Tag Archives: The Veras

Mainlining rock and roll: The Kryng, The Veras, and Chris Lund

15 Tuesday Nov 2022

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Today’s selections lean into rock side of our poprock brief. These are bands that know the joy of a good rocking out session. Definitely worth mainlining or, as the dictionary says, to ‘enjoy without restriction.’

I’ve been itching to write about The Kryng’s new LP Twelve Hymns to Syng Along ever since I snagged a copy a few months back. Fans will return to hear more of the 1960s-inspired, garage rock Beatlesque tuneage that filled out previous records. New listeners may hip to the Merseybeat but also appreciate the quality of the songs. “Our Love” kicks thing off on the right jangle footing. “Get” steps on that pedal, twinning harmony vocals and propulsive guitar work. Then the album alternates between dance stompers like “Deep Inside” and more period set pieces like “Roll-Anda” with its distinctive Monty Norman 007 aura. Or compare how “She’s a Dream” paints a psychedelic pop delight while “Don’t You Know” is a driving garage rocker that falls somewhere between The Yardbirds and the Smithereens. For Beatlemaniacs, “She Knows My Name” and “It Disappears” vibe a Beatles ’65 ambience. And then there’s “Although You’re Gone” which sounds both old and new, conjuring Rubber Soul, Bryds, and Monkees influences but also reminds me of Mississippi power pop outfit Lolas. Another hard to place number is “I Know ‘Cause I See” which sounds so now but also like a poppy version of Cream. Warm up the turntable, you will definitely satisfy your many party moods with Twelve Hymns to Syng Along.

Another highly anticipated release for me has been The Veras’ V is for Vera. The band teased us with a few early singles last year but then taunted us for months about the coming album. Now it’s here and what stands out for me is the tightness. This is a band that has played countless shows together over the years and it shows. “Sevens and Nines” jumps to it, opening the album with big organ and a swinging chunky guitar rhythm that defines this album. The influences here are strongly 1970s – Queen, Bowie, even Supertramp – but the output often slips into the 1980s. Listening to “If You Ain’t Got Love” I hear a touch of Madness filtered through 10cc. “She’s Into Magic” is another one that sounds so Farfisa organ fantastic. Another organ-centric number is “Winner Not a Sinner” with its ABBA vibe. Fun is definitely on the agenda of this album whether it’s the early 1970s sunshine pop feel on “Are You Having Fun Yet?” or the more Harrisonian psychedelic groove of “Ordinary Fun.” Then things shift pop punky on “Bad Dream” and glammy with “Spaceman.” “I Should Know Better” and “My Country Girl” have the big AM pop radio sound I associate with 10cc cut with a bit of Queen. The should-be hit single here is “Paper Cup Telephones” with its perfect meld of slick vocals, organ and guitars, animated by an on-point 1970s pop song swing.

With Indian Summer Chris Lund has produced a most perfect car+summer+girls rock and roll record. Is that Cheap Trick’s Robin Zander guest vocalizing on opening track “Everything is Fine”? No, that’s just Lund nailing the Cheap Trick formula. The song has got the vocal, the edgy guitar, and the band’s signature hint of menace in the melody. Or one can hear a bit of Brendon Benson here. But hey, it’s all Lund really – the genius is in how he puts it all together. This early excitement is maintained on title track “Indian Summer” as the sonic palate expands to a broader set of 1970s melodic rockers, perhaps a bit of April Wine. “Mary Jane” has a very Beatles feel, but like if they’d carried on into the 1970s while “Guarantee” has a “Don’t Let Me Down” pacing with an Odds-like melodic punch. In many ways the guitar playing is the star of this record, anchoring the various stylistic jaunts. “Down the Line,” “Killing Kindness,” and “Time Runnin’” show what Lund can do with a guitar, casting alluring lead lines against a solid wall of rhythm guitar. Then “Please Me” offers up a stark, mostly acoustic guitar number accompanied by very emotive Lennon-esque vocals, with some nice instrumental change ups throughout. The should-be power pop hit single here is “Military Girl.” This one’s got a killer set of hooks with just right level of jarring edge to offset the sweetness. While the weather may turn Chris Lund’s Indian Summer will always be in season.

Sometimes you’ve just got to go direct to the rock and source material. Today’s acts combine hooks with a rocking edge that can be oh so satisfying.

