https://www.youtube.com/watch?v=S9_fMDToe3E
When a band comes to an end, it’s always a sad day. The new records by these bands are rumored to be their last. It’s not always clear why a band breaks up, but at least we have the music to enjoy.
The Lunar Laugh is an indie rock group from Oklahoma City. Connor Anderson and Jared Lekites are the band’s co-leads, and Triston Lightner (bass), Levi Sherman (drums), and Campbell Young (singer/songwriter) round out the lineup. The band combines great power pop-influenced hooks with both modern and vintage pop and rock song structures.
Just listen to the first song, “Born Weird,” which is almost a mix of Barenaked Ladies and The Rembrandts, and it goes right into the great single “Allegiance,” with its Phil Collins-styled percussion. My favorite song here is “Fake It Till We Make It,” with its glam riffs and anthemic handclapping chorus. The midwestern style comes back in earnest with “Timeless Time” and the jangling “Stranger Than Oz.” The album’s second half is a little more varied stylistically, but some memorable cuts include “So So Long” and the alt-country “Picture Perfect,” with its sweet pedal steel guitar. The band’s maturity shines through each tune, and with no filler, it’s highly recommended.
Duncan Reid, who played bass and sang in the 1970s UK punk band The Boys, has put together one of the most impressive power pop/punk rock discographies with Nick Hughes, Sophie Powers, and Karen Jones, who make up the Big Heads. And It’s Goodbye From Him is the fourth and final studio album by Duncan Reid and the Big Heads. Reid’s songs have a unique mix of heart, humor, and intelligence. This record is mostly about self-reflection, and the style is a combination of power pop and punk rock.
The opening track “Lost Again” has a more modern synth and guitar melody, but the heavier “Funaggedon Time” recalls the glory days of glam rock with a catchy riff that’s easy to love. “Just Try To Be Kind” is a great song that tells you to be kind because “all good things end.” The pandemic song “Can I Go Out Now, Please” is another super melody and a look back on that unique locked-up lifestyle. “Oh My My” is a reaction to pregnancy from the male POV, and it’s another highlight. Also, the goofy conspiracy theory-laden “Bill Gates (Finland is a Myth),” and “Singing with the Beach Boys,” a touching story about a divorced weekend dad making a special connection with his son, are great ways to end a great record and a legendary career. While this is his last album, Duncan Reid earns much respect here, and he’s got a full catalog on Bandcamp to enjoy. Highly Recommended.
Bleu wrote a birthday song about him, and I think it says it all.
Thomas Walsh (Pugwash), a musician who has a lot of great inspirations (XTC, ELO, etc.), put out his first record under his own name. Walsh moves beyond his Pugwash oeuvre a little and adds his own spin on some stylistic sounds, with additional help from heavyweights like Michael Penn and Neil Hannon.
The Jeff Lynne-like single “A Good Day For Me” is a brilliant opener that once again proves Walsh’s talent. His songwriting remains strong on highlights like “All This Hurt,” which boasts a great jangling melody. Even better is the sublime “Take Your Time,” with its fantastic bridge. He also excels at trippy psych-pop with the hypnotic bassline of “Everyone Back in the Water.” He also does a fair amount of experimental pop with the unexpected chord shifts of “Love in a Circumstance” and the tribal chanting of “This Is My Fortress.” Add the poignant counting of his blessings with “To Be That Child Again” and the orchestral sweep of “We Knew,” and there you have it. More hits than misses, and not a single dud. Highly Recommended.
This Texas band makes the most of recording at Abbey Road Studios in London and opens up with “And You Love,” a five-minute epic with soaring guitars and synths. Despite the studio gloss, lead singer-songwriter Jim Richey effectively gets across a variety of sounds with a punkish garage style.
The Pozers’ style works best on fast-tempo catchy tunes like “Alison With An Edge” and “It’s All About You.” Â The ballads here are also well written, like “Make Up,” but the percussion needs to be toned down a little in the mix. The ambitious harmonies on “Her Facade” aim a little higher than the band’s ability to do it, but it settles into a nice mid-tempo groove. A big highlight is the Merseybeat and handclaps of “Missing You (Missing Me),” and the slow groove on “Ease Off My Heart.” This is a band that definitely deserves to be heard.
