The Honeydogs and The Fuzziliers

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The Honeydogs “Algebra for Broken Hearts”

Reunion albums are typically a mixed bag. However, this album marks the Honeydogs’ first recording session with their original lineup of Adam Levy, Noah Levy, Trent Norton, and Tommy Borscheid in 28 years. It’s a blend of the band’s early scrappy energy and more refined songwriting, with a variety of styles and moods. And, like 20/20’s ‘Back to California’, a complete success. The Honeydogs occupy the rare gap between alt. country and indie rock, creating a distinct sound with a multitude of influences.

The album’s opening track, “Attic Brain,” features a powerful Led Zeppelin-esque riff, and the title is a play on “addict brain” and reflects on personal issues. It changes tone to the bluesy acoustic strums of “I Don’t Wanna Fight,” and snaps back with the catchiest rocker here “Kill Switch,” it’s a terrific single that really sticks. The melodic title track has a dreamlike contemplation of the ebb and flow of time and the intricacies of existence. Other highlights include the glam-rock meets country “Captain”and “Irish Goodbye,” which delves into issues of drug-fueled dysfunctional relationships; it sounds like a cross between Cheap Trick and Motown. With no fluff whatsoever, this is a fantastic album that, with any luck, will signal the beginning of new recordings. Highly Recommended.

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Fuzziliers

Fuzziliers “Most Fun”

Founded in Russia, and then moved to Istanbul, Turkey the Fuzziliers combine psychedelic rock, acid rock and Brit pop influences. The opener “CTRL” opens with a simple synth beat, but builds on it with multiple instrumentation, harmonies and finally a kick-ass guitar. The lyrics of guitarist and singer Slava Lobanov are somehow current, approachable, and lighthearted. The psyche-rock of “Most Fun” and the positive melodic groove of “Porcelain” are highlights.

“Future Society” is another mix of the melodic with the acid fuzz wah-wah pedals, described as Iron Butterfly performing Kinks songs. The bouncy “In The Morning” contrasts with the sprawling prog rock narrative of “Fake Dancer.” Overall, it’s never predictable but can dwell on some songs too long. I would definitely consider this music that deserves to be heard. If you are into diverse soundscapes, check this out.

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August Singles and Previews: Vibeke Saugestad Band, Marshall Crenshaw, Timmy Sean, The Wellingtons, Vegas With Randolph, The Photocopies

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And after the heat waves, August has arrived. Norwegian power pop princess Vibeke Saugestad (Weld, The Yum Yums) is a multi-talented musician and she’s got a new EP coming up soon. This video is a teaser, and I can’t wait. Next, Marshall Crenshaw presents ‘From The Hellhole’ an artisanal selection of tunes recorded in his home studio. It sounds so good, and with the passing of Ozzy Osbourne, Timmy Sean has produced a tribute to the late Heavy Metal pioneer. I’m especially excited for the return of one of my favorite Aussie bands, The Wellingtons. “Always Gonna Be That Girl” proves the band is in fine form with this great hook-filled gem. Don’t forget Vegas With Randolph, as they have a career “best-of” collection coming up, and we hear a deep cut “New Leaf.” Finally, I’ve got a new freebie for you from The Photocopies, check out the jangling gem “Average Schmuck.” You would be quiet the schmuck to not get this EP. This is your last month to enjoy summer, so go outside!





Enuff Z’nuff and Coke Belda

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Enuff Z’nuff  “Xtra Cherries”

It’s hard to pigeonhole Enuff Z’nuff because they’re often grouped with glam or hair metal because of their look and the time period (late 1980s), but their music has always been consistently hard Midwestern power pop akin to Cheap Trick, with Beatles-influenced melodies and psychedelic touches. Chip Z’nuff has carried the torch for the band since 2018, keeping the band alive as a vehicle for his vision. His voice isn’t perfect every time, yet it grows on you, like the opening ballad “Heartbeat.” Next, “No Cold Feeling” is one of the strongest tracks here, the “Na Na Na” really sticks with you, and the alternating riffs are a masterclass in melodic hard rock courtesy of Steve Brown (Trixter, Def Leppard).

