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Berwanger, Extra Arms, Pugwash, Safe and Also No Fear, Slaughter Beach - Dog, Spread the Feeling, The Olympus, The Pernice Brothers, Up From Here, Watching a Garden Die
The autumn has brought a seasonal gust of new releases and they arrive just in time to compensate for the fading sunlight and sinking temperatures. There’s nothing like a good melodic hook to amp up the joy quotient of a grey day. Today’s turn around the dial brings back some old faves and new discoveries!
Ireland’s Thomas Walsh is solid. Every release from his group Pugwash contains great songs and oh-so-interesting performances. His love of XTC regularly shows through but always in his own distinctive and original way. And the guy can write should-be hit singles! I couldn’t stop playing “Easier Done Than Said” from 2017’s Silverlake. Now he’s back with The Olympus E.P. and it’s just more of the good we’ve come to expect. “You Can Build a House on Love” opens with that familiar somewhat dark string section that haunts so many super Pugwash tracks, “August Born” is a bit more upbeat, while “Happy Again” adds a more rock and roll feel to the EP. This is another winning addition to the Pugwash canon.
Another no disappointment artist is Joe Pernice, with or without the rotating cast of characters that populate his Pernice Brothers outfit. Seemingly out of nowhere he’s got a new record and it’s a killer. Spread the Feeling goes from strength to strength songwise, kicking off with the lovely, superbly crafted pop gem “Mint Condition.” From there it’s a veritable rollercoaster of hooky tunes: the ear wormy poprock genius of “Devil and the Jinn,” the nice acoustic-based “Wither on the Vine,” “Throw Me to the Lions” with its catchy New Order-style guitar lines, and that poppy melodic treat “Skinny Jeanne.” There’s also more than few endearing slower tempo numbers like “Evidently So.” Another easy candidate for the ‘best of’ year-end lists!
Speaking of consistency, Lawrence, Kansas indie-cum-classic pop rockers Berwanger have another satisfying disc with Watching a Garden Die. Tracks like the opening cut “Long Way Down” and the neo-1950s early solo John Lennon sound of “Bad Vibrations” have those familiar Berwanger hooks and swing. But the lion’s share of the album is more introspective and low key, as on tracks like the acoustic “Even the Darkness Doesn’t Know” or the bass-dominant “Friday Night” or the mellow “I Keep Telling Myself.” Ultimately, this is a record satisfying in its familiarity while still pushing against its own self-imposed boundaries.
Looking for some ‘pared-down folk rock’? You get a mix of rockier material and a more swinging acoustic vibe on Slaughter Beach, Dog’s new LP Safe and Also No Fear. Paired example: “Good One” and “Heart Attack.” The former has a nice build up, laying some grungy rhythm guitar overtop an initial acoustic base, with some attractive vocal harmonies near the chorus. Meanwhile the latter has a sunshiney swing that will work its way into your head, helped along by its sparkly acoustic guitar anchor and spare embellishments. Ryan Allen’s Extra Arms are back with their sophomore effort Up From Here and it sounds like Fountains of Wayne doing a rawk tribute. Edgy power chords with some solid melodic hooks, particularly on tracks like “F.L.Y.,” “Coming in Waves,” “Hold Me (All the Time),” and “Up From Here.” Overall, this baby’s a bit harsher than our usual fare but hey sometimes you really need to jump up and down and punch the air. This is your gateway air-punching release for 2019.
So many talented bands and solid releases so far this year. Check out Pugwash, The Pernice Brothers, Berwanger, Slaughter Beach, Dog, and Extra Arms in more detail by clicking on the links.
Curvy light road photo courtesy Larry Gordon.
People write me. They tell me about their band and/or new single/album. And what is impressive is I nearly always end up writing about them. Eventually. Today I gather together a bunch of avid self-promoters whose songs you deserve to hear now.
Music veterans Screen Test put out some of their best music in 2018 with their Stones album-title riffing compilation Through the Past Brightly. Featuring both new and older unreleased tracks, the majority of the record is made up of the more recent material and it is IMHO some of their finest work. And that’s really saying something for guys who’ve been gigging and recording since the late 1970s with The Flashcubes, Screen Test, as solo artists, and with a host of other projects. Of the record’s new tunes I really like “Make Something Happen,” “Tomorrow is Another Day,” and particularly the single-worthy “Best Seller” with its hooky Mersey-jangle lead guitar. But the song that sings ‘hit’ to me without a doubt is “Notes from Trevor” with its killer build up and knock out earwormy chorus. Think of something filling the space between Pugwash and XTC and you’re in the zone. Or, as reader Fabian Byrne notes, very Smithereens! The band also have a great new tune worth checking out: “End of the Line.”
