Category: Highly Recommended by Powerpopaholic

Russell Crawford "Floating Aimlessly"

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If you like Michael Carpenter, then chances are you’ll enjoy Russell Crawford. A member of Carpenter’s band, Russell broke out with his brilliant solo debut in 2006. Now Crawford has slowly pulled away from Carpenters orbit here. It’s a straight pop album minus any gimmicks or needless bells and whistles. His music fits in the “timeless” category being rooted in piano, bass, guitar, drums approach. Many tracks are highlights but “Bad Luck” is a true standout here, with an inventive build out to a multi-tracked chorus. Russell is a blend of both Ben Fold’s “attitude” and Neil Finn’s “sensitivity” in equal parts, from the snarky “Overachiever” to the aching “If You Ask Me.” Another highlight is the overly dramatic “Nigel” which seems an anthem to the dangers of naming your kid “Nigel.” Russell starts to loosen up midway through the album on “My Love” and “Shake it.” Every song here offers something and is easy on the ears, along the lines of Adrian Whitehead and Mr. Carpenter himself. It ends with a rousing cover of Andrew Gold’s “Thank You Being A Friend.” On repeated listens it rewards you, so don’t miss this gem from Australia’s Popboomerang records.

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Grace Basement "Gunmetal Gray"

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St. Louis’ Grace Basement is led by multi-instrumentalist Kevin Buckley who has quite a knack for writing concise pop gems. It’s pretty evident from the opening track “There He Goes” that the harmonies and chord minor changes are very infectious, and the addition of fiddle backing is an added bonus. The dance hall influenced melody of “Tilly Lingers” is another catchy gem along the lines of Harry Nilsson and XTC. Unlike the solo approach of the debut album New Sense, Buckley is assisted by guitarist Ben Phillips, bassist Mike Zapf and drummer Sean Price – it gives the entire album fuller sound. The smart pop sound avoids being too quirky — like Jon Brion or Ben Kweller without the over indulgent dramatics. The urbane arrangements at the albums mid point (like “Why Would I Wait For Another?” and “Warships”) come closer to the latter-era Camper Van Beethoven or Whiskeytown. The mature acoustic guitar on “Highway” is meticulously constructed and “Golden Bell” has a wonderful melody and weary vocal that brings to mind Scott McCaughey (Minus Five) or Ryan Adams. The album ends with the orchestral flourishes of “Land of Endless Change,” a fitting finale of Beach Boys styled vocal harmony, guitar and strings. This LP is a high watermark in the bands development and it’s most definitely worth adding to your pop collection.

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International Pop Overthrow "Vol. 12"

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As the last note ends in IPO New York, I wanted to listen to the latest compilation, David Bash’s International Pop Overthrow Vol.12. This year the bands are more varied and less constricted by genre orthodoxy and this makes for a better and more representative group of power pop bands. There are 3CDs full of 70 bands and 70 songs, so I’ll pick out some of my favorite tracks here.


Disc#1: Starting with a bang is expected and it delivers with The Syrups‘ “Miss I Don’t Understand.” The band picks up the mantle of the melodic Chris Breetveld (Breetles) with catchy exuberance. Another winner is the fast rhythms of The Humbugs “One More Day.” What would a pop compilation be without some hero worship in a novelty song? The Help Desk become total sycophants with “The Jellyfish Song” in that category. While we’re on that subject, The Tearaways “Under The Bus” grabs George Harrison’s “The Word” and makes good use of it’s Beatlesque riffs. A gentler combination of Beatles and Byrds are on The Starfire Band‘s “Thank You Much.” Disc#2: Very strong “Rubber Sole” by The Mayflowers are just perfect here, and the rich contrasts of mid-tempo melody and “Mean Mr. Mustard” piano in “Pictures of A Masquerade” by Ralph Covert & The Bad Examples make it a keeper too. Great female pop is represented by both Lisa Mycols (“Heart Beats In Stereo”) and Soundserif (“Happy Since I Resigned”). The Leftovers‘ “Telephone Operator” channels classic Elvis Costello pretty well and Clockwise‘s “Boomtown” gets into a Joe Jackson meets The Jam groove. And if you want a Smithereens/Who approach then Steven Deal‘s “Valentine” fits the bill. Disc#3: Two legends of power pop (KC Bowman & Andrea Perry) join together to make an awesome tune in “Sorting Out The Rules” that would make XTC proud. The superior vocals of Philip Vandermost make “Again and Again” work beyond the average pop song here. And once again Laurie Biagini fills our Beach Boys needs with “Another Old Lazy Lyin‘ On The Beach Afternoon.” This last disc also concentrates on progressive power pop from Steven Lawrenson (“Ordinary”) and the 80’s influences of The Mayberry, The Romeo Flynns and Buddy Love take up a big chunk of time here.

