Juniper - She Steals Candy

One of the real bright spots in the dumpster fire of a year that was 2020 was the wonderful debut album from teenage singer Juniper. In collaboration with her dad (the veteran singer/songwriter and esteemed WFMU radio host Michael Shelley) and a star-studded cast of musicians, Juniper gifted the world with one of the most joyful guitar pop albums of recent memory. I named Juniper a top ten album for 2020, and in retrospect I wonder if I should have rated it even higher. I suppose the only downside of such an auspicious debut is that it creates very high expectations for the encore. How do you follow up a perfect pop album? Well, if you're Juniper and Michael Shelley, you just go out and make another one! 

She Steals Candy is no mere copy of its predecessor, but it repeats all the core ingredients of a winning recipe. Again, Michael Shelley produces and enlists the contributions of all sorts of talented friends. Notable guest players on this album include Greg Townson (Los Straitjackets), Chris Geddes (Belle and Sebastian), Steve Goulding (Mekons), John Perrin (NRBQ), Alex Hall (J.D McPherson), Dennis Diken (The Smithereens), April March, Megan Reilly, Rebecca Turner, Karen Basset (The Pandoras), Barbara Endes (Girls On Grass), Ira Kaplan (Yo La Tengo), Page Burkum (The Cactus Blossoms), Kurt Baker, and Jon Grabo (Ryan Adams). The album mixes in a handful of original songs with an extraordinary selection of covers. While contemporary in every respect, She Steals Candy recalls the golden age of pop music — when there was no shame in working with stellar session musicians or interpreting someone else's songs. A lot of incredibly talented people had a hand in the creation of this record, and what results is something truly special. 

While still a teen, Juniper is a young adult now. Her vocal tone now carries more richness and gravity while still retaining the likeable, down to earth quality that made her an instant sensation. She gives The Sails' Brit-pop smash "BANG!" an added touch of melancholy — taking a great song and fully making it her own. Her interpretation of Amy Rigby's "Baby Doll" just about gives me chills. Without over-singing, she brings the hurt, sadness, and ultimate strength of the song's lyrics to life in a way that will be relatable to any young woman her age. She applies a similar magic touch to The Bangles' "James" and The Go-Go's' "Turn To You" — a couple of songs that were ripe for a reinterpretation after nearly four decades. Elsewhere, the Shelleys dig really deep, unearthing such forgotten gems as David "Del Ashley" Gates' 1965 single "Little Miss Stuck Up" and Johnny Fortune's 1964 track "Don Stole My Girl" (re-worked here as "Dawn Stole My Guy") along with four songs originally recorded by The Ron-Dels — Delbert McClinton's marvelous mid-'60s rootsy rock and roll band. Also delightful are a Latin-flavored arrangement of the Lisa Marr/Kim Shattuck number "Taste the Soup" and a bossa nova version of the Gene Simmons song "See You Tonight" (yeah, really!). Album closer "I've Gotta Boy" is a cover of First Base's modern punk-pop gem "I've Got a Girl." Guitarist Tallulah Buscher plays on the track — using the same guitar, amp, and pedal that her mom Melanie Vammen used on the first Muffs album! The songs written for the album fit in splendidly. The title track, which is full of warm '70s vibes, celebrates a kinship with one's far-cooler alter ego. "Alone with You," co-written by the famed writer Dawn Eden Goldstein & Peter Horvath from The Anderson Council, is a perfect power pop song. "Ride Between the Cars" hits quickly with a melody that I can't get out of my head. 

We didn't have to wait very long for the first great album of 2023. If melody-driven guitar pop is your thing, She Steals Candy is the album for you. And if you liked the first Juniper album, you are certain to like this one even more. From the vocals to the musicianship to the production to the arrangements, everything about this album hits the spot. At a time when we're conditioned to think of cover songs as filler, it's a joy to come across a record like this that celebrates great songs. Juniper and Michael Shelley chose to record all these songs because they love them, and they'd be the first people to encourage you to seek out the original versions. I also like that if you didn't already know that most of these songs were covers, you'd probably mistake them for originals. All these tracks fit together perfectly. Even as it finds Juniper stretching herself genre-wise, She Steals Candy at its core is an indie power pop fan's delight. Singing along is both unavoidable and good for the soul. The album is out today on Confidential Recordings and Fabcom Records!

