Little Barrie - Stand Your Ground - 2006

Little Barrie is a London -based trio whose sound is an exciting blend of hard rock, blues, soul, and funk that calls to mind classic bands of the '60s like Traffic and Cream, and whose loose and groovy earthiness earns it a place near the front of the jam band class. Formed in Nottingham in 2000 by Barrie Cadogan (guitar, vocals), Wayne Fulwood (drums, vocals), and Lewis Wharton (bass), the group released a handful of singles for small labels like Stark Reality and Showdown before getting signed to Genuine Recordings and beginning work on its first album. Produced by indie pop legend Edwyn Collins (whom Cadogan had met while working in a guitar shop), We Are Little Barrie hit the shops in February 2005. Recorded over the course of 23 weeks in Collins' studio, working on Wednesdays only due to Collins' busy schedule, the band concocted an album that sounds both meticulously crafted and bashed out. The record, combined with the group's fiery live performances, gave Cadogan a rep as one of the best young guitar slingers on the scene and led to his subbing for Morrissey's guitarist in some live dates and collaborating with Johnny Marr and inspiring Collins to pick up his guitar again. Artemis Records released the album in the U.S. at the end of June 2005. Before the recording of their second album, Fulwood, who had tired of the rock & roll lifestyle, left the band. Sophomore record Stand Your Ground was recorded during 2006 in New York with producer Dan the Automator at the helm and Blues Explosion drummer Russell Simins, and in London with Mike Pelanconi producing and new bandmember Billy Skinner on drums. The album was released in 2007 by PIAS/Wall of Sound. The band went back into the studio with Edwyn Collins and began work on their third album, King of the Waves, which was released in 2011. -AMG

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Sally Crewe & The Sudden Moves - Transmit​/​Receive

Austin Texas based Sally Crewe & The Sudden Moves have done it again. Transmit​/​Receive is everything a Power Pop album should be, winning hooks and crunchy guitars that compliment electrifying vocals and smart songwriting. The energy and impact of the music is felt full force starting with "Make Me Stay" and continuing through this short but powerful EP. There is no filler here. Transmit​/​Receive is an instant party - just pop it in and turn it up, and enjoy it! -Curty Ray, PPO





This September, Sally Crewe & The Sudden Moves embark on a package tour of the US with Tommy Keene and Doug Gillard Electric, creating something of a dream bill for fans anywhere along the power pop spectrum. This could be the show of the year. We suggest you get there early.

SEPTEMBER 2011 TOUR DATES
w/ Tommy Keene and Doug Gillard Electric

9th – Arlington, VA – Iota
10th – Brooklyn, NY – The Rock Shop
11th – Boston, MA – Church
13th – Cleveland, OH – The Grog Shop
14th – Milwaukee, WI – Shank Hall
15th – Chicago, IL – Schuba’s

The Len Price 3 Live October 14th

The Len Price 3, The Jetsonics & The Past Tense Live will preform at the Half Moon Putney Friday October 14th 2011

The Len Price 3 are a garage pop band hailing from the Medway Towns. Their sound is forged in the Medway tradition, fusing driving energy, catchy hooks and a raw 60’s garage sound. On disc and at live shows The Len Price 3 offer a truly memorable and invigorating sonic experience 

The Loud Family - Interbabe Concern - 1996

Anyone who wondered where the fragmented songs and purposefully twisted aural montage went on Loud Family's second album, The Tape of Only Linda, will either be elated or annoyed to know they're back in force on the group's third full-length release, Interbabe Concern. While the edition of Loud Family that cut The Tape of Only Linda had been solidified by a solid dose of touring after the release of their first album, Interbabe Concern was cut with a new lineup in which Scott Miller handled all guitar duties and Kenny Kessel and Dawn Richardson took over on bass and drums (Paul Wieneke remained on keyboards and occasional lead vocals). This new Loud Family sounded more like Scott Miller's backing band than the group that made the first two albums, and without producer Mitch Easter on hand, Miller seems to have used Interbabe Concern as an opportunity to reacquaint himself with the cryptic side of his musical personality; there are a lot more short pseudo-tunes interspersed between the "real" songs, plenty of odd found noises and sound effects, and while Miller plays plenty of guitar here, there's a decidedly lower hard-and-heavy quotient than on the muscular The Tape of Only Linda. Interbabe Concern plays like a somewhat stranger version of Loud Family's debut, Plants and Birds and Rocks and Things, except that there are fewer memorable songs (there are memorable songs, of course, just not as many), the production has a lot less gloss, and Miller's fondness for chaos seems to outweigh his knack for perfect pop hooks. It's an inarguably interesting album, but one that demands a lot more work for the listener to ferret out the good stuff. In short, it's a lousy starting point for non-fans, and an acquired taste for the initiated. -AMG

