn these tunes up!
Fullerton California’s Odd Robot are back with another 14 songs that channel a punky energy into some pretty tight rock and roll arrangements on their new Amnesiatic. “Sell Your Soul” sets the standard, charging out the gate, guitars full on with some effective new wave hooks and a strong vocal melody. Title track “Amnesiatic” keeps up the pace, sounding a bit Nick Lowe circa 1978, definitely single-worthy material. Things change up with “Green and Yellow Wires,” a song and performance that really reminds me of Ann Arbor, Michigan band Tally Hall and their very sophisticated sound. Overall, you won’t go far wrong with any track on this album, the band is consistent – there are no phone-in moments here. But if I have to single stuff out I find myself particularly partial to “Nothing to do with Anything, But” and the pre-release song, “West Coast Girls,” the latter a killer single musically as well as a showcase for the band’s distinctive, superior vocal sound.
New Zealand is calling with The Beths, a trio whose debut is a concentrated blast of punk-infused indie poprock. “Great No One” opens The Future Hates Me and it combines a driving rhythm section with some crisp lead guitar lines and the band’s signature vocal delivery. This is it, what you came for, and the combination of elements is recombined effectively everywhere else on the album. Title track “The Future Hates Me” adds a slightly discordant element to the equation, “You Wouldn’t Like Me” is a bit more poppy with a lovely swing, “Happy Unhappy” also leans heavily on hooky melody and buoyant vocals, while “Whatever” (previously avaible on the 2016 EP Warm Blood) has all the makings of a hit single: great build, solid hooks, and something that sticks in your head long after it’s over.
From somewhere in a wooded area near Lake Michigan, north of Chicago, Brad Peterson has a garden shed studio where he takes DIY to a whole new level. His earlier records mined a broad range of indie poprock pretty effectively but with 2017’s The Ellipsis Album Peterson began incorporating more contemporary pop sounds and motifs to great effect. Now comes his new The Unknown Album, a collection that appears to take those influences and add some experimental touches to the songwriting and performances. But there’s still a few conventional hit singles in the mix, like the flawless “Whispering,” which sounds like a vocal mix of Sting and Steve Miller in terms of timbre and down to earth delivery. Another straight up poprock gem is “Secret Messages” with its Beatlesque double-tracked vocals and subtle yet hypnotic hook.
DC-based band Dot Dash comprises veterans of a host of almost and actually famous bands whose music rocked regardless of the subsequent monetary reward (or lack thereof). The surplus of talent certainly shows on their new record, Proto Retro. Shifting between an indie punk vibe (“Sun + Moon = Disguise”) and pure 1984 jangle band (“Gray Blue Green”), the many influences also gel together perfectly on tracks like the opener “Unfair Weather.” The song vibes like a sunnier Beach Boys-meets-Weezer project might sound. Like other recently reviewed material, this is another total album experience given the quality of songs: just drop the needle anywhere and you’ll come up with the goods. I love the twists and turns on “Parachute Powerline,” the blast of hooks from “Fast Parade,” and check out those 1980s shimmering guitars on “World’s Last Payphone.” Then prepare yourself for a less restrained indie rock out with “Green on Red.” Proto Retro is a great album, deeply influenced by the old but very in the now too.
A strong cast of breaking acts in today’s featured post channel the classics of the mid-to-late 1960s rock and roll and 1990s power pop. All fall into the ‘highly recommended’ category of blogging endorsements!
Right off the mark, Oberon Rose generates an excitement that is distinctively 1960s rock and roll on their new record Tell Me All About It. The kick off to “No Stranger” has that magic combo of electric guitars and background vocal ‘oohs’ that draws you in and never lets up. Described as ‘psychedelic’ by a host of writers, the band falls on the more melodic side that tradition, i.e. more early rather than later Pink Floyd or even the Beatles circa Sgt. Peppers. Another strong track from the band’s latest LP is the title track, “Tell Me All About It,” with its sometimes hooky, sometimes languid and spacey feel. Don’t miss the band’s debut Wunjo from 2012 either as it contains its share of 1960s-infused real winners, like “One Man Show of Sorrow” and “Dance of the Bee.” This band’s work made me hit repeat more than once!
