Category: Power Pop Review

Ho-ho-holiday music: More presents under the tree for y’all

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More brand new Christmas music. Love the collaboration by Coke Belda & El Inquieto Roque here, more traditional goodies from Dropkick, and Riverboat Gamblers, We have the youth vote with The Linda Lindas, and the sexy “Hey Santa” by Cindy Lawson. The Light Music Company is Mr. Martin Newell (The Cleaners From Venus) of Essex and Ms. Rachel Love of Sussex, whose combined talents have concocted this small oeuvre of their compositions to help facilitate your enjoyment of the festive season. Before we get too dignified, The Stompers gives us what we really want for Christmas, and punk princesses The Dollyrots do the “Chipmunk Song” — OK? A last-minute addition is Kai Danzberg‘s “Last Christmas” with a different melody.

 









While not a Christmas tune, this is a rare one by Jamie Hoover (Spongetones) hosted by fellow blogger Richard Rossi. Lots of fun!

Dot Dash and The Nervous Eaters

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Dot Dash

Dot Dash “Madman in the Rain”

This may be Dot Dash’s seventh album, but Madman in the Rain almost feels like a debut. Remember the thrill of late 80’s alternative rock? R.E.M, The Connells, The Windbreakers? You get that giddy feeling with the jangling opener “Forever Far Out” and its breezy follow-up “Space Junk, Satellites.” “You Gotta Have A Heart, To have a Heart Attack!”  is the melodic phrase on “Tense & Nervous”  that jumps out at you in celebration.

Additional highlights include “Airwaves,” and “Everything = Dust,” and while not everything here sticks, most songs do. Guitarist/vocalist Terry Banks and bassist Hunter Bennett are joined by drummer Danny Ingram on this terrific album. It’s both immediate and engaging. Highly Recommended.

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The Nervous Eaters

The Nervous Eaters “Monsters + Angels”

The Boston-based punk rock band The Nervous Eaters may be old geezers, but they play a mean mix of garage rock, with grizzled bravado and energy. I mean, Mick Jagger is 79, and Neil Young is 77, so you’re still allowed to rock the house.

While more guitar pop than punk, Monsters + Angels is a superb showcase for songwriter Steve Cataldo’s thoughts on aging and other reactions to a world in crisis. An early standout here is “Superman’s Hands” with its jangling verses and forceful hook. “Hop Sing Said” is another chugging rhythm about the city, and “Chad” is a dramatic rocker about the ingenue that got away. Overall a very, very good album without a hint of filler, even the slower “Evilynn (Zombies and Sapphires)” recalls Procol Harum at points. A terrific comeback for a band that never should have left. Highly Recommended.

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The Dowling Poole and Brad Marino

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Dowling Poole

Dowling Poole “Refuse”

The duo known as Dowling Poole delivers selections from a few previously released EPs, and other digital sources. Willie Dowling and Jon Poole injected more politics into the subject matter for these tunes, and they remain very effective. “The Strawman” is a magnificent opener about political corruption, and in direct contrast is “Miles Checks Out” with its breezy verses and carnival-style cadence.

The band goes out of its way to avoid the typical verse-chorus structure, like on “Bright Spark” and gives us both elegance and whimsy on “Push Repeat.” Over the years the influence of XTC has waned and Sparks has increased with this band. That may be a challenge for some, so if you’re looking for simple melodies, go elsewhere. Otherwise, highly recommended.

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Brad Marino

Brad Marino “Basement Beat”

Brad Marino (The Connection) has a new obsession with The Ramones. He’s composed an entire album of music that sounds like The Ramones. The music is simple three-chord manna, under 2 minutes each, and when it works it’s a lot of fun. Songs like “Communist Creep” and “Spy for the BBI” have enough of a hook to get you boppin’ your head.

However, some songs just sound way too similar, or songs with all verse-no-chorus like “Dream Last Night.” While I appreciate the love, this only made me want to listen to Rocket To Russia. Recommended for Brad Marino fans, others may want to start with Even The Score.

