Wes Hollywood “Fantasy Arcade”

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Rock veteran Wes Hollywood has always had roots in late 70’s and 80’s power pop style. Mr. Hollywood has been a staple in independent music for more than a decade, first with The Wes Hollywood Show and later with solo efforts. His latest album  Fantasy Arcade is an unapologetic triumph of hook infused melodic rock. The bouncy beat of “It’s Good to See You” is a great opener with its shiny, happy guitar riffs.  You’ll hear touches of The Kinks, Elvis Costello, Cheap Trick and The Records in the stunner “Alfie” with a series fantastic chord changes.

The very Davies-like break-up song “Baby We’re Through” is another winner, and the chiming riffs of “City Streets” explain the lost hangouts of childhood, paved over by new developments as Wes croons “goodbye to the corner shop, the record stores and vacant lot.” Its one of my favorite songs here. Each track is meticulously crafted, like the mid-tempo ballad, “Coming Along,” a personal account of his thoughts and the title track has shades of Oasis in its echoing rhythm and blistering chords. No filler and easily one of the best power pop albums this year. It comfortably gets a top ten nomination for my 2012 list.

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The Willie Wisely Trio “True”

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After an 18 year hiatus the original members of the Willie Wisely Trio reunite for the enjoyable True. I would call the Trio an amalgam of pop, folk and blues with a twist. Wisely fans will love the catchy opener “Kiss Her And Make It Right” and it’s the peppiest song here. The sweet banjo progressions and trombone start “Dr. Jack” but it slowly fades into Wisely-land after the chorus, with dense violin effects. The excellent “Everybody Fears The Lord” does the same, it’s also got a killer hook and rapturous guitar.

The album also doesn’t take itself too seriously with “National Council Of Jewish Women’s Thrift Store.” Wisely writes about all the junk at the thrift store he sees from Farrah Fawcett to “I’m with Stupid” t-shirts. The acoustic folk tunes like “True” and “Low” are shining examples of great roots pop, like Glen Campbell or James Taylor. Also notable is the 26 minute final track “Surreal,” a long jam that reminds me of Simon & Garfunkel’s “A Simple Desultory Philippic.”  Wisely and his trio let’s it all hang out and I simply loved this album.

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Dunebuggy and The Squires of The Subterrain

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Dunebuggy “Dunebuggy”
Dunebuggy came together in 1991 and were based out of Hoboken, New Jersey. The band split in 1996, and self-released several songs — but this LP is the first time that many of their songs have ever been available to the public.

The band has a D.I.Y. aesthetic of skateboarding, and an obsessive appreciation for well-crafted pop tunes, Featuring members Jon Procopio (vocals/guitar), Keith Renna (drums), Michael Reilly (bass) and with contributions from Tracy Wilson (guest vocals), the band quickly built a name for themselves by creating clever indie rock with monstrous pop hooks. Their signature sound was punctuated by angular guitars, quirky phrasing and imaginative lyrics. Standouts here include: “Tungsten” and “Green Eisenhower.”

The Squires of the Subterrain “Sandbox”
Christopher Earl from the Squires of the Subterrain has produced some great albums within the Fab Four style. Now Earl takes his turn at that other pop music paragon, The Beach Boys. The primitive Wilson styled tunes are done with sparse composition on “Idling In The Sun” and “Surfin’ Indiana”. The lyrics are intentionally ironic, about how you’ll spend more time in traffic than speeding down the highway and  the joys of “surfing” in a small creek.

Earl gets props for the Pet Sounds influenced “(I Still) Mow Your Lawn” with its authentic harmonies and falsetto. The double meaning on most songs helps me enjoy the simple homage on “The Cheatin’ Gibson Girl” and “Fun House.” The psyche-pop stream of consciousness on “Woodrow Wilson” and “Rising Waters” treat us to Smile-like “experiments”. At times the lo-fi production and over-exaggerated Mike Love nasal approach on a few songs were annoying, but after a few listens it really grew on me. Essential for Beach Boys fans.

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Bunny Austin and Round About

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Bunny Austin “Shadow Life”
Bunny Austin is the name of a Birmingham, Alabama band with a garage and power pop inspired sound. Bunny Austin is made up of Charles Arndt (Plaid Camels) on guitar and vocals, Rich Albright (Altamont, Muddy King) on bass, Tony Oliver on keys, and Tommy Prewitt (Month of Sundays) on the drums. The strong guitar fuzz is prominent on the opener “God Alone” and the radio friendly “Sparks” has a little of The Rolling Stones in its DNA. The next several tunes are decent, but nothing here impressed me until the handclap beat on “I Can’t Take It No More.” The song has a good hook here and resembles the Knack a bit. That riff heavy power pop sound is also welcome on “Make It Last For Now.” So overall a few keepers here, but nothing else that really stuck with me.

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Round About “Hanging By A Thread”
Washington DC band Round About’s debut album features some stellar guitar solos by Will Potts on the opening track “Partners In Crime.” The same template is found on the first few compositions where the melody is punctuated by Potts noteworthy electric riffs. Songs are well written for the most part. Unfortunately the problem here is lead vocal Patrick Garrity, who’s understated, unemotional performance undercuts the “rock” songs here. But for a few songs, like the jazzy “Hanging By A Thread” and soft pop of “Grateful For A Glance” Garrity’s hushed vocal is kind of like Al Stewart on Xanax. Potts guitar solos are all but gone by the albums mid-point, but the best collaboration of his guitar and Garrity’s vocal is the standout “Close To Home.”

 CD Baby | Amazon

The Mike Benign Compulsion and The Campbell Apartment

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The Mike Benign Compulsion “Martha”
It wasn’t long ago we heard from Midweswtern musician Mike Benign. This new full-length album is a big leap forward for the Compulsion, mixed by the dB’s Chris Stamey. The driving harmonies on “Chemicals To Candy” is full of classic power pop chord shifts, and a great opener. “My Michelle” has a bit more jangle, almost like The Raspberries. A few real standouts are the bouncing beat and harmony filled chorus of “Valentines and Honeybees” and the Beatlesque “Sing It.” No filler here and plenty of other great tunes, like the Kinks inspired “American Dreaming and Drunk” and the Stamey influence is clear on the album’s latter half with “By The Way” and “I Won’t Let You Down.” The ballads are good too, so overall it’s a highly recommended LP and a great addition to your playlist.

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The Campbell Apartment “In”
After the melodic indie-pop sounds of 2008’s Insomiac’s Almanac, the Campbell Apartment take a turn towards a harder rock sound courtesy of leader Ari Vais. Joined by Jody Porter (Fountains of Wayne) it resembles the late great Alex Chilton on the blistering opener “I Don’t Believe in Love (Anymore).” The cynical genius of “The See You Laters” explores the death of rock star dreams, as Ari’s vocal has a Lou Reed meets TMBG-styled cadence.

The album’s wall of guitar riffs recall the Replacements feel-good hooks on “Autumn,” and the more distortion fueled melody “Season In The Sun.” A few songs recall the early 80’s new wave, like the list of girls on “My Many Mini Obsessions” and the dissonance of “Plug-in Freak.” A few notable tracks, like “Gia Knows” recalls Weezer and “That’s All There Is” could fit comfortably on a Red Hot Chili Peppers LP. Some of the rhythm guitar acrobatics are colorful and the slow ballad “There Goes the Sun,” has some sweet horn arrangements. It’s a grower for sure, as Ari’s vocal takes a bit getting used to. Get “I Don’t Believe in Love (Anymore)” for free download to start you off!

Itunes | Amazon