-L.R.

https://juniperssongs.bandcamp.com/album/she-steals-candy
https://open.spotify.com/album/5g2PBgJDJoWD8ZwXLO1m9x
https://linktr.ee/junipersongs
http://www.michaelshelley.net/juniper/
https://michaelshelley.bandcamp.com/

Strange Neighbors - "Window Watching"

When a band contacts you promising "a bop that'll knock John Waters' moustache clean off" and "a beat that compels you to shake your butt like Billy Ray Cyrus in those tight blue jeans circa 'Achy Breaky Heart,'" there are only two possible outcomes: bitter disappointment or complete elation. The very fact that I'm writing this review tells you that Strange Neighbors did not let me down! As promised, the Brooklyn foursome's new single "Window Watching" is the kind of song that will instantly move you to dance and sing along. The band recommends it for shower singing in particular, but honestly it's suitable for any moment in life when you might be inspired to break into song. I would not look at you sideways if you belted out this tune while you were standing in line at the post office or eating a burrito. On this track, Strange Neighbors offer a modern & original take on indie power pop with lyrics that are cheeky yet incredibly relatable. This is a song tinged with sadness but also full of sweetness and hope. I can't help but smile because it articulates feelings I've experienced myself. Who among us has never missed someone so much that we had to resort to somewhat odd coping mechanisms? Being able to take such a universal human experience and turn it into three minutes of purely joyful pop music is a special talent indeed. As advertised, this song delivers the bop and the beat. And when that hook comes in, it's magical. My delight over encountering this song was matched only by my regret over having missed out on three years' worth of music by Strange Neighbors. But that's easily rectified. If you enjoy "Window Watching" as much as I have, be sure to dig into the band's full discography on Bandcamp. While you're at it, pull those tight jeans out of storage!  

-L.R.

https://strangeneighbors.bandcamp.com/track/window-watching
https://www.instagram.com/strangeneighborsmusic/
https://www.facebook.com/strangeneighborsmusic/

Ryan Allen - I'm Not Mean

While we eagerly await a new Extra Arms album (which is coming this summer!), Ryan Allen has continued to treat fans to some truly excellent home-recorded solo releases. What I've enjoyed about these releases is that they have allowed Allen to dive deep into his multitude of musical influences. Song Snacks Vol. 1 was a nod to some of the sprawling indie rock epics of the 1990s. What A Rip was a love letter to 1960s pop and rock and roll. Digital Hiss celebrated the loud/fuzzed out side of indie rock. And now on his latest release I'm Not Mean, Allen finds himself inspired by the heyday of jangly indie pop. Without copying any artists in particular, he taps into the general vibe of The Smiths, early R.E.M., and the collective output of Sarah and Slumberland Records. It has been well-established that Ryan Allen can rock with the best of 'em, but these four tracks are all about finesse. From the guitar tone to the harmonies to the general fidelity of these recordings, the devil is in the details. "Count With Me" is as warm and bright as spring sunshine. Simply put, it's perfect pop. "To Be A Journalist" doubles down on the jangle but still sounds like a vintage Ryan Allen song with amazing lyrics and indelible melodies working hand-in-hand. Allen goes full twee on the title track, melding simplicity and sheer beauty like he's the second coming of Bobby Wratten. 

While Ryan Allen is no stranger to home recording, I'm Not Means finds him really stepping things up in terms of production and arrangements. Listening to this EP, it's not in any way obvious that these tracks were recorded at home by one guy with two microphones. Of course it doesn't hurt to have a formidable talent like Justin Pizzoferrato on hand to mix and master the recordings! If Allen's intention was to craft an homage to jangle pop, I'd say he fully nailed it. And as he always does, he manages to fold those inspirations into his own distinctive style as an artist. Whatever the specific influences may be, a Ryan Allen record always sounds like a Ryan Allen record. Whether you're a jangle junkie or simply a fan of melodic pop music, I'm Not Mean is highly recommended!

