Melodies don’t just happen, they require a setting, an introduction, a prelude before they are unleashed on the unsuspecting listener. Today we march into solid melody territory with four acts that know how to throw out a hook.

Brent Seavers enters Exhibit B into evidence of his poprock genius. And with songs like these, selecting a jury for this case won’t be a problem. Things kick off with two tracks that marry Beatlesque specs with a youthful performance worthy of The Strypes. Check the break-out lead guitar work on “Rollercoaster Ride” that vibes an “I Saw Her Standing There” intensity. Or note the nice jangle interlude and very Beatles bridge centring “Of Poetry.” Early Elvis Costello fans are going to love the cool organ work all over this record.  “Push Me Down” works the organ hard for a serious dance party tune. “The Noble Cause” reminds me of Mark Everitt the way the words seems to chase the tune all over the song, buffeted by a subtle bed of cool organ. “Stumbling” has a jamming strut, again supported by more great organ work. A keen ear can hear a load of other disparate poprock influences on this album, like Squeeze (“The Universe and I”), Plimsouls (“No Perfect Way”), Oasis (“Fuzz Off”), and yes The Decibels (“Raining In My Head”). Stand-out tracks for me include the lush 1960s ballad “Lullaby” and the should-be single “Till It’s Over.” The latter rides a lurching set of seductive hooks that will pull you in like a planetary gravity well. Exhibit B is all the evidence you really need that Seavers is guilty of turning out criminally hooky tunes. And he’ll probably do it again.

On Rain or Shine Berlin’s Hanemoon strike a balance between elements of jangle, rough edge folk, and indie rock. It’s a record all about sonic shading, where sounds become like different hues of colour. From the outset “My Circle Line” links the album’s lineage to bands like Teenage Fanclub, Dropkick, and more distantly the Byrds. “Why Don’t You Walk Away” has sibilant guitars up front, though the overall effect is more sombre than your typical guitar band. “When I Look Around” verges on poppy rock with a breathy Elliot Smith vocal. And are those jazz guitar chords I hear shading “Deeper Than Down”? Honestly the mood on Rain or Shine is more wet than dry. One imagines songs like “Old From New” soundtracking endlessly dreary rainy days, helping make things more bearable. But there are lighter moments too. “Let’s Do the Magic Thing Again” has a brighter tone, accented by gently rippling lead guitar, while “Got a Date Tomorrow” has a driving hypnotic quality. I love the subtle keyboard adds to the REM-ish, seasonal love-letter “Is It Summer.” Then record closer “Comets” comes on like a late-breaking should-be single. Sometimes a record captures or creates a mood, like David Sylvian’s Brilliant Trees. This is one of those LPs.

The opening cut of Wesley Fuller’s bold new long-player All Fuller, No Filler knows how to build tension. “Back to Square One” doles out keyboard lines like an outtake from Who’s Next, only to suddenly segue to a slow glam march into its main melody. It’s Fuller’s mastery of many different genres and eras of popular music that is so striking on this LP. There’s 1970s folk pop on “Jacaranda,” a definite Wings vibe to “Everything is Strange” and “All of My Dreams,” and even bit of disco kick on “The Velvet Affair.” But there’s never just one influence. The latter track synthesizes so many 1970s sonic elements: slick AM pop, dance, and a killer hook lodged deep in the chorus. Or listen to how Fuller expertly steers a straight-up AM pop feel into the emerging 1979 new wave challenge on cuts like “Alamein Line” and “Inside and Out.” On the broader song line-up, the record see Fuller alternate between perfectly crafted pop gems like “Pacific Coast Highway” and his penchant for hooky, dance-able stompers like “Trade War” and “House of Love.” I love how he borrows that Beach Boys echo-chambered organ to set the mood for a 10cc/Beatles pop workout on “Look No Further.” You get the picture – All Fuller, No Filler is a very special album, a testament to an emerging pop master.

Norwegian band Svenssen hail from the small seaside town of Bryne, about an 8 hour drive from the nation’s capital Oslo. But there’s nothing provincial about their brand of melodic rock and roll. On Svenssen Sings Falling Out of Fashion the band deliver four finely crafted pop tunes that harken back to Kinksian themes of societal disruption but the sonic vibe is more early 1980s to my ears. The opening cut and title track “Falling Out of Fashion” has a Madness/Split Enz pop intensity that exudes maximum fun. “Dutch Courage” slows the tempo, brightening the jangle somewhat. “We Are Animals” has a shuffle groove that is a bit more seventies. Then on the wrap-up song “Hair of the Dog” the atmosphere is more Man Called E to me. And then we’re done, all too soon. Come back Svenssen, bring more songs!

You can take these melodies to go. Just click on the links to package them up.

Photo of ‘Found Kodachrome Slide – Plant City’ courtesy Thomas Hawk Flikr collection.