M Coast - "Say It In Slang" cd  (Happy Happy Birthday To Me)
I've always liked listening to the Marshmallow Coast in the past, but only in smaller doses, to be honest. I've always really liked Andy's (the main fellow behind the band) songwriting, though, and though the albums I've heard from him in the past have had a number of good songs, they've never really been consistent, making it hard for me to listen to them all the way through. This album (which is his sixth, I believe), however, seems to be his most focused record to date, and is the best thing he's done since 2000's "Marshmallow Coasting". Now simply called M Coast, the band has the same basic sound - a light and easygoing combination of pop and jazz - but everything is more of a band effort this time around, with Andy's longtime collaborator, Derek Almstead, having a lot more involvement in the songwriting (turning in quality tunes, like "Where Stars Go" and "Out Of The Water"). In fact, if anything, Andy seems to be somewhat less involved on this album, handing over half of the lead vocal duties to Emily and even not appearing on one of Derek's songs. In any case, this is a great new direction for the newly revitalized band.   MTQ=11/15

Mad Planets - "Music Makes Me Think Of You" cd  (Papercut)
This was a long time coming, but in the end, it was definitely worth it. This disc chronicles the life of Long Island's Mad Planets from beginning to end, including all the songs from their self-released tape, the Papercut tape, the Harriet 7", comp tracks, and three unreleased songs, even! Many of you may have forgotten about them (if you've even heard of them at all), as they haven't released anything in over two years, but this was an excellent mid-90's era band with a harder edge sound (like Versus), vocals split between Tara and Erik, and very smart lyrics. The packaging for this cd is very attractive, with glossy printing and lyrics to read along with. Man, I forgot how much I loved "Phineas Gage" all those years ago...   MTQ=14/16

The Madeleines - "Alias" 7"  (Destructible)
This band's "Safety Net" (taken from their debut 7" on the same label), was featured on both the "C06" tape comp and the second volume of Firestation's "New British Invasion" series, so I was already excited to hear more from this London-based group. This second single of theirs shows as much promise as the first, as I quite liked both songs. They incorporate driving jangly guitars and melodies that remind me of early Wedding Present, although the darker b-side, "Pilot Light", has a bit of Franz Ferdinand in it, as well. Looking to hearing more from this band soon!   MTQ=2/2

Magic Bullets - "Lives For Romance EP" lp  (no label)
The first time I heard this band was via their debut album on Words On Music last year, and I just didn't really like them. I loved the music, but the vocals just kind of grated on me - even after a couple listens. I can't decide if my feelings about the band have changed because this self-released EP is that much more enjoyable than the album or if their stellar set (and generally friendly demeanor) at last year's Popfest in San Francisco shattered any negative feelings I ever had about them. Either way, I am definitely pro-Magic Bullets at this point! Their style is that jangly guitar pop perfected by countless bands in the '80s, and though it would be easy to compare this group to the Smiths after listening to a song like "Not Just A Long Face", I'd say they delve deeper into territory mined by lesser-known bands, like 1000 Violins and Remember Fun. I hear they're at work on a new record, and I look forward to hearing it!   MTQ=4/4

Magic Crayon - "s/t" cdep  (Slag)
Another unsolicited demo that turned out to be much better than average, this group comes from Brazil. Their sound is kinda lo-fi, but still good. You can really tell this was recorded on a 4-track; it's got a really fuzzy sound and the instruments sound totally isolated from each other. In fact, they remind me a lot of my old friends in Audrey, a reference that about two people would get; unfortunately, I can't think of another reference point... The main guitar sound is clean, playing jazzy bossanova chords, and the other guitar is quite fuzzy, and also melodic. The vocals are a bit flat at times, but good for the sound. The songs are nice and short, which I like, and quite poppy, too. "Love Doesn't Happen That Way" was an instant favorite, but I like the others, too. Well, not the last track, which is an unlisted 4 minute long noisy keyboard/drum machine piece.   MTQ=4/5

Magneto - "Resistance Is Futile" cd  (Popboomerang)
Composed of members of Alcotomic, Groundswell and P76, this Melbourne group's already got a good headstart. I remember liking their contributions to recent compilations on Popboomerang and Zip, so it's good to hear more from them. As you can guess from their previous bands' work, they play catchy, power pop with as much emphasis on melody as on energy (well, more really). I've always noticed that with the power pop genre, there's a fine line between genius and pap - the style is innately radio-ready, but you just have to watch how far up the dial you go before it turns into alt-rock. Unfortunately, Magneto sometimes straddle that line a bit closely (actually, I remember the main songwriter's previous band, Alcotomic, having the same problem) . I enjoyed many of the songs on this record, like "Let It Go", "Falling", "Everything Has Gone" and the Jellyfish-ish "Shooting Star", but I also thought a handful of the songs (like "Stronger Everyday" and "Not A Day Goes By") sounded a bit too generic and polished for me. Still, much of this is an excellent start for this new band.   MTQ=8/11

