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Amnesiatic, Brad Peterson, Dot Dash, Odd Robot, Proto Retro, The Beths, The Future Hates Me, The Unknown Album
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.
These new albums from Odd Robot, The Beths, Brad Peterson and Dot Dash are all available from the usual outlets, awaiting monetary attention. Remember, one sale after another is the only way to eventually top the charts!
New Jersey’s The Skullers have a great new single, a cover of a 1977 Richard Hell b-side called “I’m Your Man.” Their take marries a 1970s new wave sensibility with a more recent and fresh sound not unlike the UK’s Vaccines. But the new single is not why we’re focusing on the Skullers here. I have to draw your attention back to their killer 2017 single, “Can We Do That Again.” Described by some writers as neo-rockabilly and bop, I think the sound is pretty timeless. From the hooky lead line opener to the swing in the chorus, the vocals and guitar gel in a way that could put this song in any number eras, including this one.
This blog is really one long testimonial to the Beatles’ influence on all sorts of popular music, past and definitely present. Indeed, my shorthand for describing what I do here to any random person is to say the blog features new music that builds on the legacy of the Fab Four. Today we attend to that influence more directly with bands that wear their Beatles love on their sleeves. Sometimes it’s the sound, other times it’s the subject matter, or it can just be an inspired cover.
All the power pop blogs are talking at me. I don’t hear every word they’re saying but it’s hard not to catch the drift. They’re pretty bonkers over this crew of performers and for good reason. They pop rock! Today I play catch up on some pretty superior tune-age. What’s fun in the ever-so-slightly competitive world of blogging is seeing who puts up what and when. Early adopters are cool! But even when we post the same things – and why not? It’s all about supporting the music – it’s fun to notice how we don’t necessarily highlight the same songs. Here I’ve tried to shine a light on some different cuts from these new albums.
Stumbled across this just-released-today album from Santa Cruz’ Henry Chadwick on Apple’s new rock album feed and it is freakin’ fantastic! Marlin Fisher is the new full length follow up to Chadwick’s 2016 EP Guest at Home, which was also pretty special. Why is Henry Chadwick my new instant fave artist? Because the tunes on this album fall into this blog’s sweet spot: melodic, swinging, loaded with hooks, with just the right dash of rock and roll indie edge.
Is it a turn down day? No, it’s jangle Thursday. A day ripe with the ringing chime of trebly, echo-y guitars that somehow say sunshine and good times. I say confidently that today’s trio of tunes will elevate your mood and contribute to overall feelings of good fellowship. Let the jangle rip!
Summer’s nearly over and ‘back to school’ signs beckon but one thing that won’t be in this fall’s lesson plan: heartbreak. Yep, that’s right. Life’s hardest lessons won’t be on the midterm. Now, in the event you skipped class, it was all covered on 
This turn around the dial lays on the sugar and spice with songs that highlight how poprock can embrace both smooth production values and a discordant note here and there.
Eric Blakely’s The Bottle Kids has a polished poprock sheen honed in the late 1970s by such melodic rock luminaries as the Raspberries and Rockpile. Tracks like “When You Come Around” and “Her Heart is Much Worse than her Bite” sound like great lost tunes from that era. But then “American Girls,” the obvious single from the latest album, Let Me In On This Action, goes in another direction, drawing more from the indie side of the early 1980s sound. “Let’s Put Some Power Back in Pop” is a master class in that style as well the theme song of record, giving voice to it’s underlying musical philosophy. Another surprise is the Lennon-esque “I Miss Her Goodbyes” with its interesting “A Day in the Life” piano shots and spot-on Beatles vocals. While you’re checking out the band, don’t miss “The Most Beautiful Girl in the World” from 2013’s Such a Thrill, perhaps Blakely’s greatest composition!
