The Salt Collective, Danny Ayala, and Sloan

“The

The Salt Collective “A Brief History of Blindness”

Once again French songwriter-guitarist Stéphane Schück’s international collaborative project, The Salt Collective delivers a gallery of brilliant artists to interpret Schück’s musical compositions. The star power here is impressive; Aimee Mann, Mike Mills (R.E.M.), Andy Partridge (XTC), Jason Falkner and Matthew Caws (Nada Surf) to name a few. The title track leans into near-operatic pop, driven by Lynn Blakely’s dramatic touch. Falkner’s “Waiting for the End of Time” follows with an eclectic horn-filled verse, reflecting Stéphane’s push for a wide, open sound built around orchestral accents.

I really enjoyed Chris Stamey’s “You Swallowed The Sun,” with its memorable layered harmonies in the chorus. These are not simple catchy pop songs, but compositions loaded with depth and details. Mitch Easter’s “Ex Post Facto Kids” is another standout. These are tunes that need to marinate in your brain, so repeat listens are needed. That noted, the talent here is undeniable. Highly Recommended.

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Danny Ayala

Danny Ayala “Only Fools Love Again”

Danny Ayala grew up on Long Island, and the Lemon Twigs comparison lands fast. He plays keyboards in the band, and the D’Addario brothers’ influence runs deep. You hear it right away on “I Was Wrong,” where bubblegum pop meets classic power pop. The soft lead vocal and sticky chorus hit hard, with an even sweeter tone than the Lemon Twigs often use.

Ayala avoids sticking to one lane. “Something With You” and “The Village” lean into classical piano lines and baroque pop touches. “Pluto” shifts gears with heavier guitar-driven rock. The influences show clearly at times, especially echoes of The Left Banke and Tony Burrows, yet the songs hold together as his own statement. “The Ballad” stands out as the boldest cut. Strings weave through shifting melodic ideas, pushing the record past comfort and into risk-taking territory. Highly Recommended.

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“Sloan"

Sloan “Based on the Best Seller”

After 30 years, these Halifax power pop veterans have nothing left to prove. They still sound sharp and self-aware. “Capitol Cooler” opens with thick riffs and a smart jab at classic rock lifers who keep mining old ideas and asking if they will “die with their boots on.” It sets the tone fast. “Dream Destroyer” and “So Far Down” lean hard into glam, delivering tight hooks and clear nods to T-Rex. The songs hit as pure ear candy without feeling lazy.

“Live Forever” turns the mirror inward, poking fun at the band’s own longevity while calling out the uneasy rise of anti-aging drugs. The band is so comfortable, and clear with its sound and message. “Collect Yourself” is another gem, along the lines of Stealers Wheel. Easily this is the most cohesive album since “12”, and no filler anywhere. Top shelf grade A+ rock and roll. On the best of the year list for sure. Highly Recommended.

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July singles: Bill Lloyd, Sloan, Trolley, Original+, Jonathan Rundman, Mary Strand


July is hot and rainy, but the music keeps on coming. First a really cool AI video from my buddy Bill Lloyd on “Miles Behind” with the moody jazz sax, and lounge percussion, it’s a smooth instrumental, very different from the usual country or power pop. But hey, we are a power pop blog, so let’s not forget it. Sloan returns with something cinematic as well, “Live Forever” is a typical gem with a great chorus from the upcoming album. Another dramatic preview is Trolley and “A Carnival of Grey and White” that boasts a great song with a cool synth and bass rhythm. The guitars punctate each verse here and it sails. New Jersey band Original+ has an energetic EP just check out “Can’t Hang” and “Fraidy Cat.” Jonathan Rundman’s new single is kinda like vintage Mojo Nixon, about getting fireworks. Finally, Mary Strand gets to the point of it all with “Does any of it really matter?” Sometimes I ask myself the same thing. Enjoy.




Sloan and Richard X. Heyman

Sloan

Sloan “Steady”

On their 13th album, Sloan retains its title as the best indie power pop band left standing. The Canadian quartet has a career that spans over 40 years, and “steady” not only describes the band’s lineup but also its consistent stylistic approach. The chugging guitar on “Magical Thinking” starts us off, with hooks a plenty and a “ba-ba-ba” chorus. Then we launch into the catchy rocker “Spend The Day” a song that’s defined Sloan’s sound for years with a wicked guitar break, and it leads right into the gentle harmonies and handclaps of Jay Ferguson’s “She Put Up With What She Put Down.” Each song leaves an impression, and the album gets even better the further along we go.

Chris Murphy’s “Human Nature” is a brilliant piano-based song about our love of gossip. But what’s amazing is how the band can take Beatlesque elements and make it totally their own, my favorite track here is “Nice Work If You Can Get It,” a dreamy Rickenbacker riff based on “Day Tripper” – it’s an instant classic. Not a weak track to be found, and without a doubt (like their 2018 opus 12) this easily gets added to my top ten list for 2022.

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Richard X. heyman

Richard X. Heyman “67,000 Miles An Album”

For many years Richard X. Heyman was the original power pop DIY, one man band, and even though he branched off playing with The Doughboys several years ago, he remains a singularly unique songwriting talent. 67,000 miles an hour refers to the speed of the earth as it moves in orbit around the sun. RXH goes through a variety of styles here, but he starts off with an absolute gem “You Can Tell Me,” full of harmonies and sweet chord progressions. The rich horns of “Misspent Youth” goes through visions of his life in New York, and “Traveling Salesman” is a garage rocker with a distinct riff.