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The Rubinoos - The Rubinoos - 1977

For a brief moment, the Rubinoos seemed to be the last hope for pure pop music, carrying on the tradition of the Raspberries with an engaging blend of innocent bubblegum and power pop. The band was formed in 1973 by teenage friends Jon Rubin (vocals, guitar) and Tommy Dunbar (guitar, keyboards, vocals) along with Royse Adler (bass) and Donn Spindt (drums), but it wasn't until 1977 that they made their recording debut for Beserkley Records. The single, a cover of Tommy James' "I Think We're Alone Now," made an appearance in the lower reaches of the U.S. charts, giving the indie label their first hit. The same year, their self-titled debut LP received rave reviews all-around but failed commercially. Back to the Drawing Board (1979), another solid collection of bouncy pop songs, again went ignored despite its classic single "I Wanna Be Your Boyfriend." The band effectively broke up the following year. Rubin and Dunbar returned in 1983, contributing a pair of songs for the Revenge of the Nerds soundtrack and then teaming with producer Todd Rundgren for the Party of Two EP. "If I Had You Back" from the EP saw some airplay on MTV but it failed to ignite enough interest for the band to go on. In 1989, Tommy Dunbar formed a new band, Vox Pop, with former-Rubinoos Al Chan and Donn Spindt, along with John Seabury, formerly of Psychotic Pineapple. The band's self-titled release arrived in 1998 on Sandbox Records. Two collections of lost Rubinoos recordings were released in the early '90s. The group returned in 2000 with Paleophonic, which was originally a fan club-only release, and headlined that year's International Pop Overthrow festival. Coming back like they had never left in the first place, the band chose to release an all-covers album (Crimes Against Music, Vol. 1) in the fall of 2002. -AMG

 
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The Loveless - A Tale Of Gin And Salvation - 1995

The Loveless were John Schubert on drums, Jonathan Daniel on bass, John Ceparano on guitars, and Shane on vocals. Everyone except Ceparano were the surviving ‘veterans’ of ‘80s pop-rock band Candy (who scored a minor hit with their 1985 Mercury power pop album Whatever Happened To Fun), and ‘90s pop-metal act Electric Angels (who released one self titled record on Atlantic towards the end of the hard rock era). Both bands had fallen victim to unfortunate timing, and also the fickle nature of major record labels. Both were largely ignored by the music buying public, despite the songwriting talent of Daniel shining through on songs like “Whatever Happened To Fun” and “True Love and Other Fairytales” to name but two.

But Jonathan Daniel wasn’t about to give up his musical career because of a record label. In a move that mirrored the punk spirit and ethos of bands that influenced him as a teenager, the demise of Electric Angels convinced the bassist to gather together Schubert and Shane and enlist the help of New York musician John Ceparano to join him in a band free from the creative shackles of a major label that wasn’t supportive, and the result of long nights and spare time weekends spent independently in the studio was astonishing.

A Tale of Gin and Salvation was released in 1995, and everything about it reeks of quality—the film noir concept artwork, the sharp suits and ultra-cool look of the band, the witty, acerbic lyrics and cast-iron melodies, and also the shift in emphasis from raw, intelligent hard rock to a slick, polished, and sophisticated power pop sound that provided the perfect vehicle for the songwriting brilliance of Jonathan Daniel. Utilising resources such as the fledgling Internet for marketing, and a home studio for recording, it was a low-budget do-it-yourself production that sounded fabulous, and was packaged just the way the band wanted it. More importantly, it was exactly the type of record that a major label exec wouldn’t know what to do with. -Andrew Ellis "Pop Matters"

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Three Reasons You Need To Go Experience IPO by Rich Rossi

Traffic was bumper to bumper on the parkway. By the time I had navigated my way thru the land of "The Boss", passed Carlo's Bakery and arrived at Sinatra's boyhood home, I was ready for whatever musical surprises these unknown local bands could deliver.

It was IPO 2001 I believe, and each band performed a short set of glorious, jangly, melodic guitar pop, New Jersey style. Anderson Counsel, Copperpot, and Evelyn Forever all
brought their "A" game. One would expect nothing less when performing in Hoboken, the birthplace of baseball.

