Well if you know, you know: most of you don't need me to tell you that The Reflectors are one of the greatest power pop bands currently in existence. When a band of this caliber releases a new record, you buy first and ask questions later. That said, I think The Reflectors' third album Going Out Of Fashion (out now on Neon Nile) will surprise you a little. At the very least, it surprised me. With power pop bands, a sophomore jinx is rare. On the other hand, that third LP can be problematic. If your third album sounds too similar to the first two, people get bored. But if your third album sounds too different from the first two, people are disappointed. On Going Out of Fashion, The Reflectors have navigated this situation marvelously. Far from succumbing to the junior jinx, they've made their best album yet. They've accomplished this by going back to their punk rock roots but also progressing to a more mature style of songwriting. That almost sounds like a contradiction, but trust me, it's not. Going Out Of Fashion is by far the band's punkiest record, and as a result, its sound has been highly energized. This is a "Play loud or else!" type of record. You can hear the influence of classic first generation punk-pop coupled with the modern power pop sound that The Reflectors have helped define. At the same time, you can hear that the band's songwriting has not stagnated. Several of these tunes are more lyrically and musically sophisticated than anything these guys could have written a few years back. And I love the variety of this record. Vintage Reflectors songs like "All the Way Down," "I Gotta Run," and "Living in a Dream" will be crowd-pleasers in power pop circles. But just as good are more "grown-up" pop songs like "I Don't Know Anymore" and the extraordinary "Time Is All I Have." In the other direction, punk-influenced songs like "Limitation" and the stone-cold banger of a title track bring a much harder edge to The Reflectors. "Losing My Mind" is pure punk rock that will just about melt your face off!
Resisting the temptation to just make Faster Action, part 2, The Reflectors have really stepped it up with Going Out Of Fashion. This is a fantastic album in every sense: the songs, vocals, production, and musicianship all knock it out of the park. This is still essentially a Reflectors album, but it's far from a copy of the band's previous efforts. In a world where melody, stellar hooks, and great songs are timeless, the title of this album certainly does not describe this truly excellent band.
Now this was a killer surprise! I was scrolling through social media last night and discovered that one of my favorite bands had just dropped a brand-new single that I didn't even know was coming out. And it's a teaser for a full-length album releasing next month! The Reflectors are, in my book, one of the two or three best power pop bands going. They've released two totally fantastic albums, and a third LP called Going Out of Fashion is soon forthcoming on Neon Nile. In advance of the album, the new single "All the Way Down" gives us a little taste of what's to come. This is the first new music from The Reflectors in two-and-a-half years, and it does not disappoint. This, my friends, is a little piece of power pop bliss. I can't stop playing this tune, and I bet you won't be able to either. Enjoy and stay tuned!
Now here's an album I was eagerly awaiting! Last year, The Reflectors released First Impression - one of the best albums of 2020 and one of the best power pop releases of recent memory. James, Nick, Ryan, and Johnny are now back with their sophomore long player Faster Action. The album is being co-released by Beluga Records in Sweden, Time For Action Records in Germany, and SNAP!! Records in Spain. It officially releases one week from today, but it's already available in digital form from the SNAP!! Records Bandcamp. Faster Action is a real fan-pleaser, sticking to the formula that worked so well on First Impression. If you like classic L.A. power pop or Buzzcocks-style punk-pop, well The Reflectors are the best of both worlds! Again the band worked with engineer/producer extraordinaire Jonny Bell to create an amazing-sounding power pop record that's chock full of hits. Quite a few of these songs were featured on The Reflectors' KXLU live broadcast, and the studio versions do not disappoint. Ralph Rivera has proclaimed "Radio Signals" the "best power pop song in forever", and he's not wrong! This album strikes a great balance between perfect pop songs like "Can't Sleep Tonight" & "Dial Tone" and punchier, punkier tunes like "Messin' Around" and the title track. And in typical Reflectors fashion, the album seems to finish even stronger than it starts. There's no filler to be found here, my friends!
