Cars Can Be Blue - "Doubly Unbeatable" cd  (Happy Happy Birthday To Me)
I was really hoping to get to hear more from this band - their debut record was a lot of fun and that goes double for their live shows, but the band almost split (on more than one occasion, actually) due to severe tension between the two members, Nate & Becky. But when I saw them play several new songs a year and a half ago, I knew that they would be back soon. Well, I'm happy to report that I was right, as this album is even stronger than the first one. Most of the attention this band gets is due to their dirtier songs, and there are a few on here, of course, but I find their less-gimmicky ones more rewarding; and those are the ones that show the most improvement, with "Sun Blows Up", "Coat Tails", "You're On Drugs" and "Seems We're Breaking Up" being my favorites. Pretty much all of the songs have a sense of humor, but sometimes it's just way too juvenile for me; I mean, "Pretty Special" and "You're On Drugs" were funny, but "I Think It's A..." was just plain dumb. Also, the band's sound is way punkier on this record, from the quicker velocity of their pop songs to a pair of Black Flag-ish tunes ("Ribbon" & "So Cheap"), where the music finally gets as aggressive and angry as the lyrics. I probably wouldn't recommend Cars Can Be Blue to the faint of heart, but then those folks would be missing out on some great pop music...  MTQ=13/17

Mazy Fields - "Where Sunshine's Sold" cd  (Firestation)
This is the debut album from this band from northern Germany, with a sound heavily influenced by the paisley-mod of bands like the Television Personalities, the Times and the Higher Elevations (though I'm especially reminded of fellow Germans, the Groovy Cellar). You'd think this would've been released on the similarly-minded Little Teddy to the south, but Firestation picked this gem up instead, even though it's a little rough around the edges compared to most of their other releases (with the exception of those "British Invasion" comps). The production matches the band's style well, giving a timeless sound to these songs, complete with jangly guitars, ample use of the Rhodes and a drum sound lifted right off an old Who or Kinks record. Oh, and there are plenty of catchy songs to choose from, too, with favorites including "There Goes The Summer", "Your Love", "Billingsgate" and "No Coffee". Sehr schön!  MTQ=10/11

The Pristines - "States Of Mine" cd  (Series Two)
Hey, I remember the Pristines! They had some great records out on Sunday and made the rounds on the European cassette compilation scene in the mid '90s, including appearances on the Meller Welle and Bliss labels (among others). I was initially happy to hear they had something new for the first time in over a decade, but it turns out that they never actually went away - they just went deeper underground after leaving Sunday, and have self-released three albums between their 1995 album "Teen-Fraud, Pop-Whore" on Sunday and this one (which I hope to get my hands on quite soon!). If you also remember the band, then you'll be pleased to hear that they really haven't changed much over time - the band still plays jangly pop songs with a noticeable shoegaze influence, especially in the somewhat dense and occasionally swirly production (which sounds considerably lower-fi than their Sunday material, but by no means bad). And you'll also hear a few pastoral pop songs, such as "Letting The Expectation Go" and "That Girl's In Love With You", and even hear the band trying their hand at synthy Europop in "When I Promised Not To Cry" (which wasn't too bad, though maybe a little too long). I wonder what other bands from the fertile UK pop scene of the '90s are still in hiding?  MTQ=8/11

Summer Cats - "Lonely Planet" 7"  (Cloudberry)
Though I'm still anxiously awaiting a full-length album from this excellent Aussie group, they keep teasing us by only giving us new songs in short bursts - this summer alone produced this single, a split 7" on Slumberland and an EP on Wee Pop! The A-side is a great tune that sits somewhere between Stereolab and the Pastels, and ranks among the band's best songs so far! The flipside, "Lazy Susan", sounds a bit more Bats-ish to me, which I also quite like, although it gets a little weird and out of tune for about 15 seconds at the end, as if someone accidentally recorded parts from another song over what was already playing. C'mon, guys - give us some more!  MTQ=2/2

The Baskervilles - "Twilight" cd  (Secret Crush)
For the last couple years, the Baskervilles have been periodically releasing 1-song mp3 singles on their website, complete with artwork designed by themselves and about a dozen friends. The project was called "Twilight 14", and this disc collects all 14 of those songs, as well as a poster-type inner sleeve displaying a collage of their sleeves. Despite being recorded in bits over that time, and with a number of different guest musicians, this record manages to work quite well on the whole; and as you might expect from a collection of singles, there is quite a high concentration of catchy songs here! The band's influences are a little more scattered than they have been in the past - their TVPs fascination and new wave tendencies are still quite apparent, but you can also hear them dipping further into a '60s mod feel and even a somewhat baroque sound, thanks to the frequent use of a string section. Whether they were trying to or not, the Baskervilles have inadvertently created a masterpiece!  MTQ=14/14

