New York Music Daily

No New Abnormal

Tag: powerpop

A Hilarious Powerpop Party Record From the Airport 77s

The Airport 77s write very funny, very catchy, perfectly retro late 70s style powerpop songs. If this was the year that the cheesy movie the band took their name from came out, they would rule the airwaves – and that’s a compliment. And their jokes extend beyond the lyrics to the music as well. In a year where so few rock acts have been releasing records, their debut album Rotation – streaming at Bandcamp – is a blast of fresh air.

The first track is Christine’s Coming Over, about a girl who won’t settle for scrubs – so the dude in the song has to frantically borrow a vacuum cleaner. And his choice of makeout music is spot-on for 1977! The band – frontman/bassist Chuck Dolan, guitarist Andy Sullivan and drummer John Kelly – nail all the requisite late 70s tropes. Brisk 2/4 beat, muted guitar downstrokes keeping time, twin guitar solo, the works.

When You’re Kissing On Me (Do You Think of James McAvoy) is a snidely funny scenario we all know too well: your crush just can’t get over theirs, with embarrassing results. The band hit a burning, minor-key, reggae-inflected groove with Shannon Speaks – it seems to be about a girl in a coma who has some kind of secret.

With its “whiskey/frisky” rhymes and devious innuendos, Wild Love comes across as the Romantics on steroids. The guitar quotes in All the Way, beginning with a smartly chosen Pink Floyd riff, are priceless, and match the lyrics. Their cover of Girl of My Dreams is more four-on-the-floor than the Bram Tchaikovsky original.

Strutting along on Dolan’s catchy bassline, Bad Mom! is the funniest track on the album: this horrible parent lets her kids play with water pistols! And she’s been known to sneak a smoke every now and then! The group make you wait til the second verse of the final cut, Make It Happen before they drop a couple of their best jokes on you. Killer party record all the way through.

The Sideshow Tragedy Take an Embittered Detour into Powerpop

Over the past decade or so, Austin duo the Sideshow Tragedy have done everything from unhinged, electrified country blues, to feral hillbilly boogies and savagely lyrical, hip-hop influenced political punk rock. Their masterpiece, and their most political release by far, is the searing 2015 album Capital. Their latest one After the Fall – streaming at Bandcamp – is a breakup album, sometimes allusive, sometimes completely grim.

They open with the title track, a departure into vintage 70s-style CBGB powerpop, guitarist Nathan Singleton’s surprisingly lushly layered guitars and bass over drummer Jeremy Harrell’s syncopated drive. “Wore a mask so long it became my face/I went in circles for years just to get to this place,” Singleton recalls. Prophetic, huh?

Ben Senerfit’s baritone sax punches in on the lows in Easy Action, which comes across as a mashup of Jon Spencer and Marcellus Hall. Guest lead guitarist Marc Ribot plays sizzling, noisy blues over Kenny Siegal’s blustery layers of keyboards in Hold On It: “I only walk on eggshells ‘cause I like the way it sounds,” Singleton snarls.

He channels Lou Reed, both musically and vocally, in The Lonely One, then he goes back toward the gutter blues of the band’s early years in the resolute Capital Crime. They hit a surprisingly funky pulse in the album’s best, most aphoristic and Dylanesque track, Same Thing:

Edge of the water at the end of time
You can see the other shore on the horizon line
It’s a trick of the light, it’s not too faraway
I’m at the bottom of the bottle next to the bay

Singleton’s Blood on the Tracks reference later on packs a wallop.

“Nothing to live for, it’s something to do,” Singleton muses in What I Mean, a stomping, stark, hypnotic blues anthem in a Jesus and Mary Chain vein. He goes back to Lou Reed mode over Harrell’s simple, steady stomp in Forty Days and the album’s cynical closing cut, Young Forever.

A Powerful, Lyrical Solo Debut by the Jigsaw Seen’s Dennis Davison

Dennis Davison built a formidable back catalog as the leader of the Jigsaw Seen, one of the best and most lyrical psychedelic rock bands of the 90s and zeros. They played their final New York gig in late March of 2017 at Bowery Electric, an inspired set which proved that even at the end, they hadn’t lost their edge. In the time since then, Davison has hardly been idle, and has a characteristically brilliant new solo album, The Book of Strongman streaming at Bandcamp.

Here, Davison plays all the instruments. he’s always been a solid guitarist and distinctively articulate singer, but it turns out he’s competent on bass, drums and keys as well. As usual, his historically-informed, metaphorically bristling narratives scream out for the repeat button. The album’s opening number, Strongman and Sonny James, a big, stomping, angst-fueled anthem, follows a grim escape scenario:

Yellow bellies left for dead
Everyone was seeing red
Sanity was hanging by a thread
Juvenile soldier, flee!
Run like hell and return home safely to me

The ending comes as a surprise and makes perfect sense considering the current state of the world.

Shadow on a Tall Tree has a 60s Kinks/Merseybeat pulse rising to a lush ELO-ish chorus, awash in tremolo guitar and what could be a Stylophone keyboard. In the Folly of Youth begins as a wistful accordion-fueled folk-rock tune and hits a swaying Bowie-esque gravitas:

When the living is free there’s no misery
So it is and it was throughout history

Museum Piece is a sweeping, dreamy, subtly slashing, distantly Beatlesque portrait of a drama queen who’s seen better days. Bitternesss and disillusion reach fever pitch in the otherwise lushly anthemic Can You Imagine, which could be an early 80s number by the Church. Heaven Bound has a susupiciously blithe, strutting new wave bassline and layers of chilly guitars and keys: “You set your sights on the sky, that doesn’t mean you can fly,” Davison advises.

Organ and layers of keys swirl over stately strummed guitars in The Spoken Word, a meticulously detailed, cynical social media era parable. With bubbly bass paired against fuzzy guitar layers, Auras is the closest thing here to Davison’s old band.

Awash in vintage analog chorus-box sonics, the toweringly bittersweet Aberdeen Vista is arguably the album’s high point:

Clipper ships have sailed
Politicians jailed
Birthday cards were mailed
Locust on a string
Orange and black birds sing
Now we live as kings
In Aberdeen Vista

Davison winds up the album with What the Hell Is That Noise, an uneasily tongue-in-cheek, Love Camp 7-ish reminiscence of teenage experiments in avant garde soundscaping, complete with samples from his 80s basement duo project Bizarre Trolls with Kevin Mackenzie. You’ll see this on the best albums of 2020 page at the end of December, assuming there is a December this year.

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?

Debra Devi’s Latest Album: A Feast of Psychedelic Guitar

Psychedelic guitarslinger Debra Devi opens her new album, A Zillion Stars Overhead – streaming at Spotify – with When It Comes Down, her John Coltrane Stereo Blues. If you’re a Steve Wynn fan, you get the reference: it might not be her signature song, but it’s the big epic jam that everybody screams for at the end of the encores.

This one’s the most epic she’s released yet (although we can hope for a concert version someday). Devi’s multitracks, from gentle acoustic phrases to sunbaked scream, shift through the mix over the slinky rhythm section of bassist Jorgen Carlsson and drummer John Hummel, with a stampeding doublespeed interlude.

She redeems her cover of Neil Young’s The Needle and the Damage Done not only with her honeyed, bruised vocals but also by speeding the song up and giving it a plaintive slide guitar solo: freed from its hippie-rock associations, you really hear the cautionary tale.

Just when you think Stay is a twinkly stadium rock anthem, Devi hits her distortion pedal. Damn, this woman shreds. The album also includes an edited version of When It Comes Down as well as Canna Indica, an echoey riff-fest: now what could that one possibly be about?

Devi’s playing a rare solo gig on 6 PM on Aug 29 at Molly’s House Concerts in Linden, NJ. Cover is $25; email for location/deets and to reserve your spot in the outdoor garden

Classic Influences and Catchy Rock Tunesmithing From the Fast Romantics

Toronto powerpop band the Fast Romantics’ new album Pick It Up – streaming at youtube – is their most keyboard-driven record yet. They draw on classic rock songcraft from the 60s through the 80s and have a sense of humor. This one isn’t as funny or melodically ambitious as their 2017 American Love album: it’s closer to what the New Pornographers have been up to most recently, along with influences from the Beatles to gospel.

The album opens with the title cut, a  slow gospel piano ballad and an enigmatic look at the potential pitfalls of artistic creativity. We’re Only People has George Harrison-style slide guitar over steady Penny Lane-ish piano: “How did you find me in my hideout, how did you get me to come down?” frontman Matthew Angus wants to know.

Keyboardist Lisa Lorenz’s fuzzy 80s textures buzz beneath more of that swooping slide guitar in Made For You, a techier update on the Born to Run-era Springsteen the band love so much. The keys get starrier and also more symphonic in Hallelujah What’s It to Ya, which is more subtly irreverent than the title would imply.

The Rules is a wry Let It Be Beatlesque piano ballad, a sardonic look back at the price of nonconformity, with an unexpectedly defiant coda. “Watch me blow it all on sellout serendipity,” Angus muses in Top of the Mountain, a stoner trip-hop number that brings to mind early 90s Pulp. 

The band follow Iso Radio, a creepily nocturnal, vaguely apocalyptic piano theme, with the album’s final track, Do No Wrong: “i made a mess so I’m clearing my history,” Angus relates over a catchy backdrop that’s part Motown, part new wave.

Rare Archival Discoveries From an Iconic Powerpop Band

Skooshny are contemporaries of both Elvis Costello and the Church, two references which validate the consistently brilliant quality of the band’s output, They’re revered in the powerpop demimonde for their bright, catchy, guitarishly rich anthems and frontman Mark Breyer’s slashingly clever wordplay. The band more or less called it quits back in the zeros, but Breyer has continued with a similarly erudite, irresistibly catchy series of mostly duo projects under the name Son of Skooshny.

It seemed that Skooshny’s final release was a brooding cover of a rare late 60s Robin Gibb single, Saved by the Bell, but it turns out that there was more rare, unreleased material in the can. Their new ep, Deep Dive is just out and streaming at Bandcamp. It’s a collection of newly digitized recordings dating all the way back to their teenage days in the 70s.

With Breyer’s labyrinthine chord changes and guest John Bunkelman’s dancing bassline, the primitive 1972 basement performance of One Wrong Move – the first thing that two of the band’s core members would ever got on tape – is a dead ringer for the Move circa 1967, with an American accent. By comparison, the second track, No For Yes is prime Skooshny, featuring all three members – Breyer, guitarist/bassist Bruce Wagner and drummer David Winogrond – and bristles with layer upon layer of guitars and a characteristically aphoristic Breyer lyric.

The final three tracks are lo-fi home recordings that would later be released as full-band productions in 1991. The tantalizingly brief Masking the Moon – a song title for our time, huh? – is just Breyer slamming out catchy changes on his acoustic, with some vocal harmonies overdubbed afterward:

Napping without dreams
Is sleeping without real proof
Tapping on the beams
Is a cat on a cold steel roof
The cafe band plays on and I open my eyes
Two moons in the mirror that I recognize

Likewise, Dessert For Two features Breyer solo on twelve-string; it could be a particularly catchy, wistful Marty Willson-Piper folk-rock number. The final cut here is Malibu, a haphazard home recording featuring multi-instrumentalist Mike Thompson, part Beatles, part southern soul. If this is Skooshny’s genuine swan song, they had a hell of a run. Not bad for a band who in their entire multiple decade career played one single show: an Arthur Lee benefit.

Catchy, Purist, Relevant Powerpop Songcraft From Elisa Peimer

It was about fifteen years ago that Elisa Peimer played a reasonably well-attended show at a long-gone Williamsburg venue, the Blu Lounge, as part of a multi-artist bill staged by the songwriters collective Chicks With Dip. It was early in her career, and she was one of the first of the acts to hit the stage that night, but it was obvious that she had a purist pop sensibility and a compelling blue-eyed soul voice.

In the years afterward, she’d contribute to a popular anthology celebrating the 40th anniversary of Joni Mitchell’s Blue album and then tour with the core group behind it. She’s also a founding member of the Sonic Youth and Wilco powerpop spinoff The End of Love, and has put out a series of solo albums as well. Her latest one, Navigator, is streaming at Spotify.

The opening track comes across as late 70s Pat Benatar without the cliched heavy metal guitar. In I’m Gonna Start, a defiant anthem about getting off the screen and staying off, the references are quaint: just tv and radio. But maybe Peimer’s already a step ahead of most everybody else in getting off of evil Facebook and Instagram too.

The second track, Shouldn’t I is a throwback to late 70s/early 80s CBs style powerpop. Peimer’s got a great, purposeful band behind her: Jay Deegan and Irwin Menken on guitars and a killer rhythm section of Whisperado’s Jon Sobel on bass alongside longtime Graham Parker and Mekons drummer Steve Goulding.

Cyrano has a Highway 61 Dylan sway and a telling lyric:

He thinks he isn’t pretty
But he’s being pretty blind
He doesn’t seem to know
That the girls, they always go for a beautiful mind

Adrift is a metaphorically loaded, electrified sea chantey, reflecting back on getting away from ever-present distractions and finding one’s own way. Peimer goes back to 6/8 time for the soul-tinged, ballad End of the Sunset and winds up the record with the bitttersweetly elegaic Slipped into a Dream. If catchy, purist tunesmithing is your demimonde, Peimer should be on your radar.

Wickedly Catchy, Ferocious, Funny Powerpop From Wes Hollywood

Powerpop is one of the few niche genres left where if you make an album, you can sell a lot of vinyl without touring if word gets out that it’s good. That’s because the cult that lives and dies for Cheap Trick, the Go-Go’s and the Move never got rid of theirs. Wes Hollywood‘s 2019 album Dynamite – streaming at Bandcamp – deserves to be one of those. This band’s level of craft is astonishing, a real throwback without being a complete ripoff. If this was 1980, they would rule the airwaves – and that’s a compliment to the frontman/guitarist, lead player Pete Javier, bassist Spencer Matern and drummer Tom Shove

With a fond nod over the shoulder to a famous Buzzcocks hit, the opening track, Four Pound Twenty is a really funny story about a totally broke guy trying to hook up with a girl after missing his train home from a forgettable concert. Other than the reference to a lost phone, it could be a BBC hit from 1979.

When Sunday Rolls Around is a wryly simmering, blues-infused midtempo number, akin to LJ Murphy with beefier production. “You’ll never want to wind her up, she’ll never stop,” the bandleader sneers in Small Talk, a lickety-split pub rock tune. Nothing to See Here is a gorgeously jangly, cynically raging kiss-off anthem: there’s Orbison, and Ray Davies, and the Jigsaw Seen all wrapped up in overdriven guitar and soaring bass.

“You said some things that were not worth mentioniong/Just like the rings on the hand of a pensioner,’ Wes observes in Evelyn, a scampering, pummeling, tantalizingly brief burst of catchiness. The story seems to continue in the equally anthemic, riff-driven I’ll Take You Back: this broke ass dude just refuses to quit.

The blend of roaring, clanging, searing guitars over the breathless pulse of Get It Right is as tasty as the lyrics are sly. The calmly defiant, Kinks-inspired individualist’s anthem Fall Up a Ladder has a cynical vaudevillian strut. Kill Me With Your Smile is a mashup of riffy T-Rex and early Elvis Costello.

Dandelion is not a cover of the the Rolling Stones monstrosity but the closest thing to Cheap Trick here. The album closes with its finest, most slashingly majestic cut, No One Loves You, with echoes of both the Church and the Act. How rare that any group could evoke those two (semi) obscure, pantheonic bands in the span of about three minutes.

Gorgeously Bittersweet Powerpop and Retro Rock From High Waisted

The level of craft, and depth, and command of a whole slew of retro rock styles in High Waisted guitarist/frontwoman Jessica Louise Dye’s songs is just plain stunning. Her band’s debut album On Ludlow made the top ten albums of the year list here in 2016. The group’s long-awaited follow-up, Sick of Saying Sorry, is streaming at Bandcamp. On the mic, Dye really airs out her upper register this time around, and although the band pull back from a somewhat misguided second-gen new wave tangent they went off on for awhile, there’s more 80s influence.

It gets off to a false start. Things get better in a hurry with the early 80s-style powerpop of the second track, Modern Love and its exhilarating chorus. Bassist Jeremy Hansen adds a catchy reggae pulse in tandem with drummer Jono Bernstein under the starry, lingering guitars in Drive: it’s High Waisted at their Lynchian best.

Burdens is a weird mashup of jazzily vamping 70s soul ballad and Phil Spector pop, but it works. Dye teams up with lead guitarist Stephen Nielsen for an insistent attack in the powerpop anthem Easy As It Comes, with yet another killer, regret-tinged chorus.

She wistfully reflects on the struggles of her friends scattered around the world in the wryly titled Cereal: it’s like Amanda Palmer without the theatrics. 8th Amendment has a loping, syncopated surf rock clang, calmly defiant vocals and an unexpected turn into Brian Jonestown Massacre-style psychedelia.

Eyes Crying is the album’s most gorgeously angst-fueled, Lynchian track: the Wallflowers’ toweringly elegaic classic Sixth Avenue Heartache comes to mind. Giving Up has a steady backbeat, a Mellotron (or a close facsimile) and Dye’s most spine-tingling vocal flights: it’s the album’s strongest cut. She and the band bring it full circle with I’m Fine, a blend of early Go Go’s and swirly dreampop. Fans of the darkest, torchiest songwriters to come out of this city in recent years – Karla Rose, Julia Haltigan and Nicole Atkins, at least in her early career – should check out this band.