Coming off the magnificence of First Impression, The Reflectors could not have been blamed for succumbing to the sophomore jinx. But instead, they've come through with the best album of 2021 so far. Check the links below for ordering info. No joke: the TFA vinyl version actually plays inside-out!
The mighty Reflectors are back with another pair of splendid power pop tunes! Having released one of the finest power pop albums of recent memory in last year's aptly-named First Impression, this Los Angeles foursome is now set to release a follow-up titled Faster Action. The new album's first single, "All Made Up", is out now on Time For Action Records. Again The Reflectors are in classic power pop territory. "All Made Up" brings to mind the vintage LA sound circa 1980 and could practically pass for a lost 20/20 song! With its punchy guitars, huge catchy chorus, and thoughtful lyrics, it's every bit on level with the best songs off of First Impression. On the B-side, "Every Time" is exclusive to this release. It's on the punkier side of power pop -- with more than a little Buzzcocks influence coming through. In typical Reflectors fashion, this song will have you tapping your toes and humming along in no time flat!
Colored vinyl editions of "All Made Up" have already sold out, but copies still remain on black vinyl --- for now! Be sure to hit up Time For Action Records for ordering information. Stay tuned for news about The Reflectors' new album!
Today's post is a special treat for those of you who are super fans of The Reflectors or power pop in general. Back in May, I reviewedFirst Impression, the phenomenal debut album by this LA power pop foursome. First Impression is not just one of the strongest albums of the year. It's one of the best power pop albums of the last several years! If you love the album and still can't get enough of The Reflectors, head on over to the group's Bandcamp and check out Radio Transmission - KXLU - a full-length radio set recorded live on the air last year. The majority of these songs turned up on the album, but there are quite a few that did not (Hint: they are likely to be on the next one!). "Radio Signals" sure sounds like a hit to me! If this is your first exposure to The Reflectors, you will definitely want to start with First Impression. But if you're a fan, Radio Transmission is well worth ten bucks!
Here's a really wonderful surprise to start a new month! Justin Maurer (Clorox Girls, Suspect Parts, Maniac) is a great friend of this blog and one of my favorite people in music. Today he debuts a new solo project called JENNY that he created with the help of a couple of luminaries from the world of underground pop. If you're a fan of Justin's other bands, you will not be disappointed by JENNY. Three of these tracks were recorded by James Carman (whom I just talked about last week!). The other two were recorded by Matt Rendon of The Resonars.
JENNY came about after Maniac broke up. Maurer was working on some songs that were shaping up in a power pop direction. Naturally, his friend Carman was a perfect choice to record the songs and contribute drums and backing vocals. The first three songs on the EP are from the sessions with Carman. The final two tracks were recorded in Tuscon last Christmas with Rendon, who also played bass, drums, and lead 12-string guitar as well as singing backing vocals. Even though this is a true solo project, I appreciate that Mauer allowed his collaborators to put their stamp on these recordings. The songs Maurer recorded with Carman are in the style of late '70s power pop/punk-pop and recapture a great deal of the magic the two made together in LA Drugz. The tracks recorded with Rendon have a distinctive '60s pop flavor. In terms of the sound of the recording, The Everly Brothers were a big inspiration. If you're a big Maurer fan, you may recognize "Song For Sadie" from a recent Suspect Parts release. The JENNY version sounds so different that it's practically a new song! I dug this tune before, but this particular arrangement has me feeling the emotion of the song tenfold. The bare bones percussion is an homage to the Los Lobos song "Christmas and You", which Mauer was enamored with at the time of the recording
JENNY will soon be released as a one-sided 12-inch by the always fabulous Wanda Records. Digital is available now via Bandcamp, so go check it out!
The month of power pop continues! If you'd told me back in January that 2020 would bring us a new Speedways single plus new albums from The Vapors, Duncan Reid and the Big Heads, Nick Piunti & The Complicated Men, and The Reflectors, I would have said we were in store for a really great year. I sure would have been wrong about that! But the fact that all of this music has come out in a matter of three weeks is pretty incredible (and perhaps very taxing on your budget!). Once I discovered that The Reflectors were putting out a full-length, that quickly became my most highly anticipated album of the year. Now it's here, and it does not disappointment!