Boy Genius - "Anchorage" cd  (no label)
It took me quite a while to really get into this record - in fact, though I found it basically enjoyable on first listen, I just couldn't really get too interested in it. What cinched it was seeing (and meeting) the band last week in Athens; they put on such a stellar set that when I listened to this record again afterwards, it clicked with me pretty quickly. Funny enough, the bands they remind me of the most are bands that also took me a few tries to fully enjoy (despite their legendary status): the Feelies, Galaxie 500 and the Go-Betweens (but with Lou Reed singing in place of Robert Forester). Many of the songs are jangly and fairly poppy, but only a few of them (such as "Talk About Love" and "Radio Silence", an earlier form of which was also the star of their debut EP last year) are actually catchy enough to pick up on the first time. Instead, it takes a little while for them to sink in - and when they finally do, the reward is great!  MTQ=11/11

Boyracer / Que Possum - "split" 7"  (555)
One of the last Boyracer releases (that is, if you actually believe Stewart this time, which I don't...), and it fits perfectly with the last batch of records Stew & Jen have done lately. Three songs ranging in length from 1½-2 minutes (added to Que Possum's pair of songs and you still don't reach nine minutes!) with that ultra-trebly tone we all know and love. For their cover, we get a punky version of Young Marble Giants' "Final Day" sung by Jen (and featuring Ara on farfisa and Chuck on his usual feedback guitar). On the flip, we've got Que Possum; not related to Jen's Possum Moods project with Mia Schoen, but rather a new band from Florida. Their muddy production is a bit of an interesting contrast to Boyracer's side, but the songs are both good and peppy tunes that sound something like Unrest-era Mark Robinson (hey, the song title "Unrested" was a bit of an obvious giveaway, wasn't it?) playing for a pre-electronica Slumber Party. Stew would probably want me to say something like "out with the old, in with the new" here, but I'm not letting him get away that easily...  MTQ=5/5

The Brigadier - "The Rise And Fall Of Responsibility" cd  (no label)
I wasn't quite sure what to make of this record, to be honest. Sure, there were some rather catchy songs (like "Growing Up Is Hard To Do (Part 1)", "The Box In The Back Of My Mind" and the peppy "This, Is Why...") that I liked from the get-go, but it took a few listens for me to get into some of the other songs, due to Matt's style and voice. His musical influences appear to be fairly diverse, but pretty well rooted in the British psych-pop scene of the late '60s/early '70s, with similarities to early David Bowie and Mark Bolan, mixed with a little Donovan and a baroque Syd Barrett, with a hushed, affected voice that kinda reminds me of Eric Matthews. You can find lots of strings and synths throughout a bunch of these songs, as well as a mini-choir of backing vocals, which may or may not actually be Matt himself (the album sleeve contains no credits saying otherwise). Definitely an interesting record, and unlike a lot of what I've heard lately...  MTQ=9/13

The Explorers Club - "Freedom Wind" cd  (Dead Oceans)
Like a lot of people, I'm sure, I first heard this band on their cross-country tour with the Apples In Stereo last year, and since then they seem to have gotten quite a lot of attention from the US and UK press. Now that the record is finally out, I expect we'll hear much more from/about them! When I first heard the band, I couldn't get past the Beach Boys similarities - they seemed a little too close to be considered an homage, and I'd bet that between the six members of the band, they've dropped at least a grand on Beach Boys box sets, Brian Wilson biographies, original vinyl pressings of "Sunflower" and assorted "Smile" bootlegs. However, on repeated listens on the record, I can also hear distinct bits of the Zombies in the chorus of "Hold Me Tight", the playfulness of the Beatles in "Honey, I Don't Know Why", and I had check the liner notes to make sure that "If You Go" was not actually a Burt Bacharach composition. But none of that should be surprising, as everything about this record, from the mock-faded lp sleeve of the cover to the design of the cd face itself, is practically a tribute to '60s pop. Regardless of the decade this album was recorded/released in, it's still a fine collection of beautiful pop songs!  MTQ=10/12

Kuryakin - "Still Here" 7"/cd  (Shelflife)
In case you haven't been paying attention, Shelflife Records have reinvented themselves as a bit of a speciality label, limiting their releases to short-run cds/7"s (each containing different songs) packaged together in a gatefold sleeve. I'll admit they're a bit pricey, but they're aesthetically worth it (perhaps the only detail missed is lavishly-colored vinyl). The music on this record is as gorgeous as the packaging, and sounds somewhat like the Radio Dept. covering the lesser-known works of Burt Bacharach and the Pet Shop Boys. Acoustic and electric guitars blend in with the drum machine and warm synthesizers, all serving as the backdrop for the soft male vocals - though the band does lose points for using that cursed digital voice effect in places...  MTQ=6/7

