Sing For Your Meat

Various Artists - Sing For Your Meat: A Tribute to Guided By Voices

Tribute albums are always kind of a mixed bag. Usually no matter how much you like either the artist being honored or the bands and singers doing the covers, you usually end up with an album where you really only like a few songs. That's definitely not the case with Sing For Your Meat. Guided By Voices has always been one of those bands that, while not hugely popular among the masses, they are massively beloved by their fans. And a lot of those fans happen to be fellow musicians.

For most of these songs, the artists strike a perfect balance between using the same lo-fi techniques that have always been part of GBV's appeal and putting their own spin on things. The songs stay true enough to the originals to appeal to the faithful without sounding like carbon copies of the source material. In general, the first half of this album is front loaded with the covers that sound closer to the originals, while the second half gets a little more adventurous, and a little more rewarding. Though there are several good tracks by big names you would recognize (The Flaming Lips, Thurston Moore, Lou Barlow, and ex-Breeder Kelley Deal's second career cover of an GBV song), it's the names that aren't quite so recognizable that really shine. La Sera turns "Watch Me Jumpstart" into organ fueled chamber pop. Blitzen Trapper bring out the undercurrent of bluesiness in "Hot Freaks" until it becomes a juke joint jam. Elf Power's lo-fi remake of "Man Called Aerodynamics" sounds like it might have if Pollard and company had recorded it on Bee Thousand. There really isn't a weak track on this album, and unlike a lot of compilations, it's one that you'll probably end up listening to more than just the first few weeks after you buy it.

Western Civ - "My Valuable Hunting Knife" (mp3)
La Sera - "Watch Me Jumpstart" (mp3)
Cymbals Eat Guitars - "Gleamer" (mp3)

Ukulele Songs

Eddie Vedder - Ukulele Songs

If there isn't an old saying that states "a little ukulele goes a long way," there should be.

It's hard to say that you didn't know what to expect with this album... it's right there in the album's title, so I kind of feel stupid for complaining about it. I really liked Eddie Vedder's solo work on the soundtrack to Into the Wild, so I figured I'd give his first proper solo album a whirl. And it's not like it's bad or anything. Despite the fact that his career began an angry young singer from the Seattle grunge scene, his various solo material has proved that Vedder sounds equally great singing with acoustic backing. But after sixteen songs with pretty much nothing but ukulele as accompaniment, things start to get a little same-y. The credits indicate that he used at least six different kinds of ukuleles in recording the album, but that just doesn't give it the sonic variety that it really could have used. The appearance of cello on one song ("Longing To Belong") indicates the kind of subtle accompaniment variation that could have been accomplished by adding a few different instruments to the mix while still keeping the theme of the album. I just can't help but think I would have enjoyed this album more if there was some acoustic guitar or piano in the background.

That's not to say there aren't some good songs on here. The first half is front loaded with originals, including a new take on "Can't Keep" from Pearl Jams's Riot Act. Four of the last five songs are covers, and it's at that point that the album really starts to wear out it's wecome, despite the appearances of Chan Marshall (Cat Power) and Glen Hansard (The Frames/The Swell Season) on backing vocals. I keep wanting to compare it to the scene in Blue Valentine where Ryan Gossling serenades Michelle Williams. It's a great scene, but if Gossling would have been playing ukulele in every scene in the movie, it would have gotten old pretty quick. I feel like if Vedder had released in EP called Ukulele Songs instead of an album, I'd have liked it a lot more. Maybe when the songs pop up individually on shuffle on my iPod, I will.

Eddie Vedder - "Sleeping By Myself" (mp3) from Ukulele Songs

Wasting Light

Foo Fighters - Wasting Light

Foo Fighters have been one of my favorite bands since I saw them open for Mike Watt before their first album was even released. But over their past two albums, they had kind of reached a point where the singles were good, but the rest of the albums were a little too close to MOR classic rock for my tastes. I never even got around to buying Echoes, Silence, Patience & Grace, which is something considering what a completest I normally am. Although the news of them working with producer Butch Vig (who you might remember also produced a little known album by Dave Grohl's old band) was encouraging, he had also done the two new tracks on for their Greatest Hits album, and "Wheels" left me kind of empty.

