Category: Power Pop Review

Here is some French Brit-pop created by Thierry Haliniak of the band My Raining Stars. If you enjoyed 90’s bands, like Echo & the Bunnymen and Swedish pop like Eggstone –then you are in the right place. Here is a welcoming album that is full of wonderful little tunes like “All This Time” that have smart melodies and chiming lush choruses that are both danceable and catchy. The tracks started as simple demos from the band’s earlier incarnation (Nothing To Be Done) on a four track and Thierry added layers of vocals, synths and guitars to the mix. The gentle “Express and Share” and “Head Over Heels” are highlights in this sophisticated indie pop album. The guitars on “Most Of Her Days” have lots of echo and sharp rhythms, similar to The Ocean Blue. My only caveat is that the albums tone lacks variety and by the latter part of the album (“Shadows”) could grow a bit tiresome. But for fans of lush indie Brit-pop, this is truly seductive music that will not grow old on you.

My Space | Amazon | Itunes

Listen to “Gone For Ever More”

Robb Benson continues the musical journey started by “Held By Waits” in 2007. Produced by Johnny Sangster (Tripwires, Mudhoney, The Posies) who plays on several tracks, it is more DIY indie pop than the last one. Starting with “The Nice Sleep” it brings guitar melodies and supporting keyboards to the front, and recalls The New Pornographers or Zumpano. Benson’s vocals are consistent throughout the album, but he seems to get angrier as the album progresses . “Tuning Out” feels like a bit of Coldplay and Decemberists influence has leaked through. The lyrics are in it’s own way, abstract and looking at things from a different perspective, as our pace of life seems to move faster each day. But then I felt the music loses its way, with “Houses with Holes” concentrating on rhythms instead of melody – although the song’s message is dead on. There are bright spots like the bouncy “Josephine” dripping with anger about a clingy girlfriend where “personal space should not be breached.” This excellent song brings to mind Jet and Dashboard Confessional, with buzzing guitars and organ solos in the break. The title track is another good instrumental jam, but melodic tendencies get buried on the rant “Mind over Matter” where a frustrated Robb screams “…what if Matter wins?” I had to listen to this album several times and although the instrumentation was excellent, the hooks are lacking here. To be fair, I’m sure some fans will like this better than I did. 

My Space | CD Baby

Listen to “Faster”

Musician Rikk Currence & singer Holly Joy have self produced this radio friendly, accessible slice of modern pop called “Cyber Suburban Electro Rock Circus.” Although the group is unsigned, this is by no means a lame DIY sounding pair of amateurs. The music is slick and dramatic, boasting heavy rock riffs and a professional pop sheen, that is meticulously produced. Holly’s vocals are sunny and seductive, and comes across like a combination of Shania Twain and Britney Spears, without all the faux diva theatrics. By contrast Rikk plays a hard rock axe similar to Def Leppard or Brian May, which makes this pairing sound unique. Opening with the single-ready “Audrey Is Gone” where Rikk’s near metal riffs give way to Joy’s story of a woman’s freedom from life’s burdens. The group doesn’t wear it’s Christian values 100% on it’s sleeve but it’s there for sure in the lyrics. You can’t help be impressed with the instrumental skill that Currence displays on “Grey Day My Way” with it’s orchestral details. Highlights here are a cover of the Eurythmics “Here Comes the Rain Again” and the catchy chorus in “All That You Need.” My biggest issue with the album is a few songs just go on a bit too long (“Prayer”) and get overly pious (“Halos & Flames” and “Salvation”) for my taste. For some, this doesn’t really qualify as power pop, and will be too mainstream for others, but it is highly polished pop for sure. You can only get this on the JoyFocus website.

My Space | JoyFocus website

Reviewed by Mike Z.
Let me get this out of the way right now:  This is a Ryan Adams album and the Cardinals are studio musicians with instructions to stay nondescript. 
             
Ryan Adams demonstrates the requisite confidence of a lead man in “Take It Easy”, as he sings with a coolness all artists aspire to and few realize.  The coda borders on the anthemic, but one of Adams’ talents is that he has the utmost taste in knowing when a song is over and not fishing it dry.  Lyrically this faith in what he sings is underscored by a cursory review of his lyrics.  He doesn’t ask many questions, he makes declarations almost exclusively.  Some border on the heavy handed, but the sparseness of the music lets you know that this is heartfelt and not preachy. I wish I could say otherwise, but “Magick” starts off with a Bryan Adams riff, and the song remains about on par with anything Bryan did.  That is, it doesn’t demand too much attention, but it moves just enough to earn respect as a decent power pop song. “Cobwebs” is almost a love letter to U2.  The familiar tom tom rhythm and new wave chords work in concert complete with faux grandiloquent vocals, and the next track (“Let Us Down Easy”) bolsters this assertion, sounding like a lost track from All That You Can’t Leave Behind. 
 
Add half a point to this disc if you are impressed (as is this reviewer) with artists of the singer/songwriter ilk who do not indulge in egregiously long songs and three and four syllable lyrics that ruin any sense of directness or the effect of getting lost in the sentiment of the song.  The simplicity of the arrangements gives this effort back much of its credibility.  “Stop” is also guilty of not being the first song of its kind, but it definitely reaches through to another degree of emotion and immediacy.  This is a lilting, melancholy song, yet it is the one you should seek out.  It underscores Adams’ particular talent of letting the spaces between the notes and words do some of the most resounding work.  I could see leaving this in my MP3 player and saving it for a night of friends, wine and cheese,  background music, and the obligatory Dockers commercial (“What the hell happened to us?”) reference.  Cardinology is good enough, however, that I could also envision some furtively asking who is the artist playing.

My Space | Cardinology Web Site | Itunes

In 2005, Seattle’s own Gary Reynolds & The Brides of Obscurity broke out onto the scene with “Instant Happiness”. Reynolds vocals have an uncanny John Lennon-like quality.  Both melodic and relaxing, the sophomore release “Santiago’s Vest” is like an finding a comfy piece of vintage clothing. Most of the songs seem to revel in the past of classic rock like the opener “Capital State” with it’s theme, mocking consumerism and lost values. “Everybody’s Somewhere” with it’s layered organ rhythms, recall quieter moments of Blood Sweat & Tears. “Rolling Over” goes even further into the classic rock bin, where it resembles The Guess Who. Unfortunately much of the tracks lack a proper hook until the albums mid point, starting with the beautiful harmonies of “Wall Eyed Girl” which brings to mind classic Traffic and the terrific piano lead “Mrs. Lowe” builds to a very satisfying coda. The lyrics in “Sleep” showcase a depth that Reynolds writing has improved immensely. Another standout is “You Are What You See” where an acoustic guitar melody leads to rocking electric lead at the songs end. The jam-like qualities of “Who Do You Love” will win over some fans as well. But the album just doesn’t have the melodic consistency of the debut, even though the performance is a finely crafted effort. Fans of the classic 70’s rock sound will appreciate this, others will like the debut better.

My Space | Gary Reynolds website | CD Baby