Its been a while since the last Travel Lanes album, and Frank Brown (Flight of Mavis, Buzz Zeemer) channels power pop influences like Cheap Trick and Elvis Costello on the opener “Class Trip” with its hook filled chorus and rumbling guitar chords. The follow up “In The World” is a jangle rock song about memories of the prettiest girl (in the world.) “No Go” is like an early U2 song, but played with simple rhythm and rich layered instrumentation.
The infectious “100th I Told You” has a quick tempo and quirky lyric like a Squeeze song and then the solid alt country “The Year” follows it, and Brown is at his best “when the wheels fell apart” on his year. The next few songs channels Tom Petty’s style from the catchy “TA” to the slower “Death,” where he tries to trick the Grim Reaper at his door with a very memorable opening line. The fuzzy guitar on “Cream Soda” is another treat and every track is solid. Brown has upped his game here and you should not miss it. Highly Recommended.
CD Baby
On a rare occasion I find a “kids” pop album that will appeal to parents even more than they may expect. “Super Hero Rock Band” imagines a group of comic book heroes jamming together as a way to unwind, and Batman sounds like Johnny Marr. The song reminds me of a slower, calmer version of Weezer. The power pop on “Use A Contraction” may sound basic, but the arrangement is tight and harmonies sparkle here.
The guitar lead melody “My Teacher’s An Alien” is another gem with some great uncommon chord progressions. Like the classic Schoolhouse Rock series, some songs really do teach concepts, as “Personification,” “Q and U”and “Water Cycle” are catchy and more intelligent than typical dumbed-down kid music (I’m looking at you, Wiggles). The earnest “Bad Haircut” is a well written ballad about your first trip to the barber. Overall a fun and memorable pop LP that you can share with your kids.
Austin, TX band The Bellfuries are back, and they go way back to the “roots” of power pop by incorporating ‘60s pop melodies with R&B rhythms and soul on their latest album Workingman’s Bellfuries. Vocalist and chief songwriter Joey Simeone chooses not to get hung up on genre categories, but fans of The Everly Brothers, Carl Perkins, or Richie Valens will surely love this music.
Wonderfully produced the band starts with “Loving Arms,” a danceable country shuffle with a sweet hook. The traditional songs like “Bad Seed Sown” benefit from Simeone’s strong vocal and dynamic phrasing. “Make The Mystery No More” has a Phil Spector-like arrangement, using the multi-tracking to deliver great harmonies. “Letter To My Maybe Baby” and “Beaumont Blues” are my favorites here; pure Everly inspired magic. It also includes a great cover of The Beatles “She’s A Woman.” Its no wonder that there are no weak points or filler in this entire album. Highly Recommended!
https://www.youtube.com/watch?v=eP0NOP9ip9s
Peter Horvath and team had a good idea with Listening Party, as it would feature each of its band members recording an original single and then a favorite cover song. Opening with Christopher Ryan’s “Questions About Animals” it sounds almost nothing like a Council song, and feels heavily influenced by Jason Falkner. More familiar styling is heard on “Almost Anything” and “Yeah,” and they are real good songs too.
As for the covers, they are deep cuts that are not immediately familiar save one. First is a dense, less psychedelic version of The Smoke’s “My Friend Jack” and then the obscure Peter Gabriel song “And Through The Wire.” A cover of Jellyfish’s “Joining A Fan Club” has plenty of raw power and enthusiasm, although Peter strains to sing those high notes. Fans will enjoy this one, so check it out. FYI: The Anderson Council will be a Power Popaholic Fest on September 12th
CD Baby
http://audiorumble.blogspot.com/2015/08/lets-begin-to-start-again-again-review.html
Brandon Schott has always been an artist who knows better than most how to set the mood. After the great Verdugo Park EP, he’s expanded this into a full album with the help of Andrew Curry, Andy Reed and Jason Wormer. The childlike innocence of the instrumental “Dandelion” leads into the album’s biggest song “Henry,” a richly layered portrait of a boyhood optimism, complete with harmonies, horns and toy piano. “Cerulean Seas” is another like-minded song that sails along, as most compositions here are strongly influenced by Pet Sounds and Sir McCartney. Another gem is “Every Little Song,” a beautiful duet with Kelly Jones, where the melody twists with each key change.
Plenty of instrumental filler is found between many songs, tying the theme together but I suspect they are more snippets that didn’t fit elsewhere (“Sunglow”) and this make the albums middle a bit lightweight. However many strong compositions remain like “Seeing You In Stereo” and “Dear Daisy” is a catchy guitar led melody. The grand “Wisteria” is an exceptionally good atmospheric instrumental, and the wonderful “Dandelion Rain” is the best love song I’ve heard this year. Add to this the Elvis Costello cover “Riot Act” and you’ve got a winner. Highly Recommended.
While the novelty of a debut recorded on an iphone has passed, One Like Son (aka Stephen Poff) continues to pump out some great music from his Montgomery, AL studio. “As Seen on TV” has that big repeating riff, and a memorable melody. “Down To Hollywood” follows the Cheap Trick template, and the casual “Summer Days” reminded me of Extreme’s acoustic pop. Overall, the music seems more hard rock oriented than past releases.
“A Praise Song” is like a superhero theme from a Christian rock band, with its buzzsaw sound and an infectious bounce. Not everything flows as smoothly; some metal guitar indulgences are tiresome (“Borderline” and “It Knocks Me Out”) and the lack of any ballads makes this 13 track album a heavy lift. Stephen does sprinkle in some good songs, like the mid-tempo “Five Good Years” and energetic “Whispers” to end things. Give it a try, and you’ll find a favorite tune within.
Amazon
In this self-funded album, Salim explores beyond the confines of last years brilliant “Hit Parade.” Starting with “Dead Man’s Stare” Salim’s weary voice bleeds resignation with simple guitar strums and percussive effects. The melancholy approach recalls The Eels’ Mark Oliver Everett and its carried throughout the album.
“Crocodiles” is the very definition of a cautious tale about reptiles (human or not) and “don’t be fooled by those toothy grins” and Salim transforms into the Texas version of Ray Davies on the wonderful gems “Terlingua” and “Permanent Holiday.” The latter is an ear-worm that is like the devil on your shoulder encouraging you to go off the grid, as he says “When you gonna do it…” “Prisoner” is another tale of heartbreak, with “Two Years” showing our protagonist alone with an infant after the death of his loved one. The depth of emotion on tracks like “The Bullies Are Back” and “2 Lizards” recall Pink Floyd in spots and a little Jim Morrison comes through on the finale “To The Desert.” Highly Reccomended.
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This impressive debut from classically trained musician Christopher Duncan was created alone in his bedroom in Scotland. Duncan’s “Architect” boasts layered harmonies, chamber pop of the highest order mixing lo-fi and slick production together. The spacey pop of “Say” is deceptively catchy with its chanting chorus. This ghostly choral is used to great effect on “Silence and Air” and “He Believes in Miracles,” but what made me sit up and made me take notice was the signature gem “Garden.” Using a fast tempo plucking rythym, it builds and runs along with an urgency that is totally infectious – it’s one of my favorite songs this year.
The follow up “Here To There” has elements of late 80’s pop (The Cure, Orchestral Maneuvers in The Dark) and after “By” the album slips into a more atmospheric, less melodic phase redeemed by the plaintive ballad “I’ll Be Gone By Winter.” Overall this is a good artisan styled pop album worth exploring.