Then in February one of my friends sent me a link to the Foos website, which had a 30 second preview of "Bridge Building," and I've got to say, it definitely got me paying attention. That song opens Wasting Light, and pretty much sets the tone for what's to come... an almost unrelenting wall of hard rock and crunching guitars. It's not that they've suddenly stopped writing hooks, but the songs are backed by a much harder edge than they've had recently. Part of that can be attributed to the return to full time status of Pat Smear, which means most of the songs have at least three guitarists on them, and on songs like "Rope," it allows for three distinct simultaneous guitar parts. And when there are only two parts, like on "White Limo," there is a lot more OOMPH. Basically this is the hardest the Grohl has rocked since his Probot side project, and the best Foo Fighters album since their sophomore effort, Colour & The Shape. Call it a welcome return to form.

I'll also warn you that buying the Best Buy exclusive expanded version is pretty much a waste of money. The remix of "Rope" is unlistenable for most rock fans, and the other track, "Better Off," is hardly essential. So unless you like owning videos that are otherwise available on Youtube, save a couple of bucks and just buy the standard edition.

Different Gear, Still Speeding

Beady Eye - Different Gear Still Speeding

I always thought that Oasis without Noel Gallagher would suck. Turns out that's not the case at all. I guess it shouldn't be all that surprising. As the band went on, Noel began ceding the songwriting duties, to the point that on their last three albums half the songs were attributed to other band members. It was said that Beady Eye considered carrying on under the Oasis banner without him, but changing monikers was probably a good move. Though it hardly frees them from their history of being one of England's biggest bands of all time, it does allow them to put a new spin on things.

Their debut album really isn't a huge departure from their old band's catalog. It's a similar concept... catchy ass pop songs born from the DNA of sixties and seventies rock. That said, there is a new energy throughout the album that Oasis frankly hadn't had in years. It does suffer from some of the same weaknesses. For instance, the lyrics sometimes border on banal. But there is no doubt that Liam and the boys are having a lot of fun, especially on tracks like then anthemic "Bring The Light." And when they do evoke the sounds of their heroes, it's less of a ripoff and more of a homage. For instance, "Beatles And Stones" manages to evoke the early sixties singles of both bands without directly ripping off either. Different Gear Still Speeding manages to be familiar and fresh at the same time. Frankly, they couldn't have picked a more perfect album title.

Collapse Into Now

R.E.M. - Collapse Into Now

The pre-release hype trumpeted that R.E.M.'s fifteenth studio album was a return to their classic sound. If you're a fan, my advice to you is to ignore that suggestion. Unless you consider Automatic for the People as classic Stipe and company, you're setting yourself up for a letdown. There are a lot more acoustic oriented numbers, and Peter Buck's mandolin makes a return appearance. But apart from the opener "Discoverer," which evokes sonic memories of "Finest Worksong," and Mike Mills throwback harmonies on the unfortunately titled "Mine Smell Like Honey," the only thing that really evokes the bands mid-to-late eighties period is that they've put a lot more reverb on Michael Stipes voice.

It took me a couple of listens, but once I got past the idea of what the reviews said this album should be, I'm able to really enjoy it for what it is... a good album by one of America's best bands. As a friend of mine put it, there is a little something for everyone. "All The Best" picks up where Accelerate left off, and though the thought of Eddie Vedder basically yodeling might sound like a nightmare, it works great on the "Let It Be"-esque code to "It Happened Today." Other guest appearances include Patti Smith on "Blue" (the bastard lovechild of "Belong" and "E-bow The Letter"), and Peaches on "Alligator_Aviator_Autopilot_Antimatter." So if the distortion riddled blasts of their last studio effort was a little too Monster-esque for your tastes, Collapse Into Now might be just what you need to Athens, GA's finest back into your good graces.

Catching A Tiger

Lissie - Catching a Tiger

I gotta admit that I didn't know quite how to react when I first listened to this album. Lissie's debut EP, Why You Runnin', was a much more rootsy affair. Catching A Tiger is definitely a bit shinier, a bit funkier, a little livelier and a lot more varied. It was kind of like hearing Norah Jones' last album for the first time... the shock of a new musical setting took a bit of getting used to, but in the same way it's just a new frame for a stellar voice (the comparison is especially appropriate since producer Jacquire King helmed both albums). It probably shouldn't have surprised me that Lissie would switch things up for her next release. All of her bio material describes a kind of wandering soul, who tries on new jobs and new towns with a greater than normal frequency, even by musician standards. That same restless spirit and sense of adventure is at work in here.

Lissie - "Bully" (mp3)

Lissie plays tomorrow night, February 3, at The Mercy Lounge in Nashville. Dylan LeBlanc opens.