Ten years later I was headed for Los Angeles and the first night of International Pop Overthrow LA. I was traveling from the land of silent films (most films in the 20's and 30's were shot in Ft. Lee, NJ) to the land of today's reality shows and porn flicks. The irony wasn't lost on me.

Sitting in the bar after the the opening night of IPO 2011, I contemplated why a middle aged guy like me with a wife, kids, and responsibilities would fly all the way across the country to see a rock n roll show.

I scribbled these three reasons on my cocktail napkin:

1) The Bands

King Washington was a band I had never heard of but they immediately piqued my curiosity. All harmonies and hooks, someone standing next to me described them as almost "nilssonesque". One doesn't get a bigger compliment than that. King Washington is a throwback to Lennon, Nilson, and the energetic, sunny guitar pop of the late 70's and early 80's. And as good as they were (and they were good!) things were about to get even better.

Many of these shows have an epiphany moment, and this year would be no different. Lannie Flowers and his band blew me away. Live, I'd describe his roots tinged power pop as half Tom Petty, half Cheap Trick, and half Badfinger (there's a reason why my wife helps the kids with their math homework). Starting with Give Me A Chance from his first LP, Same Old Story, they launched into some great guitar driven numbers from Circles, one of last year's best LPs. Lyrically my favorite from that LP, Around the World, is about an insomniac's late night companion (TV) and was a high water mark to that point. Turn Up Your Radio would wind up a set truly memorable set.

The biggest name on the bill, The Records, had perhaps the most impressive and satisfying set of the evening. Making sure to play a couple of their hits, Starry Eyes and Teenerama, while offering up something new for the younger fans, they were a tour de force (that was forced to tour?). Liverpool 6512 and That Girl Is Emily (a song about Syd Barrett) are examples of how Wicks and company have matured lyrically while retaining the energy we've come to expect from this classic powerpop band. All hooks and new looks, they've cultivated an edgier, more substantive live sound that makes even the most grizzled veteran of IPO sit up and notice.


2) The Camaraderie

Whenever I've attended an IPO show I've run into people I know (or know of) but hadn't expected. This year it was John Borack, author of one of my favorite books from 2007, Shake Some Action, The Ultimate Powerpop Guide. Musicians often hang out in the rear of the venue waiting their turn to hit the stage, giving fans the opportunity to exchange pleasantries or, if they're lucky, have a brief chat with a favorite songwriter or guitar hero, maybe get their free IPO CD autographed.

And then there's the mysterious one, David Bash.


3) The Characters

The Grand Pubah of IPO and it's creator, David Bash, acts as your host for these shows. Dressed in all black, he is Johnny Cash on steroids, both friendly and frenetic. He's everywhere. I've often wondered what's under that ever present big black hat. He wears it indoors or out, night or day. Maybe there's a turntable under there...or the data recorders from the planes that hit the World Trade Center. Is his "do" more Don King or Dwight Youkum? The world may never know.


While sitting at the bar after the show, I had decided, after taking stock of the evening, that it had been well worth the extraordinary travel distance. In the morning I would board a plane back to the east coast knowing that the Boss (That's my wife, not that guy from Asbury Park) would be waiting for me with an extensive list of household items to fix. The dreaded "Honey do" list.

Meet the new boss, same as the old boss.
Don't tell my wife I said that.

Years ago while attending art school Rich spent many hours listening to XTC, The Records, The Heats, Plimsouls and other powerpop bands of that time. Many children's books, greeting cards and website designs later he finds himself (quite by accident) in the employ of a few powerpop artists. I'm not name dropping but they include, John Wicks, Paul Collins and many more.


Life has come full circle. You can find Rich at www.rossibook.com if your so inclined.