Out on Time For Action Records, First Impression combines the best elements of late '70s/early '80s power pop with a touch of modern-day powerpop/punk. Three-quarters of The Reflectors used to be a terrific punk/pop trio called Images. James Carman (LA Drugz, Telephone Lovers, Maniac) moved from drums & vocals to guitar & vocals, with Johnny Reyes joining on drums. Although quite a few of the songs on this album date back to Images days, the change in band name seems to reflect (no pun intended, I swear!) a slight progression in sound. First Impression features 11 tracks of quintessential Southern California power pop. Carman and fellow singer/guitarist Nick Faciane write songs about classic themes like heartbreak, longing, and unrequited love. That's pretty much the power pop holy trinity right there, and these guys convey those emotions quite convincingly in their vocals. The best power pop has a way of delighting your senses and tearing out your heart at the same time. And that's the playbook The Reflectors follow: big punchy guitars, catchy melodies, and lyrics wrought with teenage frustration. Last year's outstanding single "Teenage Hearts" and the pre-album teaser "Champagne" set the bar pretty high, but the rest of songs prove to be just as good. I can't quite decide which track is the "hit" because nearly every song here sounds like one. That makes sense since these guys were able to cherry pick the best songs they've written over the last eight or nine years. Even down the final stretch of songs, I'm hearing tunes that easily could have been A-sides.
As expected, The Reflectors have placed themselves in the thick of the album of the year conversation with First Impression. This is classic power pop that feels new and fresh because, well, matters of the heart never go out of style! Whatever artificial intelligence Bandcamp used for its "If you like The Reflectors, you may also like.." feature was totally spot-on because the first two bands mentioned are The Whiffs and The Speedways. Add The Reflectors to that pair, and you've got the best of the new generation of power pop. If you want to feel 16 again, just put on First Impression and close your eyes.
Exciting news for you power pop faithful! The Reflectors, who released one of my favorite singles of 2019 in "Teenage Hearts", have a debut album coming out next month on Burger Records in the USA and Time For Action Records in Europe. In the way of a sneak peak, the L.A. foursome has released the track "Champagne" as an advance single. Oh man, is this song ever a slice of power pop heaven! This is about as perfect as it gets: big crunching guitars, melodies to die for, and vocals that fully convey what it's like to have your heart twisted up in knots. I can't stop playing this one! It has me very excited for the album, which is obviously the entire point! There's something to be said for a song that can induce frantic air drumming and still leave you with a melody you can hum all day. If you're dying for another taste of what's to come, the band has also released a really cool music video for the album track "Storm and Thunder". First Impression releases May 29th and is sure to be one of my favorite albums of 2020. Pre-order is live now at Bandcamp!
Oh man, do I ever have something great for you today! The band name The Reflectors might be new to you, but perhaps you remember James Carman, Nick Fashion, and Ryan Miranda from the amazing L.A. power pop band Images. With Johnny Reyes joining in on drums and Carman (LA Drugz, Telephone Lovers, Maniac) back on guitar and vocals, The Reflectors pretty much pick up where Images left off. The band's debut single will be out next week on the German label Time For Action Records. The A-side, "Teenage Hearts" is a perfect slice of Buzzcocks/Undertones punk-pop meets early LA power pop. The cover art and musical style scream 1979, and that's definitely alright by me! This song could not be any more up my alley! On the flip, "Desert Crusader" moves away from the love song motif in favor of darker themes and an even punchier sound. It's really cool to hear the band trying something different for the B-side and totally pulling it off! That chorus is nothing short of haunting. What a tremendous debut single from The Reflectors! Vinyl releases Tuesday, and you can order it here.