I’m always geared up for some great singles. I’m not the kind to insist on a whole album of hits. That can be so greedy. So let’s roll out some should-be hit single poprock radio fodder.
Let me say right at the outset that Ryan Hamilton and the Harlequin Ghosts’ new album This is the Sound is an all-round good time, filled with great tunes. It’s what we’d expect from a guy whose talents have ranged from his killer sunshine-blast solo album Hell of a Day to super outings with Bowling for Soup’s Jaret Reddick in People on Vacation. But there is something particular about “Feeling Like Falling in Love” on his latest album that really grabs me. Maybe it’s guitar hook that loops throughout the song or the effortless tenor of Ryan’s vocals but the song sticks with me. Or maybe you’re looking for something more old school new wave? Got just the release here with the latest single from The Empty Hearts. Described by some as a ‘garage rock supergroup’ I’d probably characterize them as a bit more smooth than that. Their latest “Coat Tailer” offers up the polished sheen of Romantics-style guitars with some cool Rubber Soul-ish background vocals. B-side “Run and Hide” is no slouch either with its mellow jangle and slight country vibe. Can’t wait for the full album follow up to these teasers.The Empty Hearts – Coat Tailer
Ezra Furman is undeniably one of most exciting artists to emerge over the past decade. Fabulously original, combining a punk-like sentiment with a solid mastery of 1950s and 1960s songwriting styles. He’s like a gender-fluid John Lennon – angry, tuneful, with a whole lot of something to say. His latest record 12 Nudes cranks the punk and snarl on most cuts but “In America” rides its wondrous ragged delivery over some killer hooks. I’d vote for this guy. Carrying on in a punky vein, Cleveland’s Signals Midwest take their sound in a more melodic direction with their latest EP Pin, particularly on the first single, “Your New Old Apartment.” The song goes in a number of directions with surprising musical adornments and ace vocal support from Sincere Engineer (aka Deanna Belos). Love the echo-y background vocal ‘oh oh ohs’ that show up late!
Don’t get me started on superhero movies. Sometimes it seems like Hollywood makes little else. But songs about superheroes can be great. That’s probably because songwriters can’t simply rely on a green screen or endless explosive pyrotechnics. So let’s let it rip with these superhero song stylings!
Have you met Bombadil? Given the band formed in 2006 and has released 7 albums and 2 EPs, it’s definitely possible. But given our present state of low impact indie self-promotion it’s entirely likely you haven’t. Well, get ready for a sonic treat. One where every instrument aims to create a carefully crafted moment. Where the songs are intellectually engaging, though not in some hipster elitist sort of way but in a thoughtful everyday relatable way (e.g. “Perfect”). Where no instrument break is wasted but each is like a perfectly tended garden of sounds, both colourful and creative. Possible musical comparisons abound, from the quirky musicality of They Might Be Giants and Tally Hall to the wordy yet poetic lyrics of The Shins and the Magnetic Fields. Longtime band member Daniel Michalak once described the band’s influences as ‘Ernest Hemingway, Ronald Dahl, or Shel Silverstein’ as well as ‘science/math and computer programming’. One reviewer called the band, ‘obtuse but melodic indie folk pop with a flair for the fantastic,’ while another suggested Bombadil were like a ‘less drunk Pogues.’ Longtime drummer James Phillips described their sound as simply ‘pop-rock.’ That sounds about right to me.
Throughout my life, Nick Lowe has been poprock constant. No matter what was going on, the arrival of a new Nick album was always an occasion. I probably first heard him as most other people did when “Cruel to be Kind” hit the radio in 1979, and Rockpile’s “Teacher Teacher” cemented my love of his style a year later. And what’s not to like? I had grown up consuming my parents’ record collection – Chuck Berry, Hank Williams, the Everly Brothers, Buddy Holly, the Beatles, etc. – and Nick was like a new wave synthesis of all those influences! Over the past four decades he’s grown as an artist, shifting his songwriting style and performance, but somehow managed to stay true to these roots. Currently on tour with retro rocking Los Straightjackets, Lowe continues to release great songs.