Secret Affair - Glory Boys - 1979

Secret Affair first slid into the U.K.'s consciousness in September 1979 with their exhilarating debut single "Time for Action," which danced its way to number 13 in the charts. Britain was in the grip of a mod revival, spearheaded by the success of the Jam, and Secret Affair were perfectly placed to take advantage of the prevailing mood. Although their follow-up 45, "Let Your Heart Dance," stalled in the lower reaches of the Top 30, their debut album, which included both songs, was eagerly anticipated. Glory Boys didn't disappoint and quieted any sneering suggestions that this new crew of mods were merely Jam wannabes. Of course Secret Affair shared influences with their bigger brethren -- Tamla Motown and British beat bands -- but from them the group fashioned a unique style far removed from the Jam's own. This was partially due to singer Ian Page bringing his trumpet to the proceedings, gracing Affair with a much more genuine retro sound, while also adding further exhilaration to the music. Page's horn solo on "Don't Look Down" (with nods to, of all things, the E Street Band) just cooks -- it also punches up the aforementioned "Dance," and is vital to their cover of the Miracles' "Going to a Go-Go." The Jam were so impressed by the authenticity brass gave to Affair's sound that they promptly began including some on their own records. But of equal importance was Affair's attitude; they reveled in their modness, and their upbeat mood had little in common with Paul Weller's angst and alienation. This stance is clearest on the album's centerpiece, "Glory Boys" itself. A rousing mod-like punk exhortation of mod pride, it immediately became the movement's anthem for parka-clad youth across the nation. Secret Affair had arrived in definite style. The CD reissue appends two bonus tracks to the original album -- the rocking "Soho Strut" and "Sorry, Wrong Number," the closest a mod band could get to Two Tone without using a syncopated beat. Both were previously released as B-sides on "Time for Action" and "Dance," respectively. -AMG

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Fountains of Wayne perform "Richie and Ruben" live on Jimmy Fallon

 Fountains of Wayne's Sky Full of Holes hit record store shelves this week and the band is top gear promoting their latest batch of songs. In addition to all the great press at the Onion A.V. Club, LA Times and ABC News the band stopped by late night powerhouse Jimmy Fallon's show and performed "Richie and Ruben" live. Click the player below to watch the performance now. Also, click HERE to watch a web-exclusive video of the band performing the song "Survival Car."

Sky Full of Holes is available now on CD, LP and digital at the Yep Roc Store. Order the CD or LP and get the full digital album for download instantly to start enjoying right away.

Captain Wilberforce - Mindfilming - 2005

UK pop band that fans of Brendan Benson, Matthew Sweet, ELO, Starbelly, Velvet Crush, some Jellyfish, the pop-side of Radiohead`s "The Bends" and XTC all wrapped up a bit of glammy British swagger that only a band that was wells up when thinking about Marc Bolan`s loss on the music world. The singer sounds a lot like Jon Brion, which will bring some comparisons to The Grays, which is happily appropriate, too(listen to "A Very British Earthquake" for aural proof!). Chock full of raw and infectious slices of harmonic pop, it buzzes with crunching guitars and killer choruses. Bottom line, song after well-crafted song and melody after infectious melody that should be more than just casually appealing to the majority of folks out there! Classic Not Lame styled power pop. -Not Lame

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The Candyskins - Space I'm In - 1991

Space I'm In is a nice solid production, stuffed with lots of great-sounding pop guitar (from jingle-jangle acoustics to wah and fuzz-tone riff), strong drums and nice bass work. While it's another page in that well-stuffed book of nuevo-'60s rock (complete with hints of Squeeze and an Elvis Costello vocal imitation on "Black and Blue") it's a melodic, well-done and highly enjoyable page that's worth rereading a few times. For good measure, they even cover a Stephen Stills song and have an original called "Freedom Bus." -AMG

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D.L. Byron - Exploding Plastic Inevitable - 1998

D.L.Byron is a powerful singer/ songwriter. Once signed to Arista Records, and produced by Jimmy Iovine, he began his own independant record label, Zen Archer Records.
His first release on Zen Archer, \"Exploding Plastic Inevitable\" which has already sold thousands of copies worldwide.
His second release, is entitled \"Plain Clothes\". It is an all acoustic recording, and falls more into the \"Power-Folk\" genre. Zen Archer has subsequently released other works from D.L.
D.L.Byron is also responsible for writing the Grammy Award winning song \"Shadows of the Night\" as recorded by Pat Benatar, selling millions units to date.
His music is poetic and timeless, allowing the listener to weave in and out creating their own colours. Although, somewhat remeniscent of the music of the late 60\'s, D.L.\'s music stands out on it\'s own! Turn it up! -CD Baby


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The Peechees - Do The Math - 1996

Do the Math offers ample proof that there's still a little life left in the punk sound after all -- the Peechees' breathless energy is infectious, and frontman Christopher Applegren's vocals positively drip with sneering sarcasm and whiny disgust. Its 13 tracks ricocheting past in under a half hour, the album is loud, fast and abrasive -- nothing new, of course, but everything a punk record should aspire to be. -AMG