Australian jangle rockers Even are back with a fabulous new album, Satin Returns. Twenty-two years and seven albums later, the band has not lost its touch, as is evident on the brilliant should-be hit single “Out of the Woods,” a textbook example of how to combine jangle with killer hooks. This baby is a soundtrack to sunshine and good times, all the way. Overall, the album is a testament to the band’s mastery of late 1960s rock styles, without just being a museum piece. The end result has a timeless quality. “Little Piece” showcases this nicely with its exuberant riffing. Is this 1970s rock homage? Or 1990s indie? It doesn’t really matter because the songwriting lets it stand on its own. This is a band whose recordings also say ‘great live band.’
A year or so ago we lamented the lack of new material from Essex Green while lauding the harmonic genius of their single “Don’t Know Why (You Stay).” Well, the band is back with a new record and North American tour and the news is all good. The new album is Hardly Electronic and not available until the end of June but from the two songs presently available it’s going to be a killer. “Sloane Arranger” is a wonderful poppy-rock number, with great organ and background vocals, featuring a main vocal reminiscent of Mark Everett’s work with Eels and solo as E. “The 710” has a mellifluous quality, an easy going track that has an embedded ear worm that sneaks up on you. And there’s twelve more tracks to come! To say I can’t wait would just be hyperbole, I can. But I don’t want to!
The Ruler debut album is finally out and can I just say it? Ruler rules! Winning Star Champion is a hook-filled masterpiece. From beginning to end, Ruler’s Matt Batey delivers some pretty sweet melody-drenched rock and roll a la Matthew Sweet or Kevin Devine. Whether he’s employing a wall of guitars on “Petrified” or just finger-picking his acoustic on “We’ve Got it Made” Ruler bends melody to his will with a delicate and poignant sweetness. Title track “Winning Star Champion” announces that the singing protagonist claims his title for ‘fucking up’ like a ‘high school rebel running out of luck.’ So goes the theme of the whole album: the insecurities of advancing adulthood, in evidence on tracks like “Cars and Houses,” “The Cure” or the melancholy “Always Running.” And then there’s that winning, should-be hit single “Unhindered Pace,” a perfectly arranged sonic poprock treat. Mark my words – Winning Star Champion is destined to top everyone’s ‘best of 2018’ lists!
This edition of Breaking News is all about new albums by artists with a strong track record. Hopes are high and possible disappointment is being held at bay. From Minnesota to Scotland to California to Italy, the poprock news is good. No, cancel that – great!
I can’t get enough of Jeremy Messersmith. I only just discovered last year’s ukulele masterpiece and then his back catalogue and now he has a new record out and it’s fantastic too. Late Stage Capitalism is the latest installment in Messersmith’s enigmatic, intellectual poprock quest. Any casual listen reveals this man has a way with a tune. What seem like deceptively simple songs at first reveal melodic depth on repeated plays. Listen to how “Purple Hearts” ebbs and flows, softly sneaking up on our melodic sensibilities and then letting the hooks spill out everywhere. This is sing-along, fist-pumping, feel-good masterpiece. But Messersmith’s lyrics are something else too: tender, bittersweet, droll, sometimes biting. This guy is a less acerbic Morrissey or Stephen Merritt, an intelligent guy’s intelligent guy but with plenty of heart. Check out the sad yet sympathetic portrait exhibited in “Fast Times in Minnesota” or the sweet, Cyrcle-esque bounce of “Monday, You’re Not So Bad” with its Fountains of Wayne wordplay. I don’t know whether capitalism really is in its late stage or not but I do know one thing – this record is a winner.
The new Dropkick album is out and the Teenage Fanclub and Jayhawk vibes are striking, particularly on radio-friendly “It’s Still Raining.” Longwave is the band’s fourteenth album since 2001 and it continues in the vein of low key acoustic guitar-based tunes that mark the group’s style. BBC Radio Scotland called them “Scotland’s finest alt-country power-pop band” but I think of them more as strummy, melodic poprock, in a low gear. Exhibit A: “All I Understand” is a sweetly swinging song, with subtle hooks. Oh there is country, sure. “Blue Skies” is a lovely slow country crawl. But there is so much more: the uptempo feel of “Fed Up Thinking of You,” the Byrdsian jangle of “Even When You’re Gone,” and the lovely spare acoustic treatment on “Turning of the Tide.” Altogether, this may be my favourite Dropkick album.
