The Resonars "That Evil Drone"

Tucson, Arizona power pop veterans of the retro 60s sound, The Resonars last year put out one of my favorite albums entitled Nonetheless Blue. Their latest release, That Evil Drone, shows that the last album was no fluke. Much like its predecessor, The Resonars sound is focused on psychedelia in the Beatles Revolver-era. The chiming guitars and vocal harmonies of “World Apart” will thrill you. The fast paced fun of “No Black Clouds Float By” builds on the Monkees styled jangle and hyper-guitar solos between the chorus. Leader singer/songwriter Matt Rendon has absorbed every significant guitar style of the sixties era from McGuinn to Hendrix to Clapton. I’m not sure if The Pillbugs continue as a group, but The Resonars are rightly worthy of the crown for retro-pop this year (sorry, El Goodo it was close but they take it). “Run Kodiak Run” is an excellent instrumental with driving fuzz guitars, Rickenback lead and slightly distorted bass. “No Horizon” is another catchy gem, along the lines of New Colony Six and Paul Revere and The Raiders. By mid album, with “Black Breath” and “She Did” it shows more garage roots, similar to The Seeds sound. “Bird Using Bird” has that smokey blues feel that the Yardbirds used to do so well. And another instrumental, “Yes Grosvenor” is simply a masterful guitar exercise. That Evil Drone is an amazing album, considering that their music is technically complicated and spot on accurate to the period.

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Listen to “No Black Clouds Float By”

Lane Steinberg "Passion & Faith"

Sometimes with Lane Steinberg, it’s a box of chocolates. You’re never really sure what you’ll get. On his third solo album “Passion and Faith”, you mix equal parts John Lennon, Adrian Belew, Anton Barbeau and Brazilian progressive. The juxtaposition of Lane’s pop songs and four covers of songs by the Clube da Esquina songwriters from 70’s era Minas Gerais, Brazil, all sung by Lane in their native Portuguese makes for a strange brew. At one point someone thought I had two different albums playing at once. The Brazilian songs aside, Lane’s echoing vocals and guitar in “What Do I Do With The Rest Of My Life?” works well as a light psyche pop song with strange effects (babies crying) in the background. The sweet sound of “Happy Holidaze” has a bit of hushed XTC anglo-pop, next “How Insensitive” plays like a psychedelic, droning Sisters of Mercy goth pop with a mash-up of two different rhythms. “Christmas In Peru” is a casual, Rundgren-like coffee house ditty. Then we travel to a British music hall in “Why Can’t People Just Talk about the Weather?” But the centerpiece of the album, however, is a 21-minute jam of the Grateful Dead’s “Dark Star” with Lane playing all the instruments himself, recreating the Dead’s golden era with uncanny accuracy, yet in his own personal style. This will be a challenge to most listeners expecting clean, familiar power pop and although I appreciate much of the Brazilian songs, they don’t match up well against the anglo-pop stuff here. The parts here work better than the sum, but the musicianship is so absorbing, I wouldn’t pass this one up. 

PASTE Magazine: Don’t stop the presses


Paste Magazine is on the verge of disappearing. This isn’t unique to music magazines. We’ve already seen a handful of great ones disappear recently (Blender, No Depression). On May 14, Decatur-based Paste magazine, dedicated to highlighting “signs of life in music, film and culture,” asked its readers for help in weathering a particularly rough economic patch. Out of all the music publications left, Paste is the last great print refuge for music lovers and I would hate for it to go away. Click on the ad to donate, and you’ll get a 70+ downloads for your trouble. 

The Knobs "Breakup and Die"

Five years following the death of the lead singer/guitarist Phil Healy, the Knobs have reformed to release a serious statement of hope and sadness with “Breakup and Die.” The Knobs, are heavily influenced by The Beach Boys, The Kinks and Wilco, but the band sounds closer here to the hushed sounds of Eric Matthews playing with The Jayhawks. It’s no surprise the gem of the album is  “Dublin Sky on New Year’s Eve.” It’s a perfectly tight song full of rich jangley guitars and a catchy chorus. The band also features Steve Chesser (whose most excellent Bos Taurus CD I reviewed a while ago). The studied sadness of “Room With the Fire Escape” shows off the anguished honesty, and the band’s gorgeous musicianship. Some of the heart wrenching lyrics in “After All It’s Been A While” and “Say Goodnight” almost beg the less sober of us to belly up to the bar. But it’s not all a downer here, as the lush pop arrangements prove what a talented songwriter Healy was, and both guitarists Phil Young and Ken Herblin perform each song with loving care here. While this is not a “happy” pop album, it is most definitely a well crafted one. Worth noting, the fastest paced song here is the bouncy irony of “If Died In A Car Crash,” (exactly how Phil Healy was killed). My favorite ballad here “The Way is Up,” as it echoes Neil Young’s sound slightly and provides the ethereal hope toward the albums end.

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Power Pop mentioned quiet a bit on ABC’s "Cupid"


In the ABC TV show “Cupid” the episode “Left Of The Dial” is all about a DJ with musical taste looking for love. First, they mentioned and played Future Clouds and Radar song and had Robert Harrison on the show performing (albeit lip synced) and in the background of a radio station that one of the characters worked at was a poster for Jim Boggia’s “Misadventures In Stereo.” It was weird hearing the phrase “power pop” sprinkled around the dialogue. Even The Raspberries and Uncle Tupelo were mentioned too. Ended with the poppiest song The Pixies ever made, “Here Comes Your Man.” Many thanks to Michael McCartney for pointing this out to me.

Check out the full episode

Another hightlight in the middle of the show is this song…