Category: Highly Recommended by Powerpopaholic

Aerial “Activities of Daily Living”

Activities of Daily Living is the third album by the Scottish power-pop band Aerial, and it’s been 10 years since their breakout LP Why Don’t They Teach Heartbreak At School. Despite a little softening of the band’s sound over the last decade, they can still tear through gems like “Pixelated Youth,” a rocker about playing video games akin to Green Day. The band’s main musicians, Colin Cummings and Mackie Mackintosh, created most of the music during the COVID-19 pandemic. The slower, more reflective “Hollywood Ghosts” brings to mind the mid-tempo thoughts of Ryan Hamilton or Fountains of Wayne. The catchy melody and well-planned handclaps of “I Bet You Know Karate” make it stand out.

They go for the grand ballad on “Debutante” and “Silversand Beach,” but it’s back to heavier riffs for “A Encore and a Cover Song” and “Cadence,” which is closer in spirit to Weezer. The well-written and executed “Bad Tattoo” is yet another standout track. The lack of the carefree spirit that permeated the prior album is the most significant criticism. In addition, the uneven styles don’t stick as well either. Despite this, Aerial puts forth a quality album that is highly recommended.

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The Cyrkle “Revival”

The Cyrkle is one of those rare two-hit wonders back in 1966, with a Paul Simon/Bruce Woodly penned “Red Rubber Ball” and “Turn Down Day” as their claim to fame back then. The core duo of Tom Dawes and Don Dannemann had a pleasant and energetic folk/pop/rock sound. They were the only American band that the legendary Brian Epstein managed, and they went on to record two albums. They even went on a concert tour playing with The Beatles. But by 1968, it was all over… until now. 

Fast forward to 2024, Don Dannemann connected with singer-guitarist Michael Losekamp, to record their reminiscences. Don has a contagious passion for the band’s legendary past. Songs like “Center of the World” and “We Thought We Could Fly” reflect the band’s astonishment at their precarious fame. The latter track includes the late Tom Dawes vocals, added much like the recent Beatles single “Now and Then,” and it’s the best new song here. It does sound strange when Cyrkle revives their early 60’s sound on “Goin’ Steady With You,” but its sure to appeal to their senior audience. Of course, they do a good job on updated versions of their hits as well as Paul Simon’s “59th Street Bridge Song.” Listen, if Sir Paul and Ringo can record a stroll down memory lane, why can’t The Cyrkle? It’s your grandpa’s music that deserves to be heard.

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Kate Clover “The Apocalypse Dream”

Kate Clover is a force of nature that can not be denied. This L.A. based singer-songwriter is a solid powerpop-punk with influences ranging from Blondie and The Buzzcocks to The Runaways and Ramones, and her latest album has the makings of a smash hit because of how confidently and catchily she performs each song. She and her band get off to a flying start with the title track, but they let loose on “Like A Domino” and don’t let go of you. The big single “No More Romance” is an infectious gem loaded with jubilant guitar bombast. Her vulnerable side is evident throughout “Damage Control,” a tight guitar-rock arrangement that opens with a conventional pop vocal solo.

After that breather, it goes back to the fast-tempo rock of “Disconnected,” and “Here Comes The Love Bomb.” No duds here, and solid punk energy throughout. This is an album to play loudly with the windows down. Clover accomplishes the remarkable feat of evoking old punk and new wave in a manner that feels utterly modern. Highly Recommended!

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Ken Sharp “Welcome to Toytown”

Ken Sharp continues his exploration with short baroque pop melodies. He focused this effort on Miniatures in 2021, and he’s got a new crop of 41 songs with Welcome to Toytown. With this much, let’s concentrate on a few representative favorites, as songs are mostly under 2 minutes. “Great Big Beautiful World” is an anthemic pop confection, akin to The Free Design, with layered harmonies everywhere. “Beach Boys on My Stereo” also does the same. “Friend In You” boasts a sweet guitar part, and “I am Your Spaceman” has a lovely hook. I also liked “Listen,” “Daisy Jane,” and “Broken Down Heart.”

Some of these simple musical phrases, like “We Are Timeless,” could have been stitched to another melody to make a proper 3-minute tune, but Ken decided to leave the parts separate and see what sticks. The exception here is the 9-minute+ “Toytown Suite,” a musical fairytale about the king of Toytown, done with almost childlike eagerness. You’ll be able to pull an album’s worth of quality tracks if you are willing to do the weeding. Sharp offers a lot to take in, and there are moments when the sheer volume of music makes it hard to concentrate on a single track. Others may want less work to do, in that case so check out New Mourning. If you are familiar with Ken’s work it’s music that deserves to be heard.

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