Majestic - "Wake Up, Come Out And Play!" cd  (Shelflife)
I was quite happy when I first put this on. Totally bouncy pop that's a lot of fun to listen to - pure bliss. Lots of jangly guitars, excited drums, bright organs and delightful harmonies (like the "woo hoo hoo!"s of "Come Out And Play"). There are thirteen people who participated in this record, and it sounds like they're all having a really great time. And this went on for the first half of the record. The second half, however, sounded like a totally different band - the songs were much longer, and they were very slow and atmospheric. There wasn't even an upbeat song at the end of the disc to cheer us up again; just a piano reprise of the final song, "Wake Up" (a song I was sure was going to wake us up). The sound of this record, overall, mirrors that of Rocketship's "A Certain Smile, A Certain Sadness", with the way the guitars and organs sound together, and also because of the in between song interludes. The band (in the first half at least) also reminds me a lot of Aerospace, with their 60s-inspired upbeat pop. A couple covers on here, too, including the Autocollants' "Tennis Racket" & a song I didn't previously know called "Malibu U.", which was probably a 60s California pop song.   MTQ=9/12

The Makes Nice - "Candy Wrapper And Twelve Other Songs" cd  (Frenetic)
The Makes Nice are a new band from San Francisco, and not a 60s combo from London, as you might suspect when listening to this record. To say this band is merely inspired by the mod sounds of the Creation, Small Faces or Who would be an understatement; if I didn't have the disc sitting in front of me and instead heard a song or two from this album in a different context, I probably would've believed that they were authentic. The sound on the album is that good - and though there aren't exactly any "Makin' Time"s or "I Can't Explain"s on here, pretty much every song on here is still instantly catchy and enjoyable. This band won't exactly win any awards for originality, but I'd have them play my party any day...   MTQ=13/13

The Malinks - "No One Gets Hurt" cd  (Disaster)
Here's some good, solid rock from Seattle. The full drums & up-front guitar sound make me think of late 70's post-punk records from groups like Television & Richard Hell. It's just really good rock-n-roll production. I think this cd really catches their live sound well, too, especially since there's only one guitar, and when he occasionally plays a solo, there's no overdubbing. Many of the songs are upbeat poppy songs, played with lots of power chords. The vocals are emotional (I didn't say "emo") - with the way he sings on this, you can almost see the veins popping from his neck! Actually, a few songs (especially "Kneeling In The Church") even remind me of early Lemonheads (Ben's songs), with a bit of a punky edge.   MTQ=11/12

Malvern - "The Grand Bender" cd  (Death Benefits)
Divided between Boston and Toronto, the band also seems to have an equal divide in the songwriting, if this album is any indication. Half the time, the sound is reminiscent of other Canadian rock bands like the Parkas and Plumtree (but with male vocals, of course), and the other half, they have a softer sound similar to True Love Always or Sorry ("So Excited" even sounds a bit like Aden). But in both cases - whether loud or quiet - the band makes great use of melodies, which pulls the whole record together quite well. The songs are generally in the 3-4 minute range, but never go on too long (with the exception of the rather dull "The Vaguest Of Pleas"). This is definitely an excellent debut album, and a good band to watch out for!   MTQ=10/12

Mammoth Life - "Kaleidoscopic Art Pop" cd  (no label)
I really didn't know what to make of this disc when I first saw it - the artwork and pictures of the band look like something from a mormon renaissance fair (if such a thing could exist) - but I found myself drawn in when I put it on. My initial impression of the band wasn't entirely incorrect: with their frequent use of violin and the harpsichord setting on the keyboard, the music does have quite a baroque feel to it. They also seem to pack in a lot of musical changes, which at times can be a little bit too much (even approaching prog-pop in "Word Salad" and "First Semester Of College"). Or, to put it another way, "kaleidoscopic art pop" is a rather accurate description of their sound! But it's more than that, too; in their simpler moments, their music brings to mind the Left Banke and early Belle & Sebastian, with their gentle, yet often uplifting pop sound (not to mention the fact that the male lead singer's voice sounds an awful lot like Stuart Murdoch's!). Though there are a few songs I wasn't into (added to the fact that this band's music is better in somewhat smaller doses), I still quite liked the rest of this album, and would be interested to see what this band comes up with next.   MTQ=7/12

