COVID has allowed many musicians to develop holiday music early, and this year boasts a bumper crop of great singles. In fact, it seems everyone had time to record “Jingle Bells” this year. But I enjoy the variety and originality of most of these Christmas tunes here. Grab them quick before they get as stale as Grandma’s fruitcake in January!
Bleu McAuley, is an award-winning songwriter, producer, and recording artist who’s done great power pop in the past and recently helped with the new Dear Stella EP. His new song “I Wanna Write You a Symphony” is supported by the above video work of filmmaker Graeme Wilson who started following Bleu’s career in 2008 and decided to contact him after Bleu casually mentioned in an email newsletter that he was puzzled about how to put his pile of new songs out in the world. He is planning the release of his sixth solo album.
Matthew Sweet is back! “Give a Little” is the new single from his upcoming album Catspaw. Sweet mentions, “It has a lot of elements I like both lyrically and musically. I think this one came to me all at once—music and words together. I really like the start and stop riffs that underpin the chorus; they give it quite a kick.” Yes, it does! I can’t wait to review this new LP.
I kind of lost track of Taylor Locke (Rooney) since his early solo work. But he has been very busy collaborating with artists such as Linda Thompson, the New Pornographers, Sloan and composing music for TV and streaming shows. Plus, he did 40 dates as a touring guitarist for L.A. legends Sparks.“Dying Up Here,” a hooky charmer that was co-written with Bleu McAuley and appears on Locke’s new EP “The Bitter End”
Choices We Make is a timely new song from Richard X. Heyman‘s upcoming album. An amalgam of folk-pop with Memphis soul, the song is anchored as always by Richard’s drumming, guitar and organ, and piano, and festooned with a lush vocal arrangement. He is joined in this effort by wife Nancy Leigh on bass, Probyn Gregory (of the Brian Wilson band) on trombone and trumpet, and jazz saxophonist Duke Guillaume.
Steve Eggers (aka The Nines) returns with his most wistful and solemn album to date. The Nines balladry has often compared to Jeff Lynne, David Gates, or Paul McCartney. Sung and played in his home studio with guitar and piano this album starts with a gem, “Don’t Believe in Destiny” a slow simple expression of sadness that swells to orchestral levels. Dealing with loneliness is the theme here and “Breathe in, Breathe out” contemplates the moment after trauma. Like a diary, the “Song For Red” asks for a fresh start, and the acoustic “Angeline” is a heartfelt folk song with a compelling dual vocal track.
Most of the songs after this are short sketches in under two minutes; the jealous lament at the bar in “I Almost Lost You” or the harpsichord “She Is Waiting” with some sweet harmonies. It would’ve been nice to flesh out some of these a bit more, but the melodic sketches do go in interesting directions like “Linda,” where it starts pretty standard and takes a wonderful detour into Harry Nilsson land. Worthy of repeat plays and highly recommended.
This is an interesting offering from Kool Kat Musik. UK bandmates Neil Fitzsimon and Bee Brogan from Pretty Blue Gun are joined by drummer Woody Woodmansey (David Bowie) and Pete Thomas (Elvis Costello) to create “FaB.” The style is hard to pin down, but the group has a wide range of influences from The Beatles, Elvis Costello, Jimmy Webb, Jacques Brel, The Smiths, and David Bowie.
It takes a few spins to stick with you. Bee Brogan has a very distinct voice and on several tracks, it’s suits the material perfectly, like “Lost Love of the Pixie Girl” with a wonderfully catchy chorus. The bending bass line on “Desolate Angel” builds a sublime new wave ballad and the twisted adult nursery rhyme of “Elsie’s Last Stand” is another standout. The oft-kilter chords on “Seven Seconds of Summer” and the title track recall Martin Newell at his wistful best.
In several cases, the material is a little too ambitious for Bee’s vocal (“A Bullet for Cinderella,” “The Tears of Scarlet Murder”) but the songs are still fascinating. Overall, this is definitely a unique offering that deserves your attention. Check it out.