A new Linus of Hollywood album is something to savor. The songs are always tightly packed musical gems with strong hooks, sparkling instrumental performances, and surprising arrangements. Cabin Life is no exception, a lush-sounding assortment of hooky AM radio-friendly should-be hits. Title-track and opening cut “Cabin Life” makes my point. LOH lulls us with a spare opener and then adds successive melodic and musical elements to build up the song, constantly shifting the listener’s attention – in a good way! Other songs put their poprock blast up front, like “At All.” This is a tune whose lyrical bitterness acts as counterpoint to its buoyant pop melody. “Wasted and in Love” sounds like the hit single to me with distinctive guitars that sound like they’re popping out of the speakers and strong melodic hooks. And this album’s ‘sounds most like Glen Tillbrook’ award goes to very Squeeze-like “Won’t Let it Get Me Down.” Excuse me while I hit repeat on this super new album.
The new record completes the shift to a more poprock sound under the expert production of The Posies’ Ken Stringfellow. “How to be Your Friend” kicks things off with an edgy guitar teaser before settling into more melodic vein with some nice vocal arrangements. The killer riff that opens “Frustrated” harkens back to their mid-period rock sound but the chorus is pure poprock. “Milk and Honey” is the pick for single for me, with a very smooth AM radio-friendly set of hooks. The band digs out the organ for the swinging “Sweet as Punch” and caps off the record with the title track “Someplace Better,” a jaunty instrumental. The Sick Rose were always great but, given my tastes, I think they’re getting better with age.
Forgive your intrepid musical reporter if some of the headlines aren’t exactly ‘breaking’ time-wise. Our foreign bureau is understaffed. And we have to make our own coffee. But I’m pretty confident that some of these artists will be breaking news to someone …
Halifax combo Monomyth sound like a nice 1960s beat group whose record has been messed with by some discordant indie interlopers. The effect is delightfully jarring, often surprising, and essentially disarming. Things start out sounding familiar but end up somewhere different. “Falling in Love” sounds like a hit single put into low gear, not quite taking off conventionally but really doing its own thing. Or “High on Sunshine” has a chorus worthy of all those great 1960s country-rock classics, set in a mess of fun melodic distractions. Some tracks are cast in more familiar registers, like the band’s eerie reincarnation of The Replacement’s on “Re: lease Life (Places to Go)” or the catchy, jangly “Drinking in Bed in E.” I love the vocal harmonies on “Cool Blue Hello” with its occasional conjuring of a Bernard Sumner/New Order vocal at times. Other tracks seem to contain a tension between straight up guitar pop and a discordant indie sound, particularly “Go Somewhere” and “Palpitations.” “New Year’s Review” has a great punked up 1970s pop feel. This is one of those fun, ‘out there’ records: hooks aplenty but not quite delivered how you might expect them.
Hamilton’s The Foreign Films have a major triple album project – The Record Collector – they have been getting out over the course of a number of years. The records appear under a number of names, in a manner that is bit confusing. No matter. The material is fantastic. Check out the crisp pop rock elegance of “Broken Dreamers” or the swinging hookiness of “Land of the 1000 Goodbyes.” Reaching back in their catalogue I love the Bowie-esque “Lucky Streak” with its killer lead line or chugging rhythm guitar-centric “Yesterday’s Girl,” both from 2011’s Fire from Spark. Or note the snaky lead guitar hook that stiches together the melodic “Another World Behind the Sun” from 2007, chock full of Magical Mystery Tour motifs.
Technically The Red Button’s recent Now It’s All This is a compilation/re-release, combining the duo’s two previous albums but adding an EP’s worth of new material. These guys have their Beatles’ chops down but they’re also talented and original songwriters, so the obvious John/Paul influences are worked up into exciting new material. If you missed the original releases, this is a fantastic collection. If you’ve got them already, there’s still some great new tunes here, like the collection’s title track “Now It’s All This.” Personally, from the whole collection I love the Costello-ish “Hopes Up,” “I Could Get Used to You,” and the wonderful “She About to Cross My Mind Again.”
San Francisco’s Pseudonym have a dreamy pop sound, a pleasant melodic drone that seeps into your brain with indelible effect. They remind me a bit of a more lofi version of The Mighty Lemon Drops, accent on a more acoustic vibe. Exhibit A: album opener “I’m Fine,” a slow burn, ear worm song if ever there was one. Things pick up tempo-wise with a more insistent, surging feel to the hooky “All the Little Things.” Other highlights include the very catchy “Victimless Crime” and the more spare, acoustic numbers like “Don’t Leave Me This Way” and “We Had a Deal.” Altogether Pack of Lies is a solid collection.
