Purist, Catchy Powerpop From Librarians With Hickeys
Akron, Ohio band Librarians with Hickeys play expertly crafted, catchy, 1979-style powerpop. They jangle and clang, they like layers of guitars, cool keyboard accents and vocal harmonies. And they would have been huge if they’d been around back four decades ago (that’s a compliment). Their debut album Long Overdue is streaming at Bandcamp,
On one hand, this is the kind of album that’s a dead giveaway for what’s in the band’s collective record collection. On the other, the four-piece group – guitarists Ray Carmen and Mike Crooker, bassist Andrew Wilco and drummer Rob Crossley – have good taste. The opening track, Until There Was You is sort of Kirsty MacColl’s They Don’t Know About Us with twin-guitar grit and more of a four-on-the-floor drive. That Time Is Now follows a familiar rock progression (the best a band’s been able to do with it is the Church’s Bel Air) with dreamy harmony vocals by Lisa Mychols of the Seven And Six. And Then She’s Gone recounts the final scene in the film Ghost World where Enid, the Thora Burch character, gets on that magic bus at the end: the tune is a silkier take on Guided by Voices.
Be My Plus One is a sunshine pop number: Mrs. Brown, you’ve got a lovely daughter, I’d like to ask her out. Next Time is pure 80s, complete with watery chorus-box guitars, Crossley getting the clap-clap going with his syndrums. Likewise, the trebly, jangly, vamping Obsession could be the Church in a particularly poppy moment circa the Seance album.
The band mash up organ-livened Lyres garage rock with a little spacy new wave in Leave Me Alone and follow that with Poor Reception, another Church-like janglerocker that also recalls legendary/obscure 80s Long Island space-pop band the Hatracks. Wilco goes way up on his G string for the boomy chorus hook in Silent Stars, the album’s most hypnotically psychedelic track.
Carmen breaks out his Rickenbacker for extra clang in Alex, a gentle backbeat folk-rock number. The Church – that damn Oz band again! – come most strongly to mind in Looking For Home, but in the vein of a big rocker from, say, the Gold Afternoon Fix album. The band close the record with Black Velvet Dress, Crossley’s piano rippling above the guitar flare in this empathetic tale of a girl throwing a party for herself. Singalong hooks, expert craftsmanship, no wasted notes: what more could you want from guitars, bass and drums?