-L.R.

https://extraarms.bandcamp.com/album/im-not-mean-ep
https://www.facebook.com/ryanallenandhisextraarms

Ryan Allen - Digital Hiss

It's almost guaranteed to be a good sign when an email from a musician begins with "I know I'm a complete nutcase and can't stop releasing stuff!" Well, Ryan Allen is no nutcase. But it's true that he can't stop releasing music. And if I were as talented as Ryan Allen, I too would release music as frequently as possible! Digital Hiss is Allen's ninth release in the last ten months (yeah, really!), and the concept is based on a 4-track recorder he received for Christmas one year as a teenager. He never actually recorded songs on that 4-track (it got loaned to a friend and eventually went missing). But if he had, they likely would have sounded quite a bit like the songs on Digital Hiss. Allen mentions Eric's Trip and Sebadoh as specific influences on this release. More broadly, I'd describe this album as loud, fuzzy, lo-fi indie rock. Unbelievably, the entire EP was written, recorded, and mixed in a single day. Now that's what I call DIY! But just because it's DIY and lo-fi doesn't mean that it's just noise. Allen's knack for loud, simple pop songs of the highest quality is on full display here. I'm reminded of my own roots in underground music -- which was listening to college radio in the early '90s. Honestly, most of these tracks sound like they could be Extra Arms songs if they were worked out with a full band and more fully produced. But the whole point of this project was to replicate the ear-battering majesty of the fuzzed-out indie rock of yore. Mission accomplished! It blows my mind that Allen was inspired enough to write and record all of this material in a single day. This is really great stuff. I'm all for crafting a song over weeks or months if that's what it takes. But there's also something super cool about having that wild burst of creativity and getting everything down on tape while the inspiration is fresh in your mind. It's clear that Ryan Allen has been a remarkably prolific recording artist over the past year. But he's not just been putting out a ton of music --- he's been putting out a ton of really good music! Digital Hiss is very much up to his usual standards and highly recommended to any fan of noisy pop!

-L.R.

https://extraarms.bandcamp.com/album/digital-hiss
https://www.facebook.com/ryanallenandhisextraarms
https://www.extraarmsband.com/

The Feels - "She's Probably Not Thinkin' Of Me"

What a wonderful surprise that a new track from The Feels has popped up out of nowhere! The Feels is the (mostly) solo project from Christian Migliorese (The Tattle Tales) - one of my favorite songwriters ever. It's been four years since the release of The Feels' absolutely fantastic mini album Dead Skin and (shockingly) over a decade since The Tattle Tales last released music. Yeah, really! New single "She's Probably Not Thinkin' Of Me" is set to appear on an upcoming EP entitled 11 Monthly Listeners Can't Be Wrong! It picks up where Christian left off with Dead Skin. Call it whatever you like: pop rock, alt pop, power pop, indie pop, or just plain pop. This is melodic guitar pop at its finest. In classic Christian Migliorese fashion, it delivers big crunching guitars, gorgeous melodies, heartfelt vocals, lyrics that'll stop you in your tracks, and hooks for days. It clocks in at just a hair over two minutes, leaving you wanting more. So don't be cheap; fork over the 99 cents so you can own this song and play it as many times as you want! 

Hearing "She's Probably Not Thinkin' Of Me" inspired me to revisit the entire Christian Migliorese back catalog. I've discovered two things: 1) all of his stuff is just as good as I remembered and 2) he's definitely taken his artistry to another level with The Feels. My god, can this guy ever write (and sing) a pop song! 

-L.R.

https://igotthefeels.bandcamp.com/

https://thetattletales.bandcamp.com/

Kid Gulliver - "Carousel"

 

What a year it has been for Simone Berk! Already she has co-written and sung lead on WhistleStop Rock's single "Queen of the Drive-In", recorded an extraordinary version of "He Knows I Love Him Too Much" for the Goffin & King Foundation ISO BOOTH Cover Competition (she won!), and released a couple of tremendous singles with her power pop band Kid Gulliver. Now we can add a new Kid Gulliver music video to all of this excitement. "Carousel" was originally released in 2018 as part of Kid Gulliver's SPREE EP. The band decided to bring it back this fall as its latest single, and a brand-new video has been produced for the occasion. On the heels of the more straight-forward power pop of "Susie Survived Chemotherapy" and "i wanna be a pop star", "Carousel" is a dreamy and quite beautiful number. I love how the pretty melodies and tenderness of Berk's vocal only heighten the melancholy of David Armillotti's lyrics. The contrast between childhood innocence and adult disillusionment is a timeless theme in art, and here Kid Gulliver explores it in a moving and compelling way. It's a dandy little pop song that absolutely merited a rebirth in 2020. If you like what you hear, I recommend checking out the full EP!