Talent is breaking out all over and it is relentlessly resynthesizing decades of poprock influences in these contributions, from slacker pop to repurposed 1960s-influenced singles to rehabilitated punk-infused melodies and rock and roll.
Variously described as ‘lesbian garage rock’ or ‘Sackville stoner chicks,’ East Coast-cum-Windsor, Ontario duo Partner actually defy easy categorization. Early songs like “Personal Weekend” and “Hot Knives” were rough, often hilarious, and definitely garage-y. So knock me down when I got wind of their just-released, super slick new record, In Search of Lost Time. This thing is a monster of exquisite playing, deft hooks, and whip-smart wordplay. I don’t even want to select a couple of songs to feature, it’s just too painful trying to choose! “Everybody Knows” is the first single, an obvious choice, and it’s a winner, chock full of great imagery of clueless stoners shopping their brains out in an oh-so straight world. But that would be obvious, wouldn’t it? I prefer to go with the songs that really highlight the duo’s musical subtlety and hooks. Like “Gross Secret,” a mellow number with a nice slow-burn guitar solo. “Angels from Ontario” sounds a bit like a certain kind of off Broadway musical number, before it takes off mid-tune. “Play the Field” and “Creature in the Sun” both have swell melodies while “Remember This” features a knock out guitar solo. There is something decidedly nineties about the overall sound, very Weezer in places, but the vocal blend of the two singers is totally unique. This whole record really is something special.
After featuring the Lund Bros. amazing back catalogue in August, imagine my delight to discover a new solo recording from chief songwriter and vocalist Chris Lund. Great Event Syndrome is self-produced and home-recorded, though you’d never know it from the Abbey Road-like production values. Content-wise the record is maximum ear candy with Lund slipping in all sorts of nods and winks to that classic mid-1960s British Invasion rock and roll sound. It’s all on display on the single-worthy “Tell Me,” from the chunky guitar hooks, to vocals that shift from sounding very Cheap Trick-Robin Zander early on, to something like Rush’s Geddy Lee in a mellow mood, to ever-so-Beatles on the stretched out ‘tonight-t-t-t’ in the chorus. Love the wobbly synth that crops up all over the tune. “What’s Her Name” is another highlight for me, showcasing Lund’s careful attention to vocal arrangements. Though the knee-jerk critics’ reaction is to connect Lund’s style with the Beatles (and on songwriting that is definitely true), vocally he reminds me a lot of Alan Clarke of the Hollies and the harmonies associated with that band. Also check out “The Juice,” where nice acoustic guitar picking combines with some 1960s American west coast vocal stylings to belie the song’s serious subject matter. And this just scratches the surface of this great album.Tell MeWhat’s Her Name?The Juice
The Safes follow a familiar trajectory in band development, from raucus rock and roll origins to a more refined sound as we get closer to the present. “Deception” from 2006’s Well Well Well showcases the fun, almost live feel of their early work. But fast forward to the 2013-16 period and the sound has shifted to more melody and harmony on tracks like “Live Life Like You Want to Live” with its almost plaintive single note piano solo. The basic elements are actually all still there, they’ve just been rejigged in importance, as can be seen from the great rock and roll guitar intro to “I Would Love You,” which also features a distinctive keyboard solo, this time on organ. Which brings us to the present and The Safes’ fabulous new record Tasty Waves. Sounding like a more punky version of Apples in Stereo, the band aces the first single and opening track “Hometown” with its chiming guitar and swinging hookiness. Here comes a serious ear worm infection! The whole album is pretty strong, though I’d single out “Streets and Sanitation” for special mention with its insistent strummy-ness, rumbly lead line and nice horn motifs.
Take some of the 1960s more melodic rock and roll and combine that with a 1990s punk esthetic and you might have Together PANGEA. 2014’s Badilac reinterpreted the Yardbirds’ pop sensibilities as if they were a garage rock act and the results were amazing on the title track and songs like “Offer” and “No Way Out.” Now they’re back with Bulls and Roosters and the creative reinvention of the 1960s continues, this time brilliantly mining Memphis soul on their swinging “Money On It,” though the ragged vocals stamps the tune as suitably garaged-up. Or things seem familiar with the in-your-face punky style on “Better Find Out” until the chorus explodes melodically like a Young Rascals’ single on speed. Run don’t walk to get tickets to these guys. Your dancing shoes will thank you.