Man, have we ever had an astounding flurry of new album releases over the last couple of weeks! The barrage continues with the second album from MANIAC, who have been a little quiet since releasing brilliant singles back in 2015 and 2016. I would definitely consider myself a MANIAC, so of course I was eager to hear the long-awaited Dead Dance Club (out today on Hovercraft and Dirt Cult Records). The band's first LP Demimonde from late 2014 is, in my opinion, an overlooked gem of present-day punk albums. I wouldn't change a thing about it, but I appreciate that Dead Dance Club is a little different. Sure, MANIAC can still do fast and frantic punk rock with the best of 'em. The opening 1-2 punch of "City Lights" and "Subject To Change" might lead you to believe that this album is headed down the same dizzying path as the last one. But then comes the moody and modern "Neutral Libido", and it's quickly apparent that the band has upped its game. It all still sounds very much like MANIAC - edgy, energetic, and forged in the storied traditions of West Coast punk and pop. But the band has really pushed itself to expand its sound on this release. There is no shortage of ripping tracks, but standout numbers like "Modern Love" and"Post Post World" really give the album atmosphere and room to breathe.
One of MANIAC's greatest strengths is that it has four songwriters and four essential contributors. Singer/bassist Zache Davis is probably considered the "front man", but on quite a few of these songs he trades off vocals with his band mates. F & L favorite Justin Maurer authored some of the album's strongest tracks. Andrew Zappin is one of my favorite lead guitarists working today. James Carman, in addition to being an incredible drummer, is a tremendous pop songwriter and vocalist. That's a whole lot of talent, but it's the way it all comes together that defines MANIAC. You can hear that in the interweaving of the two guitars, the sophisticated layering of the vocals, and Carman's soaring harmonies. Davis, quickly emerging as a modern master of odes to failed relationships, contributes the deliciously bittersweet "Neutral Libido" and crackling "Living In Stereo". The latter brings to mind a Cali-soaked Buzzcocks. Maurer's songs cover a range of topics from youth and the loss of innocence ("Children of the Dirt") to how our contemporary society no longer believes in anything ("Post Post World"). The reappearance of three 7" tracks was music to my ears because they were just too good to leave out ("Calamine", to me, is a top five MANIAC song). And then there's "Dead Dance Club", which I absolutely love! It's completely unlike anything the band has done before, yet it fits so perfectly on this album. This song has me envisioning MANIAC as a band in a John Hughes movie!
MANIAC is a band like no other - distinctively part of the modern wave of powerpop/punk yet so undeniably influenced by the art and multiculturalism of Southern California. Those last two singles suggested that MANIAC was on the verge of a significant step forward, and Dead Dance Club fully confirms that. "Maturity" in punk groups is often considered risky or downright counterproductive. In this case, however, the advancements in songwriting and production really hit the spot. Demimonde was a very good album. Dead Dance Club is a genuinely great one.
You've probably deduced after seven years that this blog doesn't do band interviews. Well apparently there's a first time for everything. MANIAC is one of my favorite bands, and when they came a calling I wasn't about to say no. So I dusted off my long-dormant interview chops in anticipation of MANIAC's new album Dead Dance Club, which releases later this week. On to it!
MANIAC PERSONNEL: Zache Davis (ZD): vocals, bass Justin Maurer (JM): vocals, guitar Andrew Zappin (AZ): lead guitar James Carman: (JC): drums
F & L: Hi MANIAC! Your new album Dead Dance Club strikes me as being very socially and culturally relevant to our present moment. Was that intentional?
AZ: All great art is a carefully constructed reflection of the times in which it is made. So, to answer to your question...no.
F & L: Musically, how is this album different from the last one? Were there any particular influences or ideas that shaped the sound of Dead Dance Club?
JM: This record was recorded after 2 west coast tours, a European tour, and a gazillion local shows, so this record sounds like how we sound live: tight, loud, and combustible. We were also real comfortable after recording 2 previous times with Mark Rains at Stationhouse Studio. Mark had his dog Darkness roaming around the studio, we ordered Thai food, it felt like home. The 3rd time with Mark was definitely the charm. As far as influences or ideas, we all work off of each other, it's a collaborative effort and we enhance each others' songs with our own individual parts. Team MANIAC has been through the ringer, so a lot of that toughness comes out in the music.
