The Secret Powers "What Every Rose Grower Should Know"

After making the #1 spot on David Bash’s extensive top ten list last year for Lies and Fairy Tales, Ryan “Shmedly” Maynes and crew bang out another top notch power pop album. The opening single “Generation Ship” is a majestic ELO styled gem that conjures images of a Jules Verne inspired zeppelin floating across the clouds. Crunchy guitar riffs and Shmed’s growl on “Tarantula” is a loving tribute to your arachnophobia. The title track has some great instrumentation and the lyrics are literally pulled from a horticulture textbook.

The band stretches a bit on western themed “The Desert” and “It Should Have Been Me.” The tracks at the album’s middle are good, but don’t reach the earlier highs. There are still great standouts here like the sublime “Crocodile” and hand clapping goodness of “In The Way.” Shmed goes back to the Lynne playbook ending things with “Blue Thing,” but overall this music is way better than the piles of other bands, and just the amount of gems here demand it makes my top ten list for 2011 (So far each year Shemd has made my list).

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Marco Joachim and The Seldon Plan

Marco Joachim “Hidden Symphonies”
Marco Joachim and collaborator Jon Gordon put together this labor of love, stylistically emulating ELO and The Beatles. Hidden Symphonies is a gorgeous album, thick layers of guitars, synths, strings, keyboards and horns are piled on to give us an alternative universe version of Sgt. Pepper. Not an easy task for even a skilled musician, but Marco takes it on with “And When The World” with it’s looping chords, and Lynne styled vocal approach. On “Things You Do” it builds on a piano riff similar to Randy Newman’s “Short People,” but hooks you with a neat slide guitar accompaniment. “Cellophane Sue” is complete with Stones-like horn section, Penny Lane baroque trumpet, and capped with a wacky, exuberant guitar duel. “Nameless”, performed to a string quartet, is an ironic commentary on suburban life that is touching and yet sarcastic, sung in a sincere McCartney style that evokes the Beatles Revolver. I could continue to gush about the flawless pop atmospherics of “Gramercy Park” and play “spot the influence” on every track here but it’s all superfluous. Just get this album, it shouldn’t be “hidden” for long, as it makes my Top Ten for 2011 list.

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The Seldon Plan “Coalizione del Volere”
This is a short follow album up to last years Lost and Found And Lost. Listening to the opener “Fractionation” it was a slow indie drone with a subtle chorus, it doesn’t distinguish itself too much. But the sophisticated lyric and angelic backdrop make “Fool’s Gold” a winner. The album’s punch comes later, in the form of “Love Your Way” and “Millennials.” The fast moving guitars and beats of these songs are needed lift to the melodies. However, the percussive elements on many of the other songs here tend to drown out the vocal performances in spots, despite the excellent harmonies. But the biggest sin here is the atmospherics seem to take over and bury just about all the melodic hooks. Although its more musically complex it just didn’t linger in my memory long. Maybe next time the band will stray closer to power pop instead of ambient indie pop.

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Penguin Party and Lousy Robot

Penguin Party “Sex furniture warehouse and other stories”
Dave Milligan has a lovable quirky attitude on this third Penguin Party album. “Mike Leigh-on-sea” is an impressive XTC styled single, and the album goes off on the theme of senior citizenship with typical British jangle and whimsy. The production is sparse compared to the last album, and it brings us a homey intimacy on “She Was Only A Roofer’s Daughter.” It’s like Martin Newell doing a sing-a-long in the pub, especially on the charming “Song For My Old Lady.” Sometimes it looses it’s way getting too jokey (like an old Monty Python tune) or experimental. But there are more than enough gems here (like the terrific “Whatever Happened to Tomorrow’s World?”) to make it worth your while. Fans of Mr. Newell and Mr. Partridge shouldn’t miss this one.

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Lousy Robot “Hail The Conquering Fool”
If you mixed The Eels and Apples in Stereo in a blender you might get Lousy Robot. This Albuquerque indie band knows about quirky synth hooks and fuzzy riff based pop. Listening to the hand clapping goodness of “Andy Warhol’s Gone” it sets expectations high. The album balances out tight melodies in songs like “The Peacock” with low key filler (“A Not Quite Perfect Film”). Some of the stream of conscious lyrical musings work well on “Christmas In Berlin” and it sets you up for sweet tracks like “Sugarsweet Me.” However the band wears its slacker badge with pride, as “A Man On A Weird Horse, Pt. 1” teases us with a single bridge. And that’s the issue I have – a few good songs surrounded by a pile of loose snippets. This 12 track album felt more like an EP, so I hope the band makes more pop and less “corn” on the next album. Pick out the choice kernels here.

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The Bigger Lovers and Marisa Levy

The Bigger Lovers “Little Giant Maxi Single” EP
After 7 years, The Bigger Lovers re-emerge from self imposed exile and according to drummer Patrick Berkery, these tracks were recorded in 2005 with the help of Tony Goddess (Papas Fritas). “Talon Show” is superb jangle ballad and the follow up “I’m Not The Sort” has a Brill Building pop feel. “Little Giant” is nice guitar single that recalls the band’s past. This release will be followed by the 10th anniversary reissue of the 2001 debut How I Learned to Stop Worrying. I always wondered what happened to The Bigger Lovers – now I can look forward to more new material.

Marissa Levy “63 Songs About Joe” EP
With a big voice, a talent for witty lyrics and the ability to write a damn catchy melody, she is so much more than just a small girl with a big guitar. Her latest EP is a mature leap from her earlier works. Produced by the great Mike Viola and engineered by Ducky Carlisle, 63 Songs About Joe draws on such varied influences as The Beatles, Prince, Harry Nilsson and The Beach Boys. “A Love Song” has a fresh confident vocal and bouncy tempo that will easily make you smile. The acoustic guitar strums of “Growing Up To Do” builds with layered harmonies and Mike does some backing vocals here. In fact, it was so catchy, that I will begin to explore Marissa’s past LPs.

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