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New Kool Kat Release - The Modulators "Tomorrow's Coming"

The Modulators     Tomorrow's Coming   GREAT!!    $12

Major, major kudos and thanks must first go out to IPO's David Bash for turning us on to and putting us in contact with this 80's New Jersey band that totally escaped us "back in the day"! In conjunction with the group, this is the official CD(R) reissue of their now incredibly rare 1984 LP, and comes bolstered with 3 non-LP bonus tracks taken from singles and EP's - representing their entire recorded output. Jangle, jangle, jangle is the order of the day here on this pop-drenched gem folks! The hook-filled songwriting and vocal harmonies are also first rate throughout. If you didn't know better, you might think they were from the UK (there are some very strong period indie Brit-Pop influences on display here) or even the Midwest (Marshall Crenshaw and the Shoes immediately come to mind). The Merseybeat influences are definitely present throughout. They even cover Bob Dylan’s "My Back Pages"! "Songs like 'Spin Me Around' and 'She's So Cynical' are the type that keep running through your head long after the last chords have been struck and last notes sung. They've delivered a fantastic set of vintage power pop! Sometimes the old ones are the best – they had no need for any gadgets and technology. They just play, simple as that and it works really, really well." - Minty and the Beeb Go Gigging "Though it was a well-kept secret to anyone outside of Northern New Jersey, The Modulators were one of the finest practitioners of power pop in the Garden State. During their heyday in the early to mid '80s, they released several 45s and one LP of perfectly crafted, hooky tunes, and you'll be able to hear them for yourself on this fine reissue. The story does not end there, folks; The Modulators are still going strong, as their live gigs in New York, New Jersey and Liverpool (at The Cavern Club!!!) would attest. File under: Get This CD, NOW!" - David Bash/IPO Nice one David! Solid from start to finish!

You can hear songs @ http://www.myspace.com/themodulatorsnj

Get it now at Kool Kat

The Shins - Oh, Inverted World - 2001

The Shins’ first full-length is a definitive indie rock album of the 2000s not just because of its thoughtful, tuneful songs, but also because of the vivid portrait it painted of indie culture. After the high irony of Pavement and other ‘90s standard bearers, indie rock began moving into more emotionally forthright territory. Oh, Inverted World is the sound of realizing there’s more to life than being a smart-aleck -- but also not being ready to open up completely. The album’s first song, “Caring Is Creepy,” sums up the typical indie response to emotional situations with its title alone, but it also introduces James Mercer's delicate, dryly witty take on that attitude. Hyper-literate lyrics like “It’s a luscious mix of words and tricks” suggest someone who’s better with words than with feelings, yet Mercer’s high, wavering tones -- which are as awkward as they are beautiful -- prove otherwise. Caring might be creepy, but it’s hard to avoid; the rest of Oh, Inverted World chronicles this post-ironic vulnerability, wrapping it in jangly guitar pop that echoes the Kinks, Zombies, and Beach Boys. This may not be the most innovative sound, but it makes Mercer’s boy meets girl, boy runs away, boy comes back, girl runs away travails all the more familiar and relatable. And, of course, just how good the album’s songs are can’t be overlooked. “Know Your Onion” practically jumps out of its skin, bursting with British Invasion riffs and angst that goes way beyond adolescence; “New Slang” tempers a yearning that curdles into bitterness with a beautiful melody and a ghostly falsetto coda. More importantly, all of Oh, Inverted World’s songs hang together in an immensely satisfying way. “Weird Divide” is a backyard Pet Sounds: its winding melody channels that point in the summer when it’s too hot to care much about anything, punctuating it with percussion that evokes incessant sprinklers. An airy feel runs through the album, from “Girl on the Wing”’s bird imagery and pristine harmonies to “Girl Inform Me”’s giddiness to “One by One All Day”’s psychedelic coda. As things wind down, “Your Algebra”’s spooky chamber pop and “The Past and the Pending”’s acoustic musing foreshadow the experiments the Shins undertook on later albums. Oh, Inverted World is so full of ideas and emotions, and so fully realized, that it’s hard to believe it’s just 33 minutes long. Whether or not the album lives up to the breathless “It’ll change your life!” claims made about it in Garden State, the less ironic direction of 2000s indie begins here.-AMG


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Ko & The Knockouts - Ko & The Knockouts - 2002