Photo credit: Herve Gloaguen “Hippies” from Le Livre de la Sante by Joseph Handler (Monte Carlo: Andre Sauret, 1968), volume 13: Adolescence, Hygienes, Viellissement.

Heat seeking singles

20 Saturday Aug 2022

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The surging summer heat of late August really could do with a soundtrack all its own. What better way to fill that void than this 21 single salute? Strap in, here’s another slew of could-be hits for your perusing pleasure.

How did I miss Ducks Ltd.’s fall 2021 release Modern Fiction? Could be the name switch up from Ducks Unlimited. I guess you can have too much of a fowl thing. Critics have been all over “18 Cigarettes” from the new album and hey it’s great but I’m all in for the strummy magic that is “Grand Final Day.” It’s got jangle, New Order-worthy bass work, and some killer percussion.  The overall effect is very Cure-like. “Fit to Burst” is another favourite with its discordant lead guitar lines. Netherlands sixties-style rockers The Kryng have a new album out, Twelve Hyms to Syng Along, and a full review will be coming. Right now I return to their previous single and the driving-fun stomper b-side specifically, “Twenty Two.” This one is dancing shoes approved! It’s a full-on 1966 Top of the Pops go go-ing classic. A band experiencing a reanimation after some time away is Minneapolis rockers Flipp. Time has smoothed the pop hooks in their material, i.e. less Kiss more Romantics. Their new album Too Dumb to Quit kicks off with “You Can Make It Happen” – check out the riveting cowbell and slashing guitar chords opener! This is a song that pulses with urgency but these veterans know how to pace our interest, giving the tune plenty of sonic space and changes in tempo. Fans of The Tearaways and The Empty Hearts will love this. Rural France member Tom Brown has got a thing for Tom Petty, obviously. The most recent RF record had a song called “Teenage Tom Petty” and now he’s got a side band dubbed Teenage Tom Petties. Well if loving Tom were a crime a lot of us would be doing time. TTP gives this Tom a chance to go for a bit more rough sound than Rural France but without sacrificing any hooks. “Boxroom Blues” has a muddy feel to its mix but the lead guitar grinds out a relentlessly melodic line throughout. Things get turned up to 11 on Robby Miller’s new single “Staying for the Weekend.” It rides pretty close to going all rawk with its distortion and waka waka guitar effects at times but Millar has a knack for melody that ultimately reins in any guitar excess. An album of rocking Millar tunes surely can’t be far off.

Fresh should get an award for best fake-out opener to a song. The alluring distorted guitar hook that launches “Deer in the Headlights” says punky combobulations coming right up. But then things veer into a sophisticated pop vibe reminiscent of The Sunday’s debut album. The riff then keeps coming back in, jostling the listener – but it totally works. Just one of many creative contributions to the band’s new LP Raise Hell. Chicago’s The Embryos clearly spent some time taking in the mammoth Beatles’ Get Back documentary during lockdown because their new single “The Tone” is a subtle love letter to the sound of those sessions. The vibe kicks off casual, like a rehearsal session, but as the song advances things tighten up, adding more and more polish and nuance. The Demos “Streetlight Glow” is calling up so many different possible comparisons: the spooky background vocals sounds Zolas, the acoustic guitar-anchored verses has a Farrah feel, the electric guitar shots is so Vaccines. Despite this variety it all hangs together, descending into sing-along goodness near the end. The track is from their stylishly designed new long player 24 Hour Hotline featuring a stunning candy apple red Western Electric model 500 telephone. Monica LaPlante is a solid rock and roll gal. I mean, listen to her version of Echo and Bunnymen’s “Do It Clean” – it’s like she put it through some kind of B-52’s dance machine. “Selfish Bitch” is another good time rocker. But then other tracks exude a Chrissie Hynde cool. The 2019 single with “Tinted Lights” and “Opposite Sides” doesn’t just feature an classic looking cover, both tracks have a sublime sophistication. “Opposite Sides” is particularly striking, like Peggy Lee with a Nancy Sinatra swagger floating over wonderfully ominous musical textures. It would be great to pull all Laplante’s various singles and EPs into one great big album for easy appreciation. The Veras‘ new single “Sevens and Nines” has a wow-guitar chunkiness to it. There’s something very 1970s to the monster electric guitar chord attack, a bit glam with a touch of BTO swing. This one’s a party-time crowd-pleaser! You can preview a few more tunes from their upcoming new LP V is for Vera on their website.

