Vegas With Randolph has been slowly releasing singles (in preparation for a new album). This one is exceptional, with the driving chorus and dense guitars. “Jacob” is an adrenaline pumping tale of an exhilarating experience, its resulting bumps and bruises, and the triumph of the thirst for the thrill of the ride.
The Autumn Defense goes all “Kermit” on this cover of Joe Raposo’s biggest hit for Sesame Street. Beautifully done.
We’ve followed Dot Dash for years now, and lead singer Terry Banks continues to perfect the melodic dense rock that combines Guided By Voices and The Clash in equal doses. With the legendary Mitch Easter producing you get short sweet power tracks like the anthems “The Winter of Discontent” and the catchy “Flowers” featuring new lead guitarist Steve Hansgen’s clean guitar riffs.
“Rainclouds” is one of the rare conventional rock tunes here, and “Satellite (Far Out)” boasts a dense atmospheric chorus and amazing guitar solo. The band then veers a little heavier with the “Walls Closing In”, but the melodic sense returns with “Transparent Disguise” “Thru the Dark” and “Semaphore.” It finally slows tempo a little for the ender “Sleep, Sleep.” Overall the band sounds great, a tight post-punk power pop that will appeal to indie rock enthusiasts of any age. Highly Recommended. If you order from Kool Kat Musik it includes a bonus CD of demos/live tracks.
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On the band’s fifth album, The Doughboys are still churning out that good ole R&B styled garage rock. And you can tell compared to earlier LPs that the rough barroom sound gets stripped down to it’s essence with minimal production, almost like listening to the band “live” in the studio. “Be My Baby” is a potential hit that sounds so effortless, because Mike Caruso, Gar Francis, Richie Heyman & Myke Scavone play so well together.
The band can still pump out those catchy anthems that sound like lost Rolling Stones classics, as “Shake It Loose” matches Mick and Kieth in their prime. Additional standouts include: “Don’t Come Crying To Me,” “Long Way Down,” “You Can’t Catch Me” and “For Your Love.” The band also explores an acoustic mid-tempo ballad with “Soho Girl” very much in the spirit of The Kinks. And the 3rd person story-song “Travelin’ Salesman” has a southern flavor with a distinctive Bo Diddley influence. You can’t go wrong with this tasty Stew.
Its hard to mention this album without the circumstances behind it. The Orange Peels lead singer, guitarist and keyboardist Allen Clapp and his bassist wife Jill Pries were in a near fatal car accident while on the way to a concert. They escaped with only minor injuries, and made it to the stage that evening. But following that event, they rushed into the studio to start Begin The Begone. With lead guitarist John Moreman and drummer Gabriel Coan, the band set about doing things a little differently.
Most of the songs are related to the experience, “Head Cleaner” and “Fleeing the Scene” are aggressive, but detailed pop gems with bright chords, big drum beats and REM-like base lines. With “New Moon” the songs add layers of psychedelic textures and shimmering rhythms. All very much like classic Orange Peels, but just a little darker.
Then the album really takes off with “Embers” built on a great piano melody and angular guitar accompaniment, Clapp sounds great throughout here. Both “Tidepool” and “post and Beam” are compelling instrumentals here, one a casual dreamscape and the other a drum dream sequence that blew me away – definitely not filler. It leads up to Moreman’s guitar on “9” and the catchy verses about the highway driving that takes place after the accident, “when I think of what we’ve been through, it’s a wonder we’re alive…” Clapp intones. Then “Satellite Song” channels the West Coast brilliance of Curt Boechetter and the Millennium. It ends with the symphonic kaleidoscope that is “Wintergreen,” and after a few listens you realize this isn’t your average album, but a modern classic. Makes my top ten list easily and arguably the best Orange Peels album ever.
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I’ve been following the career of the great Michael Carpenter since his first LP “Baby” showed up in 1999 in the Not Lame Records Catalog. So it looks like he’s going to retire his solo career and “ride off into the sunset” aka produce other artists music. Please help contribute to Michael’s funding efforts as I know he’ll go out with a blast of harmonies and guitar riffs. Check out his video below…
Unabashed Brian Wilson love is the whole reason Denmark’s Surf School Dropouts continue to churn out harmony-laden songs of sun, fun and summertime. They are also one of the few modern bands that can pull off the surf harmonies as good as this. All you need is a your woodie and a wave, for the opener “Destination Sunshine.” There are other influences too, as “Should Have Known Better” is a little closer to the sunshine of The Sundays or The Pearlfishers.
You have to give this Copenhagen quartet props as “Where Have You Gone” is lovingly composed and arranged. The soft ukulele ballad “Sarah” is dripping sweetness and “Wonderful Ride” has touch of Motown. The lead vocal changes from song to song, and some are better than others but you have to love the enthusiasm of bouncy tunes like “Coastline Crusin.” Some nice instrumental interludes preface a few songs, and the choral “Ebb & Flow” that ends the album is also very impressive. For Beach Boys fans this is manna from heaven.
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Rob Anastasi’s band Minky Starshine has always done quality power pop, boasting one of my all time favorite songs (“Cinematic Mojo”) on his last record. Rob just loaded this new release with an all-star supporting cast: Ducky Carlisle (Bleu), Ken Stringfellow (Posies), Roger Joseph Manning Jr. (Jellyfish), Brian King (Oranjuly) and Corin Ashley – just to name drop a few. So expectations are high here.
While the production sparkles with great sound and instrumentation, the opener “Lady London” is a pretty subdued mid-tempo song. The next song lives up to the promise, as “Girl” is a classic hook filled gem with a catchy repeatable chorus and “Easier For Everyone” keeps the chiming harmonies front and center. The sound veers to more mainstream pop with “Drive” and the ballad “Wave Her On” feature Phil Aiken’s dreamy synths. “Miss American Girl,” a country flavored duet with Amber Casares is another standout. But I was disappointed that the rest of the album seemed to stay in adult commercial pop realm, without a riff heavy rocker to juice things up. Despite that, Anastasi does a great job here, “Believe” is a richly layered song with an impressive chorus. Worth exploring and sharing with your friends who aren’t power pop fanatics.