Tamar Berk’s newest album, âocd’, is her most polished effort yet, combining luxurious production, lyrical depth, and shoegaze sounds. As the title implies, the album delves deeply into the repeating, nervous thought patterns that characterize obsessive thinking. Berk’s greatest strength is her emotional honesty. Her cooing voice calms the tumult, and her production choices keep the songs warm and real, even when the subjects are bleak.
That said, âocd’ isnât always as memorable musically as it is thematically. Several songs lack the sharp hooks that would bring listeners back for repeat spins, however it does beat true to itâs own slowcore drum, like the laidback âindiesleezeâand âIâm In The Day After.â Big highlights for me were the sharp lyrical details of âYou Ruined This City for Meâ with its urgent guitar lines and the hazy arrangement of âI Had a Dream I Was Lost in an Auditorium.â For listeners drawn to the emotional landscapes, ocd will feel like a mirror. For those craving sharp, replay-ready pop craft, itâs a little more uneven. Fans of Tamar will enjoy this and ultimately this highly recommended.
While itâs new to me, Welsh psych-pop outfit KEYS have been making hook-driven, genre-bending music since their 2002. Two decades on, their eighth album ‘Acid Communism’ is their boldest statement yetâraw, expansive, and unafraid to push into some power pop territory.
Acid Communism embraces grit. The opener âThereâs No I in Teamsâ erupts with energyâclattering drums, jagged guitars, shimmering keysâwhile âForm A Bandâ channels classic rock swagger. Softer turns arrive with âYour Shoesâ and the impressive âThe Greatest Joke of All,â written solo on piano during lockdown with a Beatles-styled catchiness. Another gem, âPoyekhaliâ lightens the mood before tracks like âThe Spectreâ steer the record into darker territory. Each song feels distinct, yet the sequencing ties them into a bigger journey, making this a great listen overall.
The title is a meditation on connection and togetherness in an age of digital detachment. As frontman Matthew Evans puts it: âACIDâ is experimentation, âCOMMUNISMâ is community. That philosophy shapes the recordâs collaborative, unfiltered spirit. Highly Recommended.
There is just so much music out there that I can get to, but I will make it as easy as I can to pick worthy stuff. An easy pick is Pop Boomerang‘s Marching Out Of Time compilation – a name-your-price download. The label is closing soon, so this is one of the last comp LPs they will do, and its a damn good one; check out the opener Little Murders “Wait ’til Summer,” The Wellingtons “Soda” and the fantastic Her Majesty’s Finest (feat. Kate Duncan) “Shake Yer Popboomerang.” Denmark’s own Tommy and The Rockets give a tribute to Record Store Day with “The Hottest Store In Town,” fans of the Ramones will eat it up. Â The Chords UK gives us a sorrowful “White Van Man” while Jack Skuller changes his sound with a dynamic beat on “Watercolor Rain.” Gordon Micheals channels Billy Joel a bit on the memorable “Hey Doreen.” Finally, the talented Kai Danzberg will finally “Get It Right” a terrific hook-filled single.
April March (Elinor Blake) has done it all. A talented animator (Pee Weeâs Playhouse, Ren & Stimpy), she worked with tons of talented musicians from Ronnie Spector to Brian Wilson. Since her debut in 1996, she has touched nearly every genre of music from punk, jangle rock, and disco to psychedelia. April has worked with French songwriter-producer Bertrand Burgalat and is a huge fan of ’60s French pop.
Released as a vinyl-only in 2021, In Cinerama has April’s light unassuming vocal getting its real power when her overdubs create those powerful harmonies that are woven into each song. “Lift Off” is the first ray of sweet sunshine with harmonies and horns leading the way, overlapping each other. “Rolla Rolla” is a minimalist gem with Mehdi Zannad’s Caribbean-styled rhythm. “California Fall” is a slow tempo and layered melody that grows in complexity with a distinct harp and percussive backdrop. “Runaway” borrows a bit from those ’60s girl groups, and “Born” is another gorgeous track that reaches stellar heights. No filler here and highly recommended.
After Dave Cope and the Sass were spotted on my radar in 2019 with his self-titled release, he decided to dig into his archive of early tracks to set up his newest album Julee. Sass really sounds like a lost classic from the peak of the 60âs British Invasion; The Kinks, The Small Faces, and specifically Roy Wood and The Move.
The title track is uncanny and would’ve been a big hit in that era. The Lennonesque piano starts “Let Me In,” but his vocal cadence and chord shifts are all Jeff Lynne. The marching rock of “Topsy Turvy” is another standout, and “Lost With You” is a McCartney-meets-Ray Davies slice of heaven. The era slowly moves into the 1970s by the album’s mid-point with “I Got Your Letter” and “Moonraker” which reminded me of late-era Marc Bolan. While some of the ballads feel a bit overdramatic, there is no filler amongst its 11 tracks. It hits my nostalgia sweet spot just right. Highly Recommended, and it slips into my top ten of 2022.
Tamar Berk quietly asks for a moment on “Your Permission” to speak frankly; and as we descend into her mind, it’s accompanied by melodic piano and impressive overlapping harmonies that build up to a peak by the end of the song. “Tragic Endings” is a brilliant hook-filled song full of deep truths, sounding somewhere between Liz Phair and Suzanne Vega. It’s an intimate self-examination after the unexpected death of Berkâs father, and the oppressiveness of living through Covid isolation. Recovery from this trauma is examined very clearly in “Hoping This Day Won’t Kill Us,” she is “going through the motions” of life just to “keep going.”
The low breathy whisper of “You Already Knew” is a bittersweet memory of her last meeting and “Sweet Relief” is a dreamlike monologue that’s full of soulful twang that is both compelling and inspiring. But it’s not all downbeat, “Alone Tonight” is a hopeful look forward with a sweet guitar break after the main verse. “Real Bad Day” is purposely hard-rocking, and the thoughtful “Dandelions in My Flowerbed” is a power-pop tune that bounces through your head. The warmth and authenticity of Tamar’s songs are matched by her obvious talent. Highly Recommended.
Boston band Speedfossil is an energetic bunch. Led by Garret Vandermolen (singer/songwriter) and supported by Michael Scotti (bass/vocals), Dan Jordan (guitar/vocals) & Hector Saint-Hilaire (drums)they open things with “Luckiest Man in the World” sounding like a hybrid of The Smithereens and The Cars, it’s the quick chorus and guitar shredding that hook you right away. It slows considerably for “Rag Doll” and “You Got A Lot of Nerve,” thoughtful tunes about your partner’s sexual ambiguity, the latter boasting catchy hand-clapping verses.
Garret constructs a variety of memorable melodies, including “Disconnected,” a mellow, but dispirited theme about the gradual breakup of a relationship. Overall some great tunes here; check out the classic rock riffs of “The Verge,” “Pieces of Eight” and the kick-ass finale “Count Me Out.” The production and musicianship are also superb throughout. Highly Recommended.