CD of the Day, 11/5/09: Supraluxe-Wake Leave Home Sleep

Without Supraluxe, there wouldn't be an Absolute Powerpop. OK, I probably would have found another disc to hype that inspired me to start the blog, but it was in January 2006 that I touted their debut disc to the Audities list, which got them noticed in the power pop community, and which made me think "there are a lot of other deserving artists out there like Supraluxe, and nobody else is really doing a power pop blog". The rest is history, and here we are, the better part of four years later. And so it's come full circle, as the cliche goes, with Supraluxe at long last releasing the followup to their debut.

Wake Leave Home Sleep finds Supraluxe with a more unified sound. Obviously in my view the debut was brilliant, as they veered from propulsive pop tracks like "Blue Sky", "Love Sweet Love", rockers like "Tokyo" and "Run Rabbit Run", and moody melodic numbers that came in somewhere between like "Summer Chalet" and "The Big Comedown". I guess the best way to analogize things is that if we were in the 70s, the first album would be their stab at AM Radio, and this album is their AOR move. It's a markedly different album than the debut, but one that stands worthy on its own. The title track kicks thing off, starting with a gentle, acoustic bent not unlike their hero, Elliott Smith, but steadily builds into a biting rocker as the song's protagonist seems through the humdrum of everyday life. Immediately you know they're on to something more ambitious.

Another touchstone for the band is Steely Dan, and although they don't mimic that band's jazz/rock fusion, they meld some of the Dan's time signatures and sardonic suffer-no-fools attitude into their sound, and the tough-rocking "On the Coast" incorporates some of that late 70s SoCal sound into it. Perhaps the best way to describe it is "free-form pop/rock". Many of the tracks such as "Data Control" and "Oh December" manage to shift within themselves from straight-up rock to a kind of jazzy pop to pure powerpop, not necessarily always in that order. Meanwhile, "Hey Lordy" and "Slow Ephedrine" have the more "traditional" Supraluxe sound of the first album. And "The Big Come On" works as sort of a sequel (or prequel) to the debut's "The Big Comedown".

All in all, it's an impressive step in the band's evolution. While there's nothing as instantly catchy as "Blue Sky" or "Love Sweet Love" here, it's a great headphone album that rewards repeated listens and is an impressive testament to the musicianship of Rich Pearson, Bob Burns and Jim Risser. So make your daily routine in the near future Wake Leave Home (Listen to Supraluxe) Sleep.

Not Lame | Kool Kat | MySpace

Two for Tuesday, 11/3/09

Sarakula-City Heart. Direct from Down Under comes this Aussie piano-popper with a disc that's just one hook after another. Sarakula's been touring with AbPow favorite Bob Evans, and there's a double bill I'd love to see if I weren't halfway across the world. City Heart is his followup to last year's Souvenirs, which passed me by but won't know. "Turn it Up" begs you to do just that; if it were 1974 or 1984, this poptastic number would fit right on the charts alongside Elton John or Billy Joel. "Cold War Love", which opens the album, sounds like a lost track from McCartney's Band on the Run; "Matchstick Girl" is another hook-a-rama, and the moody "Driving With the Devil" recalls the sophisticated, bloozy piano pop of Randy & The Bloody Lovelies. Also don't overlook the Bacharachian "Skyline Blue". A definite treat.

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D. Rogers-Sparks on the Tarmac. Just like celebrity deaths, Popboomerang releases seem to come in threes, and while we spotlighted Russell Crawford and the Deserters last week, the Aussie label also released this singer-songwriter disc as well recently. It's a bit of a departure for the label as Rogers is more of a folkie than a popper, but there's enough quality stuff here to please anyone on the lookout for a good tune. "Poison Pen" finds the sweet spot between Neil Finn and Elliott Smith, "The First to Know" conjures the sound of Salim Nourallah, and "Knocked Down the House" adds horns to what is perhaps the album's most upbeat track. It's not the stuff to jump off the CD at you, but if you take the time to give it a listen, you'll be wowed by its rainy-day beauty.

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A Popicana pair.