San Francisco’s Richard Turgeon deservedly made a lot of ‘best of’ lists for 2017 with his driving rock and roll debut album In Between Spaces. Now he’s back with a tribute to a nearby burg, Lost Angeles, and it’s another killer blast of nineties-tempered tune-age. Things kick off with what must be the artist’s theme song, “Big Break,” which contains all the elements of Turgeon’s sound: big guitars, slightly discordant vocals, and a sneaky hook that won’t let up. Then “Waiting for You” shifts gears, sounding like a grungy Matthew Sweet, complete with sparkly lead guitar lines and a very Sweet-like melody line and chorus. But the out-of-the-park single for me is the addictive “Look Away” – crank this up and keep the air guitar handy. Turgeon takes a number of chances on this outing, trying out different styles on songs like “Working for the Man” and “I Want to be a Shut-in” while also showcasing how rock can be touching on his loving tribute “Be My Wife.” Besides picking up this latest record, tune in to Turgeon’s various social media for semi-regular releases of new material and inspired covers.
The Spindles’ Past and Present is definitely heading for my ‘best of’ list for 2018. This release has it all: great songs, killer hooks, superb performances. The band is clearly influenced by the Beatles and other British Invasion acts like the Hollies, masterfully covered here on “Look Through Any Window” (which is not easy to do). But they manage to make those influences their own. Overall, the sound is very early 1980s poprock – think the Moody Blues Long Distance Voyager or even some NRBQ. “Prisoner of War” is a strong opener and potential single, while “I Want My Baby Back” sounds like the sure-fire hit to me. Another great number is “Whenever We’re Together” with it’s Jeff Lynne strings and background vocals. “Peace with the Past” has a nice Hard Day’s Night opening flourish before settling in to a more Rubber Soul vibe. Other strong tracks include “Young Heart,” “Annette” and the very Nick Lowe circa Cowboy Outfit sounding “Santa Fe.” On the whole, the record is very easy to listen to again and again …
A new feature of sorts, a tribute to the almighty single! In this age of catastrophic change in music consumption the single is back as a way of teasing interest in an artist and their new releases. It is now fairly conventional for artists to release a single well ahead of the album. Take this first round of singles – all precede their designated albums by many months. And, frankly, I can’t wait around to feature these talents!
Time it was that I waited on every Elvis Costello release like the second coming of rock and roll’s savior. And then post-Spike, I got a bit more choosy. I mean, I totally support artists going beyond whatever they’ve done in the past and Elvis clearly had many more roads left to explore. They just weren’t always my thing. But like every George Jones record, there’s seldom lacking at least one truly great cut on any given EC album. It looks like Costello’s to-be-released new album will be no exception. “Unwanted Number” is a pre-release cut from Look Now and it’s a winner. Think Imperial Bedroom meets Painted From Memory. The piano and songwriting are reminiscent of the songs from that great Costello keyboard period stretching from Imperial Bedroom through Punch the Clock and Goodbye Cruel World. Meanwhile the bridge captures the feel of the work he did with Burt Bacharach on songs like “Toledo.”
Next up is the criminally under-appreciated Paul Collins, veteran of so many great acts like the Nerves, the Breakaways, and, of course, the Paul Collins Beat. What is striking about Collins is the quality of his songwriting output over a four-decade period. His new single shows he’s still got it. “In and Out of My Head” is the pre-release single from his upcoming album, Out of My Head. The rumbly guitar is wonderfully retro yet freshly deployed on a tune that sounds like it belongs on a Roy Orbison album.
Described as “Califorian pop from sunny Utrech, the Netherlands” on their website, The Maureens have a keen ear for a melodic blend of country folk and poprock sounds. 2015’s Bang the Drum was a solid release, oozing hooks and harmonies. Now they’ve released “20 Years for the Company” from the to-be-released Something in the Air and it’s a blast of harmony-drenched goodness. Speaking to the economic insecurity of times, the song nonetheless gives off a positive vibe with it’s captivating mix of male and female vocals.
The UK’s Ordinary Boys were a big success with three hit albums before their first break up in 2008. But I’m most partial to their 2015 reunion record, the self-titled The Ordinary Boys. To my ears, it’s a bit more pop-rocky in the best tradition of The Jam or more recently The Rifles. Case in point: “Disposable Anthem.” Full of chiming guitars and sweeping melody lines, the song speeds along fueled by nonstop hooks. It has that killer shimmering pop sound I also associate with The Mighty Lemon Drops. Other highlights from the album for me include “About Tonight” and “Putting my Heart on the Line” but you can’t beat “Disposable Anthem,” the definite should-have-been single.
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