F & L: Those last two singles were rippers! I was glad to discover that most of those tracks were re-recorded for Dead Dance Club. Was there any hesitation about having those songs on the album?
JM: Thanks! I like the single versions of these tunes, but like I said before, playing these songs out live on tour really gives them some dimension. The album re-recording of these tunes really gives them a lot of volume, if that makes sense. Ya know, like hair. Thicker hair, more volume, more personality. No hesitation from the MANIAC camp on putting these tunes on the LP.
ZD: Not at all. I think we knew we were going to include the three songs on the record after we recorded them the first time. Especially with "Precision Accuracy". That was one I really liked but wasn't 100% confident in until I heard it played back the first time.
F & L: When I'm listening to MANIAC, I can feel the band's environment in the music. It's like Los Angeles and the West Coast inhabit these songs. How do you do that? Beyond just the subject matter of the songs, what would you say is distinctively Californian about MANIAC?
JM: This city can really get a grip on you in a good way and a bad way. I think we all love this city, and we all have a different perspective on the 4 corners we live in and our own personal stories that come from this place. Me and Zache also both have history in the Pacific Northwest, so that Pacific Northwest sound is definitely present, but to me we sound like MANIAC. If we were in the Midwest or the east coast, we would definitely sound differently. It's interesting how regional influences actually affect the sound of a band. I mean, there's crappy punk bands everywhere and we are most certainly superior. We think, therefore we am. What makes MANIAC distinctly Californian? Zache surfs, Andrew is a filmmaker, James reminds me of Tom Cruise in Risky Business, and my dad was a disco dance instructor and Catholic seminarian who also sang in a new wave band called The Defenders in 1980. I'm pretty sure that couldn't happen in any other state.
F & L: You've got four people in this band, and everyone is contributing to the songwriting. Yet it's not easy for me to go through a record and pick out who wrote what. How do four guys all write songs and manage to maintain such a cohesive musical identity?
AZ: In many cases, we write songs live. Someone comes up with a riff or a beat, and we all add a piece until there's a fleshed-out whole; like Frankenstein (the monster not the song). Even when a member brings in a complete song, the band gets its hands on the thing and shapes and molds it and eventually that song becomes a full-fledged MANIAC tune.
ZD: Every song on that record, whether written in solitude or in the space with three additional contributors, ultimately still takes on the "MANIAC" sound. We all differ from mild to extreme with individual playing styles and influences. I think that's what keeps our music interesting for me––it's that we often don't agree on a base for a song, but we work through every idea anyways. And sometimes after everyone adds their particular style, well that's just MANIAC.
JM: A hint is that the person who is singing the song probably wrote it. Andrew writes a lot of songs too. He is just shredding too hard to sing. James's drum parts and vocals also really tie the room together. Sometimes musical partnerships just work out well. We are blessed to have each other. Thank fuck no one in our band likes Nickelback, Creed, or Smashing Pumpkins. Oh wait, I take that last one back.
F & L: MANIAC has such great energy on record. How does this translate to your live shows? Do you generally find that crowds respond enthusiastically?
AZ: Actually, I think it's the other way around. We translate our live energy to the album in the studio. We play live in the studio, and we have a great engineer in Mark Rains at Station House; so it happens pretty naturally.
ZD: Crowds are a mixed bag, it really depends on the city, show, venue, audience. We make it a point to deliver high-energy performances for every gig. Sometimes crowds respond to that and sweat with you. Other times they stand and stare.
JM: I personally try and play every live show as if it was the last show I will ever play. If I'm not out of breath and nauseous and sweating and holding onto the wall for dear life after we're done playing, then I haven't done my job correctly. Our best audiences to date have probably been in Germany, Spain, and Vancouver BC. This town tends to take its bands for granted. When MANIAC are on, we're like a well-oiled machine, high kicking dangerously close to faces, singing mostly in-key, and sometimes losing control and falling into the drums (sorry James).
