Austin-based Future Clouds and Radar, lead by multi-instrumental ensemble led by Robert Harrison (formerly of Cotton Mather) releases this very short album (only 8 tracks) and jumps from folk pop to pastoral art rock. Last year’s debut was one of the best albums of 2007. This year’s “Peoria” opens with the expansive arrangements of electric guitar and strings in “The Epcot View” would fit nicely on the last album. Harrison then channels Neil Young on “Old Edmund Ruff” before picking up the pace with “Feet On Grass,” a psyche-organ romp worthy of Mike Pinder. Both frustrating and mesmerizing is the wonderful opening to “Mummified” that plays like an Supertramp epic that devolves into The Beatles “Revolution #9” it is one of the best tracks here. The use of fuzz box guitar and ghostly vocals give the entire album the feel of kaleidoscopic smoke.The later tracks sound good but seem to be unfocused (“Eighteen Months”) or trying for a more epic psyche-orchestral mood than anything else (“The Mortal” and “Mortal 926”). Missing a very strong power pop tune may turn off some Cotton Mather fans, but if you’re willing to explore Harrison’s acid trip you will be not be disappointed.
The story of 10cc’s "I’m Not in Love"
The song most identified with mid 1975 – “I’m not in Love ” was a huge hit that put 10cc on the map in the USA. This is from a Japanese documentary about 10cc (with band members today). Using now revealed “secret” recording techniques that created sounds years ahead of it’s time (before synthesizers were common). To me it was fascinating, but you’ll need to know Japanese to understand the narration.
listen to Part 1
Luke Jackson "…And Then Some"
“…And Then Some” is the new release from Luke Jackson that has the best of Swedish pop all rolled into one release. The great opening single “Come Tomorrow” has a lot of Merrymakers and Beagle in it’s soul. It’s got an instantly catchy chorus and plenty of dreamy harmonies. That single is contrasted with the softer “This Life” which recalls both ELO and even Chilliwack, with it’s upbeat “Day by day we pass the time away” chorus and orchestral details. “Goodbye London” is great balance between pop sense and brit-rock. The song illustrates a series of life’s obstacles and Luke’s troubles when stricken by a period of writer’s block during the summer of 2006. The arrangements here are flawless, and they run from quick paced hot to the cool and soulful ballad “A Little Voice.” Jackson gathered a great crew here, including Brianpool/Roxette producer and multi-instrumentalist Christoffer Lundqvist and Brainpool bandmate Jens Jansson on drums and the legendary Magnus Borjeson (Beagle, Favorita, Metro Jets, Cardigans) on bass. “Half a World Away” is a smooth and dense production that combines these wonderful influences. The piano theatrics and sweeping strings of “All I Can Do” sound like a latter day Klaatu song (it just has a very Canadian feel about it). This is a expressive album that wears it’s heart on it’s sleeve with “Longest Day” like Oasis meeting Kansas (love that organ solo bridge) Fans of Bleu, Jeff Lynne, Canadian or Swedish power pop will flip for Luke Jackson. Just an excellent album that touches the spectrum of emotions.
My Space | Luke Jackson’s Site | Itunes
Listen to “Come Tomorrow”
Julie Ocean "Long Gone And Nearly There"
It’s a real shame when you discover a great new group only to find out they are history. This Washington D.C. pop combo is a supergroup of sorts, parts of former bands (Velocity Girl, The Saturday People, Swiz) and then the day job of Jim Spellman (who works for CNN) got in the way when he was relocated to Denver. The group released “Long Gone and Nearly There” in May and now it becomes another legendary one album wonder (like “The La’s”). The short ten song debut is a collection of near flawless two minute power pop gems delivered with an irresistible guitar-pop fizz. “Ten Lonely Words” and “#1 song” borrows from the best of Bob Mould and Sugar, The Undertones, Velvet Crush and Teenage Fanclub. Add to this the Beach Boys harmonies all over each chorus throughout the album. “#1 song” has a good lyric about the disposable nature of power pop singles (I can recall Joe Jackson’s “Pop Single” saying the same thing). Amazingly, it never drags, as every song here is a short, snappy standout from the early Beatles stab of “There’s A Place (In The Back of My Mind),” to the fast tempo beat of “Bright Idea.” Lead singer Spellman’s Evan Dando-esque vocal inflections backed by woo-woo harmonies and those big fat pop hooks don’t get any better. The only drawback here is that it ends way too soon as the entire album is only about 25 minutes long (including the Well Wishers, this looks like a musical trend). Despite this it’s contender in my book for power pop album of the year. I’ll stop writing and just urge you to listen to the song below – it’s a MUST.
My Space | emusic | Itunes | Listen on La La
Listen to the “#1 Song”
Here is the video for “Ten Lonely Words”
Marykate O’Neil "mkULTRA" EP
Another long time IPO favorite and Brooklynite, Marykate O’Neil releases her new EP “mkULTRA” today. Marykate accurately described this as an “after-the-party” album, with introspective songs that feel very personal. Not so much a happy pop album, but it does have strong melodies and songwriting. “Green Street” describes a moment after a relationship has failed, and the wish for friendship. It’s a good song that evokes Carole King and Aimee Mann and has a nice driving chorus. “Map” has an interesting percussive treatment along with a great vocal performance. “Trouble” is a creepy ballad with a ghostly multi-track “even I knew… trouble” about the substance abuse that builds to a loud guitar crescendo. Included is a cover of Randy Newman’s “Living Without You” and Jill Sobule’s “Happy.” A good follow up to 2006’s critically acclaimed 1-800-Bankrupt.
Marykate’s web site | CD Baby | Amazon