The Spongetones - Odd Fellows - 2000

Power pop isn't dead, it's just middle-aged; the Spongetones have been leading purveyors of the genre for almost 20 years. And the fact is, power pop has never sounded better than it does on their first album in five years; the hooks on their Gadfly debut beat anything they ever released on the Black Vinyl label. "Beatlesque" is the term that pops inevitably to mind, what with those juicy-fruit chord progressions and that hint of a fake British accent ("boy meets gull," etc.). But the Spongetones deliver their pop confections with the weight and momentum of a Detroit muscle car -- song titles like "On the Wings of a Nightingale" and "Nightsong" notwithstanding, the general tone here is crunchy and loud. -AMG



The Spongetones - Odd Fellows - 2000/rs
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The Spongetones - Odd Fellows - 2000/mu

The Parties - Can't Come Down - 2008

There's a graceful psychedelic drift in the Parties' brand of jangle pop that sets them apart from the dozens of other bands that worship at the altar of Roger McGuinn, and on their first full-length album Can't Come Down, the band recalls the adventurous melodic sense of latter-day pop acts (most notably the Windbreakers) while still conjuring a pleasing retro vibe. There's an engaging push-and-pull between Jeremy Powers' ringing 12-string leads and the fuzzier bedrock of Sarah Mehlfeld's guitar figures, and the songs mine the rich melodic frameworks of classic folk-rock along with the minor-key twists of later acid-era stuff. (The rhythm section of Rex Padayhag on bass and John Morgan on drums doesn't call as much attention to itself, but they coax the music along with a gentle but insistent force.) While most of the songs glide along in a graceful midtempo, there are a few tougher sounding numbers such as "Radio," "Breaking Hearts," and "Damned by the Sunshine" that show the Parties can step on the gas when they feel like it, and the pedal steel on "Much Better" suggests these folks have been listening to their Gram Parsons records. But Can't Come Down is at its best when the Parties follow their psychedelic muse, like the Left Banke without the Baroque trappings or the Rain Parade stripped of their studied cool, and it makes for a quietly impressive debut from a band that can look to the past without sounding as if they're selling paisley nostalgia. -AMG



Mediafire

The New Fidelity - Tiny Slivers - 2007

The New Fidelity creates their own brand of 60's influenced Mod Power Pop which helps them shine through the smog of Southern California's indie rock sprawl. The NewFi takes the stage in well-tailored suits and play well-tailored songs about real things.
Taking a heap of Britain ala Small Faces, Who and Beatles with a cupful of soul by way of Motown and Stax, adding a dash of punk from the Clash and the Jam, The New Fidelity uses tight vocal harmonies and upbeat rhythm to make their audiences want to get up and dance.
Using Long Beach as a base of operations gives the NewFi access to all of Southern California allowing them to secure residencies from Safari Sam's club in Hollywood down to the Detroit Bar in Costa Mesa while playing for faces in every town in between. The NewFi can also be found at dance clubs and scooter rallies mixing it up by playing the same Mod and Soul classics that the DJs spin along with their own originals peppered in. -CD Baby



The New Fidelity - Tiny Slivers - 2007/rs
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The New Fidelity - Tiny Slivers - 2007/sb

King Khan & The Shrines - Mr. Supernatural - 2004

Brewing up a heady mixture of high-spirited rhythm & blues, real-gone psychedelia and middle-finger-flipping garage rock, King Khan has earned an international reputation as one of the wildest showmen in underground rock. Born and raised in the suburbs of Montreal to a family of Indian émigrés, Erick Khan first made a splash on the Canadian music scene in 1996 when he joined the frantic garage punk outfit the Spaceshits, where he played bass under the name Blacksnake. The Spaceshits released three albums and a handful of 7"s, but after nearly four years with the group, Khan opted to strike out on his own, relocating to Germany following a tour of Europe. Adopting the new stage name King Khan, he began assembling a solo act while also recording and touring with former Spaceshits vocalist Mark Sultan (aka Bridge Mixture and BBQ), cutting a pair of albums as the King Khan & BBQ Show. King Khan & His Sensational Shrines (the "Sensational" part tends to come and go at will) made their recorded debut on a split single with Reverend Beat-Man & the Nonbelievers in 2001, followed by the EP Spread Your Love Like Peanut Butter and the album Three Hairs and You're Mine. King Khan's band grew all the while and took on a number of remarkable personalities, including Ron Streeter, a percussionist who spent years touring with Curtis Mayfield and Stevie Wonder; Ben Ra, a German sax player who worships at the altar of John Coltrane and Sun Ra; Freddy Rococo, a French organ player who previously led a one-man band in drag; and Bamboorella, the Shrines' full-time go-go dancer. After cutting a split LP with the Dirtbombs, Billiards at Nine Thirty, Khan and the Shrines released their second full-length album, 2004's Mr. Supernatural. -AMG

