Buzz Zeemer, Onesie and Pony in the Pancake

Buzz Zeemer

Buzz Zeemer “Lost and Found”

Vocalist Frank Brown, a veteran of the Philadelphia music scene, and guitarist Tom Conwell created the band Buzz Zeemer in the late 90s. Brown crafts guitar-driven melodies that are more refined than your average power pop band. After two successful albums the band vanished, but 25 years later it returns with unreleased tracks recorded between 1993 and 1997.

“Happy Hour” is a great hook-filled opener and a perfect example of how dynamic power pop was in the late 90s. We’ve got 14 tracks of goodies that go well with fans of The Lemonheads, The Replacements, and The Gigolo Aunts. Lots of highlights here, and this is a collection that deserves serious study; from the contemplative “Sometimes” to the churning grunge of “What I’ve Got.” The melodic gems “Don’t Pull Away” and “The Chosen One” were favorites of mine. Highly Recommend.

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Onesie

Onesie “Liminal Hiss”

The Brooklyn-based power pop band Onesie, fronted by guitarist/singer/songwriter Ben Haberland is back after 4 years. The band has always been unorthodox but repeated listens show their rich talent. The minor key riffs on “Permaspring” and “Robocall” have a slight Field Music feel to them, yet Onesie is true to itself with its own laid-back, casual style. “What You Kill” has a great catchy hook in its chorus and its driving drum beat. “Let Me Guess” is equally an earworm.

The style shifts slightly with “Morning Warren” a mix of funk rhythms and jangle is the definition of modern eclectic pop. Another good comparison is The Mommyheads, especially with “Another Day in The Experiment” and “Live Yuppie Scum.” The band’s unpredictability and mashing of styles is a feature here, not a bug, and will keep you listening. Highly Recommended.

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Pony in the Pancake

Pony in the Pancake “In Dreams”

Pony in the Pancake is an Albany-based indie band known for their harmonies, depressing lyrics, and easygoing approach. These tracks use lo-fi guitars and garage-rock rhythms, creating soundscapes that recall traditional surf-pop with a modern twist. While not always compelling there are some highlights like “We’ll Go Walking” and “Forever.” The download is “name-your-price,” so you can check it out risk free.

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Onesie and The Unswept

Onesie

Onesie “Umpteenth”

Brooklyn band Onesie is back, led by Ben Haberland going in several directions here. Opening with “Ten Times Tinnitus” a sly XTC meets Pearl Jam-style progression that quietly sticks with you. Some riffs are clearly reminiscent of 90’s heavy rock like on “Customers” and “Amour Phuss.”  An early treat “Final Days Of Nineteen” has a great mix of instruments along with a gentle vocal with harmonies that demands repeat plays.

Another favorite for me is “Would You Be My Goon?” a wonderful blend of melody and pastoral mood similar to Sugarplastic. Ben doesn’t stand still stylistically, as we get a bit of glam (“Legacy Act”) and bouncy pop (“Award Show,” “Missing The Heart”). The songs are quirky and celebrate their own weirdness a bit too much, but it’s the huge hooks that’ll keep you listening. Highly Recommended for sure. Check it out!

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The Unswept

The Unswept “Minor Blemishes”

The Unswept are a family trio; Charlie, Liz, and Ryan O’Brien,  UK transplants to Chicago that pulls from many classic power pop influences, and on the opening Brydsian jangle gem “Sunshining” it sets the tone right away with its light harmonies. “The Boy Who Wakes You Up” describes a stalker-admirer with a sweet chorus, and Liz takes lead on the country-kissed “You Ain’t On My Mind.” For pure Beatlesque fun, it’s hard to beat “Fake It” with its catchy Monkees-like guitar arpeggio.

The band soldiers on with slight variations on the retro style, some work (“It Doesn’t Really Matter”) and others don’t (“She Just Knows It’s Over”). “Brown Line” is a solid break-up song with excellent rhythm and drum work. At times the retro vibe reminds me of old Rainbow Quartz labeled bands. These tunes may have a blemish or two, but they will put a major smile on your face.

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James AM Downes and Onesie

James AM Downes “Prison Font”

The opener “Bait My Soul” is a sweetly descriptive pop confection, about a girl “with “fuck off” lips and a face so sweet” who gets away with a good hook accented by handclaps. “Not Thinking It Over” is another gem with a jangling rhythm and strong catchy chorus.

The title track has a familiar sounding guitar rhythm (recalling Lennon’s “Mind Games”) but Downes fragile tenor here resembles Mick Hucknall (Simply Red). The strong lyrics and the descending chords in the chorus push the song into “hit” territory. The remaining tracks don’t reach as high, but don’t disappoint either. Overall, James simply has the raw talent that deserves recognition. An impressive debut.

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Onesie

Onesie “Leos Consume”

Onesie is the musical moniker for Brooklyn-based songwriter Ben Haberland. Stitching together vivid, hooky guitar pop anthems from scraps of Brit pop, punk, and rock, it rocks nicely on its debut Leos Consume. Opening with the terrific gem “Karaoke Killers” full of guitar blasting, hand clapping, hooky goodness. “Credit Score Of 666” has a wicked riff leading the hushed lyric very much like a lost Smash Mouth classic.

And the band doesn’t stick to one style which in this case is a benefit, as it skillfully jumps across genres. “Daytime King” is a little Red Hot Chili Peppers meets Gin Blossoms, and the jangling gem “Hotelekinesis” is sure to encourage dancing. “Husbands in Finance” allows some neat psychedelic instrumentation with its wah-wah guitar lead and climbing bassline.  In fact, it’s impossible to find a bad song here — written with a gusto that even “Ballad Of The Boomerang” struts from its jangly twee roots to a Collective Soul-like power pop. And the frequent guitar breaks just make me love this album more.  A real treat for lovers of melodic rock, it’s both highly recommended and on my list for top ten album of 2017. Don’t miss this one!

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