Tags
A Week of Sundays, Eugene Edwards, Lost, Marshall Holland, Mom, Paper Airplane, Pleasure Island, Shelf Life, SLD, The Happy Fits, The Well Wishers, What Could Be Better
Today’s breaking musical stories are all destined for 2020’s parade of ‘best of’ lists come January next. They’re that good. Not just a few strong tunes but full album experiences. Break out the bank card because you are going to want to explore the full story behind these headlines over and over again.
Despite releasing an EP in 2016 and an album in 2018, New Jersey’s The Happy Fits appear to be asking listeners to take sides with their new record, the aptly named What Could Be Better. The previous releases were great but there’s no denying that this new record has the mark a band suddenly in complete control of their muse. All their quirky musical elements really come to together here, from the masterful vocal arrangements to the inventive songwriting to the surprising, delightful incorporation of a cello into rock and roll. Comparisons to marquee acts like the Violent Femmes and the Killers bear fruit on “Go Dumb,” the blood-rushing spare rocker that opens the album, as well as “Hold Me Down.” But I also hear less well-known indie darlings like Everything Everything, particularly in the vocal attack on these cuts. But then things change. Both “No Instructions” and the title track have a poppy melodic wonder I associate with Dutch group Sunday Sun. “Moving” sounds so early 1960s girl group songwriting-wise but twists things with a distinctive interplay on the vocals, adding depth with a splash of cello here and there. And “The Garden” stops things cold with another transition, this time to a kind of Fleet Foxes folk fragility. What Could Be Better is a slice of pure musical excitement. It somehow manages to be relentless and refreshing at the same time. A must have.
I know I’ve been banging on about Swedish melodic rockers Mom all summer but, come on people, this is what the game is all about: jangly guitars, slightly distorted vocals and hooks coming more regularly than the 4:50 to Paddington. Now the band’s new album Pleasure Island is officially out and it’s a delight from start to finish. Looking for a fresh take on the early Cars-era of new wave? This record is your put-it-on replay date. The LP kicks off strong with the single-worthy “I Want You To Feel What I Feel.” Other should-be hit singles for me would include both “Suzie (Use Me)” and “Better Than You.” The album features some nice jangle on cuts like “Talk to Me,” “Ordinary Girl” and “Don’t Leave With My Heart,” a bit more of a rocky feel on “Cry No More Tears,” and offers up a distinctive organ solo on “Tonight.” There’s even a bit of a Cheap Trick-meets-Suzie Quatro feel on “High Demand.” Pleasure Island is a clearly defined musical destination you are going to want to visit regularly.
Another Well Wishers record is always a welcome bit of news. On this 11th outing for the band, Shelf Life is nothing but melodic goodness. “We Grow Up” kicks things off with the familiar, signature Well Wishers wall-of-guitar sound, overlaid with those perfectly compressed AM radio vocals. I love the opening guitar build-up that introduces the song. There’s something very Matthew Sweet going on here and not just the should-be hit single aura. Then “My Desire” shows just how to put the ‘power’ in power pop with big crunchy guitar chords swathed in harmony vocals. “Secrets and Lies” alters the pacing, toning things down just a bit with an XTC-like poppy feel and just a hint of jangle. In different ways both “Father of the Bride” and “All the Same” channel a Fountains of Wayne style to me. Other tracks manage to salt in a few subtle retro influences: an addictive CCR-sounding lick grinding through “Who Cries,” a bit of Eagles’ acoustic rhythm anchoring “Holidays Await,” and a Beach Boys-taking-a-run-at-power pop moment on “Lonely Song.” My ears are still ringing, in a good way.
In 2004 Eugene Edwards lit up the indie music scene with his stupendous debut album My Favorite Revolution. It was a staggeringly good collection of poprock tunes, channeling everyone from Tom Petty to Elvis Costello. It seemed like the start of something big. Then … nothing. Edwards joined Dwight Yoakam’s touring band in 2012 and can be seen all over twitter plugging Fender guitars as recently as last week. Albums of new material? Not so much. That is until A Week of Sundays quietly showed up on various music platforms last summer. And by quiet I mean ziltch promotion, nada, nothing. Even Edward’s Facebook and twitter pages contain no mention of the record at all! A crazy way to run a career but hey, I can say this, the product is solid. It’s fun from the opening riffs and party feel of “Good Old Days” and the straight-up rockier sound of “Did You Kiss the Missus.” There’s also a few exquisite slow dance moments on tracks like “The Best Man” and “Lo and Behold.” Influence-wise I hear a lot Squeeze on this record from “Irregular Heartbeat” to “Who’s Gonna Hate You When You Go.” “Person of Interest” takes off with a classic Chuck Berry opener but then segues to a sound reminiscent of Squeeze’s Argy Bargy. “There’s No Secret” is a rocking vamp but with some tasty melodic hooks buried in the tune. Edwards even offers up two versions of the title track, the latter with a decidedly ska feel. Tell your friends, Eugene Edwards is back and ready to be noticed.
