Jackdaw4 is considered one of the best modern power pop bands out there, with 2 stellar releases (Gramophone Logic, and Bipolar Diversions) I was prepared for another fantastic production. “Eternal Struggle for Justice” starts out with a lurching organ and dark tone more suited to Bryan Scary, than Jellyfish – although an angelic choral break at the songs middle is more like it. Then the blare of a Motown styled horn section greets us on “Everyone Becomes The Road They Take” and it’s clear the album has a more varied theatrical theme. It isn’t as immediate as it’s predecessors, but there are plenty of great songs here. One gem for sure is the brilliant power ballad “We Sold It All,” starting with a gentle McCartney-like melody that evolves into a rich rock guitar tapestry full of Queen-like touches, you almost expect it to be a finale… but these guys are just getting started. Fans of XTC will love the macabre melodies like “Waiting To Die” and “Wonderful” taking the listener on a compelling journey full of rich imagery. These songs intercut dramatic piano and heavy guitar with contrasting sweet melodic breaks in the chorus, especially in “Wonderful” where it feels like an entire album’s worth of themes are condensed into four minutes. The big melodic jewel in this album’s crown is “Pornography” with a boogie beat piano melody that recalls ELO and cascading harmonies that flourish each verse, all about “Pornography, sweetest of views for a boy like me.” Another gem is the strong anthem “The Great Unknown” full of horns and guitars. The ending song “Baby, I’m a Killer” has a gorgeous chorus in this Brian Wilson influenced gem. So yes, the band comes through in spectacular fashion, in fact it would be easy to picture this album as a hit musical soundtrack.
Category: Highly Recommended by Powerpopaholic
Jared Lekites and Leo London
Jared Lekites “Looking For Diamonds”
The impressive Beatlesque opener “Love That Lasts” lead by singer /guitarist Jared Lekites comes out and grabs you right away. The follow up is a folksy “Looking For A Diamond” which is made for a late night campfire, complete with handclaps and harmonica solo. Although his style is the familiar retro strums and harmonies, it’s all well written and constructed. “Electric Car Ballet” bounces along and ends with a gorgeous ascending harmonic, and you have your first “must own” track for the stereo in your new Nissan Leaf. It gets a bit Buffalo Spingfield-ish with the moody “Unrequited Love Song” and ending track “Let Your Hair Down Once In A While.” This EP fits in your playlist like a comfortable pair of jeans. Fans of The Beatles, Hollies, Beach Boys and James Taylor will surely love it. So Jared, give us more next time! Excellent debut, what else can I say?
Leo London “s/t”
Is Oregon native Leo London the next big power pop wunderkind? Similar to Jason Falkner in deep multitracked delivery and melodic approach that evokes both Bryan Scary and Conor Oberst. The slam of piano keys greets you on the opener “I Don’t Know” with honest desperation and a vaudevillian melody. The shuffling rhythm of “Caroline” is just as strong, sung with casual spite about “unravelling” a relationship experience from his memory. The slower songs are also pretty good, the best of the which “Ashes and Wax” tell a strong story and a wonderful baroque harpsichord break occurs midway into the song. The philosophical “Little Girl” is like a David Mead acoustic guitar-based tune that’s rich in imagery and simplicity. “The Single” is a defiant rant that approaches manic proportions, a performance that Ziggy Stardust would approve.”Dial Tone” has the overly dramatic composition and sonic textures in parts can sometimes recall Robert Pollard’s experiments. This is great stuff, highly original and melodic that should earn many fans.
The Deadbeat Poets "Circus Town"
Frank Secich (Blue Ash, Stiv Bators) and Terry Hartman (Backdoor Men) are complimented by the outstanding musicianship of Pete Drivere and John Koury (both of Infidels fame) formed the Deadbeat Poets in 2007 with the debut album “Notes From The Underground.” Now the follow-up release is finally here. The sound is cleaner, the compositions are tighter, and harmonies more refined. They fly out of the gate with “Elvin Dabney Professional Thief” a intricate melodic composition with multiple hooks. And they rock pretty strong on The Kinks-like “People These Days” and “The Staircase Stomp” makes good use of the carnival organ to help set the atmosphere. Another winner is the epic guitar jangle of “Madras Man” and it’s the rare pop song where six minutes seems too short. Some fast paced pop like “At Least It Worked Out For You” will please fans of The Romantics and The Cars for sure. The band pulls out the steel pedal guitar on “So, This Is Indiana” a mid tempo theme that sounds like a pop travelogue of the state. The shifts in the albums tone on the second half are a bit jarring, like the rock opera styled “Murder in The Choir” to the country rock rhythm of “Sunglass City.” These songs are all highly polished rock gems that pack plenty of imagery in the lyric, and makes repeat listens necessary. Come visit the “Circus Town” and stay awhile.
Rick Altizer "Take Care Of Me – The Rise and Fall of Sam"
Music veteran Rick Altizer having previously produced an impressive array of power pop albums, has made this new concept album that shares a bleak mood with Pink Floyd’s “The Wall.” Opening with a heartbeat, “Hello World” sets the stage for the birth of a selfish soul named Sam. The impeccable guitar melody of the mid-tempo “Don’t Let Me Cry” leads to the bleak heaviness of “Feed Me” where Sam craves attention, “I hold you responsible for all the crap in my life,” he snarls before the chorus. “I Want My Whatever” is yet another wonderful anthem of overindulgence that compares well with Joe Walsh’s “Life’s Been Good.” Another standout is the bouncy guitar of “Star” where the lyrics and melody strut it’s protagonists conceit with abandon. The albums second half shows our anti-hero wants “More” but his insatiable appetite breeds discontent in the heaviest tune here, “Is That It?” Ending with the slow building epic “Take Care of Me” it spirals toward the end of the life cycle in “Assisted” and finally another reprise “Goodbye World.” My biggest knock here is that the album’s second half leans too much on reprising earlier themes (4 reprises). Is “Sam” a rock star in the mold of Roger Water’s “Pink” or just a political analogy for spoiled Americans who crave the nanny-state? Either way its pretty heavy handed here, but the music is typical Altizer, full of hooks, and hypnotic themes. Overall, a welcome change of pace from your typical melodic rock. And it’s a music bargain, only $6 directly from Rick’s site.
My Space | www.rickaltizer.com | CD Baby (past albums)
Elvyn "The Decline"
Ontario based Elvyn was formed by Joel and Ryan Beerman in 1998 and it has spend a few years under the radar, but with “The Decline” it’s a strong release that will break the band through to the next level. Joined by Jason O’Reilly (bass) and Jeremy Knibbs (guitar) the band plays as a tight unit, all on the same wavelength. Starting with the stellar “Those Were The Days” it’s got a jangle similar to Teenage Fanclub and those rootsy folk harmonies like The Jayhawks. “Lotta Lies” continues the soft sounds of relaxed melody and Rickenbacker guitars. Fans of the alternative country pop sound (The Byrds, The Pernice Brothers, Wilco) will embrace this album wholeheartedly, as every song is perfection here. “I Guess I Was Wrong” has more of a softer Burrito Brothers vibe and “Don’t Fall In Love” mines the classic sounds of J.D. Souther or early 70’s Eagles. This vibe follows through on the title track as well. The consistent quality of the musicianship and songwriting is what puts this band over the top. It’s not to be missed.
Listen to “Lotta Love”