With 18 tracks you’ll find plenty of great songs here like “Crave,” a bouncy rocker with synth keys and pounding drums, and the mature hooks on “When The New Dawn Comes.” The soulful vocals of the mid-tempo ballad “Plans” are another highlight. Sometimes RXH finds a musical idea, like “Ready For A Fall” with its stylized harmonies, but it doesn’t quite work. However, enough tracks do work and that makes it highly recommended in my book.

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Late-July EPs and more: Sloan, Richard Turgeon, Kurt Baker, Sunshine Boys, Geoff Palmer, The Happy Somethings

Celebrating the fact that Sloan has a new album due out in October, we get the single “Spend The Day” to whet our appetites. What a prolific band, and speaking of prolific, Richard Turgeon has a sweet new EP Rough Around The Edges, check out the riffage on “I Never Loved You,” a classic power pop-sounding gem. The dense grunge-like rhythms are in contrast to the crisp re-released and remastered Kurt Baker solo Brand New Beat. This is without a doubt my favorite of his albums, and every song is top shelf, plus a boat-load of extra tracks (a total of 26) – so worth it.

Sad to say, but The Sunshine Boys are calling it quits, the trio leaves us with a pair of great tunes, both “Underwater” and “The Beginning.” If you want more buzz in your riffs, Geoff Palmer (The Connection) fits your needs perfectly. The FREEBIE this time is the lovely unpolished harmonies of The Happy Somethings from the UK. Great jangling happy melodies, full of irony guaranteed to brighten your day.





The Power Popaholic Interview: Sloan

Jay Ferguson of Sloan

Sloan is one of the most consistently great and longest lasting power pop bands around. Of the four guys who founded Sloan — Jay Ferguson (guitar and vocals), Patrick Pentland (guitar and vocals), Chris Murphy (bass and vocals), and Andrew Scott (drums and vocals) — I got Jay (he’s the one in the hat) to talk to me about the band a little, in promotion for the new album, 12.

How often do the four of you meet to discuss music?

Jay: I would say that never occurs. We got together at our rehearsal space to play each other our individual home demos to see what people had been working on, or perhaps look for enthusiasm one way or another for particular songs to pursue.

Has the songwriting process changed a lot since you started as a band? Was it always so democratic?

Jay: Not so much. Before Sloan, we all played in different bands where we wrote or contributed songs and sang….so it made sense to continue on that path when Sloan started. Andrew doesn’t really sing lead on our first LP, Smeared, but he contributed by writing music to a couple songs. There’s an outtake of Andrew singing lead vocals on “Median Strip”, a song he wrote the music and lyrics for…but Chris ended up singing it on the LP. By our second album, Twice Removed, we all were taking turns singing lead on at least 2 songs.

Do you challenge each other? Can someone say, “We should do it this way”?

Jay: Sometimes someone might offer an option if someone is stuck on how to perform or record a track…but generally, it’s down to the songwriter on how the song should be done.

Does anyone have “veto power” when picking a song for the album?

Jay: I’m not sure what you mean. Some of us will take thoughts from other members but mostly, you get to choose your own tracks you’d like to pursue. Sometimes one is persuaded by others to pursue a track they like.

Were you inspired at all by Nirvana for “All of The Voices?”

Jay: Let me ask Patrick….he says he’s aware it sounds like Nirvana production-wise, but he wasn’t necessarily aiming for that…but wasn’t steering clear of it either.

Tell me your biggest musical influences.

Jay: Impossible to choose one. For me personally, I’d say I’m influenced by The Beatles (together & solo), The Smiths, The Velvet Underground, The Bee Gees, Nilsson…but I’m inspired by lots of stuff. There’s a bit of a Diana Ross solo nod on one of my songs on the new LP….but I’m only speaking for myself.

Is performing still vital to the band’s promotion, or is it looked at as just an opportunity to connect with your fans?

Jay: Both. It’s definitely an opportunity to connect with fans, but also it’s where we make our bread and butter. Once upon a time, equal income could be generated from record/CD/cassette sales, but in the musical climate over the past many years, touring generates the lion’s share of the income that keeps our business model running. 

Tell me the differences between your Canadian and American fans.

Jay: In Canada, depending on the city, we play to more people…and amongst those people, due to having had actual radio hits or being more well known, there’s a chance some folks may only know your big 5 or 6 songs. Of course there’s also still the big fans who know the deep album cuts etc. In the USA, because we never really had massive hits…the average Sloan fan is more likely have gotten into our band via LPs as opposed to radio play, so they may generally regard a popular song (i.e. “Everything You’ve Done Wrong”) with the same enthusiasm as an LP cut (ie. “Suppose They Close The Door”). That’s the primary difference I tend to see.

Any planned projects after this latest (12) album tour?

Jay: In 2012 and 2016, we created and toured behind box set reissue versions of our Twice Removed and One Chord To Another albums respectively. The next project after the 12 campaign will likely be a box set reissue of our 1998 Navy Blues album and a tour following where we’d play the entire LP front to back. That’s probably not until autumn 2019 at the earliest.

Thanks, Jay. We look forward to seeing you in concert soon!