Deadman's Hand

The Church - Deadman's Hand EP

As part of the Church's 30th anniversary tour, they released a CD that was given to each ticket holder. The Deadman's Hand EP has now been made available to the public, and if you didn't attend one of their shows this past summer, it's worth picking up. The title track comes from their most recent album, Untitled #23, and is filled out with four new tracks. Honestly, I think it's a stronger release than the album that sprung it. Maybe it's because the songs share a common theme. The references to tombstones, liqour, card games, death and the various wild west imagery scattered throughout becomes a sort of psychedelic spaghetti western concept album. The band's trademark atmostpherics are here, but the songs seem to have a tighter focus. Whether that's brought about by the common threads of the lyrics or the looseness of recording songs that aren't meant for a proper album, the result is a release that deserves to be heard by a wider audience. It's definitely a welcome addition to the band's catalog.

The Church - "Deadman's Hand" (mp3)

Together

The New Pornographers - Together

If I had written about Together when it first came out a month ago, this would have been a much different review. My first impression after a couple of listens was that it was merely OK, and it didn't seem as catchy as their previous efforts. But after a week or so I started noticing how many of the songs were playing in my head at odd times... and not the obvious ones like "Crash Years" or "Your Hands (Together)." It was seemingly unlikely candidates like "My Saviour" that found themselves bouncing around my cranium while I was mowing the lawn or taking a shower. So I went back to the album with fresh ears, and was happy to discover that while Together might not have the rambunctious energy of Mass Romantic or Electric Version, that doesn't mean that the hooks aren't there. They're just surrounded with more lush and laid back musical settings. It's really a trend that started with Challengers, I guess it's just a bit more noticeable this time around.

The New Pornographers - "Your Hands (Together)" (mp3) removed by request

The New Pornographers will be playing in Nashville at the Mercy Lounge on Sunday, June 27.

Vampire Weekend Revisited

Vampire Weekend - Contra

I like to think I'm an open minded person, and that I don't let preconceived notions get the best of me. But I'm also human, and I realize that despite my best intentions, sometimes prejudice colors my judgement. Such was the case two years ago when Vampire Weekend broke out. I decided that a bunch of trust fund kids ripping off Paul Simon's Graceland didn't sound like my cup of tea, so I promptly tuned them out.

Something has changed though. Maybe it's that I'm older and wiser. Perhaps it's that Contra is better than their debut (I can't say, because I still haven't listened to their first album). Or maybe it's the fact that XL sent me the new album for free that caused me to give it a chance. But I've got to admit... I'm digging it quite a bit. I still don't think they're doing anything that Peter Gabriel wasn't doing 30 years ago, and listening to them feels more like a game of "spot the influences" rather than hearing something truly original. For instance, can anyone listen to "Run" without hearing the drumbeat from "Sunday Bloody Sunday?" But all that's beside the point, because I'm really enjoying their sophomore set. The combination of pop melodies and African rhythms makes for surprisingly great workout music, and it's definitely the kind of album I can imagine listening to in the car on a sunny spring day. So here's to second chances and open minds.

Vampire Weekend - "Horchata" (mp3) from Contra

I Told You I Was Freaky

Flight Of The Conchords - I Told You I Was Freaky

I remember reading a review of the Flight Of The Conchords' show at the Ryman back in February that commented on how so many of their songs were really salacious slow jams disguised as acoustic ditties. After listening to their second album, I Told You I Was Freaky, it's obvious why... because a lot of the songs they played that night are indeed R&B seductions.

I've been listening to this album without the benefit of having watched the entire second season of their HBO show, so I've been able to judge most of the songs on their own merits, without the context of the show to frame them with. There are some great and hilarious tunes on here, but in general you can definitely tell that a lot of these songs were written for the show, rather than their first album where the show was written around the songs. That shouldn't be interpreted as a knock on the album, just an observation. "Sugalumps" is quite possibly the most hilarious thing I've ever heard, and "Rambling Through The Avenues Of Time" is an absolutely perfect send up of Billy Joel. But a song like "Demon Woman" is probably appreciated more when you've seen the setup that their show provides.

The other obvious influence of the show on this album is in the production. While there are still a few acoustic based tunes, most of these songs have much fuller and much more electronic arrangements than their debut did. For a band that used to bill themselves as New Zeland's fourth most popular folk comedy duo, they sound surprisingly at ease kicking out the electro-jams. As they declare on the opener "Hurt Feelings," "Some people way that we are not rappers. We're rappers." They're also one of the funniest shows on television, which makes their announcement last week that they wouldn't be back for a third season utterly depressing. Here's to hoping they at least keep releasing albums.

