My news team takes a creative approach in defining just what is ‘breaking’ or not. Some of our acts have just come out with their new release while others hit the racks a while back. Needless to say, they are all ‘breaking’ to somebody somewhere. We’re going with that.
Words like ‘lush’ and ‘exquisite’ come to mind as you play through The Parlophonics dynamic second long-player Dying of the Light. This is sophisticated poppy rock of the highest order. Opening cut “Fill My Sky” sets the stage, mixing strings and sitars to create an eastern-influenced tapestry of sounds, punctuated by a few David Gilmour-worthy lead guitar solos. The ambience reminds me of Lord Huron’s Long Lost sound. That vibe is also definitely present on “Heaven Can Wait,” this album’s obvious should-be hit single. But this record defies easy categorization. Tracks like “Reading Kerouac” change things up, exuding a Style Council peppiness. So too “These Days” is light sunny pop. Contrast that to the sombre folk pop feel on “Believe in Something,” “The Dying of the Light” and “Paper Smile.” Then again I can’t help but hear a strong 1970s pop tradition here too, falling somewhere between Fleetwood Mac and Abba on cuts like “Underneath the Blue Sky” and “Song for a Lost Friend,” the former riding a seductive, hooky lead guitar lick and glossy vocals while the latter hits the chord changes hard, accompanied by a wall of vocals sing-along style. More rocky pop gets a look in on the album closer “Staring at the Sun,” the slight Oasis vibe unmistakeable. Despite all this variety Dying of the Light has a coherent sonic stamp to it. It’s a record-of-the-year list no brainer.
Diners new album Domino has an edgier, rockier feel to it compared to 2020’s Leisure World. I really liked Leisure World but I’m loving this new sound. You can definitely hear the influence of producer Mo Troper pushing the treble to the edge, both on guitar and vocals. Opening cut “Working on My Dreams” clearly signals this shift, slinging guitar chords with a real rock and roll swing. From there this new intensity takes different forms, like a rockier Apples in Stereo sound on “Domino,” a bit of Latin hustle in “So What,” or some straight-up Velvets strut on “Someday I’ll Go Surfing.” Half way through the record “The Power” lands with a thump. This is slicker, poppier bit of business, definitely the should-be hit single. The rocky impact here can be subtle. “I Don’t Think About You” is a more stripped-down affair but still the guitar rings out with emphasis, effectively framing the more lofi vocals. The album does include examples of Diners more classic curio, low-key pop material with songs like “Wisdom” and “Painted Pictures.” Personal fave – “From My Pillow.” This track bubbles with a rocky pop energy akin to bands like The Friends of Cesar Romero. With Domino Diners have definitely come out swinging and they don’t miss.
Oakland’s The Goods are the power pop shot in the arm you’ve been longing for. Their new self-titled EP The Goods is a 4 song blast of poppy rock goodness clearly drawing from indie stars like The Jam and Matthew Sweet and in step with more recent acts like The Rubs and Uni Boys. “David Jones is Dead” leans in with some Cheap Trick heavy guitar but quickly the song’s hooks overpower everything. By contrast, the lead guitar carrying “Dear Angeline” is light and poppy and delightful. “I’m Not the Only One” has a more Replacements rocky pop vibe. “Hear Me” sounds like it falls somewhere between Matthew Sweet and Marshall Crenshaw. Trust me, you need to get The Goods. My only complaint is, just four songs? Really? A full of album with this power pop template is a sure-fire winner.
Hamilton’s The Foreign Films celebrate the many flavours of 1970s AM pop on their recent record Magic Shadows. The whole affairs feels like a celebration, sponsored by Jeff Lynne. Seriously, kick off track “Cinema Girl” has a very ELO stamp, with a hint of early Springsteen stream-of-consciousness vocals. The ELO vibes carry though the album on a host of songs like “Rain Clouds (Sunshine in Your Heart),” “Midnight Movies,” and “Time Machine.” There are departures, of course. I agree with Sweet Sweet Music’s take on “Perfect Future” as a song that sounds like a marriage of Sparks and Roy Orbison. Or there’s the Hollies stamp on “Sparks in The Dark (Merry-Go-Round)” right down to the hooky lead guitar line and harmony vocals. Then “Cosmic Lover” cranks up the glam machine, vibing very “Spirit in the Sky” big guitar hooks. “Into the Light” could easily be a Tom Petty deep cut. “Daydream in the Sun (UFO Radio)” is an updated 1950s style vamp. Magic Shadows is an eminently playable slab of poppy rock – turn it on and let your cares drift away.
In terms of killer melodic rock, you’re sort of all caught up. Well, actually, no. There’s tons more to discover. You’ll just have to wait for film at 11.
Photo courtesy James Vaughn Flikr page.
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.”Now It’s All ThisHopes Up
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.
Poprock Record 