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The Speedways and Fuzzbubble

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The Speedways

The Speedways “Talk Of The Town”

London-based The Speedways are part of a handful of bands (The Whiffs, The Reflectors, Uni-Boys)  that base their sound on the late 70s and early-80s power pop.  The good news is The Speedways actually write songs that sound like they would’ve been hits back then. Starting with “Dead from The Heart Down” and “Secret Secret” it recalls the glory days of 20-20 or The Knack. The harmonies and the guitar riffs are infectious throughout.

“Shoulda Known” and “Strange Love” are pure Elvis Costello-like magic and the echoing jangle of “A Drop In The Ocean” is another potential hit from 1980 in an alternate universe. The guitars get even more pumped for “A Song Called Jayne & A Lie Called Love” and the layered gem “Summer’s Over.” Just about every song hits the mark here. In the finale “Wrong Place Wrong Time” the guitar style recalls The Records with some notable solo hard rock licks. Overall, a terrific retro album that deserves a nomination for my top ten list of 2022.

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Fuzzbubble

Fuzzbubble “Cult Stars From Mars”

Fuzzbubble were radio darlings back in 2000. In my recent interview with Fuzzbubble lead guitarist Jim Bacchi, he originally referred to the project as “Cult Stars From Mars,” not really making it clear it was a Fuzzbubble project. These terrific singles had been out for over two years. Well, after a few more tracks we have an album.

The starting tracks are rockers in the tradition of classic Cheap Trick, as “Can’t Wait To See You” and “Funny Face” are simply just great. “Regretfully Yours” takes a deliberate step in a Jellyfish-like direction, while newer tracks “I Like That Song!” take on a more epic arena rock quality (you hear “The Dream Police” synths, and Kiss call-outs). “By My Side” is like a lost Boston outtake and “The Window” leans into even heavier rock, like Led Zepplin meets Extreme. Bacchi and lead vocalist Mark DiCarlo sound like they are having a ball doing this. I would only hope the band continues to record stuff, as they put on a great show recently. Highly Recommended.

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Dazy and Extra Arms

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Dazy

Dazy “Out of Body”

Does power pop meet shoegaze? Dazy does it effortlessly with a dense fuzz that would make Bob Mould blush, but with melodies that stick with you faster than a Sugar rush. The theme here is letting your feeling out, as he asks “Is that my brain hanging by a thread?” on the title track. The buzzing riffs and feedback dominate each short track, and most are under 2 minutes.

“On My Way” recalls classic Green Day with its monster riffs, but the standout here is “Rollercoaster Ride,” a big metaphor and an even bigger melody that hooks you quickly. “Deadline” boasts harmonies over the fuzz, then “Choose Yr Ramone” pokes fun at the band itself as lead singer  James Goodson states “Roll your eyes and clap your hands. Laughing at the cover bands.” But it’s the anthemic choruses here that are the point, and it’s a great ride. We get off at the quieter breather “Inside Voice,” but overall a terrific new band. Highly Recommended.

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Extra Arms

Extra Arms “What Is Even Happening Right Now?”

With a nondescript cover and release this past summer, I honestly missed this one. Didn’t see Ryan Allen’s name, but holy crap the Extra Arms are his main band. And they are firing on all cylinders here. Detroit’s prominent power pop band takes the country’s anxieties and puts it all to melodic rock gold. The digital starting tones lead to “Fun Guy” a fast-paced, energetic rocker that takes no prisoners. The band leans hard on the heavy side of Fountains of Wayne as far as lyric and melodic sense.

“Big Dogs” continues the party, with big riffs hitting targets, with a call-and-response coda. Then “Falling into Place” recalls Superdrag and Guided By Voices with its dense hard rock rhythm. Earlier this year, COVID had Ryan trapped in his house, working from home, and the Cars-like “Feeling Alright” answers those Cabin Fevered questions. Overall a great album, with Ryan’s foot on the gas for all ten tracks. It could’ve used a breather (or ballad) toward the end. But it still makes my top ten list for 2022.

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