Category: Highly Recommended by Powerpopaholic

Longtime power pop favorites, the Dipsomaniacs have released their 6th album, and like your favorite comfort food, it’ll bring you warm feelings inside. Chief Dipsomaniac Mick Chorba leads the band through a nice pop set, with less garage elements, but the DIY spirit in the music lives on. The opener “Together We Can Rule the World” is sure fire hit single, with a hook filled chorus and those ever present guitar riffs, that Adam Schlesinger (Fountains of Wayne) would be proud of. “Drop Your Guitar” carries on with a workman-like effort along the lines of The Who and Cheap Trick. “Blame it On The Gin” sets up a quirky rhythm, much like Camper Van Beethoven. “Not Waiting Around” is another highlight, sounding  a little like Tommy Keene, with a polished rock sound and a superb arrangement. These songs are mostly short and sweet, and thus a lot of fun to listen to. “Wake Up Sue” is a punchy guitar tune with a foolproof riff and “Kids On Base” shows how well the band can put together an interesting story about bored army brats. Every song shines here, and no filler is to be found, even the quirky country mid tempo “Loretta After All” about a band saw wielding psycho girlfriend has a certain funny charm you can’t ignore. The sweet melodies continue with “Wait and See” and the excellent finale of “Halo Around You.” I have listened to this band grow over the years, and Chorba seems to get better and better, and I see him emerge from the shadow of those Paul Westerberg comparisons on earlier albums. A perfect entry point if you’ve never heard them before – without a doubt, recommended for power pop lovers.

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The Doll Test “Mosque Alarm Clock”
Seattle’s Doll Test were reviewed this past summer on many other blogs and the top ten for 2008 hype is well deserved. It reunites several members of The Model Rockets and takes it’s lead from The Who, Sloan and Cheap Trick. Evidenced by the opener “I’d Rather Be Asleep” with it’s smooth as silk melodic guitar. The great hooks and Beatlesque touches are all over some tracks. The jangle and Lennonesque “Ballad of Your Blue-Eyed Boy” is another wonderful song, but my favorite here is a damning assault against hippies from a psycho point of view in “Shoot The Tamborine Man” it’s both lyrically and harmonically perfect. It also pokes a finger at America post 9/11 with “The Decider” and “The Last Rung.” This deserves a spot on your ipod without a doubt.
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The I Love Myselfs “Show Stopper”
Riffbroker guitarist Eric Olson and Young Sportsmen guitarist Ryan Maxwell have combined together for this blistering mix of AC/DC meets Nirvana rock. The heavy riffs come out on “Born To Lose Nothin'” and “I’m Not Dead” and then you hear the benefits of two lead guitars. Olsen’s warble is closer to The Hoodoo Gurus or The Black Crowes than Ozzy, so this makes for excellent road music. “We Love Ourselves” is a great mix of Joe Walsh riffs and Rolling Stones cockiness, it makes that perfect theme for this band. Every opening riff begs you to turn up the volume and start your air guitar right away. Fans of Jet will also appreciate “Golden Child” and multi-tracked guitars on “How’s Yer Sister.” Overall nothing remotely boring here, as this album is full of high energy gems that should not be missed.
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Jonathan Rundman “Insomniaccomplishments”
Jonathan Rudndman tells his story with simple arrangements and an acoustic guitar for the most part. As the title suggests, these tunes were born in his basement studio in the wee small hours. The songs range from forceful folk of “If you have a question” to the Neil Young-ish pop of “New Eyes.” Some songs have a more traditional instrumental angle (“Kuortane”) and others have progressive rock feel (“Nothing Downtown”) so stylistically it has something for everyone. Duet partner Beki Hemingway add her harmonies to “I Thought You Were Mine” to make it the best track on the album for me. Some of the indie pop tones recall a mix of Nick Lowe and Marshall Crenshaw. And that’s fine with me. Jonathan also has a “Best-of” collection that will give you insight into the man’s previous works.
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The Athens, GA quartet Modern Skirts got very good reviews on their debut in 2005, but the new album draws you in with their sunny harmonies, well-placed strings, understated keyboards and quirky lyrics concerning matters of the heart. The opening track “Chanel” will appeal to fans of  Field Music and the lighter side of Phantom Planet. The gentle single “Soft Petals” is a tuneful distraction with a melancholy hue to the spacious production. The standout here is the Ben Folds Five-like “Radio Breaks” a wonderful hook filled gem with a glorious piano melody. The next song, “Yugo” ambles along to a truly beautiful chorus that recalls Adrian Whitehead’s studied lush pop sweetness. Lead singer Jay Gulley has mentioned “It’s all about the song, not about trying to sound cool or show off on your instrument, it’s trying to get stuck in people’s heads.” And these tracks do stick. But at the albums mid point, it concentrates more on quirky novelty productions like the sparse Harper’s Bizarre feel of “Astronauts” and faux Billy Bragg-like “Motorcade.” Other songs here don’t approach the genius of the album’s first half, but aren’t bad at all, especially the emotional ballad “Mrs.” and the hopeful group hug that is “Eveready” with it’s combo of distorted guitar and piano solo. No doubt worth more than a casual listen.

The Tattle Tales specialize in fun modern pop-punk that follows in the footsteps of Green Day and Weezer, and Bowling for Soup. You can hear all the youthful exuberance in the opening track “Lucky Girl.” The track speeds along on a traditional pop structure with buzzsaw guitars and a nice twist ending in the lyrics.  The combo of guitar and synths on the following “Unconditionally” recall both The Posies and Velvet Crush, where tight melodies hover above the sonic landscape. “Austin Boys” starts softly with a ballad and after a minute explodes in harmonies and guitar textures for the chorus. Next to Rooney, this is the best you’ll get to “modern-styled” power pop I can think of. The sweet meter goes off the charts with “One Lawn Away” where alternating male and female vocals tell an modern version of that old chestnut “dreaming about the girl/boy next door.” Lest things get too sweet, heavy punk riffs come in next with “Oh, God” and “So Wanna Kiss You” lead by Anya. “Sweater” and “Evelyn” stick to the Weezer formula a bit closer, and aren’t as compelling, and “September Girls” drags on way too long. But that is easily made up by the wonderful “When I Get To Heaven,” with a hook that will stick to your brain like a cotton candy and Jellyfish-worthy chord changes. “Her New Company” pumps up the layered textures, much like Superdrag. Way better than most new pop for teens, or young adults with all the right influences that old fogies like me appreciate.  This is a great album that pop fans should support.