Category: Highly Recommended by Powerpopaholic
The Real Numbers and Brent Seavers
The Real Numbers “Thank You”
San Franciso’s power pop band The Real Numbers has been a fixture in the indie scene for over 12 years, but this new album has a special meaning. It was originally lost in a tragic computer accident; the story is in detail here. But despite the setbacks, the band got this done and added some ex-Jellyfish to play on it (Roger Joseph Manning Jr. and Tim Smith).
Dave Ambrose and Lawrence Grodeska are the main collaborators here, along with Chuck Lindo (bass) and Robert John Tucker (drums). The enthusiasm is palpable on the horn-lead “Lucy’s in Love.” But even better is “I Love To Sing,” a sweet musical biography. Stylistically, The Real Numbers are akin to The Barenaked Ladies, Fountains of Wayne, and Andrew Gold. They even cover Gold’s hit “Thank You For Being A Friend.”
“Lydia Pinkham” is a very Jellyfish-styled tune with its swirling psyche-pop touches. “Sorry for the Mess” is a big highlight here, a message for future generations apologizing for screwing up the environment. The brilliant composition and musicianship make it my favorite song here. The introspective “News of the Day” and “Hello World” are wistful observations, and despite the bouncy optimism in the melodies, there is a sense of sadness mixed with nostalgia. Overall, a great album that’s highly recommended, and a name-your-price download. You can’t ask for more!
Brent Seavers “Exhibit B”
Brent Seavers (The Decibels) has driving energy on his opener, “Roller Coaster Ride,” as the riff weaves up and down the scale. Brent lists The Beatles, The Jam, The Primitives, The Plimsouls, and The Monkees among his favorite bands. Overall, the album has a tight sound, yet each song is unique, taking the listener on a whirlwind tour of the multi-colored power pop universe.
More varied stylistically than The Decibels or his first solo outing, the song compositions are terrific. “Evolves” is a catchy gem with weaving harmonies and a killer guitar solo. The story songs that stick fast include “The Noble Cause,” “No Perfect Way,” and “Til It’s Over.” There are some overt nods to the ’60s mod (“Fuzz Off” is pretty obvious), but it’s not a retro-dominated album. Timeless and highly recommended. Keep on going, Brent!
Marching on more EPs and Singles: Kanak, The Second Summer, Round Corners, Nerd Magnet, Tony Low, Big City
Wesley Fuller and Ducks Ltd.
Wesley Fuller “All Fuller No Filler”
We all knew Perth-born, Melbourne-based Wesley Fuller’s follow-up to Inner City Dream would be good. Wesley was kind enough to be interviewed about this album while promoting the singles earlier this year. But from the opening chords of “Back to Square One,” you can see that his songwriting has improved exponentially. With the casual retro synth-pop of “Alamein Line,” or “The House of Love,” and the guitar riffs of “The Velvet Affair,” Wes takes the late ’70s influences and builds from that point.
Even though Wesley looks a lot like Jeff Lynne—and Lynne’s influence is palpable in several of the songs—there’s a lot more happening here that reveals itself after repeated listening. “Look No Further” takes a distant piano rhythm and turns it into magic with a loaded chorus of harmonies. Like the promise in the name of his record, there’s nothing here that feels like filler. Highly recommended and an early nominee for 2024’s top ten!
Ducks Ltd. “Harm’s Way”
In the same vein as power pop, jangle pop is an adjacent subgenre of music that has a timeless quality. Bands like REM, The Smiths, and Echo and the Bunnymen reimagined what the Byrds started in the 1960s in the late 1980s. Canadian band Ducks Ltd. follows the tradition of combining sparkling, jangly guitars with crisp vocals and thoroughly melodic songwriting. The duo of singer-guitarist Tom McGreevy and guitarist Evan Lewis take great pains to make these songs stick.
“Hollowed Out” really does remind me of those college-era bands; The Ocean Blue or The Mighty Lemon Drops, without the psychedelic aftertaste. “The Main Thing” is another song that chugs away with a zippy chorus and a fast rhythm. Most of the songs hit that nostalgic mark, and this is another highly recommended album.
Rich Arithmetic and The Incurables
Rich Arithmetic “Pushbutton Romance”
The follow-up to 2021’s Shiftinggears takes a big step in the right direction for Rich Arithmetic (aka Richard Horton). The catchy standout opener “When You Want Somebody (To Make Love To),” features a combination of jangling guitar and a solid chorus with a swirling psychedelic break midway through. The influences; The Knack, XTC, and Martin Newell are easy touchpoints here. While the similarities to Newell are evident in the quirkier pop moments like “Battered & Broke,” his crisp 12-string guitar, understated bass lines, and harmonies on “Moral Blight” are closer to XTC’s Colin Moulding. There are excursions into folk in “Up To You” and surf guitar in “Saving Sunset.”
The three-part suite “A Teenage Hymn” recalls Pet Sounds (especially the first part) but takes its way to get through a vintage courtship, ending in a well-executed baroque instrumental finale. Getting back to power pop, “You are Always Right” is another winner, and Rich takes a bold chance with African-themed “Thema Toh Selah (Zambia Zombie Samba),” and it works beautifully. This is a wonderfully complete album that is highly recommended!
The Incurables “Inside Out & Backwards”
Michigan quartet The Incurables are cousins Ray and Darrin Lawson on bass and drums, along with their lifelong friends Pat Kelly and Dennis Pepperack on guitars. They toiled on the local garage punk scene for years, and now Big Stir Records lets them loose. Influences here are The Ramones, The MC5, and Iggy Pop. “When I Grow Up” is like a punk slacker anthem that sticks a middle finger at that old Beach Boys chestnut with its ridiculous goals (“Never gonna happen!”)
The band plays it straight for the familiar-sounding “Far Away,” and the catchy, but repetitive “Soda Pop.” The frantic rhythms of “Back Into Eloise” have great energy and a solid hook, Additional highlights include the very Iggy-like “Funhouse” and dueling leads of “I Told Myself (Absolutely Nothing).” When they don’t take themselves seriously, it’s appreciated. It’s a record that deserves to be heard!
