“Peluche” by Static of the Gods
“Hair” by The Lonely H
Enjoy the vids, kids — if you missed the reviews, visit our takes on Static of The Gods and The Lonely H.
Squires of The Subterrain "Feel The Sun"
They say “Imitation is the sincerest form of flattery” and Christopher Earl a.k.a. The Squires of The Subterrain offers a genuine compliment to the Beatles, Zombies, Kinks, and Brian Wilson. Prior to this album Earl was performing note perfect Beatlesque melodies circa 1964-1966 with his last album “Strawberries on Sunday” and now he’s moved a year forward in time to 1967-1968 settling firmly in the “Magical Mystery Tour/Sgt. Peppers” psych-pop era. The title track moves around like a mix tape of several different songs, including a few “Smile”-era Brian Wilson breaks. As a music critic, it’s cool to spot the influences. As a listener, it’s a bit tougher to appreciate because not much of an attempt is made to join together the musical snippets. The album stands along side Olivia Tremor Control and Guided By Voices’ early releases for indie lo-fi psyche-pop. There is a lot of fun to be had here, the track “Alexander Mannequin” hums along in a “I am the Walrus” kind of way, you almost want to sing along in a John Lennon voice. “On the Lawns” is a very strong bass tuba-driven melody and one of the highlights here. Although derivative, it’s enjoyable, like “Concerning Helen White” which will make XTC fans do backflips, with it’s harpsicord and multi-tracked chorus. This doesn’t always work, as “Her Story” is Pet Sounds-styled ballad that becomes labored and forced here. Later on the album, the Beatle imitation gives way to some cool lo-fi noodling, a good example is “Hightop Sneaker” with it’s guitar vibrato and steady beat. “Red of Roses” is a dead-on perfect Gilbert O’Sullivan ballad, and it you are a serious fan of mid sixties pop, you’ll enjoy most of what The Squires of The Subterrain have to offer. Those critical of this kind of quirky pop need not apply.
The Squires Website | My Space
Fancey "Schmancey"
Todd Fancey, guitarist for the New Pornographers puts together his second album using finely crafted orchestration to recreate a soft 70’s pop sound, that rivals the music of Chilliwack, Poco, or Ozark Mountain Devils. With Sean Ashby (review below) helping out and a huge list of others (including a member of the Cowsills on vocals) when you listen to “Schmancey” you are in a total time warp back to 1973. The opener “Witches Night” is a cool Chilliwack-type of tune with nice organ touches and guitars. But we haven’t totally left the new century behind and the next song, “Lost in Twilight” sounds like a great lost Zumpano tune. The vocal harmonies are stunning with Anastasia Siozos voice floating around Todd’s melody like a pillowy cloud. Another great song “Gulf Breeze” continues this pop bliss. Then it’s back to the nostalgic “Blue Star” and then “Fader” brings to mind some classic Hamilton, Joe Frank & Reynolds tune set to the most bizarre lyrics I’ve heard, in other words: an instant classic! In fact most of the lyrics on the album don’t really match much of the songs tone. But if you turn your brain off through half of it – you won’t be thrown by lines like: “This afternoon it feels like dawn/ Butterfly I’m writin’ on/ It’s too late you’re gone.” The remaining album rambles along with excellent tracks like “Heaven’s Way” that play up the Cowsills sunshine pop card. No filler either, as even the horn-filled ballad “Let the Breeze In” is so smooth, you forget that aimless melodies lead nowhere. The whole album goes down like a Pina Colada; Sweet and fruity with a nutty aftertaste. It’s a wonderful diversion that most nostalgic music lovers will enjoy.
Fancey’s site | My Space | Kool Kat Musik | Not Lame
Listen to “Gulf Breeze”
Listen to “Lost in Twilight”
Frank Ciampi "Big Top Woman"
Long Island native Frank Ciampi has played with fan favorite Mike Viola and written for The Click Five, and late last year came out with this solo gem “Big Top Woman.” Greatness has rubbed off on Ciampi as this is a wonderful piano based love letter to classic power pop fans. Like the Nines, Frank wears his influences like badges of honor. From the Ziggy Stardust meets Ringo Starr mix on the title track (“Big Top Woman”) to the Wondermints-styled “Waiting For Someone” the songs all have a wonderful sense of melody and hooks. The Beatlesque stamp is all over this entire album, with most songs evoking Sir Paul, like “The Miss Jenny” and “Oh Gloria.” Lets not forget the Beach Boys bliss-like singles “Anna” and “Anyway.” The production techniques are rooted in the 70’s, with touches that bring to mind Supertramp or Andrew Gold. A great example of this is “On The Road” with it’s awesome guitar solo and multi-tracked chorus, piano breaks, it’s an epic poem in every sense that lyrically ties together the other songs. Every track here is wonderful and even the closer “Along for The Ride” evokes the ghost of Big Star. The musicianship is flawless as well and I’m pissed I couldn’t add this to last years top ten. If you even like a little bit of the mentioned influences, this is a MUST buy disc.
Kool Kat Musik | My Space | Amie Street
The Successful Failures "Ripe for the Burning"
Review by Mike Z.
Able to change their sound up like powerpop chameleons, The Successful Failures mostly rely on western twang, so you know the harmonica and strong guitar are coming, but they are also not afraid to throw in the odd synthesizer or xylophone. “All I Can Take” is especially reminiscent of early Wilco, back when they rocked (remember that, anybody?).
“Ripe for the Burning” succeeds in producing one of those addictive moments when it’s a little difficult to discern when “All I Can Take” ends and “Bridges Over Delaware” begins. It is a memorable and effective transition, however. “Never Moving Out”’s lyrics border on the inane, but it rocks as hard as anything The Replacements ever did. So disregard the lyrics seemingly unfit for much else but something MTV would air midafternoon and seriously contemplate that you might just have a rod stuck up your ass if you can’t derive serious enjoyment from this one. “Except Together” should prove that this act is having a bona fide good time, and the best part is they don’t have to beat the listener over the head with it. That is, they don’t seem compelled to let you know that they have a sense of humor, and to this reviewer, that makes it all the more enjoyable. As far as the Successful Failures failures, the opening riffs of “Bigger Empty Things” is a direct lift from The Mountain Goats’ “This Year,” but gets more original later. An unfortunate irony exists in that “Sun Makes Circles” hints that S.F. might be flirting with lyrical ambition, but the music is the weakest on the disc. The only other snarky thing I can say that this has got to be the best band with the worst name, but that is no backhanded compliment: this disc is a must listen.
The Successful Failures Web | My Space | Not Lame | CD Baby