The Besties - "Bone Valley Deposit" 7"  (Hugpatch)
Another terrific 7" release on the Hugpatch label, and further proof that the Besties are only improving with age! These two songs find the band sounding more "mature" - I've always hated that word in the context of music, but really, there's no other way to describe the direction of their sound (ie. moving further and further away from their earlier twee sound)... The title track is a rousing rocker from Rikky (and usually one of the highlights of their live sets), while on the flip is a softer keyboard-led number from Kelly. And it's on thick white vinyl, to boot!  MTQ=2/2

Neo Nouveau - "Courtyard" cd  (no label)
This Providence band's debut album a couple years back was decent enough, but this one shows a marked improvement in the band's songwriting, as well as the overall recording quality. This record contains a certain sense of cohesion that the first one lacked (though it certainly did have its share of hits), though the band's sound hasn't changed all that much. Their songwriting still displays a variety of influences, from the Superdrag-ish powerpop of the opener "Don't Say I'm Drinking Wine" and "Collapse" to the manic, almost new wave-ish "Pipeline" and "Haitians" to the gentler sounds in "My Dad's Best Friend's Daughter" and "Bracelets", which both remind me quite a bit of Spoon. There were still a couple minor missteps along the way (for example, I liked the jazzy sound of "Regretful Advances" until it got to the more generic alt-poppy chorus), but this is a stronger effort and fine record from the band.  MTQ=8/10

Tony Bear - "Flight Of The Tiger Queen" cd  (no label)
We got this self-released disc in the mail not long ago, and as far as I can tell, it's the first release from this young Boston-area band. The band plays a kind of skewed indie rock that reminds me a bit of the Multiple Cat or Chisel in places, only the songs are mostly acoustic guitar-based (and a 12-string acoustic, at that!), with auxiliary electric guitar melodies. Tony takes care of most of the lead vocals (with his sister, Gina, helping out in places), and though his voice takes a little getting used to, it fits the music well. There are a couple rough spots on the disc ("Silver Rain" wasn't very interesting and "Sneakers" was kind of annoying) and the sound quality could really be a lot better, but overall this is a pretty good start for the band.  MTQ=5/7

The Wedding Present - "El Rey" cd  (Manifesto)
There was a day when a new Wedding Present record would send me into an excited frenzy (heck, even the generally unpopular "Saturnalia" was welcomed with open arms), but that kind of waned after I was thoroughly underwhelmed by their 'comeback' album, "Take Fountain". I went into this record a bit apprehensively (ugh, why does the artwork look like an Eagles record?), but I do admit that it finds David Gedge and his current lineup in fine form. Like the previous record, there are barely any catchy songs on here, but his slower/darker songs seem to be reined in a bit better than before, with less of the aimless meandering found on "Take Fountain". On that same note, Steve Albini's production does suit David's darker songs well, but the overall sound is much closer to "Torino" (the last Cinerama record, which he produced) than "Seamonsters". Though I still have a hard time calling this a Wedding Present record, there are definitely some moments of brilliance and classic Gedge-isms in songs like "Don't Take Me Home Until I'm Drunk", "Spider-Man On Hollywood" and "The Thing I Like Best About Him Is His Girlfriend" (once you take off the useless two minute intro, that is).  MTQ=9/11

Blue Skies For Black Hearts - "Serenades And Hand Grenades" cd  (King Of Hearts)
I remember hearing about this Portland group a few years ago from a friend, though I never did get a chance to hear them until now. I still don't actually know anything about them, except that now I like 'em, thanks to this fine record! At their best, they remind me a lot of Beulah, with plenty of bouncy pop songs peppered with the occasional trumpet in "Jenny & Steve" and "Ambition". However, some of the songs also have a more atmospheric side to them, which works on songs like "Siouxsie Please Come Home", the vaguely Motown-inspired "I Still Wish That You Were Around" and the string-laden "Someday There Will Be Better Days", but kinda bored me on "Won't You Please Stay". Glad I finally got to hear this band, and I'll need to check into their back catalog soon!  MTQ=10/12

Cineplexx - "Picnic" cd  (Molecula)
Hailing from Barcelona, Cineplexx is the brainchild of a fellow named Sebastian, who wrote and recorded most of this record on his own, with help from a number of guest musicians on various tracks. His songs range through a variety of musical styles, but generally they are of the easy-going, soft pop type you might find on Siesta Records (particularly those "Songs From The Jet Set" compilations put together by Mike Alway of Él Records fame), sprinkling in elements of Spanish folk and bossa nova, as well. All of the lyrics are in Spanish, with the exception of "Tiger Trap", which is a collaboration with Duglas Stewart of BMX Bandits (while Norman Blake played some auxiliary organs). There is a fair amount of experimentation throughout the album, which works in the darker electropop of "Droga Paliativa" and the haunting folk in "De Picnic Sin Mi", but not so much in the gloomy "Droga Folk" or "Picnic", which features distracting and mildly irritating heavily-effected vocals by Jad Fair in the background. But of course, my favorite tracks are the more straight-forward pop songs, like "A Mi Lado" and "Belle & Sebastian" (which actually does sound quite like the band it's named for).  MTQ=10/15