Discovering Lowe in 1979, I had to play catch up with his earlier career releases. “I Can See Her Face” from Kippington Lodge was Lowe first songwriting credit in 1969 and arguably that band’s best tune. From there Lowe wrote most of Brinsley Schwarz’s material over the course of six official album releases (seven if you include the long unreleased It’s All Over Now) from the early to mid-1970s and he would recycle some of that material later as a solo artist, most famously “Cruel to be Kind” and “What’s So Funny About Peace, Love and Understanding.” There’s some strong material on those records but “The Ugly Things” (from 1974’s New Favourites, later covered by Elvis Costello) really stands out for me as reaching the Nick Lowe solo-era standards for melody and hooks. Solo material started emerging in 1977 with the EP Bowi and various one-off singles (like the faux Bay City Rollers tributes or the label-ripping “I Love My Label”). Lowe’s first solo album, Pure Pop for Now People (or Jesus of Cool in the UK) contained a host of great songs (“Marie Provost,” “So It Goes,” “I Love the Sound the Breaking Glass”) but I think “Tonight” really captures Lowe’s talent for tuneful, ballady material.Brinsley Schwarz – Ugly ThingsNick Lowe – Tonight
1979’s Labour of Lust would be Lowe’s breakout album, featuring his only American top 20 hit, “Cruel to be Kind.” But the album has real depth songwriting-wise with great rockers like “Switchboard Susan” and tender ballads like “You Make Me.” Personally, I was always drawn to the crashing intensity of “American Squirm” and the pop jauntiness of “Without Love.” Next up was Rockpile’s Seconds of Pleasure, where only six of the twelve tunes were penned by Lowe and that didn’t include the charting single, “Teacher Teacher.” Of the six, the sparkling jangle of “Now and Always” only slightly edges out “When I Write the Book” as the best Lowe tune on the album. By 1982 Lowe was back to being a solo artist but Nick the Knife failed to produce a charting single. Still, I love acoustic guitar-anchored “My Heart Hurts” and the wistful “Raining Raining.” 1983’s The Abominable Showman (despite its dad-joke worthy title) was a strong album, featuring a great organ-heavy Paul Carrack duet on “Wishing You Were Here.” But for me, “Raging Eyes” was the obvious single, while “Mess Around with Love” (Lowe’s reworking of his earlier Brinsley cut “We Can Mess Around”) was another highlight.
In 1984 Nick was an early adopter of the roots sound on his Nick Lowe and his Cowboy Outfit, a record that also contained a should-be hit single, “Half a Boy and Half a Man.” But I was more drawn to the poprock gems “Love Like a Glove” and “God’s Gift to Women.” 1985’s The Rose of England contained Lowe’s most naked attempt to get back on the charts with his own version “I Knew the Bride (When She Used to Rock and Roll),” a song previously popularized by his old pal Dave Edmunds on his 1977 album Get It. It proved to be a very minor hit that tended to overshadow just how strong the album was, particularly it’s folk-poppy title track and the inspired John Hiatt cover, “She Don’t Love Nobody.” Nick’s next two albums witnessed him struggling to find his place in the then contemporary music scene. Both 1988’s Pinker and Prouder than Previous and 1990’s Party of One had plenty to please Lowe fans but no hit singles that might expand that base of support. Still, for hooks, I’d single out “Wishing Well” from the former and “Who was That Man?” and “All Men Are Liars” from the latter.
In 1992 Lowe took another stab at joining a band, this time Little Village with John Hiatt, Ry Cooder and Jim Keltner. With such an all-star line-up, excitement about the project was palpable, but the response to their sole album was lukewarm. Personally, I think Lowe’s turn on vocals is one of the record’s highlights on “Take Another Look.” Then Lowe shifted gears again, taking his albums into darker, more serious moods, with the release of The Impossible Bird (1994), Dig My Mood (1998), and The Convincer (2001). Here Lowe deliberately sought to reinvent himself as more introspective, mature artist, and the overwhelming critical response has been that he succeeded. Still, every album has a few more poppy numbers, like the uptempo “I Live on a Battlefield” or the more subtle earwormy “Indian Queens.” At My Age (2007) and That Old Magic (2011) lightened the mood somewhat, with the latter producing a particularly impressive range of material with songs like “Sensitive Man” and “Somebody Cares for Me.”
Hopefully the hits keep on coming with this September batch of recent single releases from these great artists. Jangle, 1960s rock and roll vocals, crunchy electric guitar lead lines and harmonies – it’s all here!
We loved Brett Newski’s 2018 album Life Upside Down here at Poprock Record, particularly punchy, addictive tracks like “Ride” and “The Afternoons.” But there’s more to Newski, like his fantastic 2016 LP Land Air Sea Garage. Love the jaunty melody of “Stranger” or the great mix of vocals on “Bending Spoons & Skipping Prayers.” But the killer cut here is undoubtedly the should-be hit single “Garage.” From its opening guitar ring to those hooky ‘da da da da’s the song motors along in a solid poprock groove, repeatedly building the tension back to a great chorus release, with what sounds like some nice French horn near the end (but who knows, it could be keyboards!). The quality on this and his other recordings suggests this is guy just getting started creativity-wise. Can’t wait for a new record!
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.
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