Flight Of The Conchords - "Sugalumps" (mp3) from I Told You I Was Freaky

Tonight Is The Ghost

Hurricane Bells - Tonight Is The Ghost

Hurricane Bells is the new solo project from Longwave singer/guitarist Steve Schiltz. And you weren't supposed to be hearing it yet. Schlitz originally envisioned it as something he'd release on his own. But then his song "Monsters" got included on the surprisingly stellar lineup for The Twilight Saga: New Moon Soundtrack and, well, plans change. His debut album is now being released by Vagrant Records, although the sped up schedule means that a digital release is preceding the actual physical release by three months.

So what does Tonight Is The Ghost sound like? Basically it's a stripped down version of Longwave. It has a similar atmospheric vibe, but much less dense. Schiltz wrote, played, recorded and mixed every note on the album himself, and some of the songs have the kind of laid back, late night quality you often expect from a home recorded solo project. Other songs, like "This Is A Test" or the instrumental closer "Tenterhooks" sound a lot like his main band with a few less layers of guitar, and a few more layers of vocals.

And what about this New Moon movie he's gotten himself involved with? For reasons that I still can't quite explain, I went to a midnight showing of it last night, and it's actually not bad. I thought Twilight was the chickiest chick flick I'd ever seen, but the sequel is a lot better. There's a lot more action, and the story, while still a bit corny, isn't nearly as cringe worthy as the first one. So if you're a guy getting dragged to it by your girlfriend this weekend (which is how I saw it), you can rest easy... it's definitely watchable, and maybe even slightly enjoyable.

Hurricane Bells - "This Year" (mp3)

Why You Runnin'

Lissie - Why You Runnin'

As introductions to a new artist go, the debut from Lissie Maurus, is a pretty promising one. Blessed with the pipes of her barbershop quartet champion grandfather, and the vagabond spirit of her train jumping great-grandfather, this Rock Island, IL native has unveiled a stellar EP that is sure to turn heads. With an assist from Band Of Horses' Bill Reynolds and Tyler Ramsey, she sounds like a more homespun version of Neko Case, while the production invites comparisons to Emmylou Harris' work with Daniel Lanois. "Little Lovin' " is a lively opener, but the rest of Why You Runnin' is a more subdued affair. A gorgeous cover of Hank William's "Wedding Bells" shows that her heart's in the right place, and sets the tone for the originals that follow. "Oh Mississippi" is a wistful ode to the river she grew up with, while "Everywhere I Go" and "Here Before" are yearning ballads whose minimal arrangements are the perfect setting to showcase her gorgeous vocals. Lissie is definitely an artist I'm looking forward to hearing more from.

Lissie - "Little Lovin' " (mp3)

Capgun Coup's Maudlin

Capgun Coup - Maudlin

The sophomore album from Omaha, NE's Capgun Coup is frenetic collision of 60's garage rock and 70's punk spirit. Recorded live in the studio, it documents the madhouse atmosphere of the house shows the band is known for in their hometown. Frontman Sam Martin delivers his biting lyrics with a Dylan-esque delivery, conjuring up images of what Mr. Zimmerman might have sounded like had he been five years younger and headed to Detroit or the Pacific Northwest instead of the folk scene of Greenwich Village. Whether it's the Farfisa fueled "Computer Screens and TVs," or the Ventures homage that kicks off "When I'm Gone," Maudlin is filled with a relentless energy that stands in stark contrast to the album's title.

Capgun Coup - "Sitting On The Sidewalk" (mp3)
Capgun Coup - "Bad Bands" (mp3)

Sinatra Live at the Meadowlands

Frank Sinatra - Live at the Meadowlands

Eleven years after his death, you have to wonder if the Frank Sinatra estate is going to run out of new material to release at some point. Three of the four labels he recorded for have already done "complete recordings" box sets, and you can only put out so many themed "best of" compilations. There's always live albums, and with a performing career that spanned seven decades, surely there are a lot of recorded shows in the archives. But even with that you can only release so many before the marketplace gets cluttered, and the CD racks already contain nine live albums, including a five CD boxed set of performances from Las Vegas. Add in countless bootlegs, and it begs the question how many more concerts can actually be worth hearing?