Bottom line: Take a chance on this set and I’m sure you’ll “discover” a new favorite band or two as most of the tracks here are really very good. Getting this compilation is also a quick way to becoming an expert in this genre (aka a power popaholic). Only a limited supply is pressed, so it’s a collectible item as well.

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Android Angel and Jupiter One

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Android Angel “Glow Worm”

Paul Colto (aka Android Angel) set forth to create this album and right away his musical equipment was stolen. Continuing undaunted, the album has contributions from musicians along Paul’s journey. This is not a standard indie pop album, as the opening track “Music of Android Angel” combines synth, guitar, drums, and radio sound bytes overlapping into a harmonious pattern. But this odd electronica styled opener is just an appetizer. The wonderful “In Communique” has a very Dylanesque quality that utilizes an orchestral sweep and a female backup chorus. This continues on “Unfinished Business” where Paul’s vocal resembles Donald Fagen, and his speedy guitar riff recall Pete Townshend. It delves into a deliciously creepy Progressive rock riff on “My Virus Crown,” but stumbles badly on the bland punk pop of the crime themed “Wheels.” It’s the emotional tug of “Love With No Reason” and “Glow Worm” which resonates here. Adventurous pop fans will not be disappointed here with nihilistic songs like “The Beginning Of The End.” Fans of Roger Waters, Radiohead, Mercury Rev and Townshend-like ballads will also enjoy these tracks and many more.

Jupiter One “Sunflower”

Jupiter One is a modern New York pop band that creates ear friendly melodies and safe dance floor grooves. Mixing past pop influences with bits of pop art and the absurd, the video for “Volcano” offers a snapshot of the band’s sound. Wild and out-there while maintaining elements of post-modern nostalgia, the video takes you on a ride through striking visual landscapes that mirror the explosive content of the song. The opening track, “Volcano” wanders into Maroon 5 pop territory and the heavy guitar and strained vocals of “Lights Go Out” recall the recent Adam Marsland. The band seems to have a sound for whatever your mood. It switches gears again on “Flaming Arrow” which is a sweet alt-pop tune with a catchy multi-tracked chorus designed to soothe. Singer K Ishibashi is a musical chameleon who changes with each twist and turn in this vibrant album. “Anna” accesses a Queen-like falsetto chorus and is both familiar and completely new. The gentle ballad “Find Me A Place” is has K’s restless vocal resemble Morrissey doing Sting. It also is a “grower” meaning the album’s melodies get stickier with each listen. No duds or filler on this album either so if you like a little variety with your power pop, this will do just fine.

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Bryan Scary & The Shredding Tears "Mad Valentines" EP

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Just in time for Halloween, Bryan Scary and The Shredding Tears worked a bit of musical magic. The mad hyperactive piano of “Andromeda’s Eyes” and even faster chorus makes it hard to enjoy, unless you’re into a musician on a sugar speed overload. Thankfully, he dials it back down to earth on the follow up “(It’s a) Gambler’s Whirl” with a tight disco-pop composition. The next track is the best, an ELO-inspired “The Garden Eleanor” with a bouncy piano and catchy hook in the chorus that is so good it’s scary (ugh. Even I groaned at that one). The other tracks are pleasant and engaging, including the lovely ballad “Maria Saint Claire” and the expansive epic “Bye Bye Babylon” that has great manic energy and guitar majesty. In summary, after a trick (track 1) we are given some wonderful musical treats to fill our metaphorical musical goody bag. The band are touring throughout fall/winter to support Mad Valentines. They plan to enter the studio early in the new year to record their next full-length album, a Western set during the early 20th century and titled Daffy’s Elixir.

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