Enjoy these great new singles! Wisconsin’s lo-fi alternative geek rock outfit Newski announces the album Friend Rock out on April 7, it’s got an impressive guest star list (guys from The Verve Pipe, Nada Surf, Guster) and this first track is really impressive. Super 8 and Lisa Mychols are back, and this advance single “On The Radio” is part Lou Reed, part Phil Spector. Local Drags are a Springfield band that blasts through with “Feelin’ In Stereo,” and the new LP Mess of Everything comes out next month.
Who is this Billy Tibbals? Amazing 70s glam vibe and energy here — keep your eyes open for his LP. I have to bow in respect for the magic that is Kid Gulliver. Lead singer Simone Berk perfectly plays off the Who-like riffs of this single. Finally, Vancouver-based songwriter C.C. Voltage has just announced the release of his newest single “Berliner Pilsner” which is about his favorite German beer. Nice, but it won’t get you a commercial on the Super Bowl!
Burt Bacharach was one of the most influential and innovative composers of the 20th century. He began his career as a composer and arranger in the 1950s, working with artists such as Marlene Dietrich and Frank Sinatra, before making a name for himself as a hit-making songwriter in the following decade. Bacharach’s songs, characterized by their intricate melodies, complex chord structures, and innovative arrangements, were a major influence on the pop music of the mid-1960s.
He worked with lyricist Hal David to create a body of work that was both critically acclaimed and commercially successful. He wrote a string of timeless classics, including “Do You Know the Way to San Jose?”, “What the World Needs Now Is Love”, and “Close to You”, defined the sound of an era and have since become enduring pop standards. Dionne Warwick, Dusty Springfield, Brasil ’66, Herb Alpert, B.J. Thomas, and even The Carpenters all owe him their careers.
In addition to his musical accomplishments, Bacharach was also a cultural icon, widely regarded as one of the coolest people of the mid-1960s. With his sharp suits, shades, and confident swagger, he embodied the spirit of the times, and his music was the soundtrack to a generation of social and cultural change. And it was emphasized by his cameo in the 1997 movie Austin Powers. His impact on popular culture can still be felt today. He was a true master of his craft, and his legacy will continue to inspire musicians and fans for generations to come. Rest in Peace, Burt.
Portsmouth, UK band The Stayawakes will keep you on your toes with a blend of pounding percussion and guitars similar in spirit to Gin Blossoms, Lemondheads, or the Goo Goo Dolls. “Slumbers ” and “Keepsakes” jump out at you right away. Lead singer Andrew Ricks delivers more of a character study with “Jake” and the infectious chorus helps. “Little Explorer” also stands out with its dense production and late ’90s vibe.
While this did come out under the radar in 2018, Kool Kat decided to reissue this and it definitely deserves to be heard. The music here is consistently very good, although the band tends to step on the gas and not ease the tempo until “Sophie,” the lone mid-tempo ballad. The bonus tracks here include acoustic versions of “No Shame” and “Inevitable Truth” that outshine the originals.
The prolific Guided By Voices seems omnipresent. Robert Pollard and his band have always dabbled in power pop, raw garage energy, and creativity for over 40 years. La La Land is a classic addition to the band’s extensive discography. Although the influences start with Pete Townshend and Peter Gabriel, Pollard’s rough-around-the-edges quality and haunting diversions always make GBV a unique experience.
The opening track “Another Day to Heal” sets the tone with its driving guitar riffs and the album never lets up from there. The songs are perfectly sequenced as “Released Into Dementia” envelops the listener in glorious fuzz. Standout tracks like the jangling “Ballroom Etiquette” offset the more intense “Insect Dwelling” which gives us Robert Pollard’s brilliant lyrical skills. Slower mood pieces like “Queen of Spaces” and “Wild Kingdom” serve to balance out the more upbeat songs, but even here it’s a testament to the enduring appeal of Pollard and his band and a reminder of why they’ve been such a beloved part of the indie rock scene for so many years. Overall it’s another triumph for Guided By Voices. Highly Recommended.
Rejoice! A new Mike Viola album will soon be upon us! The first track “Paul McCarthy” is a not-so-subtle look at the life of a certain Beatle. The Lemon Twigs also have an advance single release, and “Corner of My Eye” features a heart-breaking lead vocal. Big Stir releases a new single from the late 90’s band Popsicko, and “Ashtray Mouth” was written by frontman Keith Brown. RumBar Records release the rare Boston punk pop band Matweeds only recorded material, a “lost” classic for sure. The prolific Dropkick is also back (does Andrew Taylor ever sleep?) and we’ve got the advance “Telephone.” After scoring in our top ten last year, Jeff Shelton is back with the heavy riffs of Hot Nun again, although this track feels really closer to The Well Wishers style. Finally Brit alt. rocker Chris Wesson is a new discovery for me, and he deserves to be heard by you.
Steve Stoeckel (The Spongetones, Pop Co-Op, Jamie and Steve) steps out on his own with his debut solo album on Big Stir Records. Stoeckel has been very active of late, and his new album is chock full of memorable tunes. It opens with the fast-paced “Laura Lynn,” then goes madrigal on the simplistic “Birds.” Steve plays to those Spongetones fans with the wonderful “Mod Girl,” and then gives us a very McCartneyesque “Strange Cameo.”
“The Emerald Sea” is a Celtic pop gem with fuzz guitar and flute doing a call and response. “Skippy’s Parade” is a jaunty folk instrumental, after the slow fade we get the rocker “Christine” which leads us to the XTC-like whimsy of “Just One Kiss.” Not everything has that magic — but more than enough songs here will dazzle you. It’s hard to belive that this is Stoeckel’s first solo, so yes it’s Highly Recommended.
It’s been a long time since we heard from Stephen Lawrenson. From the first notes of the opening track, “Really Good,” it’s clear that he feels “good to be back home” with strong riffs and melody. Stephen incorporates more heavy rock and folk influences into this album. “In Circles” harkens back to his past work, but “Blue Room” is Lawrenson at his best, with a memorable hook in the verse, and a spacey chorus. His powerful instrumentation draws on a diverse range of influences, but he shines when his heavy riffs are married to a hook like on “Once Upon A Time” and “Thank You.”
He tries out different directions, like the acoustic strum and harmonies of “My Muse” and the heavier riffs of “The Horizon” but unfortunately, these songs don’t stick inside your head. He easily seems to find great guitar rhythms, like “King of Sympathy” but often falls into the mundane with others. While this does not match the majesty of 2013’s Obscuriosity, this still has plenty of good music worth hearing. Check it out.