F & L: Underground music in the digital age is this immense, almost infinite universe. Almost anyone can create and release music. Getting that music heard is a different story. As artists, how do you view the world of 2018? Is it ever a frustration to put so much into a record and then wonder how many people will actually hear it?
ZD: When we record something, of course we want as many listeners possible to hear it. And of course, it can be frustrating. However, I'd rather put that energy towards writing more songs than worrying about how many people will hear them.
JM: Yeah, agreed, there's a lot of over saturation, over stimulation, sensory overload. It's pretty hard to get people to listen or pay any attention as people have such a short attention span these days. It's cool that people around the world can listen to your music on their smartphone for "free", but it's an uphill struggle. I find it insane that bands (sometimes us included) pay to advertise on Facebook, a multinational corporation that earned almost 5 billion in the 1st quarter of this year. Small independent bands who hardly earn any money actually pay Facebook to advertise so that they can try and get noticed in an extremely overcrowded room. It's a wiggly world we live in, but we don't have a choice, we live in 2018 and we're playing in a rock and roll band. Sometimes it feels like we're the last of the Jedis, playing in a band the old way, but trying our best to adapt to the present. I do kinda miss the old days of making copies of flyers at Kinko's with a stolen copy key and hitting the city with posters and flyers. It was a more innocent time. The song "Post Post World" on our new record is kind of about this. In these times, we are beyond postmodern, we're actually post, post, postmodern. We're part of a subculture of a subculture of a subculture. We're a little insignificant bacteria, but hopefully we'll get a lot of people sick with our infection. The good sick.
AZ: I've spent my entire life tossing lovingly created, personal work into the abyss of public consumption. So, not really, I'm pretty used to it by now. Personally, I have no expectation that anyone will hear MANIAC's music or be affected by it, so that, if and when they do, I'll be pleasantly surprised.
F & L: What are your hopes for how this album will be perceived?
AZ: If it is perceived at all, I hope it makes people jump around and jiggle their butts and titties and dongs and whatever other body parts they have that move when bitchin' tunes play.
JM: I think people will like it. I just want Steve Jones to play us on Jonesy's Jukebox and Henry Rollins to play us on KCRW. And I wanna play Japan and Australia! Thanks for the interview, man, really appreciate it! And thanks to the dozens of MANIAC fans out there reading this now.
MANIAC's new album Dead Dance Club will be out June 1st on Dirt Cult and Hovercraft Records.
I've got a good one here to kick off the month of February! I was a big fan of Telephone Lovers' debut album, and now they've followed that up with a single that's even better! A split release between Disconnected Records and Burger Records, "Two Dollar Baby" finds this LA band embracing a 7" format that was tailor made for power pop. And when I say power pop, I'm talking old school. I admire that Telephone Lovers make no attempt to sound "modern" or "original". They still sound like they just stepped out of time machine that they boarded in 1978. Both tunes here straddle the fine line between mid-to-late '70s power pop and straight-up rock n' roll. "Two Dollar Baby" sounds SO 1970s in an entirely good way. It's got riffs and licks a plenty, and that chorus really brings it all home. I really love what the piano adds to this tune! If you dig Dwight Twilley, Flamin' Groovies, etc., this one should be right up your alley. On the flip, "Real Action" has that classic LA power pop feel that seems to be this band's calling card. You could easily slide this track on a mix between 20/20 and the Paul Collins Beat and have a perfect fit.
Telephone Lovers are definitely one of the best new bands going in power pop today. And perhaps that's because they don't sound like a power pop band of today. Teddy Too Much may wear his songwriting influences on his sleeve, but he absolutely has the talent to honor them well. He's joined by a stellar cast of players including Billie from Black Mambas, Pat Salway from Dr. Boogie, and top-notch power pop drummer James Carman (Images, Maniac, LA Drugz). Vinyl for "Two Dollar Baby" will ship early next month. Via Telephone Lovers' Bandcamp, you can buy the digital version of the single or pre-order the 7". Man, this is really shaping up to be a great year for power pop!