Brooklyn’s SLD sound like a blast of the very best seventies poprock. They are channeling a bit of ELO, Klattu, Badfinger, and especially mid-period Wings over their new very long-player Lost. You can practically hear the sunshine and taste the California ice teas on “He’s Got You Now,” the killer opening cut. Both “Right Place Wrong Life” and “Fly Away” have that recognizable mellow 1970s McCartney touch. “No Way” even manages to rehabilitate a bit of disco guitar and space keyboards for good effect. Vocally I hear Glenn Tilbrook on a host of cuts, specifically “Don’t Want to Get Over You” and “Midnight Eyes.” Meanwhile, an ELO ambience haunts “12 to 5,” “Lost” and “Last Night.” I love the anthemic hooky changes on “Only the Sky” and the mild Oasis vibe “You’re Not Me.” It’s rare for a band that nails such a stylized period sound to somehow still escape a retro tag but SLD do it, largely on the basis of some strong songwriting and damn fine performances.
On Paper Airplane Marshall Holland manages to be retro and topical at the same time. The album is suffused with a strong 1970s sensibility, clearly evident on songs like “Look into My Eyes” and the title track. But the record is not merely retro. The album’s opening cut “Our Fate” takes up contemporary concerns about policing with just the right balance of urgency and restraint. “When the Rain Comes” then shifts the mood completely with the aid of jaunty late 1960s keyboard shots. “A Hand Holds a Bird” puts the acoustic guitar up front, mellowing the listener out in a very Simon and Garfunkel sort of way. Three cuts in and Holland has punched up three distinct moods without jarring anyone. What holds everything together is the album’s over-riding style, a synthesis of a rather cheery Elliott Smith with an up-tempo Sufjan Stevens, captured wonderfully on “Waiting for that Peace & Love.” I love the breezy summer feel on “Don’t Do It” and the sweet variety of guitar sounds blanketing “I’m Checking Out.” Back to politics, “Whatcha Gonna Do” is the most melodic put down of Trump anyone’s ever produced. And despite all this variety, the album plays like a smooth listen. Paper Airplane is like a visit with an old friend, comfortably familiar but full of surprises.
Today’s news comes from a town where everyone lives on Quality Street. The Happy Fits, Mom, The Well Wishers, Eugene Edwards, SLD, and Marshall Holland all deserve top ratings for their efforts. Forget the film at 11, check them out now via the convenient hyperlinks. Physical copies of bands 3, 5 and 6 can be obtained from Kool Kat Music.
With records that are all hot off the digital presses, this is definitely a timely episode of breaking news. And the anticipation is high for these five artists because they regularly hit it out of the poprock park. Have they done it again? Spoiler – get ready for some jangling good times.
The thing about news is that it’s always coming from some point of view. You think corporations own media empires and don’t influence what they produce? But that doesn’t mean everything is fake. You have to ask questions about where your news is coming from and what it is saying. For instance, this station is obviously biased towards covering melodic rock and roll. Sorry death metal fans! But today’s headline acts are loaded up with hooks – that’s a fact!
There may be bad news on the doorstep but our musical headlines are nothing but blue skies ahead! Today’s news breakers include a brand new long-player, a recent album release, as well as an overlooked gem from years past.
Ok, today’s breaking news is overloaded like a Toyota pickup taking too much concrete from Home Depot. The problem is, there is just too much damn fine music out there that needs your attention. Here at Poprock Record we travel the highways and byways to find only the finest, fresh poprock and today’s crew is certainly some of the fine-i-est and fresh-i-est!
Let’s begin with Webbed Wing. Emerging from the ashes of the more grungy Superheaven, their new album Bike Ride to the Moon has a grinding guitar sound overladen with hooks that get stuck in your head. Like the uptempo opening cut “Bad For Me,” or the catchy harmonica-drenched “All Went Wrong,” or the more mellow, grooving “Tunnel Vision.” There’s a bit of Sugar Ray cranked to 11 here, with a touch of Weezer at times. But sometimes the record just cuts loose, alternating between punky abandon and industrial lo fi. But the poprock payoff comes with “Door Creaks Open,” a delightful more easy-going acoustic treat. A bit heavier than our usual fare at times but worth the detour!
