Tag: Kai Danzberg

Kai Danzberg “Not Only Sunshine”

It was right around this time last year German musician Kai Danzberg introduced us to the infectious Pop-Up Radio, and with a new year, we have a new album. With Not Only Sunshine Kai is more consistent in his style, as the primary influences are Jeff Lynne (ELO) and Roger J. Manning Jr. (Jellyfish). He also has several collaborations with a variety of experienced power pop talent.

The cinematic intro (title track) is a simple multi-tracked hymn that leads into the sunshine-fueled “My Beautiful Day” with Dana Countryman. This is the sole burst of pure pop happiness, with its Beach Boys-styled harmonies. “Nothing In My Head” with David Myhr is a worthy follow-up, with a sweet hook in the chorus. From there the LP slowly sinks into the sadness of love lost, as “Turn Away” is a beautifully rendered power ballad on par with Jellyfish (and Roger J. Manning Jr. contributes). While the atmospherics are effective, the next several songs don’t reach the highs of those before it. But on his own Kai still delivers excellent music as “Help” is a big highlight, and the personal “Empty Room” is a sweet reflection on childhood with some nice acoustic guitar work. Other highlights include “Where Can I Sleep” and “Let Me Know,” a duet with Lisa Mychols that borrows its intro riff from Cheap Trick! Kai continues to grow as an artist, and I highly recommend this album. Bravo!

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Mothboxer “Open Sky”

Production wizard & master of ceremonies Dave Ody expands the Mothboxer sound to include orchestral and progressive genres. “Sunshine Sound” is a slowly expansive epic that combines Pink Floyd, John Lennon and 1969-era Beach Boys into something akin to The Beta Band. This vaguely familiar setting has its trippy moments on “Got To Wake You Up” to “Better When It Rains,” with low chords and brass flourishes. “We Could Be Right” goes in many directions at once, but still feels cohesive with odd drum fills and Move-like guitar progressions.

The gem here is “Million Miles Away” with its hidden hook in the piano chords and harmonies. Ody manages to make something unique out of the familiar, and even with four minute plus indulgences it never feels like filler. Another good comparison would be the first time I listened to Electric Light Orchestra’s “No Answer,” and hearing those lumbering melodies by Roy Wood. Especially on the finale “Yesterdays Are Tomorrow.” Highly Recommended.

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