“Sanibel Island (It’s Outta Control)” is the ultimate spring break party song, about the Florida beach destination, but the heart of the album is “Heavy Metal,”with its “feeling heavy metal” chorus about achieving that rock star dream. There is a little “spot the influence” on “Back To The Wall” which opens and closes with a Queen riff, and “Magnificent” has great churning guitars and and the lyrics sound like it was written for the new Superman movie, plus it’s got a Beatles reference too! Finally my big highlight is “Take It Or Leave It” and it’s the poppiest of the rockers here, loaded with great minor chords. Enuff Z’nuff are criminally under appreciated in power pop circles. They deserve a reassessment, especially now that Chip is steering the ship with more of a pure pop intent. Highly Recommended.

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Coke Belda “C8ke”

Throughout his career, Coke Belda has always provided high-quality melodic pop; his most recent work is no different. Belda has his own sound, even though he unambiguously admires Jeff Lynne and the Beatles. Starting with “Seeing Red,” it’s a sunny melody with contrasting lyrics about the anxiety of a new Trump administration and “Broken Man” is an accurate assessment of our current White House occupant.

Next, “A Different Nowhere Man” contains great harmonies, but they don’t sound like the Beatles’ “Nowhere Man.” Instead, Belda’s approach sounds more like a Boyce-Hart song with its bouncy piano. “Wondering in Wonder” is another bright melody with a solid guitar break, and “Starlit Dream” (a co-write with David Myhr) is another big highlight here. Loaded with hope and fantastic aspiration, it’s a journey to a magic “starlit land.” The harmonies are also at the forefront of “Tides of Joy,” a Beach Boys-styled gem. While not every song here sticks, more than enough of them do. The theme of the album is made clear on “Echoes and Symphonies,” bursting with gratitude, and I’m grateful for Coke’s music. Highly Recommended.


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The Black Watch and Splitsville

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The Black Watch “For All the World”

John Andrew Fredrick is a real treasure. The man’s prolific catalog is in a small way comparable with Bob Pollard (Guided By Voices) in that he has a vision and sticks with it. The Black Watch’s 25th album is a glorious bit of ambitious moody pop that should be embraced. Longtime collaborators Andy Creighton and Misha Bullock add their dense orchestration of strings, keyboards, Mellotron, guitar and bass.

It establishes the neo-psychedelic tone with the droning guitars of “Mal de Mar.” From sparkling jangle to thick, shoegaze-influenced textures, the record goes through different phases. “Surely You Rally” and “Lord Marchpane” are fuzzed-up power-pop with a hint of melodic sweetness, while “Much More” delves into darker, more psychedelic garage rock territory. My highlights include “Mapcap Girl,” “Bright Blue Sun, Gold Sky” and “If Only.” At more than an hour, the album may appear daunting, but if you skip around through these 21 tracks, you are likely to find some favorites here. Highly Recommended.

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Splitsville “Mobtown”

Power pop Hall of Famers Splitsville are back after a 20 year hiatus, and they set their sites on an ambitious concept album about their hometown of Baltimore, MD. Brothers Brandt and Matt Huseman (Greenberry Woods) and crew weave in the city’s landmarks, history, and their personal narratives into the overall story. “Cold Open” is an uncharacteristic synth opening but the aggressive guitars take over song right away as they intone “Let’s Start a Riot!” It shows the band is just as sharp as ever, and “A Glorious Lie” is the first big highlight here, full of fantastic harmonies and a killer hook.

“Federal Hill” is an orchestrated rocker loaded with layered instrumentation about the local neighborhood. Another highlight “I Hate Going to Hutzler’s” is a bouncy commentary on consumerism, it sounds like prime-era Splitsville and carries you along with wicked guitar solo. There is no filler here, but it may take more than one spin to appreciate the artistry. For example “Fallsways” is piano led gem that stylistically is a change of pace from the more familiar sounding “Beth Steel.” Overall, it’s an ambitious, painstakingly put-together concept album that pays homage to Splitsville’s past while moving on with more mature songwriting. Not as immediate as past albums, but that’s okay. Let this one grow on you. Highly Recommended.

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