Likely Melbourne Australia’s finest power pop band, Ice Cream Hands is exactly what we need right now. When singer/guitarist Charles Jenkins, guitarist Marcus Goodwin, bassist Douglas Lee Robertson, and drummer Derek Smiley reunited after a 13-year absence, it was like they never left us. This is a band that knows how to write great songs, with amazing guitar melodies and soaring harmonies. And they haven’t lost a step.
The title track “No Weapon Of Love” is a bold opening statement. “Everybody got to live together, Everybody got to grow together,” a massive chorus about unity that updates The Beatles’ message of “All You Need Is Love” for the new millennium. Next, “So Happy Apart” starts with a simple bouncy piano verse that turns into a joyful version of Harry Nilsson playing with Jellyfish. Horns add to the anthem, and a perfect guitar break makes it complete. Jenkins’s soulful vocal looks back on “Somehow We Never Got Together” as the Harrison-like slide guitar flows along. The band feels so comfortable, the songs have an unforced beauty that just washes over you.
The ballads take on a wistful tone, and “February Falls” takes on a near-religious tone, like a Brian Wilson choral. Not a note is wasted here, and “Thank You” goes through a list of musicians that influenced the band from The Only Ones to The Ramones (and Spencer P. Jones). Without a doubt, one of the band’s best albums — it will rank high on my 2020 year-end list.
Like comfort food, Supercrush closely follows late 90s power pop bands like Teenage Fanclub, the Posies, and Velvet Crush. The songs are short, punchy, and filled with hazy vocals about love and heartache. Musician Mark Palm and his band (Phil Jones, Allen Trainer, Bob Reed, Inna Showalter, Greg Ehrlich, and Jay Kardong) effectively recreate that sound with a layer of shoegaze and post-punk fuzz that’s both familiar and engaging.
One issue is that the songs start to blend together a little, as they all follow the same template. A few exceptions include new wave-influenced “Parallel Lines” which could’ve been leftover from an old Ocean Blue record. The album title looks as if they misspelled “soda”, but they are actually referring to the name of Seattle’s south of the downtown business district. Recommended tracks include “Get It Right,” “Be Kind to Me,” and “I Can’t Stop Loving You.” Overall Highly Recommended.
Austrian Stefanie Drexler (aka Dear Stella) is a fresh face on the power-pop scene, but behind the smile is a crafty music veteran who’s worked with stars Kai Danzberg, Bleu, Eric Barao, and Scott McPherson. Her impressive vocal range is similar to Lisa Mychols or Kelly Jones on this highly polished debut. Not quite power pop, this is closer to pop with some rock elements.
Opening with the magical “Time Machine” (co-written by “Bleu” McAuley) it’s a tasty musical treat in the Jellyfish mold, full of orchestral swirls and harmonies. Next, “As a Child” (co-written with Matt Appleton) has a bright melody with varied instrumentation, as it opines on the loss of childhood innocence. “The Last Kiss” (co-written with Eric Barao) is a song full of contrasts; it’s a sad soulful song that boasts rich bright orchestration. The next several tunes are about letting go of relationships, very much like the themes that Kai Danzberg has explored in his recent work; “What’s the Meaning of Love?” being a standout. Danzberg adds his vocals to the finale “Let Him Go.” Overall, a terrific debut. Highly Recommended.
The talented Lindsay Murray has been a musical force for several years now, and although her style has morphed over the years, the ethereal voice and guitar crunch has always been a potent combination. The opener “You Should Know” is a dark, compelling melody with flowing minor chords. “Interloper” starts strong, akin to a Fleetwood Mac mixed with Alannah Myles – it’s a good balance of soft vocal and hard-edged guitar.
“Infernal Machines” is another big standout, and Murray soars here. There are many stylistic subtleties throughout as Murray tends to have her instrumentals lead the verse, but the hook sometimes can get buried. Additional highlights include the melodic majesty of “Sleight of Hand” and “Shapeshifters.” This album is also her most consistent vision, so you should check it out.