Category: Power Pop Review

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

San Francisco native Leigh Gregory formed Mellow Drunk in late 1999, and the band has played off and on since then releasing this album on  Vollwert-Records (Germany) and comparisons to The Church and The Doves with a touch of Roger Waters are apt here. I was impressed with the energetic “Cut Me to Pieces.” The very Lou Reed like delivery of “From My Window” makes it a sweet highlight here. The epic “This is No Dream” is equal parts “The Wall” and “Under the Milky Way,” with chiming lush guitars that drive you to the main chorus. A perfect follow up here is “If Only I Could Change” with it’s long jangle intro and Leigh’s soft vocals. The resignation in “It’s Going To Be Alright” is full of long sweeping organ chords, as well as sober majesty and drum fills. The album tends to stay very somber and reflective, in other words – the moniker Mellow Drunk definitely fits here. Unfortunately, the energy and melody earlier in the album doesn’t return. “Everything and Nothing” and “Butterfly” seem to go on forever, like The Doors’ “The End” it becomes more of a chore to sit through. The songs don’t linger as well later in the album and although “Seeker” recalls The Psychedelic Furs with a bit more energy, it falls flat for me. Otherwise, the albums first half is top notch stuff that won’t disappoint pop fans.

My Space | Not Lame | Emusic | Itunes

Reviewed by Mike Z.
It’s inescapable to notice that Wait Outside starts off with a nod to Radiohead.  In less capable hands that would be nothing short of a calamity, but these guys pull it off with true vigor.  Absolutely soaring guitars bring “Escape the Red Giant” to a gratifying finish. Track 2, “Organisms” evokes the Bogmen and again the interplay between the vocals and music is as it should be.  The singer realizes his voice is an instrument that plays along with the others and doesn’t abuse the position as some bully pulpit to complain about how he had too much sugar in his cereal as a child.  The lyrics are of no great consequence, and this frees up the ears and mind to enjoy Caw Caw all the more. “Wrapped Up Neat in the Bible” showcases a jamming and frenetic slurry of wild guitars and a rhythm section driving away with wild abandon. “A Name” makes it clear that this act grew up listening to Smashing Pumpkins and Blind Melon.  The EP takes a small but notable slide from here, but by this time the listener can not be helped but to be captivated. The only real chink in the armor to my ears is that many tracks are not very discernible from one another.  It could be argued that this means that Caw! Caw! is forging a style which they are hell-bent on exploring thoroughly, but it might also be said that they are lacking just a little something distinctive that could make them a formidable act for years to come. Regardless, this is a solid effort.

My Space | CD Baby | Itunes

Italian power poppers Suinage deliver an album full of high energy rock that fans of Adam Marsland’s Cockeyed Ghost and Joe Jackson will eat right up. So listen up, kids. Band members Pilli Colombo on guitar and vocals, Ariel Dotti on bass, and Flavio Torzillo on drums take no prisoners on the opener “Toothbrush” with hyper kinetic guitar riffs throughout that are meant to played with the volume setting on “11”. This continues on the compelling “Don’t Pass Me By” with riffs and vocals that recall the early pre-poppy Smashmouth. Other standouts here are “All Eyes On Me” and “July” as Pilli dials down the roughness and gets downright melodic. The guitars jangle away in the latter track, and I consider it the best of the album. Then the remaining tracks on the album revert back to the rough edged rock, and this works better when the chord structures go beyond typical jamming, like on “Chump” and “Underneath the Leaves.” I hope to hear more from Suinage in the future, as they are currently on tour with Radio Days in Italy. Let’s hope they’re not shy and visit us here in the states soon. Buono Lavoro!

My Space | Not Lame