If you like Michael Carpenter, then chances are you’ll enjoy Russell Crawford. A member of Carpenter’s band, Russell broke out with his brilliant solo debut in 2006. Now Crawford has slowly pulled away from Carpenters orbit here. It’s a straight pop album minus any gimmicks or needless bells and whistles. His music fits in the “timeless” category being rooted in piano, bass, guitar, drums approach. Many tracks are highlights but “Bad Luck” is a true standout here, with an inventive build out to a multi-tracked chorus. Russell is a blend of both Ben Fold’s “attitude” and Neil Finn’s “sensitivity” in equal parts, from the snarky “Overachiever” to the aching “If You Ask Me.” Another highlight is the overly dramatic “Nigel” which seems an anthem to the dangers of naming your kid “Nigel.” Russell starts to loosen up midway through the album on “My Love” and “Shake it.” Every song here offers something and is easy on the ears, along the lines of Adrian Whitehead and Mr. Carpenter himself. It ends with a rousing cover of Andrew Gold’s “Thank You Being A Friend.” On repeated listens it rewards you, so don’t miss this gem from Australia’s Popboomerang records.

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St. Louis’ Grace Basement is led by multi-instrumentalist Kevin Buckley who has quite a knack for writing concise pop gems. It’s pretty evident from the opening track “There He Goes” that the harmonies and chord minor changes are very infectious, and the addition of fiddle backing is an added bonus. The dance hall influenced melody of “Tilly Lingers” is another catchy gem along the lines of Harry Nilsson and XTC. Unlike the solo approach of the debut album New Sense, Buckley is assisted by guitarist Ben Phillips, bassist Mike Zapf and drummer Sean Price – it gives the entire album fuller sound. The smart pop sound avoids being too quirky — like Jon Brion or Ben Kweller without the over indulgent dramatics. The urbane arrangements at the albums mid point (like “Why Would I Wait For Another?” and “Warships”) come closer to the latter-era Camper Van Beethoven or Whiskeytown. The mature acoustic guitar on “Highway” is meticulously constructed and “Golden Bell” has a wonderful melody and weary vocal that brings to mind Scott McCaughey (Minus Five) or Ryan Adams. The album ends with the orchestral flourishes of “Land of Endless Change,” a fitting finale of Beach Boys styled vocal harmony, guitar and strings. This LP is a high watermark in the bands development and it’s most definitely worth adding to your pop collection.

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As the last note ends in IPO New York, I wanted to listen to the latest compilation, David Bash’s International Pop Overthrow Vol.12. This year the bands are more varied and less constricted by genre orthodoxy and this makes for a better and more representative group of power pop bands. There are 3CDs full of 70 bands and 70 songs, so I’ll pick out some of my favorite tracks here.