Shane Lamb-Disengage. Every year it seems like I come across a singer-songwriter who makes a great "Ryan Adams album". Of course I'm speaking of the Ryan Adams of Gold and Heartbreaker, not the Ryan Adams who became a parody of himself. In 2007 it was Jeremy Nail, last year it was Tyler Burkum, and this year it's Shane Lamb. Hailing from Nashville (where else?), Lamb mixes pop, classic rock and Americana, and comes through with one quality tune after another. "Free" grabs you right off the bat, with its memorable chorus, horns-and-organ backing, and some fine guitar work from Pat Buchanan, a name which may be familiar to many of you (no, not that Pat Buchanan). "I Would" is the kind of languid, midtempo number that you'd expect on a disc like this, and "To Get You Through" has a Jayhawks-style drive to it. Also don't miss the Springsteenesque "The Change in Me", a 2:10 slice of upbeat roots rock (complete with sax) that falls somewhere between "Working on the Highway" and "Stand on It".

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The Literary Greats-Ocean, Meet the Valley. I could have sworn I reviewed this Atlanta Houston band's 2007 excellent self-titled debut, but a search of the site revealed that I only listed it at #55 at year's end without further comment. I'll try to remedy that here on their newly released follow-up. They fit the Popicana/roots-rock mold as well, and there's no sign of a sophomore slump on this one. "That Mountain Yonder" might sound like the title of Del McCoury's latest bluegrass opus, but instead it's a meaty rocker with pop smarts (dig the "ooh-woo-ooh-ooh-ooo" refrains), and "Show Me the Coast" rocks with heart and melody. Other highlights include "Oh Abilene", which reminds me of some of the Black Crowes' moodier work, the excellent "Dreadnought", which tackles the fear of flying and comes up with the music to match it, and the pop-rockin' "Ruby Sapphire", a Signal Hill Transmission-type number. They definitely do live up to their name, as this disc has a literary, almost Southern Gothic, feel to it.

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A pair from Popboomerang.

Australia's Popboomerang is one of my favorite labels out there, constantly releasing one power pop gem after another. Although perhaps nothing will top last year's trifecta of Adrian Whitehead, Bryan Estepa and Danna & The Changes, their latest pair of releases deserve a spot in your rotation.

Russell Crawford-Floating Aimlessly. Crawford made his debut with the excellent 2006 EP Hearing All That's Heard, which placed #3 on our year-end EP list that year and was produced by Michael Carpenter. Additionally, Crawford is one of Carpenter's Cuban Heels, the backing band MC used on two EP releases last year. Carpenter also mixed and mastered the new full-length, which raises the question where does Michael Carpenter end and Russell Crawford begin? To answer the obvious, there are a lot of stylistic similarities between the two, but Crawford is his own man here. "Overachiever" is a piano-based number with attitude, bringing Ben Kweller to mind, "Bad Luck" chronicles Crawford's grade school days with wit and melody, and the busy "Lisa" adds some nicely-placed chimes into the mix. Other standouts include the MC-co-written lovely ballad "If You Ask Me", the bright pop of "Melody", the piano boogie of "Shake It", and the pure power pop of "Leave it All Behind". It's nice to see the promise of the EP realized.

Kool Kat | Not Lame | MySpace




Deserters-Pale Morning. While Russell Crawford is something of a known quantity, Melbourne's Deserters qualify as a plesant surprise. Not quite power pop, they instead have a more rustic sound that brings to mind early Wilco, Waterloo and to some extent, My Morning Jacket, but with an Aussie twist. Leadoff track "Waking Birds" captures their essence, sounding like the aforementioned references but as if they were fronted by Neil Finn. First single "Take It as It Comes" is a tough rocker, and "I Think It's Alright" has a real front-porch rock quality to it. "Race Me Home" has an anthemic, classic rock feel, and "Looking My Way" shows they can handle the soft, string-laden ballads. A fine example of - what do we call it - Australiana?

Not Lame | Kool Kat | MySpace

CD of the Day, 10/21/09: This Modern Station-All We Leave Behind

Nashville strikes again. The home of so many artists that have brought us quality releases in 2009 gives us This Modern Station, whose debut disc All We Leave Behind is a melodic breath of fresh air. They tread that fine line between power pop and Americana, sounding at times like an American Teenage Fanclub and at others like early Wilco.

