A new Dolour album, Daylight Upon Magic is on the horizon, so here is the cool video for “Someone New to Fool.” Shane Tutmarc is in fine form here, I can’t wait for this one to release. I was impressed by Chaft before, so now we have a new pair of singles, and I prefer “High” with its swirling guitar rhythm. Another rookie, Strange Neighbors is back with a catchy new single, “Tell All Your Friends” and I think I’ll follow that order! It’s been a long time, but Captain Wilberforce returns with an awesome power pop single, “Holding On” which boasts great hand claps and harmonies. If you’re into that classic retro rock style, The Night Spots serve up some yummy “Dandelion Wine.” Pour me another! Finally, from Rosario Argentina, we have a band called Mensaka, and their new single “Bucle Temporal” translates to “Time Loop.” Even with the Spanish language, it’s an earworm that deserves to be heard.
I counted an additional 258 albums that I did not even get to fully examine last year, but rather than come out with my Top 10 Eps of 2023 (that’s next week) I will give you some much-needed singles (some are freebies) to keep you company.
Shane Tumarc (Dolour) sets the stage with a great cover of the Zombies’ “This Will Be Our Year,” the energy of Rock Europa’s “Pick at the Scab” is infectious with a commanding melody line. Brower’s “Confrontation” is very much in the mold of early Frank Zappa with its faux 50’s call and response. Next, Rooftop Screamers has perfected the arena rocker single “Dead In The Water,” with a solid vocal by Rob Daiker. It’s been a good year, and The Armoires give us the gentle opening salvo on “Music & Animals,” a fitting theme for the ASPCA. Finally, Mo Troper had a big hand in 2023 with producing others (including himself), so “For You To Sing” includes friends Brenden Ramirez (Bory) and Blue Broderick (Diners). Fear not, as I have another singles post of 2023 songs that deserve to be heard! Stay tuned.
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.”
To commemorate the 20th anniversary of Dolour’s debut LP creator Shane Tutmarc took a selection of early songs and re-recorded them. After the great ‘Televangelist’ earlier this year – it’s interesting to hear some reimagined music that I wasn’t that familiar with. It’s essentially a combination of several EPs, and Shane still has an ear for catchy singles as the bouncy “Cleopatra Eyes” proves to be both light and infectious. “Naive” similarly charms with its layered harmonies in the chorus. The fuzz guitar enters the fray with “CPR” a terrific post-breakup song, and Shane’s approach is similar to Fountains of Wayne on “Before Tonight’s Big Party.”
The ballads have high points as well, with “Next 2 U” with its flowing verses and melody. There are also a few experiments that are interesting, like “Suburbiac,” a murder plot between two lovers. Some songs seem a little overproduced, like the dense “Ready To Fly” and the wonderfully written indictment of the music industry “I Smell A Lawsuit.” While not on par with his last LP, this is still a great group of Dolour tracks. Highly Recommended.
The Popravinas (pope-rah-veen-ahs) are back! The California band led by Eddy Sill (The Mutts) is joined by John Adair (guitars, keyboards,) Dean Lyons (rhythm guitar,) and David Rodgers (drums) to create a well-tooled guitar sound influenced by The Rolling Stones, Soul Asylum, Whiskeytown, and The Old 97’s. While they do have a ’90s garage-pop sensibility with songs like “Do The Creep” and “Minor Resistance,” when they add that country twang it takes them to another level.
“Self Made Derecho” is a distinctive catchy song and Ed’s vocal provides the perfect amount of sarcasm, and the cornpone approach of “Bunkin’ in Reno” is a joyful tale of couch surfing that brings to mind Mojo Nixon. The more traditional R&B, Stones-y tunes are similar to The Connection or Watts, with “Feasibility Holdout” and “Might Want Out” being standout tracks. Overall, a fine album that deserves to be heard.
Shane Tutmarc, multi-talented singer-songwriter of Seattle band Dolour has been busy during the pandemic and last year’s highly recommended Royal We album. The lockdown provided him plenty of time to develop this power-pop gem.
The opening title track is a catchy synth melody with influences from the late ‘70s ELO and Supertramp with its layered guitar rhythm, bells, and handclaps. Next, “It Would Be A Delight” directs energy to get away “instead of giving in to the doom and gloom.” Shanes smart vocal phrasing is brilliantly cheerful, and even the bouncy horns of “Summer Rain” speak to the open and easy-going time. The choral harmonies are clean and subtle, and “A Sight For Sore Eyes” is a great mid-tempo ballad, but it’s the positivity running through the album that draws you in. “Pick Up The Phone” is another highlight, with its strong hooks and as things gradually slow down, you get a full instrumental version of the entire LP. After a few listens, you realize how tightly composed, well-written and detailed each tune is. Highly Recommended and earns a nod for my best of 2021 list.
Endless Arcade follows Teenage Fanclub’s 2016 album Here, an album that shows just how much the band has mellowed over the past 30 years. Bassist Gerard Love left the group in 2018, leaving Norman Blake (vocals) and Raymond McGinley (guitar) to hold up the fort. The infectious but relaxed sounds of “Home” call back to an earlier time, when an extended guitar jam was a common occurrence in a song (Steely Dan anyone?) but in 2020 it feels like a distinct statement. It’s a lot less “teenage” and more “old age” for this Fanclub.
The theme of bittersweetness is laid bare in the title track and the keyboards of Euro Childs add a nice twist to the traditional composition. “Warm Embrace” echoes the Mod-era sound of The Who, with great harmonies and strong drum support. The insecurity of “Everything Is Falling Apart” features a compelling rhythm, and the wistful “The Sun Won’t Shine On Me” is a recognition of age that’s beautifully done. Unfortunately, they don’t hit those high marks again. The repetitive themes of time on “Back In The Day” and “The Future” make these dudes sound older than The Moody Blues. Fans and completists will definitely embrace this, but it would be nice to have the band sustain enough energy for an entire album.