You Am I - Convicts - 2006

The Australian juggernaut's first release in four years is a short (36-minute), sharp and succinct collection that continues the band's snappy punk-pop attack. Despite the group's illustrious history, at least in its homeland where the act has set a record for three consecutive number one albums since 1992, this is old-fashioned, scrappy garage rock with enough snotty punk influences to attract the hardcore faithful and plenty of melody to possibly coax some radio play from stations that added Green Day to their play lists. The disc explodes out of the gate with the roughed up, double time "Thank God I've Hit the Bottom," all one-minute-and-fifty-one seconds of it, but then catches its breath with a slightly more restrained but no less intense Cheap Trick-styled rocker "It Ain't Funny How We Don't Talk Anymore." Singer/songwriter/vocalist Tim Rogers' clever lyrics are firmly in place and he inserts them in songs that occasionally bring Give 'Em Enough Rope-era Clash influences to his established Replacements' style song structures. The Who and the Kinks are further references, the latter on slower selections such as the strummy "Secrets," the following track "Thuggery" and especially the Brit-pop-isms of "Explaining Cricket." Consistently energetic playing, sturdy hooks and Rogers' spunky talk-singing -- somewhat like an angrier Tom Petty -- propel these songs and push them past their obvious influences. Straightforward yet effective vocal harmonies on simple Stonesy rockers such as "The Sweet Life" (at four-minutes-and-twenty seconds, it's the album's longest tune) show the band's maturity even when the melodies are rudimentary. Individually, the songs probably won't bowl you over, at least on the initial listen, but the overall effect is of a seasoned yet still brash rock band doing its job with verve, self-confidence and gusto. Even 14 years into its existence, You Am I is capable of some surprises, but most impressive is how much they sound like edgy guys in their early twenties who love and live for rock & roll. At this relatively late stage of their career, that's a huge accomplishment. -AMG



You Am I - Convicts - 2006/rs
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You Am I - Convicts - 2006/sb

MiNsTeR HiLL - MiNsTeR HiLL - 1999

Calling all XTC fans! Is two LPs a decade too little? Here's a humble protégé snack to wile away those in between-meals. This New Jersey band is actually one Howard Herrick, whose sunny-pop confections, and especially the baroque hiccup of his straining high voice, are replicas of Andy Partridge's work in the early-to-mid '80s. It recalls singles such as "Senses Working Overtime," "Love on a Farmboy's Wages," and "All You Pretty Girls." Like that English Settlement/Mummer/Big Express blueprint, Herrick's not energized enough to be new wave, nor '60s enough to be retro, but lies somewhere in that middle place, where shy lads sing like chirping birds at all the elegance and sobriety life throws. Perhaps the production is lower-budget than that of his hero's work, but there's minor, fresh-faced appeal. -AMG



MiNsTeR HiLL - MiNsTeR HiLL - 1999/rs
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MiNsTeR HiLL - MiNsTeR HiLL - 1999/sb

El Goodo - El Goodo - 2006

Although Welsh psych-pop outfit El Goodo don't sound a bit like Big Star, the fact that they nicked their name from an old cult fave tune is illuminating: there is nothing about El Goodo that any reasonably knowledgeable student of pop history hasn't heard before. That said, the first-names-only quintet do a better job than most of synthesizing enough disparate influences that it doesn't sound like they're just ripping off one band in particular. The wry "Stuck in the '60s" says it all, really: faux Beach Boys vocals, queasy strings out of a Serge Gainsbourg record, a Mellotron part straight from the opening of "Strawberry Fields Forever," Forever Changes' mariachi trumpets, but all of them are brought together by a solid, hooky melody and a knowing lyric that says "Yes, we know we're not really doing anything new here." Other highlights include the accordion-powered waltz "I Tried But I Failed," which has unexpected echoes of Ram-era Paul McCartney, and the sweet-tooth psychedelia of the jangle-fuzzy "Surreal Morning," complete with backwards guitar solo. Blending the druggily experimental vibe of the Beta Band or El Goodo's friends and patrons Super Furry Animals with the kind of retro songcraft the Apples in Stereo mastered on Fun Trick Noisemaker and Tone Soul Evolution, this is strictly for those who like to play spot-the-homage, but the group's better than average songwriting and clear fondness for their obvious influences make this an enjoyable listen. -AMG

Sparkwood - Kaleidoscopism- 2007

Sparkwood is an Austin-based power pop band. Centered around the songwriting of vocalist and keyboardist Bart Padar, the band crafts elegant and dynamic musical arrangements ornamented by lush vocal harmonies. In addition to Padar, Sparkwood features the exceptional talents of drummer Mike Reynolds, bassist/vocalist Jonathan Nesvadba, and guitarist/vocalist Mark Doroba. Critics have compared Sparkwood's sound to musical luminaries such as Queen, Jellyfish, Cheap Trick and Fountains of Wayne. The band plays frequently in many Austin venues such as The Continental Club, Hole in the Wall and Ruta Maya. In the past, Sparkwood played series of shows in the Midwest, including the International Pop Overthrow Festival in Chicago.
In the Spring of 2007, Sparkwood signed on to Excellent Records in Japan. Their record, entitled "Kaleidoscopism", was released in April with a healthy reception from Japanese audiences.