-L.R.

https://kidgulliver1.bandcamp.com/track/carousel
https://www.facebook.com/kidgulliver/
http://www.kidgulliver.com/

Field Day - "Everything, Everyone"/"The Next Day"

Out today from Boston foursome Field Day, "Everything, Everyone"/"The Next Day" is essentially a pair of singles released on one 45. Field Day features former Boston Globe rock critic Joan Anderman and her longtime colleague Dan Zedek on guitar and vocals. As you might expect, this duo's songwriting and musical aesthetic bring to mind the classic indie rock of '80s and '90s Boston. These new songs were recorded at Boston's Q Division studios with Rafi Sofer. What makes this such an appealing release is that the two tracks are so different from each other. 

"Everything, Everyone", featuring Anderman and Zedek on dual vocals, has a warm, jangly feel to it that I would describe as textbook indie pop. I like that the song is on the mellow side but still packs a solid punch. Anderman and Zedek are a likable pairing on vocals, and the lead guitar on the track is absolutely dazzling. If you fondly recall late '80s/early '90s college radio, you need this song in your digital collection. "The Next Day", featuring Anderman on lead vocals, proceeds in a darker, more mysterious direction. The band achieves an extraordinary tone on this slow-burning rocker. The song is cool, elegant, and haunting all at the same time. I love the way the hard-striking bass lines and angular guitars support Anderman's captivating vocals and lyrics. I've been completely fascinated by this song - hanging on every word and taking it in as if it's a short film or story. I could not be more impressed. "The Next Day" is a true work of art. At no point could I just casually hear it in the background. I'm compelled to immerse myself in it. 

"Everything, Everyone"/"The Next Day" is that rare pairing of four minute+ songs that don't drag. Each track unfolds into a beautifully developed work of passionate & literate rock. These tracks are being released as a limited-edition 7" record on Light of Day Records. They're also available via the usual streaming platforms. If you like what you hear, be sure to also check out Field Day's three excellent EPs via Bandcamp!

-L.R.

https://fielddaymusic.bandcamp.com/album/everything-everyone-the-next-day
https://www.facebook.com/fielddayboston
http://www.fielddaymusic.com/

Brick Nova - self-titled

Brick Nova, a foursome from the Philadelphia area, has just released its third album. This self-titled long player is a fine example of music that doesn't really fit into any category beyond the broad umbrella of "alternative" rock. I can hear the influence of everything from power pop to '90s college radio to classic rock to "post-grunge" to 1970s AM radio pop. I guess you could call these guys "indie rock", but what the heck does that even mean? I'm reminded of people I knew in college who would talk of their "eclectic" tastes in music while I rolled my eyes in suspicion. But for real, Brick Nova totally pulls off eclectic! On this album alone, there are songs that bring to mind Teenage Fanclub, Weezer, Big Star, The Strokes, Alice In Chains, and Jack Johnson. And it works! At the end of the day, what matters is that the music's good! Opener "Good Luck" is laid-back guitar pop shooting off a warm breeze of melody. If "(Perpetually) Tired" were any catchier, Governor Wolf would shut it down in a heartbeat. "Hey, My Friend" sounds like '90s indie rock and '70s soft rock had a baby. "Dreaming" is a sweet & timeless pop gem. "City Girl" somehow combines hipster cool with genuineness and charm. "Hold" is a well-executed and exceptionally pretty ballad. 

Brick Nova is the kind of band that exemplifies the spirit of independent music. These guys like all kinds of different music and bring it all together without any creative limitations or need to define themselves in terms of genre. What is coherent across these 14 tracks are an undeniable flair for melody and a totally unaffected quirkiness. This is an album that's pleasant to listen to but also really interesting. It's got much of the spirit of the indie/alternative music I came of age to, yet it also feels young and cool in the context of 2020. I like that these songs challenged me. I didn't know what to make of them on first listen. But as I went back to them, I found myself wanting to hear them over and over again. And isn't that what good music is all about? Good stuff from my corner of the globe! 

 

-L.R.

https://bricknova.bandcamp.com/album/brick-nova

https://www.facebook.com/bricknovaband

https://www.bricknovaband.com/

Juniper - self titled

In the midst of all the bleakness of 2020, the debut album from Juniper brings the world some much-needed sunshine. Juniper is the 15-year-old daughter of singer/songwriter, WFMU radio personality, and pop true believer Michael Shelley. In collaboration with her dad (who produced the album and wrote most of the songs), Juniper has created the rarest of things: an album in the style of '60s and '70s pop that sounds genuinely current in the year 2020.