Love Is Chemicals - "Song Of The Summer Youth Brigade" cd  (Near Earth Objects)
The first album from this band a few years back showed some promise, but also room for improvement. Well, for their second album, they filled that room quite nicely (and then some!), much like a dozen marshmallows in a cup of hot chocolate. I can basically hear many of the same influences and sounds from the first record carried over here, including Death Cab and Spent-ish pop songs, though the band opens up a little more in songs like "Love Machines", "Larger On The Screen". You'll also find more overtly catchy tunes, such as "Over Land, Over Sea" and "The Blossom & The Butterfly", with the latter sounding quite a bit like the New Pornographers. Even some of their denser moments in "Roads Lead Underground" and "The Drift" manage to maintain some pop elements to them, reminding me of the Melody Unit. I did find a couple dull spots (namely "Travis The Cop" and "Light From Distant Shores"), but they weren't necessarily bad songs - just uninteresting. Definitely an album worth checking out!  MTQ=11/13

Merchandise - "Sometimes" 7"  (Cityscape)
I've heard this band before, but I didn't really think much of the previous release I heard. The A-side of this single, however, proved impossible to ignore, with its bouncy (but still subdued) rhythm, charming Rhodes-led melody and cheery lyrics. The b-side, "Glitterati", shares a similarly hushed style, but feels a little more intimate thanks in part to its drum programming. Musically, they remind me of the Prom and Nada Surf's recent output (with the latter especially noticeable on the flip) - mature and maybe a little glossy, yet not overly-so. Oh, and the single comes on white vinyl, which looks great alongside the attractive brown sleeve...  MTQ=2/2

Scary Monster - "Makeout Party At Werewolf Club" cd  (Modern Soul)
I've been friends with Neal Ramirez for ages, and have loved all of his bands from the Skywriters to the Snow Fairies, but I have to say that this is my favorite project of his yet! The sound of this band is a bit rawer than the Snow Fairies, but in an early Pastels/Comet Gain/Vaselines way - all shambling and playful - while the softer songs remind me a lot of Small Factory. Heck, I can go even further with the Small Factory comparison when I say that the drummer, Carly, takes the lead for a few of the songs. The only bad thing I can say about this brilliant debut album is that it's all we're ever gonna get from the band, as that jerky Neal had to go and move across the country - damn you, Ramirez!  MTQ=10/10

The Sneaks - "In An Instant" cd  (no label)
This new Boston-based band rises from the ashes of Anushka Pop, who released an excellent (and similarly brief) album a couple years ago. Like that band, this one shares some of the same power pop roots, but their songs are a little more playful and fun, bringing bands like the New Pornographers, the Salteens and Sarah Sarah to mind, though I'm especially reminded of the first Parkas record. And where Anushka Pop was a lean three-piece, the Sneaks add an extra guitar player and keyboardist, as well as male & female backing vocals, all of which add to the fun feel of these songs. Of course, the band still likes to show off their more rockin' side in tunes like "Monuments" and "All In Good Time". Clocking in at only twenty minutes (including the minute-long unlisted track which is mostly silence and then a few seconds of incidental noise), this record may be short, but there's still plenty to enjoy!  MTQ=6/7

Transport Assembly - "Improbable Songs" cd  (Broken Twilight)
On paper (and by that, I'm referring to the press kit), this album didn't look all that interesting; though I grew up on the abstract indie/art rock of bands like Sonic Youth, Polvo, et al in the '90s, I haven't really found a band in that style that I've liked in a long time (actually, that Zoppo record from a few years ago was pretty awesome). And if you ever start describing something as "post-rock", that's a good way to get me to quickly tune out. But, of course, there are exceptions to every rule, as I liked this record within minutes of putting it on. Despite starting with a song called "Tra La La", don't expect any happy-go-lucky tunes here - though you can still find some surprisingly melodic moments in songs like "Vanity Forcefield", "Space Age Polymers" and "Lexicon Industries" (with the latter two nicely juxtaposing melodic choruses with atonal verses). A three-piece, many of the songs have a somewhat sparse sound, reminding me a lot of New Radiant Storm King, with the band using noise as an occasional element rather than a constant backdrop. Not all of their experiments work, like the two brief interlude pieces and the dull "Chancellor Bandicoot", but it's still an interesting record.  MTQ=8/12

Adrian Whitehead - "One Small Stepping Man" cd  (Popboomerang)
Popboomerang included a couple of these songs on a label sampler over a year ago (which shone brightly, believe me!), but the whole record took longer than expected to finally see the light of day, having just been released this summer. Despite the delay, I think its timing is a bit off, as this is less a summer record (or winter in Australia, from where Adrian & Popboomerang hail), and more a spring/autumn one. The upbeat and peppier tunes have a tinge of melancholy to them, while on the other hand, the sadder ones have a ray of sunshine holding them up, making for an album full of songs that simultaneously bring joy and tug at the heartstrings. The music and production on this record are deeply rooted in the '60s, with echoes of the Zombies (especially with the piano melodies and vocal harmonies), the Beatles (particularly John Lennon's tunes) and Brian Wilson throughout. There's even an ode to Phil Spector ("Spector's Dead"), to show you where he's coming from. A delightfully lush orchestral pop record!  MTQ=9/10