A new Dolour album, Daylight Upon Magic is on the horizon, so here is the cool video for “Someone New to Fool.” Shane Tutmarc is in fine form here, I can’t wait for this one to release. I was impressed by Chaft before, so now we have a new pair of singles, and I prefer “High” with its swirling guitar rhythm. Another rookie, Strange Neighbors is back with a catchy new single, “Tell All Your Friends” and I think I’ll follow that order! It’s been a long time, but Captain Wilberforce returns with an awesome power pop single, “Holding On” which boasts great hand claps and harmonies. If you’re into that classic retro rock style, The Night Spots serve up some yummy “Dandelion Wine.” Pour me another! Finally, from Rosario Argentina, we have a band called Mensaka, and their new single “Bucle Temporal” translates to “Time Loop.” Even with the Spanish language, it’s an earworm that deserves to be heard.
James Hoare’s (Ultimate Painting) first solo album is under the moniker Penny Arcade. Hoare took his time making this sleepy, hand-stitched record. He had to save these songs from the cutting room floor of several recording sessions. In “Don’t Cry No Tears,” James combines his soft, sad voice with Nathalia Bruno’s smooth, warm vocals. “Mr. Softie” is another winner, a lo-fi psychedelic theme that will stick with you. Get it on Amazon
Peter Freebairn “Silhouettes & Cigarettes”
Aussie crooner Peter Freebairn is special. This 8-track LP, expertly mastered by Victor Stranges, is essential. Opening with “World You Choose,” it’s top-shelf, catchy modern adult pop with Peter’s weary, but endearing vocal. The swirling guitar strums on the ballad “You and I,” have that old-school charm, and there is no filler anywhere here. The catchy rock earworm “I Got Lucky (I Got You)” interrupts a suite of soul-searching gems. Highly Recommended. Get it on Amazon
Mo Troper “Svengali”
Portland musician Mo Troper is likely the most influential power pop artist we have now. After his recent Jon Brion tribute album, Troper Sings Brion, he is back in experimental lo-fi pop mode. Svengali has a few gems tucked away in the feedback and fuzz, like the guilty pleasure “The Billy Joel Fan Club,” and the bouncy, caffeinated “Spark World.” There are plenty of great tunes here, like “Recipe for Loving,” which almost sounds like the Lemon Twigs, and the six-part instrumental potpourri of “Svengali’s Theme.” Like most Troper albums, its a buffet of riches. Get it on Amazon
David Woodard from Nashville, Tennessee, makes a great impact with Get It Good, which shows off all of his power pop influences. With his signature sweet melodies and harmonies, this eleven-song album features some of his catchiest songs yet.
David’s lyrics aren’t obtuse, he says what’s on his mind, and you get it immediately. He launches things with the biographical jangling gem “Last of the Full Grown Men,” about a midlife crisis and picking up that guitar to take a “break from the insanity.” The mid-tempo “Get it Good” boasts a great bridge full of harmonies, and “I Can’t Make the World a Better Place” gets across the frustrations of the world today and the limits of what a musician can do.
His glorious Beatlesque side comes through on “Flower Power in the 80s” and “I Used To Be Cool.” These great catchy songs contrast with the calm tone and adult-oriented anxiety of “Riptide.” The 80’s rock riffs appear on “Grace Under Pressure” and “Coming to Life.” It finishes with the delicate “Only What Love Requires,” including a subtle piano melody and strings. There are more than enough great songs here to make this one highly recommended.
Ward White weaves together character vignettes voiced by many personas in his new album Here Come the Dowsers, which explores the disillusionment they all feel for the movie business. The concept album is a good way to tell the story from different points of view, and it also gives White a chance to add an emotional twist to each tune. There are several notable tracks here. Starting with “Continuity,” it’s an effective narrative of the life of a stuntman that soars musically. The title track “Here Come The Dowsers” equates the birth of a studio movie product with water divination in the desert of early 20th-century Hollywood. The swaying arrangement has multiple melody lines and harmonies.
“Our Town” is another grand melody about the cutthroat competition, and “Johnny Fontane” is about a producer stubbornly casting for The Godfather. The musical tone recalls Ray Davies and The Kinks’ early 1970s era in spots. “Pick Up Your Face” is a commentary on a starlet’s fleeting beauty, with a catchy keyboard chorus. Although the personalities and lyrics presented can become overly obscure (i.e., Louella Parsons), it doesn’t diminish the musical pleasure. This is an album that requires multiple listens to appreciate. Highly Recommended.
What an interesting chat I had with Richard Davies, Australian-born singer/songwriter who started with The Moles and later joined multi-instrumentalist Eric Matthews to form the duo Cardinal. We drop a lot of names (Robert Pollard, Wayne Coyne, Ray Davies), and he even asks me a question. He’s dropped out of a music career, and then came back. He will be touring with Guided By Voices this summer. Very cool. Check out his website: https://www.themolesband.com/
🎸 Listen to a sample below:
Now something completely different: Vancouver-born and Los Angeles-based Mikayla Geier is a singer, songwriter, and former ballet student of the controversial Kirov Academy of Ballet. With the support of friends and family, Mikayla left the academy behind and began writing music and posting on social media to journal her past experiences. “Dance of the Trees” is her debut EP. Mikayla also has another song commenting on the dangers of eating disorders called “i don’t feel safe in my body.” She will be donating/fundraising for Project HEAL which provides resources to those who are struggling.
Hey Indie Musicians! Some interesting facts!
A staggering 87% of the top 100 artists on Spotify in the US are self-taught, challenging traditional paradigms of music education.
Only 4% of them have a music degree. An additional 4% started a degree but didn’t finish it, meaning that the remaining 92% don’t have a music degree and didn’t even start one.
This trend points to the growing accessibility of music creation and the democratization of the music industry, empowering artists without formal training to achieve success. We’ve got a full report available here:
