What's cool? White Reaper, "Make Me Wanna Die"

Breaking up never sounded so easy

White Reaper's secret super power comes from the the synth-pop keyboards that sneak in during the first break of "Make Me Wanna Die". Up until that moment, it's easy to pigeonhole them as another set of low--fi, power-pop garage rockers from somewhere in the U.K. The punk sneer and throbbing downstroke guitar are anchored by a dead simple beat and pulsing bass -- it all sounds fine, but when the Cars-style synth riff drops, the poppy bounce is completely unexpected. Another surprise is that despite singing with a slight British accent, Tony Esposito and the band are from Louisville, Kentucky. I'm guessing they spent a lot of time listening to the Sex Pistols and the Ramones, but they've found their own unique balance.



"Make Me Wanna Die" is a mixed up little gem, but in a fun way. It's a break up song, celebrating that moment right after the split is out in the open, when all you want to do is walk away and put it behind you. The relentless beat captures that discomfort and restless impatience, but the poppy keys say that they knew it was never going to work out anyway, and we should all just get over it.

White Reapers full length debut, White Reaper Does It Again, is due out in mid-July. That will be a treat.

Recording review - KDH, Piedmont Rose (2015)

Kaleidoscopic swirl of psych pop, rich bass, and acid etched guitars

^4.25/5.0

Bands don’t form in a vacuum; the best ones build on their inspirations and find their own signature voice. KDH (AKA Kill Devil Hill) come to the table with a distinctive mix of ‘60s psychedelic pop, sharp power pop, and a strong current of alternative rock. The songs on Piedmont Rose feature all of those influences, but jiggered together in a constantly shifting balance. The kaleidoscopic swirl.of styles tosses out one intriguing surprise after another, but the changes are rarely jarring. In large part, that’s due to Alex Smith’s rich bass work, which stands forward in the mix, leading the way. Smith is a relatively busy player, but his lines are tightly woven with the guitars.

It only takes four and a half minutes to become a true believer. “Beloved Devote” leads off the album and it shows just what kind of ride KDH can offer. The opening guitar strum sets up a riff lifted from The Rembrandts’ “I’ll Be There For You” (AKA the Friends theme), along with a hyperactive tom tom pulse. The bass jumps in with earnest and kicks Friends to the curb in favor of a mod power pop drive with the classic rock posturing of The Guess Who’s “American Woman”. Smith’s bass alternates between steady simplicity and looser excursions. The song drops back into the chorus with the title tag, “Beloved devote, Beloved devotion,” which boomerangs off into a new wave bridge that sounds like The Pretenders crossed with The White Stripes. After locking into a series of staccato chord jabs, the song cycles back into the opening riff. After all of the quick tempo punch of the first three minutes, the band finally relaxes into trippy freefall to catch their breath, but it’s a modest pause as they dive into a couple of hard rocking guitar solos to push to the end. There’s a natural flow from one moment to the next and familiar sections flash back, but the evolution of the song is more in keeping with a longer, more expansive piece.

“Time to Die” follows up with a similarly novel arrangement. It starts with some country-tinged rock guitar playing that would be right at home on The Rolling Stones’ "It’s Only Rock n Roll (But I Like It)", but soon enough it falls into a hard rocking avalanche and Smith’s bass slips into a Krautrock throb. The song will eventually run through psychedelic folk, moody rock, and acid etched guitar rock before crashing into a speedy ramp up ending. Where “Beloved Devote” had a plastic sense of genre, this tune ups the ante with strong tempo changes.

The sweetest track on Piedmont Rose is the instrumental, “Lettuce Rest (Appalachian Spring)”, which starts out with a mellow, jazzy vibe. The slow fade in wash intro reminds me a little of Copeland's piece, but that doesn't really justify the sub-title. Instead, it references other more modern songs like Supertramp’s “Goodbye Stranger” and Alice Cooper's "Only Women Bleed". Once again, the bass is stunning with warm, open ended lines. In contrast to the earlier song arrangements, the course here is to ramp up the tempo and reiterate through the changes until it snowballs. At peak intensity, the tune falls into a repeated descending bass riff that's ornamented with broken shards of shadowy guitar klaxon. which eventually subsides into a disjointed, restive finish.

Aside from Smith’s stellar bass work, the band’s new guitarist, Ian Lockey, invigorates the album with strong contributions on the thrashing centerpiece, “Ratchets”. Long time members Drew Taylor (guitar) and Leen Hinshaw (drums) round out the group. Piedmont Rose is a testament to how well all of these guys have collaborated to create an album that never rests on a single point, but still maintains a consistent energy and tone. What pushes this up a notch is how well they transcend the scattered musical allusions they casually drop.

Interview - Team Spirit

My first day at South by Southwest (SXSW), I had a chance to sit down with Team Spirit to talk about their eponymous EP, leader Ayad Al Adhamy’s experience playing with Passion Pit and how they approach their thrash pop sound. Prior to meeting the band, I had reviewed Team Spirit, which comes up in this discussion. Aside from Al Adhamy, we were joined by guitarist Cosmo Kilburn DiGiulio, bass player Roman Tobias (Toby) Pettigrew, and drummer Mike Addesso.

Ayad, I actually saw you with Passion Pit in back in 2010, opening for Muse.

Ayad Al Adhamy: In Colorado?

In Denver.

AA: God. That was awesome, playing in arenas.

Yeah, it was a huge venue. Passion Pit was completely different from Muse stylistically.

AA: Definitely

But it connected. You guys worked the crowd and a big part of that was your doing. On keyboards, you set up a lot of call and response that got the crowd involved.

AA: Lead keyboard playing. It’s kind of why I decided to go into lead guitar playing

How have you applied some of that to current band?

AA: I think that it actually worked in reverse. I’ve always been more of a guitar player and played in death metal bands with Toby, especially when we were in college. We’d call out, “E harmonic minor, I start on the first, you start on the third!” [makes guitar shred sounds, laughter]

Toby Pettigrew: There’s smoke coming off the fretboard.

Cosmo DiGiulio: “You start on the third. Go!”

TP: Satan was just hanging out in the corner, smoking a cigarette saying, “Nice one, guys.” [laughter]

AA: So really, starting off with Passion Pit was like me saying I’ve got to stop playing guitar for a second. I was studying music synthesis. I was doing circuit bending and keyboard stuff. “I’m going to play keyboards.” And I’m a terrible keyboard player, but I can play the leads like a lead guitarist. And that’s what worked out with Passion Pit and I did that for the time. Then came the moment when we finished touring for ages, sat down and thought, “I gotta play guitar!” That time was great. How could there be any regrets for that? I got to play arenas, but I’ve got to play guitar. I’m not a keyboard player.

So, the band was about to release…

AA: The second record, Gossamer. Right at that moment, everyone was like, “We’re all on different paths.” It was a beautiful split.

The right time.

AA: We had some drinks and it was the perfect time for all of us.

Musically and mood-wise, what you’re doing with Team Spirit has a totally different feel.

AA: Yeah, I think so.

The new band has a really interesting balance between thrash and precision as well.

AA: The metal-ness comes out in like the poppiest way! [laughs]

Yeah, it’s definitely got a pop feel to it, but you get that grinding thing going and then everybody goes off into a quick little riff thing, then back into grind.

AA: Oh, God, yeah.

It’s a very different kind of approach. Is that what you had been hoping to do? Were your roots more in that direction?

AA: It just came out that way. I mean, Prog-rock is what I was always into, back in the day, and songs like “Teenage Love” are almost like mini-prog songs, as far as like the different changes and sections.

Not a straight verse-chorus kind of thing.

AA: Yeah, where like the second verse has the weird guitar riff in the middle, which is really Thin Lizzy-inspired, since they’re one of my ultimate bands of all time.

I could hear the Thin Lizzy riff in that and I could hear J. Geils in your music.

Mike Addesso: J. Geils, wow!

AA: Who is J. Geils? I know the name…

“Centerfold”

[everyone sings]

AA: Oh, I love all that stuff!

TP: What was the harmonica player called, he kicks ass.

I can’t remember

AA: And Eddie Money…I love shit like that.

I could hear a lot of J. Geils on “Fuck the Beach”.

AA: Awesome!

CD: That’s great!

AA: There’s a lot of Chris Isaak on “Fuck the Beach” with the guitar but with a way different tonality. That’s really what I listened to a lot, learning how to play the guitar.

What got you into that? You’re a young guy…

AA: Guitar school, actually. I remember being 15. I grew up in Bahrain for high school and would spend the summer in London. I lived there when I was much younger. I went to guitar school and my teacher was like, “Here’s this band, Thin Lizzy, and we’re going to learn some stuff.” And I was like, “This band is awesome!” and I just dove into that. I just loved it all. I was a big Iron Maiden fan, Metallica…the more generic shred stuff, but Thin Lizzy has always been the most underrated band.

MA: They are pretty underrated

TP: That’s the guy, the harmonica player, Magic Dick. My dad loves him, “You gotta listen to Magic Dick wail on the harmonica.”

AA: Ahh. Thin Lizzy…I think another part of it is how Thin Lizzy are an American and British mix, with the Irish. A lot of my favorite bands and our band too are a mixture of the two. Like Fleetwood Mac are like half British. That’s one of the things that we’re stoked on. Especially Cosmo…

Yeah, I was going to ask you, Cosmo. Do you come from a similar guitar background?

CD: Yeah, a total guitar background. Same kind of vibe, too, where an older guitar instructor was turning me on to things at a younger age. It kind of marked my path early on, I guess. Getting into bands like Thin Lizzy, where it’s a dual guitar assault, but it’s two guitar players working together. Iron Maiden is the same way. They kind of have one melodic structure. It’s a lead, but it’s also very melodic.

You get those harmonized leads…

CD: Yeah. There’s something about two guitars, two harmonized guitar runs going together at the same time

AA: Oh yeah, man.

CD: For me, there’s no better feeling.

AA: It’s the best feeling. When I look to the left and Cosmo looks and I see a wink in his eye, a little glimmer. It’s gonna be a good one. We dual shred. I feel like a lot of people don’t…don’t feel good about it.

CD: It’s also cool that there’s a push-pull between our styles, where one guy might be tighter in one part and somebody else might be giving it a little more…

AA: I play ahead and he plays behind the beat and together we meet right in the middle. It’s awesome.

TP: And I have to try and fucking pull them in…”Ahh, come back!” [laughter]

AA: I don’t…That style has been kind of abandoned since the ‘90s, really, where dual guitars were prominent and melodic. Why? It’s awesome. It sounds fun. When we do it live, there’s a great response and it’s been abandoned.

CD: Trying to shoot guitar laser beams into the crowd

AA: Exactly that. The laser beams is pretty accurate.

Yeah, there is a magic to that, when you get thing locked in that tight. I was always into the Allman Brothers for that same reason. You get those harmonized lines where the guitars are intertwined and then they can shoot off in different directions. You bring the crowd in really tight. Then, when you split apart, when one person goes into a crunch and the other goes into lead, the audience just falls back, “Whoa!” I dig that back and forth kind of feel.

AA: That’s exactly what we’re trying to do. You nailed it. That what the Allman Brothers did and all these great bands from the ‘70s and the ‘60s. It’s like that one aspect is being overlooked in a lot of music. That’s what we want to do. We’re not overlooking that. We love that shit and there’s others that love that shit, too.

CS: Part of it too is the trade and the craft and its practice. That’s really what it comes down to. We’ve got to hash it out together for hours in the practice space and get it right.

AA: Yeah.

How did you guys hook up as a band? I’ve read your press release.

CD: Craigslist.

AA: It’s pretty accurate. I was like, “Oh, I’ve got to start a rock ‘n’ roll band.” I’ve known [Toby] for ages, I’ve known [Mike] for ages, too. And I’ve known [Cosmo] for quite some time and I was like, “Cosmo’s not in a band right now.”

TP: Why is Cosmo not in a band?

AA: Yeah, why is Cosmo not…then we hooked up last South By down here actually. He was working and I came down to work as well. We had a really quick shoot-the-shit, then we met up back in New York. As soon as we played together we just knew, we just knew it. And then we just fell in and everybody said, “Right, cool, let’s just do this.” The EP was pretty much done at that point as well. “Alright, let’s play some shows,” and now we’re doing a full length…

Yeah, right now you have the five song EP, that’s a short set.

AA: Well it’s gonna be a short set [laughter]. Short and furious. “What the fuck was that? Awesome!” But there are other songs we play.

You guys had the EP of covers for Valentine’s, [Love Is For Suckers]

AA: Did you listen to it?

I listened to a couple of the tracks. I haven’t listened to the whole thing yet.

AA: Which ones? Do you remember?

“Stay” and one other one.

AA: You should listen to the Meat Loaf one ["I Would Do Anything For Love"], my proudest moment as a cover person.

I haven’t heard that one yet.

AA: You gotta do it. Meat Loaf is the hardest thing ever, and I was like, “We’ve got to do this Meat Loaf cover. Whenever I’ve told anyone, they’re like, “Eww, that sounds like it should be terrible,” which is maybe what you’re also thinking. But I think we captured it pretty well.

It wasn’t that I had anything against it. I had gotten your other EP and it caught me at the right moment. I gave it a quick listen and I liked it enough to give it a more serious listen. So, the EP caught my ear and I dove into that. Then I looked around and found out about the Valentine’s EP, but I didn’t have enough time to get into it.

AA: The covers were more like an homage. Three of them, like “Stay,” one of those, were done before Team Spirit started. It was kind of the inspiration for Team Spirit. Rock ‘n’ roll! It’s fun! Those guys have been doing it since the ‘50s. We should be doing this right now. Those three started it off and the other two, we worked up as a band later on. We don’t play any of that stuff live. It was just a quick thing. This music’s fun.

So, you’re working on new material for a full length?

AA: Yeah! We rented a house…well, a barn up in the Catskills. I have a recording studio in Greenpoint that’s kind of cramped. Like a three room situation with awesome gear in there. But we all got New Yorked out a little bit and, “Let’s all go to the country! To the mountains.” There’s no cell phone reception up there. It’s like totally different. We set up the studio in the basement and the whole house is for tracking. A giant barn where we’ve been tracking all the drums. We’ve just been working at that, right now. We were right in the middle of that. We came to South By after being there for two weeks, just two weeks. As soon as we’re done, we’re going right back there to finish it off.

Excellent!

AA: Yeah, I’m really excited.

I’m looking forward to that coming out. I’d like to hear what you guys can do with a full album.

AA: I’m excited, too, to hear what we’re gonna do with it.

I know that you’re out front in the band, but is everybody contributing writing or are you writing the songs? How does that work?

AA: I mostly bring like 75% of stuff and then we go through like, “What do you guys think about this?”

TP: He writes the songs and we just kind of hash it out.

AA: Cut it up, try a million things. Everyone gets their taste in it and then we’re gonna see the final product. Yes! It’s been working out that way pretty awesomely.

Before I wrap up, I want to bring up one last thing. I mentioned this in my review. “Jesus He’s Alright!”

[Laughter]

AA: That was one of the funniest. Cause I…continue, I remember what you wrote.

Honestly, I had given the EP a really quick listen and decided to review it. Then I was listening to it at work, doing my day job. As I’m listening to it, it’s dawning on me. Is this like Cartman’s Jesus band on “South Park” [“Christian Rock Hard” episode]?

AA: I’ve seen every episode of South Park. I’m a huge fan by the way, so when you said that, I was like, “Yeah!”

The whole “Jesus” thing was so unexpected, so then I had to decide. Is this what the rest of the album is going to be and I just didn’t listen to the lyrics very closely? The rest of the songs didn’t hit any of that and then I read in an interview that you identified as an atheist.

AA: Yeah.

So then I had to go back and listen to that again, because this is not what I… [laughter]

AA: It’s really funny because this is like…there’s nothing specific in that song that says that what I’m talking about is not about religion. My parents are both really strict Muslims and I was brought up very…my dad’s really, really pious, he’s prayed five times a day for the last 50 years.

And from the Muslim perspective, Jesus is a prophet.

AA: Yeah, definitely. But I can’t write about Mohammed because then someone might die in the world. By writing about Jesus…

TP: Fatwa has been a thing

AA I’m not ready to die

TP: Salman Rushdie.

AA: I’d still like to be able to go back to the Middle East and hang out with my family. Just the whole concept of being saved, the whole idea is just intriguing. I don’t quite understand it. It’s a lovely idea and it just makes for a great chorus. “Come and save me, save me.” Who doesn’t want that? Yes, “Come on baby, you look so good,” cause it sounds so good. But it’s like a beautiful cake. Ah, God. We’re putting out a music video pretty soon for that song and that really is going to clarify the whole story of it.

Yeah, on the second listen, I was hearing it like a “close” personal relationship with Jesus.

AA: Like, “Hey, what’s up, Baby? I need me some more wine…” That’s really funny that you took that from it.

That was one of the more amusing misunderstandings I’ve ever had.

AA: I can understand, like Christian rock being kind of like, “Oh, God. Is this Lifehouse?”

I don’t have to hate the music just because somebody’s pushing their religion, but I don’t necessarily want to invest a lot of time into it.

AA: I’m glad you read up the “devout atheist” part. I’m glad I said that.

Well, the rest of the songs, too. “Jesus,” but also “Fuck the Beach.”

AA: But Jesus made the beach! [laughs]

I know you’re playing tonight and tomorrow [at SXSW].

AA: Yeah, we’ve got one show tonight, outside here, and then two tomorrow and two on Thursday. They’re pretty early, they’re both days, 12:45 and 7:00 p.m. We’re going to have relaxing evenings, which is the best way to do South By. Oh, God. This is my fourth one.

CD: Relaxing work-wise

AA: Yeah, but we get to actually enjoy some evenings, hang out with friends and see bands that we like and not be like, “We got to go to our seventh show today at 3:00 a.m. and I’m already drunk for the last seven hours.” I remember my first South By. After my first set, I was so drunk and heat-shocked that I threw up carrying my gear. “Oh…another show.” Never again. The worst thing is you land and free beer, free whiskey. “Yeah! It’s only 2:00 p.m.” You learn the hard way, don’t you?

Thanks for your time. I’m glad we were able to get together. I’m looking forward to seeing you guys tonight.

AA: Thanks, Jester. We’ll see you tonight.

(This interview first appeared on Spectrum Culture)

Recording review - Team Spirit, Team Spirit (2013)

Thrashy pop has just enough polish

Has Ayad Al Adhamy found what he's looking for? He quietly deserted his keyboards in Michael Angelakos' Passion Pit to pick up a guitar and get his thrash on. His new band, Team Spirit, couldn't be more different than Passion Pit's emotionally-layered. synth-driven sound. The Team Spirit EP wastes no time resetting expectations. Chiming guitars kick off a raw, uptempo pop masterpiece with "Jesus, He's Alright!". The mix of feedback and roughly screamed vocals give the verse a hint of the Cure's "Pictures of You", although the high energy pace leaves the comparison in the dust. The only drawback was that I had an immune response on my first listen, hearing it as an extreme Christian rocker:

You looked so good
And you're alright
Come and save me, save me

 After hearing Al Adhamy describe himself as a devout atheist, I had to go back and listen again. Now the more I hear it, it sounds like someone in "personal" relationship with Christ. In that light, the chorus reminds me of South Park's "Christian Rock Hard" episode. Regardless of how you hear the message, the breakneck punch is infectious.

The five tracks on the EP consistently deliver a steady stream of thrashing pop even as they vary the flavor: a retro touch of Sweet here, some J. Geils there. Their ace in the hole is their ear for the perfect amount of polish. The band plays with abandon, but the arrangements betray an attention to detail.  "Teenage Love" shows a great balance between rock credibility and power pop. The flailing opening gives way to a heavy rhythms adorned with tons of overdrive guitar. But as soon as the vocals come in, the guitars slip down into a light chop that lets the lyrics stand out. The bridge drops the dynamics into a tight drum/guitar partnership. Where a lesser band would settle for a simpler punch and run, Team Spirit breaks the song up into sections giving each a nuanced yin-yang of riff and grind.

The loose, joyful feel of this music may be the perfect antidote to Passion Pit's introspective self-obsession. but time will tell whether this is a temporary distraction or a longer term project. A five song, 17 minute EP is a fairly low pressure environment. I'm looking forward to hearing whether the band can maintain this level of quality for a whole album. For that matter, if I can catch them at SXSW next week, I'll see how they fill out a longer set. I'm guessing that Team Spirit shines in a club setting.

Recording review - Story of the Sea, Story of the Sea (2012)

A loose retrospective reveals the band's split personality

There are two sides to every story. That may have been Story of the Sea's idea when they put together their eponymous double album this year. Not just two discs, Story of the Sea showcases two bands that seem almost unconnected. The band on disc one offers an introspective, post-rock set of instrumentals. Disc two presents a tight power pop outfit with laid back vocal attitude and crunchy guitars. Bass player John McEwan describes the album as "B-sides and extras" and the liner notes provide the provenance for each of the songs. Some of the material dates back ten years, while other tracks are new or have new parts added. This historical collection provides a sense of the Minneapolis band's style(s). Their instrumentals have stayed fairly consistent, but the second disc shows a wider spread, with the oldest tracks taking side trips into indie folk, punk, and grunge.

Of the two personalities on Story of the Sea, the post-rockers come across as stronger. The band has more of a chance to show off their chops and arrangement skills. On the shoegazer head-trip exploration, "E Major Tom", the repetitive guitar line against a droning E give the drummer room to play with syncopation. There's a gratifying dynamic balance when the song staggers from soft keyboards to ballsy guitar riffs and back.

The high point, though, is "Lumberjack". The staccato guitar and bass are quickly joined by interlocking guitar lines and reverbing ride cymbals, building a tumultuous feeling. The bass then takes charge to drive the song forward. This shift between deliberate progressive riffs and psychedelic fringes create a sense of possibilities and consideration. During a bridge-like interval, the arrangement builds excitement with a conversational approach as the instruments finish each others melodies, like twins or an old married couple. Ian Prince's drum work propels the track forward against the hypnotic jam in the other layers; he maintains the beat, but never repeats the same rhythmic pattern for two measures. I can hear the distinct influence of Trail of Dead in his playing.

The band's power pop side is interesting, but doesn't provide as many surprises. Songs like "Pine Tree" and "Better Off" are locked down into the groove, with polished arrangements. The throbbing bass and fuzzed guitars are more constrained than their post-rock alter egos, but that's what the style demands. The songs are catchy, with some nicely turned phrases. Take the philosophical "Better Off":

We chug a mug, hug a slug enough
You're every girl I know
In a moment, you'll be cellular and roaming
You went out Palamino
It's gonna chew through everything
It's gonna eat our brains
And with the static, it'll generate a force field
And love will save the day
And I'd say we're better off this way

The newest tracks, "Future Subterfuge" and "How Lucky", have the cleanest production and show the band moving towards a more open indie rock direction. "How Lucky" has emotional depth and stands out as the most personal sounding cut. The acoustic and electric guitar mesh sweetly and Adam Prince's vocal starts out lush but turns rough to reveal a beautiful sadness:

It goes on forever
This light I can't even see
But if it breaks through the atmosphere
I'll take it home for the night
You make do on not much
A mattress and empty room
But with this light and kaleidoscope
I'll make a mansion of diamonds
Yeah...How lucky we are to be

The restrained arrangement complements the poetic lyrics; every note captures the subtlety of the mood: gratitude laced with painful memories and loss.

These, then, are the stories of the sea: regret and resolution, wry observation, tumult and drive, and inner explorations. The album may be a loose collection of B-sides and extras, but it's cool to hear a less well known band put together their own retrospective.

Recording review - Reel Big Fish, Candy Coated Fury (2012)

A return to classic ska rock form

Reel Big Fish caught my ear in 1996 with Turn the Radio Off. I wasn't alone: Sell Out was all over MTV and the third wave of ska (ska punk) was building in popularity. Compared to peers like Sublime, No Doubt, and The Mighty Mighty Bosstones, Reel Big Fish always brought a sardonic sense of humor to their songs. Whether clever or sophomoric, their smart ass attitude paired perfectly with their catchy tunes. Loosely categorized as ska punk, the band leaned towards a hard rocking power pop sound filtered through the uptempo ska beat. I've mentioned my love of "snotty boys with guitars"; Reel Big Fish were snotty boys with guitars and a smoking ska horn section.

After a five year dry spell, Candy Coated Fury offers some new original material. As a bonus, the band has reached back to the earlier sound of Turn the Radio Off and How Do They Rock So Hard?. They've succeeded, riffing off familiar themes of snarky misanthropy, screwed up relationships, and frustration with an unfair world. The titles alone set the mood: Everyone Else is an Asshole, I Know You Too Well to Like You Anymore, P.S. I Hate You. Frontman Aaron Barrett still delivers his sarcastic lines like a self-absorbed kid. It's cathartic to hear him launch an attack like:

Dear wicked witch I wasted my time with (P.S. I Hate You)
I'm finally leaving you today (P.S. I Hate You)

It works because the anger is tempered by the hyperbole, the über-cheery horns, and Barrett's juvenile, joyous singing.

The first single out is I Know You Too Well to Like You Anymore, which sets up a duet between Barrett and Julie Stoyer as a couple well past the point of You Don't Bring Me Flowers. Reel Big Fish has brought in a female guest singer before (Monique Powell on She Has a Girlfriend Now). Once again, the (flawed) chemistry with Barrett's character is part of the song's setup. As the song runs through the couple's disfunction, the shared memories are amusing:

JS: When we first started, even if you farted
I'd laugh and ask for more
AB: And in the beginning, we always were grinning
We didn't even know what we were smiling for
JS: We'd hold hands and then break-dance
Or rap like Dr. Dre
AB: And side by side, we'd drink all night
Disgusting all our friends with our PDA
JS: You felt so good deep in my heart and that's for sure
AB: But now I feel sick when I'm around you
It hurts me head to think of how
I know you too well to like you anymore

That sets up the real sniping. Meanwhile, the frantic pace allows for a speedy double chank ska guitar and tight horn fills. The chorus switches over into a hard rocking power pop drive.

The most grown up tune on Candy Coated Fury is the sarcastically titled Famous Last Words. It's a defeatist tune about giving up on music: "I'm gonna quit while I'm ahead". The punchline is that he missed his chance to go out on top: "It's too late, I'm a home body now." But Barrett could be singing about slitting his wrists and the ska beat would rob it of any pathos. It's clear that Reel Big Fish is happy to tackle any doubt that the band has something left to say.

One of my favorite tracks from the album does drop the juvenile humor to raise the ska flag. Don't Stop Skankin' sets up a Madness-tribute jam that riffs off One Step Beyond. Mostly instrumental, Reel Big Fish uses Madness' trademark of a repeated heavily echoed tagline. The sassy horn solo in the middle is moody and expressive. When the song ends, though, the track runs on to toss out another tribute, this time to A Message to You Rudy (Dandy Livingstone, remade by the Specials). Produced like an old record playback, the Julie Stoyers' vocals on the new lyrics are sweet and the horns hit the classic tune's call and response.

Reel Big Fish may not be breaking new ground on Candy Coated Fury, but I don't really want them to. They've done a great job of resurrecting their classic sound and delivering the party-happy, high energy attitude that their fans always loved. Raise a black and tan (it's two-tone after all) and enjoy the skank.

CD review - Jonathan Coulton, Artificial Heart (2011)

Bigger production emphasizes Coulton's strengths

I've been waiting for Artificial Heart with mixed feelings. The pre-release drop of Nemeses this summer maintained Jonathan Coulton's voice, but the full band sound was a big change. Until now, Coulton has largely been a solo acoustic performer. The larger arrangements on Artificial Heart bring out Coulton's strong pop underpinnings while keeping his skewed perspectives.

Many of the songs evoke a classic, old school power pop reminiscent of Joe Jackson or Marshall Crenshaw. The opening track, Sticking It To Myself, sets that tone. It's clever and fits for an artist making his break for a larger audience. Coulton acknowledges the changes with a nod and self deprecating wink in this power pop gem: "I'm the man now, and I'm sticking it to myself." It borders on my favorite "snotty boys with guitars" sound -- a tight arrangement featuring sneering vocals, horns, and perfect electric guitar fills.

Artificial Heart is full of these amusing moments. Another favorite is Je Suis Rick Springfield, which portrays a flustered Rick Springfield stuck in France among people who have no idea who he is. It's funny if you understand French, but the JoCo Wiki offers a translation for everyone to enjoy.

Coulton's poignant side also comes through on several songs. Artificial Heart sets up a metaphor (and excuse) for emotional disconnection, while Today With Your Wife sets up an ambiguous story of loss. This is especially effective with Coulton's soulful delivery and a solid piano arrangement. It feels like a Ben Folds track as it layers a casual surface with a deeper subtext. "You should have been there" - it could be about a widow, a neglected woman's affair, or maybe it's just an admonition to the subject of Artificial Heart.

Coulton has teamed up with some great artists on Artificial Heart. John Flansburgh (They Might Be Giants) produced the album and brought in some impressive guest singers. Suzanne Vega's vocal on Now I Am An Arsonist is achingly beautiful. Paired with a wistful guitar, it could have come out of Richard and Linda Thompson's back catalog.

Sara Quin (Tegan and Sara) covers Ellen McLain's vocal on Still Alive, Coulton's award winning closer to the game Portal. The theremin intro is an interesting addition, but it stays largely true to the feel of the earlier recording. The album also includes Want You Gone, Coulton's song from Portal 2.

Coulton has shared his fears about pushing his boundaries on Artificial Heart. And it's true that some classic JoCo fans may be disappointed at the fuller band sound, the guest vocals, or some sense that Coulton is selling out. But the album is a natural outgrowth of Jonathan Coulton's work. His songs blend humor and odd perspectives with real feelings and humanity. Artificial Heart's fancier production and extras don't mask or change that.

CD review - Fountains of Wayne, Sky Full of Holes (2011)

Pop masterpieces feature engaging stories and characters
Fountains of Wayne consistently deliver solid pop music. Sky Full of Holes, their fifth album, follows the band's regular formula of coupling a small set of thematic approaches with smoothly arranged, hook-laden pop music. While none of the songs is likely to rival Stacy's Mom for chart success, they're all fairly solid and interesting.

The key to Fountains of Wayne's success is their sly sense of humor, their interesting lyrical phrasing, and the way that most of their songs avoid musical cliches. Smoother and more accessible than Steely Dan, FoW's songs have a similarly distinctive East Coast vibe, albeit more power pop oriented.

The idealized Fountains of Wayne song elevates a prosaic subject, giving it unexpected attention. When the songs are about regular people, like a neurotic woman (The Summer Place) or a father (Action Hero), they are full of detail and reveal hidden inner monologues, quirkiness, or quiet desperation. Other times, the band takes a pedestrian topic, like a favorite pub (Radio Bar), and builds up a set of witty observations.

They also usually scatter in some oblique cultural commentary and some self-absorbed, first person relationship songs to spice up the flow. Sky Full of Holes hits these approaches as well.

The first two tracks turned out to be my favorites as they kicked off the more uptempo half of the album. The Summer Place is a power pop character study of a woman out of place in her adulthood. She's neurotic and depressed, but the music is declarative and cheery. Bored and disconnected, even her risk taking is somehow constrained:

She took a handful of mushrooms
That she bought from a surfer
She spent the night in a hospital room
So the doctors could observe her

At another level, though, the songs seems to be referring to the extended adolescence of many Americans.

The next track, Richie and Ruben, is another happy song about a quirky pair of losers and their various failed ventures. The details of their sketchy business decisions are amusing, but the real joke is that the singer is the sucker who's invested in them despite knowing them. The simple chord progression includes a couple of jazzy major sevenths and a tasteful fill guitar. Maybe it's the sardonic lyrics or Chris Collingwood's trademark casual delivery, but it's a catchy earworm.

Sky Full of Holes, like other FoW albums, doesn't stay in the comfortable space of jokes and irony. Shifting the mood, Cold Comfort Flowers is less direct. The verse lyrics are impressionistic, colored by darker pessimism:

Pink clouds, summer sorrow, oceanside swales
If you don't feel pretty with your face in the tide
Well, file your complaint in weary detail
And tell the little people you tried

The chorus is a pretty bit of harmonized Beatlesque psychedelia, implying a kind of acceptance. The mix of cynicism and acquiescence is another familiar combination from the band.

Sky Full of Holes doesn't signal a change in FoW's musical direction, but the band still feels fresh and interesting. Ignoring industry trends towards a low-fi, DIY sound and heavy attitude, Fountains of Wayne continue to polish their understated pop gems.

(Here's another single from the album: Someone's Gonna Break Your Heart)

CD review - Smithereens, Smithereens 2011 (2011)

The Smithereens had a sweet classic sound back in the late '80s. As one of several tight bands playing alt rock power pop, they stood out based on their songwriting chops and tight harmonies around Pat DiNizio's crooning vocals. Listening to Smithereens 2011 makes me want to dig out my skinny ties and straight leg jeans all over again. Even though it's been 12 years since the band's full original release, the Smithereens have preserved their signature sound. If anything, they're even smoother and slicker in their arrangements.

During the 12 year wait, they've release a couple of cover projects, including their version of the Who's Tommy (2009), and a couple of Beatles tributes. Smithereens 2011 trades heavily on the Beatles side of their sound, as they reach for the same harmonies, lyrical economies, and jangly George Harrison guitar. While those influences are scattered across the album, One Look at You hits it the strongest . If it weren't for DiNizio's distinctive voice, I could almost mistake it for Badfinger. Severo Jornacion's bass line soars melodically through the track.

The lead off single, Sorry, could have come off any of the Smithereen's earlier albums. The crystalline power pop sound smoothly melds '60s mod rock with '80s alt. "I would like to say I'm sorry, but I won't" -- it captures the smirking attitude of the '80s. It's a good choice to reassure old fans that the band is true to its roots, but most of the album satisfies that goal.

Fortunately, even though the Smithereens are products of their initial era, it's a sound that translates well to a contemporary sound. Retro sounds are big now, so the scene has caught back up with bands like the Smithereens again. I'm glad that the band is asking people to accept them on their own terms, though. If they had reached out more to a modern sound by throwing in some glitchy electronics or precious lo-fi treatment, it would have seemed calculated and patronizing. Instead, the Smithereens are offering a gift to their longtime fans and potential new audience.

There are a couple songs that stood out from the baseline. Goodnight Goodbye seems to evoke a bit of fellow New Jerseyans, Bon Jovi (a touch of Wanted Dead or Alive). Viennese Hangover shows some of the Smithereens' Who style psychedelia. Both of these songs hit the classic Smithereens sound, but pushed the boundaries a bit.

CD review - The Posies, Blood/Candy (2010)

The Posies haven't strayed too far from their sonic past. On Blood/Candy (due out September 28), they're still writing clever indie rock/power pop songs that balance wordiness with interesting musical structure. This isn't a rehash, though. The Posies sound modern and relevant, recalling more recent acts like Guided By Voices or Fountains of Wayne.

A few tracks, like Accidental Architecture, move beyond power pop into uncharted territory. This one is experimental in an early '70s style. It bounces between dissonance and harmonious sections, occasionally lurching into an easy jazz vibe. On the other hand, For the Ashes is arty, dressing up like progressive rock. The tension of the verses breaks for a processional bridge. These songs are good but aren't typical of Blood/Candy.

Instead, most the tracks stay within the Posies' comfort zone. Even within their indie rock realm, though, there's a lot of tonal variety: So Caroline, with its Fountains of Wayne vocals, Licenses to Hide, which features Lisa Lobsinger of Broken Social Scene, and Notion 99, which could have come from a Smithereens album. These are all strong songs and they don't all melt together.

The pinnacle of Blood/Candy is She's Coming Down Again. It starts with some sinuous melodic bass work that's highlighted with piano frills. The song see saws between reflective verses and a strong power pop chorus, complete with retro vocal harmonies. The lyrical phrasing is as good as anything the Posies have ever done. The balance between short fast fragments and longer held words creates a flow where each line extends the last one, sometimes shifting the direction of the sentence. The lyrics paint the picture of a girl whose life has spun out of control:

There's no funeral
Just the usual
Gathering in a small town
You never heard of
You thought that you knew her
She never told you she was
Sooo far from home
But home was simply the last place
The last place that she was looking for
That was your mistake...

Blood/Candy should satisfy older Posies fans and attract some new ones. The clever lyrics, cool sonic textures, tight arrangements, and catchy tunes make this perfect for the car or the iPod. Pour an Arnold Palmer and enjoy the ride.

CD review - New Collisions, The Optimist (2010)

The New Collisions offer up a danceable version of '80s power pop. Singer Sarah Guild's voice hits a mix of Chrissie Hynde, Terri Nunn (Berlin), and Mary Prankster. The band matches her sound, playing like the Pretenders meet 10,000 Maniacs. Some of the songs drift closer to the girl bands of the '80s like the GoGo's and the Bangles, but still maintain a rocking pop feel. Across the 9 tracks of The Optimist, they lay down an assertive guitar sound with backing synth elements.

A tense driving bass kicks off Swift Destruction. It reminds me of Elvis Costello and the Attractions. The changes are interesting, with some of Costello's phrasing and arrangement touches. The keys balance the strong guitar levels, providing the perfect accent. The flow pulls you in and sets your feet to tapping. The lyrics are about hitting the end of a long fall..."We're the dregs of America, I see that now." Still, there's a strong will behind this, rather than despair:

I'd like to order up a swift destruction
Make this house no more
I'd like to order up a swift destruction
Leave us for dead, leave us for dead, leave us for dead
Let the robins pick our bones

The song ends abruptly without tonal resolution, which sets up...Well, it doesn't really fit the next song, Over.

Over hits the other end of the New Collisions' sound, aiming for the girl-band pop. It's like a frantic Manic Monday crossed with the Pretenders, especially Guild's voice, which takes on that knowing Chrissie Hynde tone (like Middle of the Road). The splashes of rhythm guitar are straight from the Pretenders. Guitarist Scott Guild has a wonderful tone and nice ear for power pop. Casey Gruttadauria's keyboard work adds a satisfying veneer here, as well.

My favorite track on The Optimist is another speedy number, Ne'er-Do-Well. After a heavy intro, it leaps forward with Alex Stern's wonderful bass line. The lyrics are a clever, hyper flow of words. Sarah Guild's voice sounds something like Mary Prankster meets Natalie Merchant. The upbeat feel of the music contrasts nicely with the lyrics:

Bring me all your able bodied men
So I can live in comfort once again
And I can have a nervous breakdown every now and then
And no one will come visit me. a frightening possibility
I might seem desperate in fact, I like my dignity intact
Drinking on the deck, stopping payment on the rent check

The dire lyrics wouldn't work as well with more mournful music. It offers some hope and an element of "Damn the torpedoes".

There are plenty of other interesting tunes: Coattail Rider channels a chunk of Berlin's Metro and there's a decent cover of the B-52's Give Me Back My Man. The Optimist may be an ironic title, but it's a strong debut album. Sweet, sour and powerful: it reminds me of Jack and Coke.

Here's the only single available. Also, Swift Destruction is available on their MySpace page.

New Collisions - Dying Alone (PopMatters)

CD review - Unicycle Loves You, Mirror, Mirror (2010)

Mirror, Mirror bounces back and forth, from one reflection to another. On the one side, Unicycle Loves You plays pretty electro pop. Then, that rebounds into post-punk/power pop. Radio length songs are matched by odd, experimental interludes. This gives the album a fragmented feel, but many of the pieces are shiny and interesting.

Unicycle Loves You has dropped back to basics for their sophomore effort. Mirror, Mirror was self produced after shrinking the band down to a trio. Jim Carroll (guitar, keys, vocals), Nicole Vitale (bass, vocals), and J.T. Baker (drums) haven't thinned down the sound, however. The arrangements scatter plenty of sonic elements throughout the songs.

The album has a retro sound that harks back to the '80s and early '90s -- bits of Modern English and Psychedelic Furs are in there with the poppier sounds of Tom Tom Club. There's a Giant Walking in My Heart nails this pop aspect, while Justine captures that Modern English sound. Justine is guitar driven, but there are plenty of keyboard sounds lurking around the edges. The sound is fairly low fi, with a cheery beat that contrasts with the threatening feel of the vocals and lyrics.

Justine actually flows out of my favorite bit on Mirror, Mirror. The Wickedest Man in San Francisco is one of the snippet interludes. Choppy bass meets a distracted guitar riff. It flip flops between an ominous pensiveness and a brighter psychedelia. Then, it slides into a more intense psychedelic sounding bridge. But wait, it's actually an outro. This section sets the stage for a more epic song, but then the track is over. It's frustrating to hear such a promising musical idea be cut so short.

The title cut has shimmery, echoed vocals. It sounds so familiar: there's some of the sweet sound of Voice of the Beehive, but more detached... maybe there's a hint of the Bangles, too. But the music has a hazy aspect that gets more interesting as the background noise level builds. A summery lethargy permeates the track.

With that, I'll toast ULY with a mint julep, a drink that goes well with their summer soaked sound. Mirror, Mirror is due out on September 7 on Highwheel Records.

Concert review - The Booze, Earl Greyhound, OK Go

14 April 2010 (Bluebird Theater, Denver CO)
Some concert lineups will always be a mystery to me. Why did the B-52s lead off Joan Jett and the Who, back in 1982? Last night had me scratching my head again. Three bands, each with a different sound, historical feel, and musical statement. Fortunately, I handle cognitive dissonance well and enjoyed the show.

The Booze

First up, the Booze took us back to 1965 for a Merseybeat celebration. The music sounded like the Animals with a touch of the Yardbirds, while the bandmates each took a slightly different approach in crafting their retro fashion statements.

Left handed Randy Michael covered most of the lead guitar duties. Front man Chaz Tolliver brought a manic energy. In constant motion, he channeled Keith Relf of the Yardbirds, even playing a bit of harmonica. He also reached for some Mick Jagger strut.

The Booze slammed through their set, each song quickly leading into the next. This kind of polish also harkens back to the British Invasion era. Their grooves were right and period perfect. These guys are totally sincere about this; there's not a whiff of irony. Even though the crowd was young enough that their parents were too young to know the original inspirations, they could respect the energy and party mood that the Booze created.

Earl Greyhound

If the Booze hit the mid-'60s, then Earl Greyhound took us into the heavy sounds of late '60s/early '70s hard rock. The volume kicked up and things got really intense. Within a matter of seconds, the crunch of Sea of Japan drove all other music out of everyone's mind. This time, they had a bit more stage time compared to their spot on the Afro Punk tour. They used it wisely to pound through songs off the new album, Suspicious Package.

Live, they continue to have an incredibly rich, thick sound. Matt Whyte demonstrated that he's a master of guitar echo and feedback, manipulating his sound from a heady maelstrom to a wailing howl. Then, the music would crashing into a throbbing roar as he drove the rhythm. His stage presence is fairly inwardly focused, but he still made a good audience connection.

Kamara Thomas showed off her mastery as well, tearing up the bass and striking Jimi Hendrix poses as she nailed her breaks. Even while she amazed us with her playing, she'd throw her head back and raise a chill with her incredible voice.

It's hard to pick a favorite song of the night. Oye Vaya was spectacular, with nothing held back, but Shotgun edged it out. This version was looser and trippier, flowing with the moment, but it still built into a more aggressive piece, with Ricc Sheridan's drum work spurring the song into a full cathartic experience. His drums are physically imposing and even his fills feel like body blows. As good as their albums are, this is truly a band to catch live.

OK Go

The full crowd filtered in during Earl Greyhound's set. While they enjoyed the mayhem, they were really here to catch the headliner. OK Go had enough equipment to set up to provide a nice pause before shifting gears again, this time into a contemporary take on '80s power pop. Their sound is catchy and mostly upbeat.

While the whole band did a fine job of playing, frontman Damien Kulash was really the star. He had a loose, conversational style to his banter that felt very casual. Whether he was thanking Denver for not mugging them (or killing them) or talking about sin and getting back to God ("I do shit you can't even imagine. I do shit I can't even imagine"), the audience basked in his attention. Hamming it up a bit, he often came across as a bit smug, but that stage persona fits him well and didn't hurt him with the crowd.

Much as their unique videos have garnered a lot of attention, OK Go's stage show was full of interesting elements, from a confetti cannon to the small video cameras feeding the backdrop screen on some songs. There was even a handbell version of What to Do. Sometimes, it was a much spectacle as it was a rock show.

OK Go played a good selection of past hits and new songs off Of the Blue Colour of the Sky. They led off with the older Invincible, which was quite a bit looser than the album version. That led right into the newer White Knuckles, which had the audience singing along. With every song, the crowd got more ecstatic. When Kulash came off the stage to play Last Leaf in the audience, that was almost too much. They also did one cover, of the Pixies' Debaser, with Kulash attempting to imitate Frank Black.

The set ended on a high note. Damien brought up a young guy from the audience who had posted a drum cover video on YouTube. While he added some drum work to the song, Damien coached the crowd on singing the bridge. It was a great set closer.

The encore added some more gimmicks, with special light up instruments (complete with frickin' lasers). At some level, it almost seemed like too much, but nobody in the theater was complaining.

As I mentioned, this was weird line up of acts, so there was no single drink for this show. Maybe a Tom Collins to start, followed by a Mackeson Stout, and finishing up with a Long Island ice tea. Not necessarily a drink menu I'd enjoy, but the concert was just fine.

Many more photos at my Flickr.

CD review - Spoon - Kill The Moonlight (2002)

Slap-CHOP! Themes of alienation and how to cope inspire staccato power pop songs. On Kill the Moonlight, Austin's Spoon channels new wave/power pop bands like Wire through a more modern indie rock filter. The songs all have a touch of new wave emotional distance as they deal with helplessness, numbing distractions, and disaffection. The driving, choppy beats make it an interesting listen and keep it from slipping into some kind of emo sink.

Normally, production values don't stand out unless the band is going for a low-fi feel (e.g. some of Beck's early work) or heavily using a technology like AutoTune. The stripped down arrangements on Kill the Moonlight are engineered to emphasize a disconnection between the component parts. In particular, several songs have piano parts that sound photoshopped in. That said, there's a retro vibe here that's compelling.

There's an overwhelming Brit feel here, with many of the songs evoking groups like XTC (Something To Look Forward To), T. Rex (Someone Something, You Gotta Feel It), and Elvis Costello (All the Pretty Girls Go To The City). The saving grace is that it's a set of influences, not rip-offs.

All The Pretty Girls Go To The City is one of my favorite tracks. Aside from the saturation of Elvis Costello throughout the song, there's a wonderfully ominous piano that has some of the same threat as the guitar in Costello's Watching the Detectives. It's complemented by shards of echoey guitar. Although the lyrics are a bit ambiguous about these girls, the music is a walk down a rainy alley that acts as a warning.

Vittorio E stands out as unique on this album. The sound is nothing like the rest of the songs. A collection of recording studio artifacts coalesce into a song. It builds, surrounded by a haze of U2, with layers of elements accruing into a pearl of a song. It's pretty and smoother, without the relentless staccato beat of the other songs. There's still some of the same sonic distance, so the pieces don't mesh as smoothly as they could, but it's a fine after dinner mint of a song.

Enjoy a double shot of espresso while you listen to Kill the Moonlight.