Rather than have a strict top ten, I wanted to bring you my personal top twenty albums this year. Many have been nominated, but these just stuck with me this year strictly in the “power pop” genre. I look forward to the top ten lists of many other music blogs, so hopefully we’ll see many more before the year ends.
This was released in January but I wanted to include it in my top ten list. Three years after his departure from Phantom Planet, musician/actor Jason Schwartzman returned to L.A.’s pop-loving circles with the solo project Coconut Records in 2003. Schwartzman is one of those rare breeds: an actor with musical talent that translates well. Sometimes this works (Zooey Deschanel) and sometimes it doesn’t (Scarlett Johansson). Well here on his sophomore effort Davy, it works really well. These are instantly catchy pop nuggets that recall Elliot Smith, The Beatles and Magnetic Fields. The relaxed “Microphone” highlights the hook filled and instrumental mini-symphony. The mid tempo “Any Fun” borders on Weezer like quirkiness with a Phil Spector touch. Schwartzman’s wavering vocals fit well into each composition, like the Ben Kweller flavored “Wandering Around”. My favorite here is the McCartney meets Brian Wilson bedroom melody “Saint Jerome” that floats through your head like “A Day In The Life.” Even a simple melancholy pop cut like “Courtyard” becomes a timeless daydreaming ballad. This is great pop song craft here and, it has found a spot on my ipod rotation that I can’t bring myself to remove. The Bonus: for a limited time it’s only five bucks at Aimee Street.
Bobby Emmett (The Sights) has a new solo album here, and it’s got enough to make power pop fans cheer this holiday. Emmett channels Big Star, John Lennon and The Lolas in this exciting release. The entire album has a very classic 70’s arena rock feel, and “Queen of Hearts” starts out with a riff straight of out of The Raspberries and a tight vocal harmony that resembles Roger Manning Jr.’s multi tracked goodness. It’s the main highlight of this impressive album. The follow up “Broken Hearted” is another catchy melody, with a more modern pop feel. Every track here sounds like a winner, and “Still Wanna Be With You” is a good example. The echoing Dick Dale styled guitar solo and dense vocals add to the tracks wall of sound. Another great tune, “Moving Ahn” has distinct hooks and remind me of The Bay City Rollers or Sweet, but with an extra heavy riff break toward the back end. The songwriting is also consistently excellent, so if you are to complain here it would be that the production sheen is too thick, with Emmett’s vocal being over modulated in spots. But the combination of guitars and melodies will linger long after the last track plays. “Not Gonna Take It” glams it up with rough buzz riffs, and a strutting chorus that takes no prisoners. The bombastic finale “Love Is Real” piles it on really thick with guitars and psyche-pop distortions, but the melody pokes it’s way through to win you over. Overall, a strong contender for this years top ten, no doubt. For fans of the above influences, this is essential listening.
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.
This Seattle based, five-piece retro-pop outfit Curtains For You have the delicious melodies and intricate three- and four-part harmonies that make the hair on the back of your neck stand up. The band consists of Matthew Gervais (guitar/lead vocal), Mikey Gervais (guitar/ sax/ vocals), Nick Holman (bass/euphonium/vocals), Peter Fedofsky (piano/vocals), and Dave Lawrence (drums). Leaning on a big pile of 60’s classic pop influences and structures, they put it in the blender and whip up into a fresh but totally familiar sound. The opener “Nuclear Age” sets the tone with a Beach Boys meets Jellyfish harmonic that’s just irresistible. “This Dead World” is a Marshall Crenshaw meets Crowded House gem full of twisting lyrics and slinky slide guitar rhythms. And with a title like “Dumb Angel,” I’ll let you guess whose bag of vocal acrobatics they pull from. Every song here has a compelling hook and will win over plenty of fans, from the Merseybeat backing on “Title Bout” to the echoing guitars on “Clanging of The Masses.” The influences are spread out quite a bit, not sticking to any set style – but the spirit of Elvis Costello seems to run throughout most songs on the album with a defiant narrative. A few exceptions are the vaudevillian “Small Change” and acoustic ballad “Chain Link Fence.” And ending with the wonderful “Licorice Skies” it even touches on a bit of XTC-like majesty. Songwriting duties are split down the middle by Matt Gervais and Peter Fedofsky, both are great songwriters with tons of energy – and it takes a few listens to let all this sink in. A most welcome surprise that makes my top 10.