A list of Juniper's primary musical inspirations (Beatles, Beach Boys, Zombies, Muffs, Fountains of Wayne) tells you a whole lot about the kind of record she has set out to make. Yet at the same time, she cites Taylor Swift and Selena Gomez as big influences on her vocal style. It's that mix of the old and new that makes her such an appealing artist. Regardless of whether the term "pop" makes you think of the timeless hits of the '60s, home-recorded indie tunes, or contemporary radio hits, this is a debut album that ought to delight you to no end. As a singer, Juniper possesses a mixture of charm, sincerity, and immense likeability that ought to make her a star. And while Michael Shelley wrote most of the lyrics, Juniper was given full veto power in the event that any word did not ring true. These are timeless sounding songs from the perspective of melody and production. Yet they feel so "now" because Juniper is singing about what it's like to be a teenage girl in the modern world.

Song topics on Juniper's debut album cover everything from magical days at the shore with boys to secret crushes to real teenage heartbreak to neighborhood garage bands to best friends trying to move in on your boyfriend. In this age when it often feels like romance is dead, many of these songs come off as refreshingly old-fashioned...but not in a way that feels dated. The Brian Wilson inspired ballad "Girls Just Want A Boy To Rest Their Head On" is an absolute thing of beauty - and a reminder that young hearts still dream of love that goes way beyond surface attraction. "Sticking With My Henry" celebrates those nice, reliable guys who are so often overlooked. Michael Shelley and Juniper really excel at combining their talents to tell really great stories. "Kids On My Corner" condenses an entire short story into two minutes of pure joy (The line "The other kids in the cul-de-sac/Wouldn't like The Beatles if they came back" is priceless!). "Everybody's Got A Crush On Chad", about a boy who captivates everyone for no easily identifiable reason, just feels like real life. Haven't we all known our own version of Chad?

Supporting Juniper and her dad in the creation of this debut album was a star-studded cast of indie/power pop musicians. Marshall Crenshaw, Dennis Diken (Smithereens), Chris Geddes (Belle & Sebastian), Jay Gonzalez (Drive By Truckers), Steve Goulding (Mekons, Nick Lowe, etc.), Ira Kaplan (Yo La Tengo), Chris Collingwood (Fountains of Wayne), Mark Spencer (Son Volt), and Greg Townson (Los Straitjackets) all appear on this record. There are also songwriting contributions by Tommy Dunbar (Rubinoos) & Kyle Vincent, Kim Shattuck & Lisa Marr, and Francis Macdonald (Teenage Fanclub). If that sounds like a pop lover's dream, well that's how I would describe this album in the first place. Musically it references everything from '60s girl groups to '70s bubblegum to kitchen sink indie pop to modern-day punky pop. It's pure pop music for fans of all ages and musical interests. God, I love this record! It's not easy to feel upbeat at the present moment. But I don't think it's possible to listen to Juniper's debut album and not smile. If you're dying to go to a happy place right now, let this take you there.



-L.R.

https://juniperssongs.bandcamp.com/album/juniper
http://www.michaelshelley.net/juniper/
https://www.youtube.com/playlist?list=PLcH6AJQhTwB-Dcxgr9etQ0dO6D5tmX-Rt
https://www.facebook.com/juniperalbum

Flashlights - Shadows and Lights

Secret Mission Records has been bringing music from some of the best bands in Japan to American shores for a number of years now. That very much continues with the vinyl release of Flashlights' acclaimed full-length Shadows and Lights. This Tokyo foursome plays indie pop with a tremendous Japanese punk pedigree (members of Rock-A-Cherry and The Knocks are involved). Originally released on CD in 2016, this album has been remastered for vinyl by the one-and-only Jeff Burke. Who do Flashlights sound like? Well they don't really sound like any other band, and that is part of what makes them great. They can go from jangling, twee-ish pop to moody indie/punk - sometimes within a single song! Listening to the bittersweet punky pop of "Midnight Carboy", you could understand why Jeff Burke would "get" this band. Yet for the most part, this album follows a path that is impossible to pigeonhole. It's not quite power pop, but I think power pop fans would dig it. It's not quite punk rock, but the punk influence is quite palpable (especially on a song like "Neo City"). It sounds completely original, yet it still satisfies in a way that only a really good pop record can. The sequence from the haunting "Stormy Night" to the easy, breezy "Time" to the Velvet Underground influenced "Shadows" is the perfect encapsulation of this album's appeal. This really is one of those releases that stands out from the pack - not just because it's different, but also because it's so well-done. The songwriting is brilliant, the guitar work is exceptional, and the vocals are overflowing with charm. Flashlights are one of the most celebrated underground bands in Japan today, and now you have the chance to find out why. If you like what you hear, you'll want to pounce on the vinyl. Only 500 copies were pressed, and less than half of those made it to the U.S.A. You know what to do!