Apparently the answer is at least one more.*

Live at the Meadowlands documents an 1986 concert in New Jersey. And while Sinatra's setlists in the later years of his performing career could be hit or miss, the song selection for this show was pretty spot on. Heavy on the classics, and almost totally devoid of the MOR schlock he sometimes recorded in the 70s and 80s, this sort of homecoming show is full of gems from the great American songbook. With signature anthems like "My Way" and "Strangers In The Night" relegated to the opening instrumental medley, Frank was free to concentrate on the likes of Irving Berlin, Cole Porter, Johnny Mercer, the Gershwins, and a triple shot of Rodgers and Hart. And as he did throughout his career, he frequently credits the songwriters and arrangers who were responsible for the foundations upon which his career was built. "Change Partners" is presented in a fantastic non-bossavnoa arrangement, and as great as the studio version of "It Was A Very Good Year" is, here Sinatra gives the song even more meaning with an additional 20 years of living behind him. Following it with "You Make Feel So Young" proved that despite being 61 years old at the time, there was still plenty of life left ahead of him. The only turkey in the set is the inclusion of Quincy Jones' television theme song wannabe "L.A. Is My Lady," but I guess you can't fault the guy for wanting to promote what was at the time his most recent album. Frank was clearly energized performing withing spitting distance of his hometown of Hoboken, and his enthusiasm is apparent throughout the concert. Far from being the kind of CD that only appeals to completists, this is a live album that any level of Sinatra fan would love.

Frank Sinatra - "My Heart Stood Still (Live)" (mp3)

*NOTE: Well, I guess the answer may be more than just one more. Turns out the same day I finish this post, the estate has released Sinatra:New York, a five disc set of live material recorded in the city that never sleeps. With material ranging between 1955 and 1990, this is sure to be a treat. And so my Christmas wish list begins...

Do You Believe In Blood?

Lylas - Do You Believe In Blood?

Lylas has always been a band for all seasons. They've recorded spring songs, summer songs, and two EPs full of Christmas songs. But perhaps the time of year their music is most appropriate for is Halloween. Even when they aren't name dropping the October holiday in their songs (something they do twice on their new album), their music has long been full of themes appropriate the season of ghosts and the ghoulish. It's the kind of world where courting couples sweetly embrace, only to have one of them fall back with a knife wound.

Their second full length album continues the lyrical themes that their press release accurately describes as "the strangely sweet and the gently macabre," but the addition of Features drummer Rollum Haas to their ranks has added a bit of muscle to their chamber folk/pop. Don't get me wrong, you're not going to suddenly mistake them for a rock band, but they've never previously recorded anything quite as rambunctious as "Baby Brimstone." And Kelli Shay Hix's fiddle serves to accentuate the subtle country influence that has always been present in their sound. Like a Hitchcock film set to a Django Reinhardt score, Do You Believe In Blood? is equal parts chilling and charming. If you're looking for the perfect soundtrack for sipping some witches brew while chasing frightened children off your porch tomorrow night, this is it.

Lylas - "Fix Me Dixie" (mp3)
Lylas - "Baby Brimstone" (mp3)

Beast Rest Forth Mouth

Bear In Heaven - Beast Rest Forth Mouth

Brooklyn's Bear In Heaven was one of the bands that I saw earlier this month at Next Big Nashville and made a mental note that I needed to check them out. Turns out if I had done a better job of checking my inbox, I could have checked them out before NBN... I'd already been sent a link to their sophomore album.

Beast Rest Forth Mouth is full of moody, sequencer driven indie rock. The songs seem to float through your head, riding through aural clouds on beds of vintage synths. Even the more upbeat songs have an airy, slightly ominous feeling. On "Dust Cloud" they sound like My Bloody Valentine on valium, but the rest of the albums pulls equally from 80's new wave and late 70's prog rock. It's like if Yes' Jon Anderson fronted Tangerine Dream, and they covered Gary Numan songs. While I might personally wish for a bit more guitar to add variety to the proceedings, you can't deny that these guys create one hell of an atmosphere. It's no surprise that they're one of the buzziest bands on the blogs right now.

Bear In Heaven - "Lovesick Teenagers" (mp3)

Feral Harmonic

Old Canes - Feral Harmonic

Folk music and punk rock have always been distant cousins. Often times they share a state of mind, a certain anti-establishment attitude, and a belief that anyone can pick up an instrument and make their voice be heard. Musically though, you usually lean one way or another. Either you strum an acoustic guitar and make wistful, quiet records, or you plug into an amp and raise hell. Old Canes' Feral Harmonic doesn't fall comfortably into one category or the other.