Sparkwood - Kaleidoscopism - 2007/rs
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Sparkwood - Kaleidoscopism - 2007/sb

Clean Equations - Clean Equations - 2009

Unique, moody instrumentals and vocals highlight the debut release from Clean Equations. Mike Nyhan, vocals / guitar / keyboards, has brought in the reinforcements including Nero Catalano on bass (722), Gretchen Lohse on vocals (Yellow Humphrey), Geoff Morrissey on guitar (Law of the Sea), Jonas Oesterle on drums, Jo Schornikow on piano (The Shivers), and Jim Thomas on organ / piano / keyboard (Blue Floor Music), to make this an impressive, and polished, expansive head-trip! For after dinner, late night entertainment or to engage pleasent daydreams, Clean Equations features well-written, gorgeous, harmony-filled, music that will stay with you long after your first listen! The music and vocal harmonies are heavenly throughout. -Curty Ray

Check it out at State Capital Records and look for a full length disc from Clean Equations in the not too distant future.

Buy It Now!

Sparkwood - Jalopy Pop - 2005

Sparkwood is the latest recipe to emerge from Bart Padar's musical kitchen. With a new batch of ingredients including Mark Doroba (Three Years Ghost), Mike Reynolds (The Sleepwalkers, Violet Crown), and Sean Crooks (The Alice Rose), the band serves up a savory blend of pop-a-licious delight. Peering inside of Sparkwood's crock-pot of musical influences one will find a history of scrumptious morsels like The Beatles, Jellyfish, Queen, ELO, and Ben Folds. Their live shows are a junket of mellifluous fun. The boys in Sparkwood LOVE what they do and their performances are a vibrant celebration of this fact. They clearly share their collective enthusiasm with all who attend their shows. Heavy meals? No way! Sparkwood heads straight for dessert, their melodies a bundle of candy-coated excitation. Currently they're merely a secret treat but Sparkwood aspires to share their delectable creations with the rest of the world. The obvious consensus: Sparkwood is a fluorescent feast for the senses!



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Sparkwood - Jalopy Pop - 2005/sb

Maplewood - Maplewood - 2004

Maplewood is a low-key indie rock supergroup with members of Champale, Koester, Cub Country, and Nada Surf gathered together in the spirit of '70s canyon rock. Their self-titled debut brings back hazy memories of groups like America, Bread, and CSNY. The kind of groups who always seemed ready to break out their acoustic guitars and serenade the sweet hippie chicks around campfires and in hazy bars with heartfelt lead vocals and harmonies, ringing open-chord strumming, lazy tempos, and occasional pedal steel for added melancholy. There are also echoes of more modern bands like R.E.M. on "Darlene," Lambchop on "Bright Eyes," and Teenage Fanclub on the chiming "Morning Star." The spirit of Matthew Sweet also hovers over the proceedings, as he's been treading these light rock boards for quite a while. So there you have all the influences and connections, all of which don't mean much if Maplewood can't deliver the songs. Luckily, they do. Tunes like "Indian Summer," "Little Dreamer Girl," and the quiet epic "Desert Queen" sound like they were taken right off a Time/Life Sounds of the 70's comp. The rest are solid and memorable too. They escape being mere revivalists by investing their hearts into the material. There is no winking or obvious lifting of melodies. They create the feel of the sensitive California '70s with an easy, sweet manner and plenty of laid-back soul. Not bad for a bunch of short-haired, East Coast fellas. Line them up next to the lovely Autumn Defense and let the '70s begin again. -AMG

The Scooters - I Can See Your House from Here - 2002

The punchy pub rock-meets-power pop of the Scooters' debut EP, Peepshow, in no way prepared audiences for what was to come next with their 2002 full-length debut, I Can See Your House From Here. While Peepshow displayed the band's sense of melody and knack for well-crafted songs and solid production, I Can See Your House From Here is a remarkable step ahead in the maturity of the band's songwriting. While they've largely abandoned the punchy pop of their debut EP, with I Can See Your House From Here the Scooters have meticulously crafted a detailed, layered, sadly beautiful album. Gone is the sound of Argybargy-era Squeeze, and in its place the sound has shifted to warm, elegant pop reminiscent of Crowded House's Woodface. As both sounds are really variations on a theme, that may not seem radical, but it exhibits a remarkable amount of growth in a short period of time. Spiked with elegant background vocals and occasional piano and horn flourishes, this is an incredibly laid-back affair. But the Scooters are far from lazy, as their melodic skills have only strengthened with time. So while there is an almost complete absence of rockers here, the gentle acoustic pop of songs like "Guess Who" and "This Is How It Ends" is more immediate and more memorable than anything on their debut. As good as Peepshow was -- and it was a very good debut EP -- it in no way prepared audiences for this gem of a Brit-pop record, one that easily ranks among the best works of Travis and Coldplay.



The Scooters - I Can See Your House from Here - 2002/rs
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The Scooters - I Can See Your House from Here - 2002/sb