Foxglove Hunt - "Stop Heartbeat" cd  (Common Wall Media)
This style of synthpop is the type of music that I either love or hate - there have been so many bands playing it over the years (since it became cool again, I mean), and few of them do it very well. Foxglove Hunt play songs that fit perfectly alongside Pet Shop Boys and later-period OMD - simple but lush, tuneful and catchy but with an undeniably cheesy factor. Oh, and they do it very well. "The Life Highrise" contains an immaculate synth and guitar tone that wouldn't sound out of place on a New Order record (or at least in the soundtrack to one of John Hughes' better movies) and the acoustic guitar flourishes in "Strength Early" are nicked straight from Tears For Fears' "Pale Shelter" (that first TFF record remains an all-time fave thanks to its influence during my formative years). And then there are songs like "The Mayflower Compact" and "That's Getting Personal", which are just plain catchy and fun. The cover of the Psychedelic Furs classic "Love My Way" further proves where the band's influences lie. Oh, and they do it very well...  MTQ=9/10

Head Of Femur - "Great Plains" cd  (Greyday)
Though this is the band's third album, it's actually the first I've ever heard of them (even though their previous record was released on Spinart!) - and it sounds like I've been missing out! The music on this record is quite varied, with a sound that's a mix of catchy indiepop in the vein of Beulah, Flaming Lips-esque orchestral indie rock and the first-wave Americana of the Byrds and the Band. But though this record displays such a wide variety of influences, it doesn't seem as messy and all over the place as you'd expect. I can't tell who wrote what on the album, but my favorite songs are the ones sung(/written?) by the voice behind "Jetway Junior" and "Where's The Fire". The other singer is more prominent on the album, but I occasionally found his voice a bit too, um, Springsteen-y on songs like "Climbing Up Fire Escapes" (though his voice worked well for me most of the rest of the time). Despite the band's dubious moniker, I'll have to be sure to keep an eye out for them now!  MTQ=10/13

Little My - "Little My's Sixth" cdep  (Little Pocket)
My introduction to Little My wasn't so hot, as I remember thinking they were far too amateurish for me when I first heard them. This EP, however, shows a lot of promise for the band, particularly thanks to the rather pleasant opening track, "All But The Beeps Meep". It's got a playful feeling to it, thanks to the meepy guitars in the verses, but the pedal steel throughout gives it an added level of seriousness somehow, providing the song with great balance. The next song, "Ruining Things Like Everything", is my other favorite song on the EP and kinda reminds me of something from the first Architecture In Helsinki record. I was a bit suspicious of "Kicking People On Pavements" when it started, due to the out of tune/time intro, but the song proper is decent, though I can't say the same for the irritating a capella "Excuse Me, It's Springtime!". I do still love their artwork, though...  MTQ=3/4

Second-Hand Furniture - "Game, Set, Match" cd  (Plastilina)
This band hailed from a small town 30 miles northeast of Gothenburg and existed for a only couple years, but they certainly left their mark on the Swedish pop scene! This lovingly-assembled disc contains everything the band officially released (and then some), presented in reverse chronological order. The first two songs were recorded just before the band split, and as Jörgen of Fraction Discs accurately pointed out in the liner notes, they certainly quit too soon. I already liked the earlier EPs, but these two newest songs showed the band progressing further into the jazzier/dancier territory of bands like Orange Juice or the Chefs or maybe even Dislocation Dance (in fact, had they kept going, I'd bet big bucks they were moments away from adding a trumpet player to the lineup!). The next six songs are taken from their 7" on Fabulous Friends and cd-r on Smashing Time (there was a bit of overlap in tracklistings between the two), and though songs like "You Might Hear A Sweet Sound", "Hard To Distinguish From Each Other" and "This Town Is Killing Me" share those same dancy elements, the slightly lower recording quality detracts a bit from what the band was obviously shooting for (though they're certainly no less enjoyable!). The other songs from those releases, as well as the next six tracks from their Yellow Mica cd-r are shambling indiepop in the vein of Fat Tulips, Mousefolk and Strawberry Story - delightful and fun! As a bonus, there are two extra tracks after the last song, including a demo version of a song from the band's middle period (which illustrates the transition between their two sounds well) and a not-so-spot-on live version of Felt's "Ballad Of The Band". An all around great package and fine tribute!  MTQ=15/16

The Simple Carnival - "Me And My Arrow EP" cdep  (Sundrift)
I've already featured the Simple Carnival as a Demo of the Week a couple years back, absolutely raving about this one-man bedroom pop project, so it's nice to see an actual release out on Jeff's own Sundrift Records. Actually, I came really close to releasing a Simple Carnival 7" on Jigsaw shortly after that Demo feature, before remembering that I'm incredibly inept at running a record label... No matter, as Jeff's improving by leaps and bounds; this EP (a teaser for his forthcoming debut album, due for release in the fall) is easily his best work yet! All four songs are A-side material, but my favorite is "Really Really Weird" - a laidback, but catchy tune with a charming accompanying video (found on the band's website, though the disc's artwork is based on the same design). Can't wait to hear the full album!  MTQ=4/4

