Category: Power Pop Review

Kelly’s Heels “Playing Into Your Hands”

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If you’re looking for great British power pop, then look no further than Kelly’s Heels. Bob Kelly’s guitar licks and solid vocals have been a reliable favorite of mine over the years, joined by the ferocious drumming of Jim Kimberley and the groovy bass lines of Isobel Kimberley. The band has been putting out quality music for over a decade now, so this album was most welcome. The sound of the band fits squarely in between Squeeze and Elvis Costello with a bit of  The Replacements thrown in. The mid tempo “After Tonight” is a brief intro that echos the classic Kinks romantic period as Bob intones “after tonight, I doubt we’ll ever see each other again.” Then the manic paced rock begins, “Anything But This” has a middle eight that will thrill fans of Glenn Tilbrook.

With the punk elements of the band put more in the background, pop songs like the pastoral “First To Say” hold your attention between the more frenetic tunes. Every song here is great, like “Next Time You Walk Out” with a bouncy harmonic and undeniable hook in the chorus. The Beatlesque “SundayMondayTuesday” is another winner and you may find yourself either energized or exhausted by the richness of earworms here. Fans of Mike Viola will appreciate the lyrical sweet poison of “Common As Conquest” as the compositions here are also the strongest to date, it really earns a top ten for 2011 nomination!

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Deer Park Avenue and Bubble Gum Orchestra

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Deer Park Avenue “Stop and Go”
A pair of Californian sisters (Sarah and Stephanie Snyder) named the band for a street they lived on during childhood in Long Island, NY. The duo performs a combination of melodic rock and pop  (fans of Jana Perri take note) – the harder rock stuff  starts off first with “Hey Maria” full of driving guitar chords and a strong chorus. More subtle is the mid tempo “Darkness Hides Me” as it slowly builds, getting louder as the mood and lyric become more defiant.

“Millionaire” is another slow builder but with a strong drum section, a bit like an 80’s arena power ballad with shouts of “Hey! Hey!” in the chorus background and “Over Again” recalls the heavy pop guitars of Tonic or The Goo Goo Dolls with sweet female vocals.”Waiting For You” is another good rocker with a nice charging set of  power pop riffs. A good debut, sometimes I felt the girls sweet vocal style may be better suited to country that rock, but that contrast is also what kept me listening.

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Bubble Gum Orchestra “Out Of This World” 
Some say imitation is the sincerest form of flattery, if that’s the case then Michael Laine Hildebrandt (aka Bubble Gum Orchestra) worships the ground Jeff Lynne walks upon. Everything from the cover art to the lyrics are related to all things Electric Light Orchestra (ELO). I will admit that such slavish devotion will turn off some listeners, but if you forgive this the first single “Night In Shangri-la” is quite good, with a catchy chorus that name drops several ELO songs. Next, “Lights Over London” has a bouncy rhythm and it’s a good follow up.

Unfortunately the next few songs tend to drag along, with long effects laden intros and synth breaks that slow the album’s momentum. In technical terms alone, it’s quite an achievement — but the album is so in thrall to ELO it precludes any chance of  Hildebrandt imposing his own identity on the material. If you are an ELO fanatic however, then this may find a place in your music collection.

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Holmes and London Egg

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Holmes “Covers” 
When it comes to cover tunes, I feel unless you approach it with a unique POV you may as well listen to the original song. There are numerous horrible examples of Beatles covers out there that I wish I never heard. On the other hand when covers are done right I really appreciate the artists style. Good recent examples are from Michael Carpenter and Matthew Sweet.  I would definitely add Holmes (aka Roy Shakked) to this list. The range of covers he has chosen here is truly eclectic, from Ice Cube to ELO. Opening with “It Was A Good Day,” I hardly recognized it, because it was played as a sunny pop tune. In many cases, the style performed is the direct opposite of how it was written (Depeche Mode’s “Wrong” using a bluesy guitar riff or Elvis “Don’t Be Cruel” as a slow ballad) and in the process makes them like Holmes originals. This opens up the song writing to a totally new interpretation, and my favorites here are “That’s All (Genesis),” Why Didn’t You Call Me (Macy Gray)” and a totally cool a capella version of ELO’s “Mr. Blue Sky.” This is a fun collection that’s highly recommended.

