The Relationship and Jamie & Steve

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The Relationship

The Relationship “Clara Obscura”

Brian Bell’s (Weezer) second band The Relationship has returned to with a sophomore LP that fully distinguishes itself as a force to be reckoned with. The meticulously built opener “Missing” is a prelude to the album’s break-up theme.

The lead single “Break Me Open” is a hook-filled plea that doesn’t let up, and one of the best building ballads “Without Me” is about what happens when the person that broke up with you has moved on even if you haven’t. Life goes on in “Working On Myself” which brings to mind Fastball and the optimistic ascending chords of “Smile” are all about getting over the blahs. With “Hawthorne” strings are added to this Beach Boys tribute that would make a perfect wedding song. The ending track “This Year’s Children” has more strings, and an ELO styled composition. Not only is each song great, but they tell a memorable, complete story. That also makes it a nominee for my top ten best album of 2017.

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Jamie and Steve

Jamie and Steve “Sub Textural” EP

Even after 40 years together, Jamie Hoover and Steve Stoeckel (Spongetones) continue to make jangling melodic gems and Sub Textural is proof positive that this duo hasn’t missed a beat.

The songs were all recorded across different years, but you wouldn’t know it. Starting with “Sword Of Love” it’s jangling treasure spinning like a mix of Squeeze and XTC here.  “It’s All Because Of You” is a very McCartneyesque guitar song with lots of texture (hmmm). The best thing here is the contrasting textures in “In A Little Tango,” with its 10cc-like shifts in soft and heavy sounds. The layered acapella harmonies make “Cry” another can’t miss beauty. What else can I say… long live Jamie and Steve! Highly Recommended.

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Cheap Trick and Screamfeeder

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Cheap Trick

Cheap Trick “We’re All Alright!”

Cheap Trick is considered one of the longest running power pop bands ever but they have decided to let loose with more of hard rock and roll album than anything in their storied past. Like last year’s Bang, Zoom, Crazy… Hello the band’s direction is less melodic and runs more on manic energy. Ever since Daxx Nielsen replaced Bun E. Carlos as the band’s drummer – he’s seemly given the entire band a shot of youth serum.

Starting with the guitarist Rick Nielsen’s monster riffs of opener “You Got It Going On,” it’s a sing out loud anthem that rocks the socks off bands half their age. And it doesn’t let up as “Long Time Coming,” and “Nowhere” keep the energy level high. “Radio Lover” is a shelved single from the late ’90s that also fits right in here. Robin Zander takes a glammy turn on “Lolita” and his vocals are ageless too. More consistent and less studio gloss than Bang, Zoom… the band sounds like it’s having fun again. No duds here either, and so get the deluxe edition with extra tracks. On these, the band takes The Move’s “Blackberry Way” and makes it their own, plus a brilliant power ballad finisher “If You Still Want My Love.” Highly Recommended.

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The Naturalas

Screamfeeder “Pop Guilt”

Heavy indie pop band Screamfeeder was born in the ‘90s and became one of Australia’s most-loved bands, its youthful fuzz riffs tempered by catchy melodies. For over 20 years the band has made the transition to adulthood seamlessly. Like other veteran bands of the era (Redd Kross, The Figgs) they have improved with age and Pop Guilt evokes that early punk spirit with high energy riffs and explosive drumming.

Starting with the guitar buzz of “Half Lies” is a great start, “All Over Again” combines leads guitarist Tim Steward and bassist/vocalist Kellie Lloyd very much in the mold of Hüsker Dü with a droning rhythm under each melody. Highlights include “Got A Feeling,” “Alone In A Crowd” and “Karen Trust Me.” Not everything sticks and the band admits this lyrically on the generic sounding “Making It Up,” the lack of variety on some tunes allow them to sonically blend into each other. However, we end with the defiant “I’m Fighting” and overall fans of ’90s alt. pop punk will enjoy this.

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BMX Bandits and The Poster Boy

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BMX Bandits

BMX Bandits “BMX Bandits Forever”

One of the longest running power pop bands is the BMX Bandits, started in 1985 and led by singer/guitarist Duglas T. Stewart with a rotating line-up of musicians. Former members went on to form Teenage Fanclub and The Soup Dragons. After a long period of inactivity, the band reformed with vocalist Rachel Mackenzie in 2006 and made a few more albums before hibernating again.

Now Stewart’s back and concentrating on sweet love songs with Stuart Kidd (Linden), David Scott (The Pearlfishers) and Joe Kane (Dr. Cosmo’s Tape Lab) for BMX Bandits Forever. Opening with the earnest and easy listening “My Girl Midge” it’s an intimate style of indie pop. Recalling the simple melodies of late era Beach Boys, Stewart’s laid-back approach works on “Mais Do Que Valsa (Just A Memory)” and “Save Our Smiles.” It does get playful, with the polka kiddie tune “Way of The Wolf,” and hummable “It’s Time.” Another highlight is the dark gem “Razorblades and Honey” with Anton Newcombe (The Brian Jonestown Massacre) supplying an infectious bass line.