Some describe Brett as a kind of dream pop but on their recent EP Perfect Patterns there’s more meat to the tunes and performance than that label might suggest. Sure “Nonchalant” and the title track (with its spot-on 1980s keyboards) are a tad dreamy but opening cut “Tenebaum” comes on in a rush like a great lost New Order track. And then “Bad Luck” kicks out some pretty sweet new wave rhythm guitar with totally up front vocals – definitely not dreamy. More Darwin Deez than Cocteau Twins. Or how about that should-be double A-sided single set of tracks, “Wisdom Tooth” and “Hard Feelings.” Ear worm much? I just kept hitting repeat. ‘Brett’ no longer just refers to some 1980s hockey player for me now. Brett is value-added poprock.
County Durham’s Martha have so many facets to their musical personality. Sometimes folky, sometimes punky, sometimes AM radio hit machine. Their third album is Love Keeps Kicking and it has so many gems it should be guarded by some guy in a ill-fitting suit. Opening track “Heart is Healing” is an onslaught of pop goodness with a vocal that makes it sound like indie version of Supertramp but one still cranking out hits. The acoustic rhythm guitar here is unstoppable! I could review every song here and tell you how great each one is (truly, there is not a single one I’d give up) but I’ll just focus on a few of the more outstanding compositions/performances. Like “Mini was a Preteen Arsonist”: the song is a perfect of melding of political sentiment with solid melodic hooks. Kinda like Spook School meets Chumbawumba. “Love Keeps Kicking” sounds like a winning hit single. Or is the melodic rock of “The Void” the hit? It certainly has that stadium fist pumping jump up and down quality. Ultimately Martha is big bag of talent, spilling over with vocal talent, tight musicianship and clever catchy material. And I haven’t even really dug into the back catalogue yet!
I’ve long had a weak spot for The Skullers ever since they released that hypnotic single “Can We Do That Again” with its killer bass line and seductive vocals. 2018’s “I’m Your Man” was another winner, peppy, happy and swinging. Now they’ve returned with an EP Freight Trains & Party Games and it’s chock full of catchy tunes. Opener “Brooklyn Girls” has a lovely midtempo feel, lulling you like train ride through a rainy day. “Convenient” kicks things into a higher gear, rocking the poprock a bit more. The single is “She Denies the Things She Loves” and it has a nice Oasis vibe to my ears. A few listens confirms it’s ear worm infectious. The EP ends with probably my fave track, the more low key “Still Life” but I love the vocal and shuffle hooky beat. One day The Skullers will give us a whole album.
Croydon’s Nick Frater is back with a new long-player, Full Fathom Freight Train, and it’s right on time. Check out the fantastic artwork! And hey, the music’s pretty good too. This time out Nick embraces a full-on Paul McCartney and Wings beat group sound on tracks like “Oh Now Girl” and “Your Latest Break Up Song” Then there’s songs like “The Getaway” that exude an early 1980s poprock vibe or “What Does Good Look Like Baby” that is reminiscent of 10CC to me. Did I mention the cool train on the cover? This is one slick package that’s easy on the ears. And the 28IF on the album cover locomotive clearly harkens back to the Abbey Road cover.
How am I the last guy to this party? Ottawa, Ontario’s Golden Seals have announced their fifth and final album will be Something Isn’t Happening and I only just discovered them! Well this new record is quite an introduction. Opening track “Independence Day” gives you a sense of what they are about – a low level XTC vibe layered over some pretty creative songwriting. “Ball and Tether” is AM radio enjoyable bouncy pop. Meanwhile “Something Isn’t Happening” and “The Opposite End of the Country” both wade pretty deep into Wings territory. Look I could make comparisons all day long but some of what appears here is just some pretty original stuff. “Idiot Kid” has an unique approach and will hook you in the best poprock sort of way. And then there’s the Billy Joel cover. Ok, “Vienna” is guilty fave of mine and GS gives us lovely stripped down electric piano version. This David James Merritt guy is some kind of talented mess.
Project: Ghost Outfit is an indie super group bringing together experienced country sideman Adam Schoenfeld, poprock godfather Bill Lloyd, Cheap Trick bassist Tom Petersson, and graphic designer-cum-drummer Keith Brogdon. We love Bill Lloyd here at Poprock Record so anything he’s involved with is bound to be pretty good. Their self-titled EP/LP contains seven poppy, ear wormy Beatlesque tracks that really deliver on melody and hooks. Obviously “Somebody’s Heart” and “Hang On” have first call on potential singles. Though, personally, I love the understated approach of “Mess My Mind” where low key verses cut to choruses loaded with harmony vocals. Or there’s “Never Remember” that vibes “Things We Said Today” for me. I’m also keen on “Buying Time” which features some killer organ and great vocal interplay.
Some definite hot properties in this newscast with new releases from Poprock Record faves Richard Turgeon, The Rallies, Dan Israel and Aaron Lee Tasjan!
Richard Turgeon just keeps on getting better and better. His debut (In Between Spaces) and sophomore (Lost Angeles) albums were solid slabs of 1990s-inflected poprock, layered with hooks and slathered with a grungy alienated demeanor. Now he’s back with Go Deep and this time he’s upped the melodic quotient. This is the record Matthew Sweet should be putting out! There’s plenty of solid hooks, a bit of crunch, and those slightly dark melodic twists that sink deep in your sonic consciousness and stay there. It’s all there in the great opening track, “The One Who Got Away,” with its driving guitar and lovely background vocals. Or “Next to Me” with its strong guitar lead line hook. Then Turgeon shakes things up with an early Police ska rhythm guitar anchoring “Beware of God” accompanied by some REM-worthy background/foreground vocal interplay. The REM comparisons continue with “Loneliness,” a spot-on could-be outtake from Document. Two different versions of “Lost and Found” both capture the aching beauty at heart of the song. And then Turgeon shows his songwriting depth and range with the country/folk tune, the winsome “Cowboy Life.” Ultimately Go Deep is a great album experience, worthy of repeated listenings.
Seattle Washington’s The Rallies are back with their sophomore LP Upside Down and it’s a reverb-charged dose of sunny hooks and bittersweet sentiment. If you enjoyed their harmony-drenched debut Serve you’re going to love this new record. The solid acoustic guitar rhythm backing is still there. The distinctive mix of harmony background vocals combined with lead singer Steve Davis’ heart-tugging delivery remains front and centre. But the songs have a bit more muscle this time out. Somebody stepped on the jangle pedal because its ringing tone threads its way throughout the album, from the single-worthy opener “All Over Town” to the soaring closer “You’re the One.” The album opens on an extremely strong note. Really, in a properly poprock world “All Over the Town” would be zooming up the charts with its Beatles-esque background vocals, hypnotic guitar hooks, and earwormy melody. Overall, the influences alternate on this album, from the Tom Petty-ish “Brand New” and “Up To You” to the more Crowded House vibe of “It’s OK” and “Alive.” The hooky lead line opener to “If You Do” comes off like a lost cut from the That Thing You Do soundtrack. And I also love the lilting, more slow-paced melodic charm of “In Everything.” But make no mistake, the band have their own distinctive sound and style, as in evidence on the moving “All of Us,” a song that highlights this group’s overall uplifting positivity. 2017’s Serve landed on a host of ‘best of ‘ album lists and I predict Upside Down will heading to the same places for 2019.
Minnesota’s Dan Israel is like the money in the bank, turning out reliably great poprock records year in and out. This time he’s back with the timely-titled Social Media Anxiety Disorder and it is another winning collection of poprock ruminations on life and surviving the modern world. The album opens with “Be My Girl,” the obvious single with its endearing horn section, hooky bass guitar work, and hit single aura. But the whole record is quality stuff, alternating between Dylanesque observations and a Cat Stevens kind of confident delivery. Check out the hooky wordy attack of “Another Day” or the Tom Petty-ish country demeanor of “Tired.” Or how about the “Strawberry Fields Forever” organ quality adding something to the already winning “125” – killer! Personally, I’m smitten with the intimate acoustic revelations of “Still I’m Lost” and the almost church-like gospel hints embedded in “Out of My Hands” and “Out of My Hands Reprised.” Dan Israel is leading the singer/songwriter poprock revival, one you should be signing on to.
Aaron Lee Tasjan’s Karma for Cheap was my number 1 album for 2018. I just couldn’t get enough of it. The songwriting was exquisite, the musical performances – amazing. Now Tasjan has returned with a stripped down version of the album, Karma for Cheap: Reincarnated, and it’s a revelation. It’s like Karma unplugged, and stripped bare the songs really stand up. In this re-ordered version of the album, former album closer “Songbird” is now the opener and in its more naked form it exudes all the acoustic majesty of McCartney’s “Blackbird” or “Mother Nature’s Son.” And so it is true for all the other songs. These more spare recordings reveal new depths in songs like “Strange Shadows” and “End of the Day.” Reincarnated does make one major change in the set list of Karma for Cheap, swapping out the Orbison-esque “Dream Dreamer” for the delighful “My Whole Life is Over (All Over Again).” Tasjan’s a major talent, as revealed by his ability here to bring even more new life to some pretty great material.
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.”
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!
Poprock Record 