Speaker Speaker - "Call It Off" cd  (Burning Building)
I was quickly enamored with this Seattle band after seeing them play around town a few years back and subsequently picking up their promising self-released EP. I was intrigued when I found out they were recording their debut full-length with J Robbins, and though it took a couple years to see the light of day, it really does sound quite good. I was a bit worried from the teaser EP that preceded this record, as the A-side they selected was not bad but also not one of their stronger songs, the two live b-sides had terrible sound and their Jawbreaker cover was not a very flattering tribute to one of their heroes - but all of those fears vanished when I listened to this record, which contains all of my live favorites and even new versions of two of the original EP tracks. The beefier production fits the band's energetic sound well, with these short and punky tunes reminding me of the Thermals, the Weakerthans and Racetrack (a band with whom they share a... um, history), although I'm still not too fond of the occasional screaming Colin's taken to at the end of a couple of these songs (I always cringed a bit when he did that at live shows). I have to say this is definitely the record I expected - and wanted - the band to make!  MTQ=13/13

Strawberry Fair - "I Can't Do Anything EP" cdep  (Alltid Hela Tiden)
Jenny has been recording as Strawberry Fair for quite a while now, but this is the first full release I've heard from her, after a couple scattered comp tracks a few years back. Her music is simple '50s-inspired bubblegummy girl-pop in the vein of the Ronettes or the Shangri-Las, with additional nods to the Aislers Set's less-rocking moments, as well as a voice that sounds uncannily like Deb from the Flatmates. Each of these four songs is as delightful as the last, making for a very pleasant ten minute EP!  MTQ=4/4

This Is Ivy League - "s/t" cd  (Twenty Seven)
I had a hunch that this duo (now with a slightly modified moniker) would enjoy a fair share of fame, but I never guessed that they would do it under the disguise of a side project (Cobra Starship) - but hey, if it attracts more attention to this delightful folky pop band, I guess it can't be all bad! This record features "London Bridges", which is the song that endeared the band to me in the first place, but I'm happy to report that there is lots more where that came from, including (but by no means limited to) "Love Is Impossible", "Don't Waste Your Love On Me", "The Richest Kids In Town" and "Celebration". Actually, most of the songs on this record are instantly catchy summer hits, while the softer ones, like "Viola", "Modern World" and the Simon And Garfunkel-esque "Til The Day" are no less pleasant! I wasn't too into "The Introduction", which was a two minute filler track oddly placed in the middle of the record, but this record is otherwise near-perfect!  MTQ=10/11

Vermont Sugar House - "Carlton Gardens" cd  (Firestation) 
It's been several years since we last heard from these Mancunians, but don't worry about missing anything, as they've brought us up to speed by including both sides of their 1999 single on this album. Their sound is best likened to the Windmills and much of the Elston clan's output (think Slipslide, Liberty Ship, et al), with additional nods to the Go-Betweens in certain moments. The songs are generally midtempo, and though most of them are not instantly catchy, they still have a lively feeling to them that gives them a small level of energy, even during the lazy dancefloor hit, "Braveheart". My primary (and obvious) complaint about this record is that they've given us just a bit too much - four of these songs are presented in two alternate mixes, with only one of these extra versions adding anything interesting (the "cello mix" of "Just Wandering Around" actually introduces a full band sound, which I preferred to the original's starker acoustic presentation). Even more unfortunate is the fact that there are two versions of the album's weakest track, "Vanishing Point". Despite its flawed tracklisting, though, this is still a fine album of jangly British pop.  MTQ=8/14

Your Heart Breaks - "Love Is A Long Dark Road (Love Is All You Need)" cd  (no label)
I'd heard Your Heart Breaks a few times before this spring, and I thought they were pretty good but nothing special. Then I saw them play a show (really just Clyde, the band's primary member and songwriter) backed by the band Lake a few months ago, and with the combination of the crowd and the amazing songs/performance, I could only describe the set as "transcendent". Since then, I've been a true convert to the band, and have seen them play an additional three times around town, with as many different lineups, and they have fast become one of my favorite local bands. The music is quintessential Northwestern folky pop in the vein of the Blow and Mirah's earlier works, with some hints of the atmospheric genius of the Microphones (at least, back when Phil wrote pop songs). I'm not sure exactly what the deal with this album is, though, in that their last couple records were released on Plan-It-X and Don't Stop Believin' Records, yet this third album was self-released, despite being recorded at Dub Narcotic with a slew of guests including Kimya Dawson and Karl Blau (not to forget the fact that it's Clyde's best work yet!). That this record is not the star of the K Records 2008 release schedule is a mystery to me! At least Lost Sound Tapes stepped up recently and released this on cassette with rather attractive artwork, but I still think this deserves a proper cd/vinyl release to be heard by everyone else...  MTQ=10/11