Some of this doesn’t work – from a painful cover of West Side Story’s “Somewhere” to the forgettable “Love Me ’Til My Heart Stops” and The Beach Boys cover “Forever.” However, some of the best new music about romance is part of this album, so check it out.

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The Poster Boy

The Poster Boy “On the Count of Three”

Its been several years since we heard from Budapest power poppers Poster Boy. Sadly, the band broke up last May and they released this final album, which is more alternative pop oriented. The opener “Heartache” and “Pedestrian Street (Sucker Punch)” still features guitarist Noel R. Mayer and bassist Imre Poniklo, but the tone is much darker.

The solid “Karen” is a song about the late Karen Carpenter with a catchy chorus and steady beat “yearning for some divinity.” The band does make an attempt to lift the mood with the quick tempo desperation of “Smile” and the bouncy harmonies in “Birthday.” Worth checking out, but it’s a long way from the joyous innocence of their debut Melody.

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Ward White and Punch Punch Kick

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Ward White “As Consolation”

Ward White left the cozy confines of New York City to the sunny Paperchaser Studios in Los Angeles for his latest album As Consolation. Thematically the album deals with loss and moves to new experiences. White also has one of the most distinctive high tenors I’ve heard since Kevin Godley (10cc).

There is a laid back California feel to the album as a whole, with White working in subtle sonic cues as a compelling storyteller on the opener “Here’s What Happened With Heidi.” Next, “Crater” features a catchy chorus over a galloping rhythm. This is not immediate gratification, but after repeat listens it will stick with you. White’s more melancholic work like “Dude” and “Parking Lot” are also memorable.

The instrumentation is also exceptionally good, and standouts include “Spurs,” “Weekend Porche” and “The Crows” which states “Sadness will drive you insane…” with a warbling guitar flourish. Not everything here resonates, but enough does. Check it out!

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Punch Punch Kick

Punch Punch Kick “Punch Punch Kick”

Produced by favorite Linus of Hollywood, Punch Punch Kick have spent lots of time crafting lean hooks and youthful lyrics for their debut album. And these guys do it without pre-programmed beats or autotune. Each song has that burst of joyous guitars similar to early Weezer, Bowling For Soup or Jimmy Eat World.

“Licking My Wounds” starts with the rant about our fast-paced lifestyle “Where did all the time go?” sings vocalist/guitarist Phil McDonald. “What the Kids Don’t Know” is a great critique about mass marketing to kids today; “I don’t want to raise my hand in the air/because I care.” Each song is a gem here, even “When You Hang Around” references Cheap Trick. The band’s sound is very consistent, staying with similar tempo throughout – and that’s my only beef here. They could’ve added ballad or transitional tune to prevent this from sounding like a collection of singles. Highly Recommended.

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Matthew Sweet and Talk Show Host

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Matthew Sweet

Matthew Sweet “Tomorrow Forever”

Matthew Sweet has endured as one of power pop’s elder statesmen, owning album charts for most of the 1990’s and infrequently surfacing over the past decade or so. But no longer tethered to a record label, Sweet decided to go the Kickstarter route and the result is a sprawling 17 track songfest that throws together everything we love (or not love) about his music.

Matthew has undergone many life changes since 2011’s Modern Art. Following the passing of his mother, he returned to his hometown in Omaha, Nebraska to live and finish this album. It opens with “Trick,” a familiar chiming guitar gem that is a return to his classic style. It’s the distinctively layered leads, and hook filled chorus that sticks with you. The formula does get tweaked as we continue listening, Sweet adds muscle to “Pretty Please,” and ups the psyche-pop elements on “Circle.”

The songs are more autobiographical here with “Off The Farm” and “Come Correct.” The excellent  “Haunted” and acoustic led “Country Girl” with Gary Louris (The Jayhawks) helping on harmonies are standout tracks. But the meandering jams “The Searcher” and “Finally” shows that his album could’ve used some editing. Despite the hopeful gem “Music for Love,” the last track “End Is Near” has a weariness to it and feels like the artist’s swan song. We hope not, as Matthew Sweet’s music has adopted a timeless quality, a perfect melding of melody and guitar. Highly Recommended.

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Talk Show Host

Talk Show Host “Not Here to Make Friends” EP

Toronto band Talk Show Host does a great job delivering punk-inspired power pop and opening with the fast riffs of “Dead Meat” it wouldn’t be out of place on a Green Day album. Then the band embraces a snarl with its melody on the excellent title track, as they reference office politics; “We’re not here to make friends/ we’re just here to win.” The next song “I Hate Men (I Hate All Men)” could be an anthem for angry women, but sung by a dude sounds like extreme self-loathing. Overall a solid EP with no filler, but without much variety either. Still, if you dig punk pop this is a great find.

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