Detroit's Ko and the Knockouts come charging out of the gate on this, their debut record, with a storming garage rock track, "Cry No More," and never let up after that. Their sound is garage mixed with a little bit of psych and a little bit of soul -- maybe a little punk too. Ko's vocals are sweet and tough, breaking hearts and kicking butts with ease. Eddie, who also is a member of Detroit mod rockers the Sights, pounds out loud and mean chords on guitar. The whole thing comes together sounding like a band who loves the music they play and are having a blast. Most garage rock records can be judged on their cover versions, usually the more obscure the better. Ko and the lads do a fine job on their cover of the Birds' (Ron Wood's first group) "You're on My Mind" and honor their Motown roots by doing a Nolan Strong tune, "If I," and a Marvelettes song, "Twisting Postman." Pretty obscure and well done, too. In an unusual twist, their originals sound better than the covers. This is down to strong songwriting on tracks like "Go-Getter," with its dynamite chorus and great vocal harmonies, and "I Really Hate You," a weird hybrid of country and girl group sounds with Ko singing the bitter words with a big grin on her face. A minor weakness is Eddie singing lead on a couple of tracks. He sounds fine with the Sights, but Ko is so dynamic that she should take all the leads. This is a great debut. -AMG
 
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The Jennifers - Nine Days Wonder - 1994

The Jennifers have released three full length albums, Nine Days Wonder (1994), Colors from the Future (2007), and Well Intentioned World (2011), one e.p., Book of Bad Advice (2002), and one 7" vinyl record, a split with the Mommyheads. The band has also appeared on many compilation CDs back when that used to mean something. The Jennifers first CD, Nine Days Wonder, was recorded with Tony French at Half alf Studios. Mixed and Mastered at Blue House productions.

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Dipsomaniacs - Freakin' Eureka - 2003

Following up 2001's acclaimed The Life You're Faking, Burlington, NJ's the Dipsomaniacs again delight fans of driving, Replacements-like melodic rock & roll on Freakin' Eureka. Frontman Mick Chorba writes memorable, hook-doused rockers like "Always Forgetting Something" and "Black Cloud." The latter's driving, Badfinger-meets-Wilco feel is totally irresistible, while boozy stomps like "Sun Shine Through" and "Calvin" balance grit with gumption. If the boogie rock found on "Little One" seems a little misguided, it's also a hell of a lot of fun. Simply stated, the Dipsomaniacs are a stellar band, and although Freakin' Eureka doesn't break much stylistic ground, it is a freakin' good time. -AMG

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Masters of the Hemisphere - I Am Not a Freemdoom - 2000

Half concept album, half comic book, the Masters of the Hemisphere's I Am Not a Freemdoom uses the group's gently catchy songwriting skills to tell the tale of Krone Ishta, a far-off island populated by mild-mannered folk like the Frog King, Mal the Fish, and Ed, a reservoir dweller. The island is terrorized by Freemdoom, an evil dog bent on polluting and seizing the island, and his monster sidekick Gorgar. Musically, the album blends the folky, fairy-tale quality of Peter, Paul & Mary's "Puff the Magic Dragon" and the sugar-high energy of the theme songs to '60s and '70s kids' shows; acoustic guitars, organs, sweet harmonies, and "ba-ba-ba"s abound. Sweet, sunny pop songs like "The New Commotion," "Gorgar's Room," and "The New Freemdoom" sound like they're straight from lost episodes of The Archies or The Hair Bear Bunch, while folky ballads like "Summer in Krone Ishta" and "So What About Freemdoom" add to the album's storytime feel. Indeed, I Am Not a Freemdoom includes song descriptions and a mini comic book to hit home the album's plot; it's this attention to detail that proves the album is a labor of love and not just an in-joke. Even so, for those not in the mood, I Am Not a Freemdoom can seem too precious and insular for its own good. But with the right attitude, the album's seriously playful approach is irresistible. -AMG

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Soul Engines - Closer Still - 2003

One of the brightest and most talented power pop bands to come in the scene in 2003... except the band has been around for quite awhile it appears but has not bothered to connect up the whole indie power pop scene until this year. No problem as their 2003 "Closer Still" is their best and one of the year`s very best. Stunning and stupifying as every single song here is endowed with plaintive vocal cadences, effervescent guitar jangle and fluid hooks. It`s a simple formula, granted...but they *nail* it, dead middle. They sound like The Posies, The Merrymakers, The Monkees, Gin Blossoms(lots!), a more rootsy version of The Lolas and Chewy Marble playing Hollies covers. -Not Lame