Hey! How about a brand spanking new 7" record from one of the best bands in the powerpop/punk universe? Maniac, L.A.'s favorite gentlemen punks, authored one of the finest albums of recent memory in 2014's sizzler Demimonde. And the singles they've released since then just keep getting better. New 7" "Midnight Kino", issued by Modern Action Records, continues in the band's signature style. The title track is a fast and frantic stormer with top-tier hooks and wonderfully strange lyrics that I can only describe as genius. While by no means the only band walking the fine line between first wave punk rock and the herky-jerky new wave of the same period, Maniac always manages a fresh take on these classic sounds. Zache Davis is one of the most underrated songwriters out there, and James Carman is an absolute ball of fire on drums. I also love the way Andrew Zappin and Justin Maurer combine their talents on guitar. If Wire crashed a party thrown by the 1977 Ramones, it would sound like the last 45 seconds of "Midnight Kino".
On the B-side, "Precision Accuracy" slows the pace a tad and really lets those melodies breathe. The guitars are as punchy as ever, but you can really hear some '60s California pop sensibilities bubbling under. I'm reminded just a little of L.A. Drugz - which is hardly a surprise given the incestuous relationship between the two bands (now featuring three members in common).
Last year, I credited Maniac with having one of the most outstanding singles of 2015. Take it to the bank that the band will also be in the running for top single of 2016!
The last time I discussed Maniac, I proclaimed the L.A. band's debut LP one of my top ten albums of 2014. It would probably rank even higher if I had to re-do that list today. That's how much I like Maniac. For the uninitiated, this is the band featuring singer/bassist Zache Davis (Cute Lepers, The Girls) along side Andrew Zappin, Justin Maurer, and James Carman (all currently in the great L.A. Drugz). Maniac had the unenviable task of having to follow such an amazing LP. But new single "Chola Queen", out on No Front Teeth Records, does not disappoint. It's an absolute crackler - and probably the best release yet from this fantastic band. Maniac takes that '77 punk/powerpop thing I'm so into and totally makes it is own - infusing frenetic, new wavey guitars and pushing tempos that will leave you breathless. Few other bands could cover '70s Swedish pop star Harpo and make it sound like one of their originals. "Chola Queen", featuring Davis on lead vocals, is a scorching reinterpretation of Harpo's 1974 single "My Teenage Queen". Oddly enough, this cover tune is the perfect introduction to what Maniac is all about. It's pure energy from the jump, propelled by super-punchy guitars and Carman's exuberant drumming. "Calamine", featuring Maurer on lead vocals, somehow kicks the pace up another notch. There's a cool Clash-y riff at the heart of this tune, and Zappin's guitar solo is sheer perfection. If you're having a lackluster day and need a quick jolt of awesome, this song will be good for whatever ails you. It's like aural Red Bull!
Before I sign off, I must mention how incredible "Chola Queen" sounds. It was recorded by Mark Rains at Station House Studio in L.A. and mastered by Daniel Husayn at North London Bomb Factory. If someone ever asked me to describe the way a punk rock record ought to sound, I'd simply advise that person to go listen to anything that's ever come out of the NLBF studios. This Maniac record would rule no matter what. But that Daniel Husayn magic mastering touch takes it over the top. This is one of your prime contenders for single of the year. It's right up there with the latest from - you guessed it - L.A. Drugz!
It was a year ago when I first identified Maniac as a possible contender for 2014 album of the year. I was blown away by the L.A. band's debut single and sensed that its then-forthcoming LP could be something really special. Well, after a full year's worth of high anticipation, we finally do have that debut album from Maniac. And all I have to say is WOW! Maniac completely lives up to its name on the sensational Demimonde - which crackles with frantic energy and an unrelenting sense of urgency. And as much as I enjoyed the more straight-forward '77 pop/punk stylings of that last single, I was genuinely thrilled to hear Maniac break that mold and realize such a unique and exciting sound. While by no means lacking in tuneful melodies or punchy classic punk riffs, Demimonde has an angular, hyperactive feel to it that really sets it apart from your more typical genre exercises. It makes just about everything else in my record collection sound painfully average! It's as if these guys heard that the planet was coming to an imminent end, imbibed dangerously large quantities of Red Bull, and endeavored to power out a punk record that the world just had to hear.