Maybe it's the way the songs were recorded. Appleseed Cast's Chris Chrisci started all the songs by recording the drums first. And though they were then layered with entirely acoustic instruments (including trumpets that sound like they were borrowed from Johnny Cash's "Ring of Fire"), that foundation creates a bold, boisterous, and intensely rhythmic sound. Sure there are tracks like "Trust" and "Southern Radio" that have the quiet sound like you would expect from something labeled folk music, but the majority of the album has a rambunctious energy that is usually reserved for rock and roll. Songs like "Little Bird Courage" and "I Will Be The Sun" come flying out of the speakers with an almost explosive joy. Feral Harmonic is one of the most exciting acoustic albums I've ever heard.

Old Canes - "Little Bird Courage" (mp3)

Thunder$troke

Beaten Awake - Thunder$troke

If you need to know how far the technology of home recording has come, just look at the evolution of the term "lo-fi." It used to be more of a description than a label. It was used for bands like Guided By Voices or The Folk Implosion to describe records that were made in bedrooms and garages on 4-track cassette recorders and boomboxes, and the results sounded every bit like the way they were created.

Kent, Ohio's Beaten Awake might share inspiration and a state of mind with the former forbearers of the lo-fi movement, but sonically their second album is a millions miles away from the likes of Bee Thousand. Thunder$troke is equal parts rocking and pulsating, mixing straight ahead indie rock with dreamy soundscapes. At times it sounds a bit like a stripped down take on Built To Spill, with a healthy dose of new wave influence mixed in. It's almost odd that an album that features two lead singers and alternates so much between guitar driven songs and keyboard-centric tunes can come together so well as a cohesive whole. But whether it's the funky fuzz bass riff on the title track, the manic guitar pop of "Danger Pins," or atmospheric closer "I shot the Mayor, not the Deputy Mayor," these songs are definitely all coming from the same fertile creative soil. Thunder$troke comes out tomorrow (October 13) on Fat Possum.

Beaten Awake - "Thunder$troke" (mp3)
Beaten Awake - "Coming Home" (mp3)

Ask The Night

Orenda Fink - Ask The Night

As a total music nut, I'm always recommending artists to my friends. I love turning somone on to a great band or singer that I love, and having them love it too. Of course the downside of being the biggest pop culture geek in your circle of friends is that the reverse is a lot rarer. Last year a friend tried to turn me on to Azure Ray. It was one of those matches that on paper I should have loved... female vocals with great harmonies and a slightly shoegazer vibe. But I found them to be really same-y, too electronic, and just hard to get into. After giving it a couple of listens in the car, I stuck the CDR she gave me in the glove box and forgot about it.

So given that I couldn't really gel with her old band, I was surprised how much I enjoyed Orenda Fink's second solo album, Ask The Night. It shares Azure Ray's sparse vibe, but has a much more organic feel. The trademark harmonies are still there (including a guest appearance by Modest Mouse's Isaac Brock), but the keyboards and electronic flourishes she has surrounded herself with in the past have been replaced by slide guitars, banjos, mandolins, and even a singing saw. The various styles combine to give the album as a whole a Southern Gothic folk feel. The lyrics veer toward a coffee house confessional vibe on occasion, but luckily she never travels too far down that path. Ask The Night is out today on Saddle Creek Records.

Orenda Fink - "High Ground" (mp3)

Hopeless Melodic

Matthew Pop - Hopeless Melodic

In my lifetime, I've probably seen several hundred solo acoustic performances, and a majority of the time they bore me to tears. Let's face it... a smoky, noisy bar isn't the best place to hear singer/songwriters. It's just hard to hold the attention of a bunch of drunks without instruments that are louder than they are. So anytime someone can get up on stage alone in a dingy dive bar and hold my attention, it's quite the feat.

Sunday night my band played a gig at one of our local dive bars, and Matthew Pop followed us. It was one of those rare occasions that a solo performer not only held my interest, but I thoroughly enjoyed it. His songs were catchy as hell, and it was hard not to get caught up in his enthusiasm as he played them. On Hopeless Melodic, his pop sensibilities are on even stronger display. It's full of the kind of melodies you can only dream up after spending countless hours digesting hundreds of pop albums. He's obviously spent a lot of time listening to Brian Wilson, and he's got the hooks and harmonies to prove it. Pop plays all the instruments himself, and though the drum machine sometimes gives the songs a bit of a demo feel, the home recorded nature just adds to the album's low key charm. It kinda sounds like a bedroom made version of Fountains of Wayne... call it low wattage power pop.

Matthew Pop - "Top Five" (mp3)