Time to turn down the lights for a mellow moment with Franco-American duo Freedom Fry on “True to Ourselves.” This starts off spare but just wait until Marie Seyrat gets to the line “Well it’s you and me, my friend till the bitter end …” Bliss! Very early 1970s folk pop in a Poppy Family way. Former (and current, I guess) Ride guy Andy Bell keeps releasing singles from his super solo record Flicker but the latest “Lifeline” contains a special treat, a cover of Pentangle’s “Light Flight” from their 1969 album Basket of Light. I love the English twist on sixties folk rock with its unique guitar tunings and medieval aura. Hard to live up to guitar masters like Bert Jansch and John Renbourn but here Bell proves he’s no slouch. Speaking of the Middle Ages, The Happy Somethings give a solid folk footing to their paean to Everything But the Girl’s female vocalist on “I Wish You Could Sing Like Tracey Thorn.” Who doesn’t? They offer two versions on this double b-side, both delightful in their own way. Austin’s Wiretree deliver their reliable strummy goodness on a recent one-off single “Inside.” No breaking headlines here, just the usual quality merch, a dreamy mix of acoustic guitars and swirling vocal harmonies. Or for something completely different, check out Lysa Mychols and Super 8’s expert deconstruction of The Who’s “I Can’t Explain.” Powerpopaholic called it a ‘beatnik version’ and I’d have to agree, right down to the finger snapping and period wardrobe in the video.

Time now for the Jeff Lynne portion of our programming. Starting with Phil Thornalley. Phil’s usually that man behind the curtain, writing, producing and playing on hits for all sorts of people without taking the spotlight himself. He recently launched a strong solo effort with his Astral Drive project, particularly the should-be hit single “Summer of ‘76” (reviewed here). And his soon-to-be released solo effort Now That I Have Your Attention promises to be a winner if this pre-release single is anything to go by. “Fast Car” is a loving homage to everything ELO. It’s got the strings, the pumping piano, the army of background vocals, and an earwormy set of melodic hooks. Another artist working some Lynne-isms into their new song is Bill DeMain, co-songwriting partner to a load of should-be stars and one half of Swan Dive. “Lone Ranger” is a brilliant riff on fame and heroes well past their sell-by date. But musically it’s like a easter egg hunt for ELO motifs. Pretty genius stuff here. The Rooftop Screamers offer a more distant echo of Lynne influences on “The Great Unknown.” It’s there more in the melange of sounds, the organ, Tim Smith’s great vocals, and the song’s relentless hookiness. Another drip released single on the way to a new album undoubtedly. Belfast’s Neil Brogan combines a wonderfully weird set of styles on his recent album Things Keep Getting in the Way. Not so much ELO as the melodically-folky, sometimes-rocking sound of acts like Darren Hanlon, Hayden, and Ron Sexsmith. Title track “Things Keep Getting in the Way” is a case in point: the sonorous guitar lines jump out but the vocals are so folky understated. Now get ready for a bit of joy wrapped up in a new single from Drew Beskin and the Sunshine, “Spoilers.” The opening instrumental roll out is guaranteed to bring a smile to your face, the chorus is so uplifting, and the musical breaks just bolster the good feeling. A single from the much anticipated upcoming album Somewhere Sideways Same as You.

We wrap up this batch of singles with a brand new cut from Frank Royster. Those familiar with Royster’s two phenomenally good but overlooked solo albums understand what good news this is. “Open Door” has a hint of The Smithereens songwriting stamp all over it while it’s message of faith is in your face but curiously not jarring. This is the second new single from Royster this year in anticipation of an album coming in 2023.

Frank Royster – Open Door

Whew, 21 options for your end-of-summer playlist. Surely something here to tickle every fancy.

Photo courtesy merobson.

Skating party singles

01 Monday Feb 2021

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I do remember skating to the AM radio tunes of the 1970s. Even though we were just going round and round in circles there was something about the Steve Miller Band or Cars accompaniment that made it seem cool rather than just cold. So as temperatures continue to dip this winter it’s time to playlist a modern version of the skating party with only the coolest of new singles.