What I really like about Demimonde is that it brings together the myriad of musical influences existing within Maniac's stellar lineup. Lead singer/bassist Zache Davis is well-known for his work with The Girls and Cute Lepers. Rhythm guitarist Justin Maurer (ex Clorox Girls, Red Dons) and drummer James Carman (Images) are currently band mates in the supergroup L.A. Drugz. Along with amazing lead guitarist Andrew Zappin, these guys represent the perfect combination of everything that's cool about melodic punk and power pop. Davis has written some truly outstanding songs, and he sings them with conviction and desperation. Maurer and Zappin play off of each other in creative, compelling ways. And with a dynamo like Carman ably pushing the pace, this is an album bound to leave you short of breath. I feel like I need to run around the house in a full sprint and start jumping on furniture - just to keep up. My cats would be traumatized.
By the time I first absorbed the chorus to "Live Like Bats", I knew that Demimonde was going to be everything I was expecting and then some. Lately I've found myself repeating that chorus just about everywhere I go. It's just so catchy! Fast, fist-pumping tracks like "Wendy, Same Thing" and "Party City" proceed to ratchet up the energy in a major way. And once the band hits full stride on the frenetic "Dans Le Sang", it's obvious that this thrill ride isn't going to stop until it ends with a magnificent crash (the manic racer "Alright, Okay"). With echoes of everything from The Ramones to early Wire to modern-day greats like The Briefs, Demimonde hits that perfect blend of catchy '77 punk and jittery new wave. And with all due credit to Mark Rains (engineering) and Hadji Husayn (mastering), this album just sounds phenomenal. Davis, long an underrated figure in punk music, is more than ready for his close-up. And the exceptionally talented Zappin is quickly becoming one of my favorite lead guitarists. In one of the best years for music that I can ever remember, Maniac has delivered a surefire top ten album. Downloads available now, and the vinyl ships next month!
It's been a couple years since I last posted on L.A. powerpop standouts Images. When he's not busy drumming for F & L favorites Maniac and L.A. Drugz, James Carman is a drummer/singer for Images - one of the best punk/powerpop bands going in my opinion. While Images haven't been particularly prolific, the music they have released has been all gold. Check out the very cool video for their new song "Space Invader" - directed by Sean Christopher Johnson. I think all fans of this blog will dig!
If you think “L.A. power pop”, the first thing that comes to mind is probably a bunch of douchey wannabe rock stars with hipster haircuts and a 16-page press kit. But Images are nothing like that. Imagine instead a band that just stepped off a time machine from London 1978, where they opened for the Buzzcocks and The Jam (with a stop along the way to 1985 where they picked up a copy of The Descendents’ I Don’t Want To Grow Up on vinyl). Here’s the funny thing: in 2012, they actually are opening for the Buzzcocks! It’s stunning that this band has been around for YEARS and had somehow evaded my radar until now. Within the punk/power pop genre of music that I’ve been championing since the mid-’90s, this is easily one of the best groups I’ve heard in a long, long time. Formed way back in 2004, Images suffered for years through the common problem of not being able to find a permanent drummer. They fixed that issue three years ago when singer James Carman took over behind the kit. Images forged on as a power trio, and they most definitely have flourished since then! Hit ‘em up at ReverbNation, and you’ll be treated to some A-quality tuneage like the high-energy jolter “Frustration” and the wistful pop gem “I Know That It’s Alright” (shades of the Exploding Hearts!). Brand new 7-inch Thought Patterns is a split release on 45RPM and Under the Bridge Records. And with songs like “Shivers and Scars”, you’ll get to hear what pop/punk music is supposed to sound like! Having had this little taste of Images, I want more. I want a lot more! After eight years, they’ve got to have an album or two or three written by now. Someone sign these kids! They’ve paid their dues. It’s time for world domination!
