Tag: power pop

Here Comes The Reign Again and Ice Cream Man Power Pop

powerpopaholic
Martin Carr

Here Comes The Reign Again “The Second British Invasion”

After last year’s Tribute to Lite Rock, producer Andrew Curry moved his attention to 1980’s British pop. You get updated takes on era-defining hits by Duran Duran, Human League, Culture Club, Frankie Goes To Hollywood and more. If there is one thing I remember about many of these songs, was a brashness and optimistic defiance that reflected the 1980’s “New Wave” ethos. In today’s era our collective anxiety yields some mixed results, as the mood of some songs tend to be wistful, if not downright melancholy.

Favorites here include Fountains of Wayne singer Chris Collingwood doing “Life In A Northern Town,” and Cliff Hillis improves on “Wouldn’t It Be Good.” I liked the subtleties of Mike Viola’s take on Tears For Fears “Everybody Wants To Rule The World” and Freedy Johnston’s version of Naked Eyes’s “Promises, Promises.” It didn’t quite work for me on Jim Boggia & Pete Donnelly’s “Goody Two Shoes” or Ken Stringfellows’ “Digging Your Scene.” But Rachael Yamagata’s piano ballad of “Do You Really Want To Hurt Me?” is sung with more pain and emotion than Boy George ever could.

A lot of artists have deliberately gone “low-fi” in direct opposition to the slick production of the past, but there are some faithful approaches featured especially Bleu’s “Don’t You (Forget About Me) and “West End Girls” by Secret Friend. With 27 tracks there is a favorite for everyone, mine included “Dancin’ with Myself” by Taylor Locke and The Corner Laughers “Our House.” Even if some of these songs aren’t as familiar to you, this set is highly recommended.

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Ice Cream Man  “powerpop and more”

IPO

Fellow power pop blogger Wayne Lundqvist Ford has been producing self-contained radio shows for a while now. He has more of a preference for English Mod, Northern Soul and Garage power pop, and he’s got a great ear for the stuff. After 50 shows he’s still going strong, and now he’s gathered samples from a ton of bands and with the help of our friends over at Futureman Records and has made a massive song collection a FREE downloadable treat.

We are talking 64 tracks of music. These are primarily artists who are criminally ignored by  main stream radio stations and deserve to be heard, including some of my favorites (Bryan Estepa, Tommy Lorente, Baby Scream, The Solicitors, The Legal Matters and The Turnback – just to name a few). Bravo Ice Cream Man!

Futureman Records

Bunny Austin and Round About

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Bunny Austin “Shadow Life”
Bunny Austin is the name of a Birmingham, Alabama band with a garage and power pop inspired sound. Bunny Austin is made up of Charles Arndt (Plaid Camels) on guitar and vocals, Rich Albright (Altamont, Muddy King) on bass, Tony Oliver on keys, and Tommy Prewitt (Month of Sundays) on the drums. The strong guitar fuzz is prominent on the opener “God Alone” and the radio friendly “Sparks” has a little of The Rolling Stones in its DNA. The next several tunes are decent, but nothing here impressed me until the handclap beat on “I Can’t Take It No More.” The song has a good hook here and resembles the Knack a bit. That riff heavy power pop sound is also welcome on “Make It Last For Now.” So overall a few keepers here, but nothing else that really stuck with me.

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Round About “Hanging By A Thread”
Washington DC band Round About’s debut album features some stellar guitar solos by Will Potts on the opening track “Partners In Crime.” The same template is found on the first few compositions where the melody is punctuated by Potts noteworthy electric riffs. Songs are well written for the most part. Unfortunately the problem here is lead vocal Patrick Garrity, who’s understated, unemotional performance undercuts the “rock” songs here. But for a few songs, like the jazzy “Hanging By A Thread” and soft pop of “Grateful For A Glance” Garrity’s hushed vocal is kind of like Al Stewart on Xanax. Potts guitar solos are all but gone by the albums mid-point, but the best collaboration of his guitar and Garrity’s vocal is the standout “Close To Home.”

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The Mike Benign Compulsion and The Campbell Apartment

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The Mike Benign Compulsion “Martha”
It wasn’t long ago we heard from Midweswtern musician Mike Benign. This new full-length album is a big leap forward for the Compulsion, mixed by the dB’s Chris Stamey. The driving harmonies on “Chemicals To Candy” is full of classic power pop chord shifts, and a great opener. “My Michelle” has a bit more jangle, almost like The Raspberries. A few real standouts are the bouncing beat and harmony filled chorus of “Valentines and Honeybees” and the Beatlesque “Sing It.” No filler here and plenty of other great tunes, like the Kinks inspired “American Dreaming and Drunk” and the Stamey influence is clear on the album’s latter half with “By The Way” and “I Won’t Let You Down.” The ballads are good too, so overall it’s a highly recommended LP and a great addition to your playlist.