For a moment I thought Jim Basnight’s “Rebel Kind” was a cover of Dino, Desi and Billy’s 1960s hit but turns out it’s much more cool than that. The song was originally by the criminally under-appreciated Vancouver band The Modernettes. Basnight honours the tune with a Replacement’s indie vibe that really connects. This is just one of 21 highlights from his recent covers album, Jokers, Idols and Misfits (check out the fabulous “This Is Where I Belong” for another surefire winner). Ok, sometimes new singles are just new to me, like Kamino’s “Where Do You Want Me?” iTunes unreliably informed me it was a 2020 release but the song actually came out in 1999 on the band’s debut EP Donut. Frankly, it sounds so fresh and contemporary it could be brand new. The song has an analog feel to the instrumentation and a clever melodic dissonance the reminds me of Fountain of Wayne’s best work. Would love to see this group take up where they left off.  Weezer have a brand new album out (OK Human) and as with all their releases I can find at least one absolutely fab single-worthy cut. This time out it’s “Here Comes the Rain” with its dramatic piano hooks and earworm after effects. From the ‘who doesn’t need some low key jangle?’ file The Umbrella Puzzles have a nice little EP built around the striking guitar work on the single, “Slips Through the Cracks.” It’s an amble along little ditty with a surprisingly rich tone on the solo lead guitar that is something special. I’d have bought Gavin Bowles’ This Year’s Modern for the cover alone, he so aces mimicking This Year’s Model right down to the shady brown hue on the backdrop. The title track is an interesting vamp with some Steve Nieve organ and 1940s background vocals. For a very Costello vibe in sound and songwriting check out “Boy From an Unknown Planet” from the same record.

Kamino – Where Do You Want Me?
Weezer – Here Comes the Rain

I raved about The Feels “She’s Probably Not Thinking of Me” as the prototypically perfect poprock single, from the guitar hooks to the melody-echoing background vocals to the overall sound. So it won’t surprise readers that I’m loving the band’s recent new song, “Is Everything Alright?” It’s got a bit of Bleu or Adam Daniel about it and it’s making me itch for a whole album. Jenny are a straight up pop punk outfit that blast through “Rose City” at an enjoyable clip. They know what their audience wants and they deliver with just the right amount of guitar distortion and melodic undercurrent. Lucy and the Rats offer up an updated early 1960s girl group sound, elevating the rock and roll feel on “On Fire.” The guitar sound and plinky keyboards meld so wonderfully with the group vocals. I think the best descriptor for The Outta Sites is neo-1960s. The band has got the sixties chops but aren’t afraid to mix in stuff from other eras. You can hear it on the title track of their recent album Beautiful You, a delightful bouncy mid-sixties-style song combined with a fab late seventies syth lead line. The band’s skill here really reminds me of The Smithereens, particularly on tracks like “This Time.” Now for a departure, I’ve got some neo-folk/gospel with Thee Holy Brothers. The sound is very Bombadil in escaping the bounds of conventional folk, evident on “My Name is Sparkle,” and the album cover is so Brothers Four 1962. I’m not a god guy but I like what these guys are doing all over this record.

The Feels – Is Everything Alright?
Thee Holy Brothers – My Name is Sparkle

I got message from Monogroove to check out their catalogue and I’m glad I did. “The Looking Glass” combines a Beatles Abbey Road vibe with some unerring 1970s pop hooks. A winsome bit of airy melodic goodness. You don’t have to take a ferry across the Mersey to get caught up with the Wirral’s West Coast Music Club, I’ve got their new single right here. “Thinkin’” mines the rock face these guys excel at: jangly, slightly distorted, melodically dissonant tunes, this time with a hint of Crosby, Stills, and Nash on the vocals. I love The Veras not just because they’ve taken my dear grandmother’s name but because their song is on a kind of permanent repeat right now. “Paper Cup Telephone” has a main structure so familiar to listeners who lived through the glam-drenched 1970s but the build up to it is so interesting. Those heavenly background vocals! Such out of this world guitars! And that organ. More please. Our skate ends with something a bit more subdued from Michael Penn. Anything new from this guy is to be treasured since he abandoned us for scoring movies. “A Revival” obviously speaks to the present moment in American politics, with Penn reassuring listeners that change is gonna come. It’s a stark, subtle, yet reassuring testament, with his usual knack for the aching, low-ball hook that keeps coming back to you long after the song has faded out.

The zamboni’s waiting to get on the ice, the ushers are screaming for the kids to exit the rink, and songs continue to rattle around in our heads as we twist our skates off. Funny how music can make the most mundane things seem special.