-L.R.

https://secretmissionrecords.bandcamp.com/album/shadows-and-lights 
http://www.secretmissionrecords.com/ 
https://www.facebook.com/secretmissionrecords/ 

Klackers - self titled

What was I just saying about Moncton? There's got to be something in the air or the water or the Timbits that is producing so much amazing music up there. Up next out of Hub City is Klackers' debut album - released as a limited-edition red glitter cassette designed and packaged by the band. What I love about this release is that it's not really possible to pigeonhole it in today's terminology. It's minimalist and lo-fi, but maybe not quite "garage". It's got a great pop sensibility, but it's certainly not "pop-punk". It's probably too punk to be "indie rock". There are even keyboards! This album definitely has the spirit of something that might have come out on Kill Rock Stars in the '90s with a hint of Radio X Records to boot. It essentially inhabits the world where do-it-yourself/budget punk and lo-fi pop converge, and yet it couldn't sound fresher in 2019. The songs are super catchy, and they're carried off with an attitude and exuberance that are totally infectious. A cover of the Bratmobile classic "Gimme Brains" acknowledges an obvious influence, while "Sleepover" is an absolutely delightful re-imagining of an Adicts song you might know. I feel like if you were 15 and you heard this album, you'd be inspired to start your own band. It creates a "Yes, you can do this too!" type excitement that has me fondly recalling countless punk records I purchased in my youth. DIY lives!



-L.R.

https://klackers.bandcamp.com/album/klackers
https://www.facebook.com/klackersband/

The return of Ryan Allen And His Extra Arms!

It has been a year and a half since Ryan Allen released Heart String Soul - which has quickly become one of my two or three favorite albums of the present decade. Heart String Soul is that rare power pop record that I would recommend even to non-fans of the genre, and Allen is as fine of a singer and songwriter as I've heard in recent years. When I found out that Allen (Destroy This Place, Thunderbirds Are Now!) was coming out with a new solo album on Save Your Generation Records, of course I was delighted. And even with my expectations set sky-high, the new album Basement Punk is everything I was hoping for and more. It had to be a great challenge to top a nearly flawless album, but Ryan Allen has done exactly that!

While still very much a pop record, Basement Punk has a little bit of a different feel than its predecessor. It celebrates a wonderful and specific time in music - when the sudden mass exposure of Nirvana, etc. caused so many of us to start digging deeper into the "secret" world of college radio, independent record labels, and DIY shows in tiny venues. So enamored is Allen with the indie/alternative/college rock sound of the early '90s that he intended for Basement Punk to sound like something that would have come out of Boston's Fort Apache Studios in its heyday. That Buffalo Tom/Dinosaur Jr./Lemonheads vibe is right up my alley, and it brings back fond memories of all the great music I discovered left of the dial in my young adulthood. Opening track "Watch Me Explode" would have fit perfectly in between Husker Du and Sloan on one of the homemade comp tapes of my youth, and it's a fantastic tone-setter for an album that consistently delights. And while tracks like "Gimmie Sum More" (a throwback to classic era Soul Asylum/Goo Goo Dolls) and "Without A Doubt" (think early, punky Lemonheads) carry on in a similar vein, there's so much more going on with this album. In keeping with the '90s inspirations, Allen successfully tackles shoegaze ("Alex Whiz") and emo/post-hardcore ("Basement Punks"). The latter, a loving tribute to the late Sarah Zeidan, just might be my favorite Ryan Allen song to date. It's a perfect example of what Allen does so well as an artist: sing about his own personal experiences in such a way that the listener feels a genuine connection. "Basement Punks" is as stirring and life-affirming as music ever gets, and it sounds like it ought to be playing over the closing credits of a movie you loved so much that you didn't want to leave the theater. If being part of a local music community has ever brought joy and meaning to your life, this song will give you tingles.

Even with its wider array of musical influences, Basement Punk is ultimately the work of an exceptionally gifted craftsman of guitar pop. Allen's melodies are just so pretty, and he has this seemingly innate sense of how to make a song catchy. In "Chasing a Song", "Mal n' Ange", and the fittingly titled "Gorgeous With Guitars", Basement Punk possesses a core trio of pure pop songs that surely have Alex Chilton and Chris Bell smiling from the great beyond. And if album closer "Everything (In Moderation)" sounds like it could have been on the new Nick Piunti album, it's hardly a surprise that these two great friends are rubbing off on each other (Piunti, in fact, is very quick to credit Allen for helping make Trust Your Instincts the album that it is).

