Yeah, it’s time for hot new power pop singles! Dolour does a cover of one of the best Beach Boys singles of the Sunflower LP. Can’t miss those harmonies, but if your tastes run more to the Beatlesque side, then check out The Poppermost as they do it again with great skill. Vanilla continues with its 77 projects, and “Show Me A Sign” is a perfect amalgam of the mid-seventies pop influences, that reminds me of Pilot. Boston’s Cold Expectations does a solid job with the organ-heavy “Hey Compromise,” and Eric Barao is back with a magical lullaby full of flowing chord progressions and strings. The Sobs have this killer hook in the upcoming album, and I’ll whet your appetite with the opener “Air Guitar.”
John Larson & The Silver Fields and Push Puppets
John Larson And The Silver Fields “Mile A Minute”
John Larson and The Silver Fields lean into the power pop genre more here than any previous album. The opener “Jeannie” hits all the right notes with a strong hook for his “go-to girl” and it’s a catchy delight. “Too Stupid To Stop” sounds like the mantra for every musician with a passion for music, and it’s another winner. Larson’s influences are both traditional from the late ’70s pop through the ’90s alternative, “Because of a Girl” and “Can’t Miss Kid” have a timeless quality, with memorable choruses particularly the latter, with its keyboard-guitar combo akin to early Todd Rundgren.
Yet Larson makes efforts not to stick to a specific style or emulate the past too closely. It’s that quality that makes this collection so special. The authentic rock and roll spirit lives on in “Dig It Out” and the daydreaming quality of the slower tempo “Smartest Guy In The Room” is like the lyrical opposite of the Beatle’s “Fool On The Hill” with just as much sonic depth. Not a wasted note here and no filler. Mile a Minute is immediately accessible and it begs for repeat listens. Highly recommended and makes my top 10 album list for 2022. Don’t miss it.
Push Puppets “Allegory Grey”
Push Puppets are a fresh new band from Palatine, Illinois. The band is the brainchild of singer/songwriter/guitarist Erich Specht and he definitely knows how to hook you with his great opener “There’s No One Else Like Lynette,” reminding me of The English Beat’s “Save It For Later” and just as catchy. Fans of The Finn Brothers and Crowded House will find a lot to love about Push Puppets; “Sometimes The Buds Never Flower,” and “The Bane of My Existence,” adds a similar bouncing tempo, jazzy touches, and smooth lyrical approach.
“Obvious” uses the soft verse-dramatic chorus to great effect, and then the band veers off into folk territory with “Perfect Picture.” While the first half of the album has the best material, the songwriting is never predictable and it often shows flashes of brilliance, like the chorus of “October Suprise.” This is a band you should keep your eye on… Highly Reccomended.
Chris Lund and Mo Troper
Chris Lund “Indian Summer”
Chris Lund (Lund Brothers) releases his sophomore LP after the highly acclaimed debut Great Event Syndrome. Lund’s style is certainly an updated take on late 20th-century rock tropes. “Everything Is Fine” uses everything and the kitchen sink with key shifts, harmonies, and hooks, and the title track “Indian Summer” and “Mary Jane” are catchy throwbacks to The Raspberries and Badfinger. Lund’s skillful guitar leads each tune with gusto and melodic brilliance.
The songs vary in quality after the first three, but the universal themes of girls, groupies, and angst are common themes. The fantastic “Down The Line” would’ve been perfectly at home on a Van Halen album. “Please Me” is a well-written ode to the misunderstood high school dropout, with a soulful guitar break over an acoustic rhythm. Overall, a great album that power pop & guitar fans will really appreciate. Highly Reccomended.
Mo Troper “MTV”
Much like last year’s Dilettante, Portland’s Mo Troper likes to capture pop songs spontaneously and often in “demo” form. He takes a catchy bedroom hook on the opener “Between You and Me” and buries it beneath layers of fuzz and percussive distortion. “I’m the King of Rock and Roll” is a little clearer, and says more about his state with its fine guitar solo. “Waste Away” is another quick pop gem that sticks.
But there is more experimentation here, and while dark self-humor is there (i.e. “The Only Living Goy in New York”) it often is at the expense of listenability (“Royal Jelly,” “Coke Zero”). Using a chipmunk vocal filter sometimes helps (“I Fall Into Her Arms,” “No More Happy Songs”) but its charm wears off quickly. The unintelligible “Power Pop Chat” and “Final Lap” make it more of an art statement, and that’s where you’ll either love it or hate it. Still, Mo’s talent shines through each raw unpolished nugget. It’s music that deserves to be heard.
A Fragile Tomorrow, Dentist and The Click Beetles
A Fragile Tomorrow “It’s Better That Way”
This band has come a long way since 2016’s Make Me Over. Moving away from straight rock anthems, the band embraces modern alternative rock and experimental pop. The results are mixed, but exciting as well. The neo-prog opener “All Signs To Amsterdam” hums along to a very satisfying chorus, and all these tunes are densely packed with instrumentation.
Many highlights here; “Lost In Art,” “For An Eye,” and “Fraying Wire” are compelling modern pop — but you still have to deal with experiments like “System Generated Noise” or droning bores like “Another Club.” But more often this band does it right, like the Peter Gabriel feel of “Collapsed Cathothic.” This one is a grower, so check it out.
Dentist “Making A Scene”
This Asbury Park, New Jersey trio makes the most accessible punk pop. The engaging, sweet vocals of Emily Bornemann are countered by the aggressive punk riffs of Justin Bornemann on guitar and Matt Hockenjos pounding percussion. Like a mix of Blondie and Letters to Cleo with a touch of The Pixies, the songs are short, poppy bursts of energy.
Highlights include the catchy “New Dress,” “Don’t Let Me Catch You,” “Spilled Coffee,” and “The Pilot.” But it’s not all speed and melody, as the band does the slow building drama of “Maladies” (Yeah, this one’s a lot more like The Pixies) and takes an acoustic breather with the ballad “Thin Ice.” No filler here, and highly recommended.
The Click Beetles “Emerald Green”
Dan Pavelich and Van Dyke Brown return with a decidedly more 80’s sound. The opener “Modern Girl” felt more like Katrina & The Waves, with Dan’s vocals over the frantic beat. The energy keeps up “With Tears” and it s a fun danceable party tune, and guest Andrea Perry delivers her ethereal vocal to “Natalie Would.”
However, Dan’s double-tracked, warbling vocals sound very over-processed throughout. When the music gets more psychedelic like on “View of You,” the vocals fit much better. If you can get past that issue you’ll find plenty of good songs, like the jangling “Goodbye Margot.” Definitely, music that deserves to be heard.
Sept. EP Reviews: Guilty Party, Movie Movie, Kai Danzberg, The Pictures, Cleaners from Venus
Let’s start with some outstanding new EPs. Guilty Party is the new project of Angelo Celli (Bracket) and it has his signature fuzzy power riffs and melodic Superdrag-ish punk pop. “Baby Bird” is a solid highlight. Movie Movie is an NYC-based band that cleanly combines power pop, glam, and 1980s rock influences. “Big City Tonight” is a fast-paced rocker, but all these tracks are distinct and worth exploring. Kai Danzberg, the German pop maestro has an acoustic unplugged session with some of his favorite songs. Australian Davey Lane (You Am I) started a new project with bass player Luke Thomas and drummer Brett Wolfenden called The Pictures. Its rich deep rock sound is pretty refreshing, and finally veteran popster Martin Newell returns with a new EP and an album on the way, as The Cleaners From Venus, he explores London from the local perspective both in lo-fi and melodic as ever.