The driving opener "Long Overdue" sets the tone, with hooks galore and a stomping beat that's reminiscent of Being There-era Wilco tracks like "Outta Site (Outta Mind)" and "Monday". "Next Best Thing" follows in the same vein, while the midtempo "Just Another Heartache" recalls The Favorites (who placed in our top 20 last year) and Red Guitar. "Evangelina" is another driving number, reminiscent of Todd Herfindal and The Meadows, and "Sunday Morning" brings the rock.

Kicking off the second half of the disc, "Ruby" finds the band into a bit of pop-noir, telling the story of a wayward woman to a moody melody not unlike The Smithereens' "Blood & Roses", while "Playing With Fire" proves the boys can handle the ballads as well. Closing things out, "I Think I'm in Love Again" is another infectious rocker, and "The Highway Never Ends" is quality straight-up Americana. "Popicana" fans, and those who liked the later-day Gary Louris-led Jayhawks are going to flip for this one. With nary a duff track to be heard, this one's a definite year-end Top 20 contender.

CD Baby | MySpace | iTunes

EP of the Day, 10/19/09-Bryan Scary & The Shredding Tears-Mad Valentines.

As kind of a pit stop between full-length releases (2008's Flight of the Knife and a new one planned for 2010), Bryan Scary & The Shredding Tears have a new EP out, Mad Valentines. I've stood pretty much alone in the power pop community as being a bit underwhelmed by Scary, feeling his music has been hyperkinetic for hyperkinesis' sake - Jellyfish with A.D.D., if you will. And after hearing the first track on this EP, "Andromeda's Eyes", in which Scary revs it up to Ludicrous Speed, I began to think he was becoming a parody of himself.

But then a funny thing happened with the rest of the EP. He dialed it back about 15%, and the remaining five tracks are the kind of effervescent, joyous Jellyfish-inspired pop that I knew he had in him. "(It's a) Gambler's Whirl" would have fit nicely on ELO's Discovery (a/k/a Disco Very); "The Garden Eleanor" sounds like Jeff Lynne producing Mika (that "I don't care if she cuts off her hair" hook is embedded in my brain); "Maria St. Claire" is the closest Scary gets to a ballad, and it's wonderful; and "Bye Bye Babylon" and "The Red Umbrella" find Scary in full bells-and-whistles mode, but in service of the song, not the sound.

Finally a Bryan Scary release I can get behind. Probably means everyone else who loved the first two finds it a letdown.

(Note: it's available digitally right now, but not on CD until October 27.)

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Friday Roundup.

The Prime Ministers-Compromiser. Detroit's The Prime Ministers have been around for 10 years and four albums, and they finally get the attention they deserve on this site with album #5, Compromiser. The PMs serve up Motor City-styled high-octane power pop similar to other hometown bands like The Offramps and The Respectables, and they don't miss a beat (or a hook). Although they're not afraid to rock, they're also not afraid to tackle the topic of getting older as they hit their mid-30s. "Double Rings" and "Learned from the Best" are a fearsome one-two punch the open the disc, but "Only 35" finds them grappling with getting older to a Clash-like reggae beat. Meanwhile, "Late in the Day" tackles the topic of aging rock bands playing amphitheaters past their prime, and "Safe & Sound on Microchips" gives Internet 2.0 a rock theme. Rockin' power pop with heart and wit, the Prime Ministers may find themselves Compromisers with life, but not with their sound.

CD Baby | MySpace | iTunes

Compromiser

Bob Collum & The Welfare Mothers-Twisted Lines & Mixed Up Rhymes. Oklahoman-in-England Bob Collum has become a reliable source of Popicana, that certain mix of alt-country, Americana, roots pop, and power pop that artists like Brian Jay Cline and Walter Clevenger have made semi-famous, and his new EP (with backing band The Welfare Mothers) is another gem, following up on 2008's Set the Stupid Free. "My Little Hurricane" is 2:13 of Popicana bliss, while "She Hates Me" is quality straight-up country, and "Behind the Bottle" sounds just like you think it does. "Devil in the Details" adds some power pop to the recipe, and "Knockdown Dragout" recalls Nick Lowe's "Raging Eyes". Yet another outstanding entry in the Year of the EP.

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