I think I became a Ryan Allen fan the very first time I heard him open his mouth. He's got a voice that makes you immediately want to root for him, and he has the courage to share deeply personal parts of himself with anyone who might be listening. Any record of his is like a novel with a likable narrator. It goes without saying that power pop fans ought to be lining up to buy Basement Punk. But again Allen has made an album that's truly for everyone, and his stories and reflections really get to the essence of what it means to be human. What Ryan Allen is above all else is a classic American singer/songwriter, and I promise not to denounce my fandom if he makes the pages of Rolling Stone and sings "Alex Whiz" on Jimmy Fallon. Order Basement Punk today from Allen's Bandcamp, and Detroit peeps can check out the album's release show tomorrow night in Ferndale!



-L.R.

https://extraarms.bandcamp.com/album/basement-punk
https://www.facebook.com/ryanallenandhisextraarms
https://saveyourgenerationrecords.bandcamp.com/album/syg-033-basement-punk

That new Ryan Allen album...yeah!

If my posts are infrequent over the next week or so, you can blame Ryan Allen for that. I love his new album so much that I can't bring myself to listen to anything else right now. If you need me this morning, I'll be at my desk with "Angela '97" on repeat - bobbing my head like a maniac and enjoying the hell out of life. 

Ryan Allen (Thunderbirds Are Now!, Friendly Foes, Destroy This Place) has been playing in bands since the dawn of the Millennium. Why make a solo record when you've already busy with an active band? Because you've got a story to tell! Heart String Soul, recorded under the name Ryan Allen and His Extra Arms, is a classic case of a songwriter making a record entirely for himself. And precisely because of that, it's a true joy to listen to. Essentially it's an autobiographical record - the story of "a 35-year-old guy with a kid, a wife, a mortgage, and a full time job, but also with a passion to keep doing music and keep being creative". All of that aside, this might be the best collection of pop songs I'll hear all year. It seems inadequate to call Heart String Soul a great power pop record. It's more like a great record that just happens to be in the style of power pop. Genre geeks like myself will love it, but I could envision a few of these songs as massive mainstream hits if radio programmers would suddenly get a clue.

Allen recorded Heart String Soul in his dad's home studio in Michigan. He played most of the instruments himself - with additional contributions from his dad, brother, and pals such as Sean Sommer. It seems like the stuff of a Hollywood script: a veteran musician making the album of his life in his childhood home - with a huge assist from friends and family. But while that may sound like a good movie, it's an ever better album! Removed from the edgier indie rock stylings of Destroy This Place, solo Ryan Allen favors the guitar pop classicism of Big Star & Badfinger by way of '90s alt rock/power pop (Matthew Sweet, Fountains Of Wayne, Teenage Fanclub). And while so much of what makes this album special is surely to be discovered once you explore the lyrics in detail, Allen never loses sight of what great pop songs are really about. His melodies are sweet and instantly memorable. He crafts harmonies to die for. And like all the best songwriters, he has this way of saving the best part of a song for a knockout hook. By the time he declares, "The song on the radio/Well, it should be me", it's pretty much impossible to disagree! I love that his most amazing lyrics are supported by equally stunning melodies. "Born Radical", a loving tribute to Allen's parents, is the kind of uplifting pop song that makes you happy to be alive. "Angela '97", boasting the best one-word chorus since Material Issue's "Diane", is a true-life love story and hands down my favorite song of the year. It shames me to live in a world where a song this good isn't all over the radio.

When an artist pours his heart and soul into a record, I always want to like it. But with Heart String Soul, there was no effort required. I loved it from the very first listen, and it only gets better with repeated spins. While I'm no artist, I fully relate to Ryan Allen's experiences and point of view ("Not Hanging Out" could very well become my new personal anthem). Allen is an engaging storyteller, a wonderful singer, and a terrifically talented songwriter. He's created a true album - not just a bunch of songs. Whether or not you're a power pop freak like me, Heart String Soul is a release you can point to for proof that genuinely great music is still being made in 2015.



-L.R.

https://extraarms.bandcamp.com/album/heart-string-soul
https://www.facebook.com/ryanallenandhisextraarms
https://www.facebook.com/pages/Two-Brains-Recording-Co/1536906163231903

Introducing Hiccup!