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London Egg “In The Beginning…”
Here is a Brooklyn band with a real fetish for 60’s and 70’s Brit-rock. This is a decidedly lo-fi debut but it’s got lots of potential, like The Troggs doing power pop with fuzzy chords everywhere. “Richocet Beloved” is an early highlight, very much like Oasis. Unfortunately for every impressive track like the exciting Mod tune “Everyone But You” you get an underbaked demo like “Sister Deatmeat.” You have to give the band credit for a good effort on songs like “Sunnyside Gardens Park” with it’s garage rock atheistic and pysche-pop atmosphere. But despite this effort, the sound quality may turn off some listeners. With no label or distribution, the album is only released to fans who send an e-mail with “I WANT SOME LONDON EGG!” in the subject line. I was told that the band is working on a new album using modern recording techniques. Let’s hope they get a proper album out soon, they deserve it.

Magnets & Ghosts and Miles Zuniga

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Halloween is over, but we can still witness the solo careers of artists rise from the ashes of their old bands, and note that both have used the term “Ghosts” in the title or band name.

Magnets & Ghosts “Mass”
Collective Soul Founding Member Dean Roland & Singer/Songwriter Ryan Potesta strike out as Magnets & Ghosts. The duo have many diverse musical influences, the opener “Hearts of Everyone” has more in common with the alt band Love & Rockets than CS. But it doesn’t take long for a true rock classic to emerge on “Hearts of Everyone” with it’s impressive catchy chorus.  The title track slowly fades in, with solemn Gregorian chants and a single piano note, it leads to the very Coldplay-like ballad “Hold On” full of orchestral sweeps and echoing strings. Another great track is “The Sea and The Sound” with it’s quick rhythms and mult-tracked chorus similar to U2.  The most unique song here is “I Want You” as the hand claps and drum start the chanting “whoa, whoa”  but the piano brings across a melody that recalls both Bryan Scary and Depeche Mode. There is just enough here to keep Collective Soul fans interested (“Like A Sunday”), but make no mistake this is a clear alt. pop album that will appeal outside their traditional fan base to audiences that appreciate Arcade Fire, British Sea Power and Polyphonic Spree. Some sonic indulgences here ( like “Half-Awake”) but overall a very good start to a new band made up of old mates.

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Miles Zuniga “These Ghosts Have Bones”
Fastball frontman Miles Zuniga lets his pop flag fly on his solo debut. What can I say but this is the broken hearted romantic rocker’s perfect album. Opening with the melodic “Marfa Moonlight,”  it’s a catchy and quirky delight that McCartney used to do. The melodies may be sweet but as “Rock Paper Scissors” boasts “violence and razor blades forever more” it brings to life inner doubts and rotten core of a dying relationship. The plain speaking story of betrayal in “Feel It In Your Kiss” has a retro-70’s feel here. The album wry centerpiece “The Weatherman” has Miles joined by jazz singer Kat Edmonson in a slow Ray Davies styled song of resignation about climate change. “Wicked” is a soulful mid-tempo rocker that recalls John Lennon with the chorus “She’s wicked, Wicked and cruel – Oh, she’ll make a fool of you” and it could be the twin track to “Sexy Sadie.” Another tune of love ruined is “Elizabeth” with both masterful lyrics and composition. The song cycle of the album does have some hopeful notes, with “Working On A Love Song,”  but even this is a false hope as most of this is just Miles exquisite suffering of “heartache and regret” (as heard on “You Can’t Break My Heart.”) Not a single weak song here and highly recommended, as it’s the best emotional release/therapy for a recent divorce you’ll ever hear. Repeat listens required and a top ten album for sure.

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Brandon Schott “13 Satellites”

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Brandon Scott has grown over the years into a musician with a mastery of conveying emotion through melody and lyric. Through a series of personal challenges his music has been a reflection of those experiences. After the introspective folk balladry of Dandelion, Brandon Schott sounds even better on 13 Satellites. The album opens with the subtle beauty of harmonies against a accordion backdrop in “Annie,” and then the moody, but brilliant “Early Morning Night” not unlike John Lennon or Colin Blunstone, with its atmospheric organ and guitar combo. It’s a shuffling tune that has some very Revolver styled tones, with a sweet key change in the break.

Like Michael Carpenter, Brandon uses percussion as a stark contrast to the somber lyrics in “Full Circle Round.” Comparison to Ben Folds is also clear on the piano compositions like “Flowers Fading” and “A Daydream.” Brandon also uses the harmonies in a similar way, as a subtle fill for each chorus for the best effect. Another highlight is “Satellite” where if the Beach Boys played on Sgt. Pepper it may have sounded something like this. “Exploding Angel” continues that motif, with light carnival styled touches framing the melody. There is no filler, but the album is primarily made up of slow tempo songs and ballads a la Elliot Smith. Overall it’s a wonderful headphones album for the sensitive pop soul that deserves your attention.

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