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The Campbell Apartment “In”
After the melodic indie-pop sounds of 2008’s Insomiac’s Almanac, the Campbell Apartment take a turn towards a harder rock sound courtesy of leader Ari Vais. Joined by Jody Porter (Fountains of Wayne) it resembles the late great Alex Chilton on the blistering opener “I Don’t Believe in Love (Anymore).” The cynical genius of “The See You Laters” explores the death of rock star dreams, as Ari’s vocal has a Lou Reed meets TMBG-styled cadence.

The album’s wall of guitar riffs recall the Replacements feel-good hooks on “Autumn,” and the more distortion fueled melody “Season In The Sun.” A few songs recall the early 80’s new wave, like the list of girls on “My Many Mini Obsessions” and the dissonance of “Plug-in Freak.” A few notable tracks, like “Gia Knows” recalls Weezer and “That’s All There Is” could fit comfortably on a Red Hot Chili Peppers LP. Some of the rhythm guitar acrobatics are colorful and the slow ballad “There Goes the Sun,” has some sweet horn arrangements. It’s a grower for sure, as Ari’s vocal takes a bit getting used to. Get “I Don’t Believe in Love (Anymore)” for free download to start you off!

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Bryan Scary “Daffy’s Elixir”

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I’ll be damned if Bryan Scary doesn’t have the stage musical already choreographed for Daffy’s Elixir. It’s a prog-pop concept album with huge scope that drops on April 18, but downloads are available now.

“The Wicked Frontier,” slowly fades into view, a grand introduction with long gorgeous harmonies across it’s Smile-kissed strings and “Happy Trails” rhythm. Then the train pulls into “Ziegfield Station” one of the album highlights, as it zips from player piano to organ to moog and back again. The melody’s hook is repeated with a perfectly chugging outro. Then it kicks in overdrive with “Cable through your Heart” a Scary version of Queen’s “Bohemian Rhapsody” with multiple melody lines and dizzying tone changes. It’s basically the musical version of a tossed salad, and its the exhausting heart of the album.

Wrapped in Floydian Wall of distorted vocal “Silver Lake Mining Company” is a fuzzy musical treat with a dream-like melody at its chewy center. “Diamonds!” is pop in a lush configuration with harp and harpsichord woven together in the chorus. “Ballroom Kid” is another strutting standout that recalls Imperial Drag. But fatigue sets in with “You Might Be Caught In Tarantella,” and even though a few gems are found on the second half of the album (like “The Tale Of Opal Dawn” and “Day-Glo Waterfalls”) it wears out its welcome quickly. Out of the massive 15 tracks here, the mellow “Quicksilver Daisy Day” appears to be the best coda. The mediocre tunes turn a truly great album into merely a very good one. Scary seems to have been caught up in this melodramatic, grandiose mock-opera, making Daffy’s Elixir taste more like strong whisky instead of sweet wine. However after half a bottle, you’ll be pretty dizzy and satisfied.

One Like Son and Vinyl Floor

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One Like Son “Start The Show”
The unique method of One Like Son, is that they recorded their 3rd album, Start The Show entirely on an iphone 3GS. Band members Stephen Poff (Vocals, Guitar, Bass, Organ) and Bill Rester (Vocals, Bass) dealt with the tedious details and restrictions of recording apps, but it sounds  just like they cut it in the studio. So much for the novelty — what about the music?

One Like Son has a classic fast paced rock sound, the heavy guitar riffs of the title track and “For a Good Time Call” remind one of The Gin Blossoms, Rooney and the Strokes. “Buried” has some nice harmonies in tandem with the guitars and “L.A.” was another highlight that tells a compelling story. While the guitars carry each melody here, by the time we get to “Father” it starts to sound a bit generic, with few hooks to keep me interested. But the energy level is high and sounds great in your car with the windows down.

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Vinyl Floor “Peninsula”
Vinyl Floor is a 4-piece rockband which hails from Copenhagen, Denmark. The band combines both symphonic and indie influences to create epic compositions.  Comparable to Coldplay, Travis, Fun., and Oasis, the sound shifts around, but generally stays dramatic and melodic. The album’s concept is split between Utopia and Dystopia, and there after the long symphonic rock overture (“”Frames & Orchids”) I was impressed.

The piano pop of “Ghosts Of England” is ambitious in its scope, and develops into a grand anthem. “What Lies Ahead” has the guitar riffs leading the way here, and its the best song on the LP. The sweet acoustic ballad “Written in the Cards” with organ chords and strings supports the layered vocals. After this the album labors a bit with “Car In The Sky” as the vocal gets a bit lost here. Progressive elements in the next few compositions take over and “Diverging Paths” sounds like Chris Martin doing Procol Harum. “In The Air” has a solid hook in the melody here, but the remaining tracks struggled to hold my attention. That said, Peninsula is pretty good album, and an interesting musical find.

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