So a decade ago, The Unlovables released Crush Boyfriend Heartbreak - a pop-punk classic and one of my 25 favorite albums ever. The equally good Heartsickle was issued in 2007 - cementing The Unlovables as A1 all-time greats of the pop-punk world. Having been wishing for an Unlovables comeback for many years, I was over the moon to discover that singer/bassist Hallie has a new band going! Based in Brooklyn, Hiccup is Hallie on bass, Alex on guitar, and Piyal on drums. The trio recently unveiled its first two official demos, and I must say that I was not disappointed! "Whatev, It's Cool" is my fave song of the 2015 so far - a perfect example of how Hallie can start with themes of heartache & betrayal and somehow end up with a tune that makes you happy to be alive. It's a minute and a half of head-bobbing bliss, and Unlovables fans will absolutely adore it! "Dad Jokes", featuring Alex and Hallie on co-lead vocals, is more in an indie pop vein but also super awesome. I know this is just a little taste of Hiccup, but I'm thinking this band is going to be something really special. Demos are a free download over at Bandcamp!



-L.R.  

https://hiccup.bandcamp.com/album/demos
https://www.facebook.com/HelloHiccup

Hey, kids! It's a new Kung Fu Monkeys record!

The Kung Fu Monkeys are without question one of my favorite bands of all-time. Their music is aural happiness of such potency that it ought to be bottled for humanity’s sake. It’s been quite a few years since we’ve heard a peep from James Cahill and friends, but I’m happy to say the KFMs are back with their 13th EP. And do I dare say the band has never sounded better? I do!

Out on Surfin’ Ki Records (Italy) and Waterslide Records (Japan), Son of the Incredibly Strange Case of the Mysterious Mystery is the follow-up to The Incredibly Strange Case of the Mysterious Mystery EP (which, unfortunately, has yet to see the light of day). It continues the story from “Heloise’s Epiphany” (a bonus track off of the KFMs’ Christmas for Breakfast compilation). The premise: “The young and charming Eloise appealing to the vegetal queen of the underworld to spare humanity from the apocalypse, for which the disappearance of the North American honey bee is taken to be an ominous portent.” That might sound like pretty heavy stuff if you weren’t already familiar with the Kung Fu Monkeys! But fear not. James has not gone dragon metal on us. If the KFMs have always been 100 percent pop, they somehow found a way to bump it up to 110! The baroque pop aspirations of the band’s more recent output come into full fruition here, with the group’s finest production to date and an expanded lineup that includes strings and a glockenspiel player! The sweet spot here is a Zombies/Left Banke/later Beach Boys kind of pop majesty with  touches of twee, psych, and blue-eyed soul. It’s like honey to the ears. And even with slightly portentous lyrical themes in play, this is a record that’ll have you smiling on your worst day. The A-side, “Persephone Please”, is one of the most beautiful pop songs I’ve ever heard. James sounds absolutely great - his vocals soaring in tandem with a to-die-for melody. Click on the vid below, and you’ll hear what I mean! On the flip, “A Nudie Suit Made of Bees” recalls the Jolt Cola rush of the band’s early recordings, thanks in no small part to a brisk tempo set by masked drummer El Capitan (Hey, I think I might know that guy!). I love the vocal interplay between James and backup singer Kelly Lynn. You like hooks, right? This song’s got a hook that could snag a great white shark! I can’t believe I’m saying this in light of the bliss trip that is “Persephone Please”, but “Nudie Suit” is the hit! I think it’s going to be permanently stuck in my head, and for that I am most grateful. It’s truly a sprightly number. You don’t hear the word “sprightly” used in music reviews very often, but it sure does suit the Kung Fu Monkeys! And while there’s a certain irony in a blog called “Faster and Louder” extolling the virtues of a release featuring piano, tambourine, strings, and glockenspiel, this record rules as much as anything I’ve reviewed to date! My friend “Poppy” Robbie Phillips ordered 12 copies. If everyone did the same, the world would be a better place.

My goodness, it’s great to have the Kung Fu Monkeys back! There was a time when KFM singles were regular occurrences, and even then every single one felt like a birthday present. I guess this one was a birthday present as well - literally! At 41, I’m every bit the fan I was at 26. The Kung Fu Monkeys bring joy into the world. Now more than ever, we need them.



-L.R. 

http://www.facebook.com/surfinkirecords?sk=wall
http://www.myspace.com/kungfumonkeys