Fooling April and Wiretree

It’s been about 2 years since I heard again from Fooling April. While always talented, the band has taken huge strides forward in musical development with Three. Opening with a simple Rocky Raccoon-like piano and guitar melody on “We All Need Someone” it is understated and impressive with a sweet sing along chorus. “Breathe Again” is a modern ballad where the melody tells a clear story of personal renewal, full of nice vocal subtleties. A very funny “I Win” tells the story of the nerds triumph in adult hood with a great Ben Folds styled piano noting “the girl with braces who gave off a peculiar smell is hot as hell.” Most of the songs are melodically strong (sounds like some one’s been studying Mike Viola) and the sweetness factor is turned up for “It’s A Deal.” Another gem is “Headfirst & Blind” where both the harmonies and hooks are strong here. Since they tone down the production gloss, when “Big Brother” shows up it’s a fitting and soulful song that you’ll gladly clap along to. “Screw it Up” has shades of Billy Joel in it’s DNA, and it’s another good tune. Overall, an excellent low tempo album and the song “Finally Got It Right” tells you all you need to know. Best of all – the album is available on Bandcamp at a Pay-what-you-want price. Get it while it lasts!

Austin Texas indie pop band Wiretree reached my radar with the first LP Bouldin, and it doesn’t hit a sophomore slump here. No, they hit it out of the park. Wiretree’s influences of 60’s progressive, Psychedelic pop and 80’s guitar style help mold Luck into a finely crafted pop gem. Songwriter Kevin Peroni puts together compelling hooks and fine melodic songs from beginning to end. “Across My Mind” is like classic Elliot Smith without the moping, but all the catchiness. My favorite here is “Back In Town” where the anthemic production recalls both The Beatles and the Beach Boys, with a wonderful ascending guitar arpeggio and glockenspiel melody. “Rail” recalls classic Lindsey Buckingham and his Fleetwood Mac classics. The hauntingly catchy beats of “Satellite Song” are like a Blur on a dinner date with The Kinks. The compositions here are solid from ballads like “Falling” to the mid tempo “Heart Of Hearts.” Every song is winner here with no “filler” except a demo version of “Falling.” In fact, the album’s only failing is that the songs are so consistently melancholy, that it’s hard for anything to stand out as a single here after the album’s first half. But it’s all so beautiful you tend not to notice, until the entire albums played out. I guess I’ll just have to listen to it again.