The Manhattan Love Suicides - "s/t" cd  (Magic Marker)
I was a little apprehensive putting this on, both from the band's bizarre name (which, along with the album's artwork, doesn't exactly portray a pop band of any variety), but also because the liner notes credit someone for playing (if that's even the right word to use here) a shotgun on the first song! But this is on Magic Marker, a label I've never had a reason not to trust, so I let all that slide and was naturally quite pleased with the album. The band has a strong similarity to the girl-led bands of the c86 scene (especially the Rosehips, the Shop Assistants and Bubblegum Splash), but filtered through the same JAMC/Velvet Underground influence abundant in those bands. The drums typically have a steady beat, often played without cymbals (using tambourines when they need a trebly percussive sound), and the guitars and bass are so fuzzed out that sometimes it's hard to tell them apart or really hear anything besides the basic chords they're playing. But then, the band also shows a gentler side in songs like "Thinking Is Killing Me" or "Home", using cellos or keyboard - although these are not exactly their forte (the closer, "Providence", is completely unlistenable). I do have to say that the inclusion of a cover of the Beat Happening standard, "Indian Summer", made me groan a little on first listen, but they made it sound close enough to their originals that I don't even notice it standing out anymore. All told, an excellent debut release and yet another winner for Magic Marker!   MTQ=10/12

Manipulator Alligator / Aid - "split" cd  (Sanitary)
This is one of those splits where it alternates between the two bands (as opposed to the kind where the songs are organized into blocks by band), which I usually find to be rather distracting, but these two bands are similar enough and fit together well enough that it flows between the two just fine. Both bands are actually solo acoustic singer/songwriters, playing quiet and melancholic tunes, and both sometimes also add keyboards to their songs (although Manipulator Alligator does it a bit more heavily, like on the glitchy "I Will Lie Down"). Both bands were good, but I found that I liked Aid's songs better - particularly "Mexico" and the more upbeat "Oh, We Have The Same Shoes" (though it does start to get a bit repetitive towards the end). This is a good disc for late-night listening...   MTQ=8/10

The Mantles - "Burden" 7"  (Dulc-i-tone)
Here we have the debut single from this San Francisco band that seems to absorb those involved with them. Sounds crazy, but both Drew Cramer (who recorded the songs) and Matt Roberts (who runs the label) have since joined the band after this single's release! Their sound is best described as Outrageous Cherry playing David Kilgour songs, with a style rooted in '60s garage psych-pop and the reverb turned up to 8 on everything. Oh, and a farfisa, of course - gotta have one of those... It's a good sound, but it does make the songs a little same-y, so it's probably best in small doses.   MTQ=3/4

Map - "Secrets Of The Highway" cd  (Velvet Blue)
After a couple of eps, this is the first full-length album from Map, a trio from southern California. The music is generally light and airy, thanks to the nimble guitar-playing, sparse production and generous use of reverb; sometimes quite poppy (like in "Ugly Girl" and the bossanova-tinged "Lay Down The Law"), though it can also seem a little dark and even slightly psych-influenced (especially in "Tell Me" and the opening "Everything Is Bad For You" with its almost sinister chord progression in the middle). Even during the louder songs like "Strange Girl", the reverb keeps the sound open. Bands like Luna, For Against and the Verlaines spring to mind, though the gentle "Riverside" reminds me a lot of the Hang Ups, as well. The album isn't completely consistent in quality (sometimes the songs can go on a little too long, and I found "Tell Me" and the instrumental "The Dancing Girl" rather uninteresting), but overall it's still a very nice dreamy pop record.   MTQ=8/10

Marble Index - "Love Talking To Boys" 7"  (Drive-In/Saltwater)
I don't like to make quick judgments, but I can't help it with this. This is total new wave, flat out. We're talking Echo & The Bunnymen, OMD, maybe a bit of early New Order. But this Brighton band is more serious; not jokey (like Romania). Also, the two songs sound exactly the same to me. When I put the needle in the middle of either side, I can't distinguish which is which. And the sleeve is one of those non-cover sleeves, where you can't tell front from back, and it has this weird indecipherable font (Russian?) making every other line unreadable.   MTQ=1/2

Marbles - "Expo" cd  (Spinart)
Around the same time he was making the debut album with his new band, Ulysses, Robert also found time to record some more songs under his solo moniker, Marbles. Like the Ulysses record, synthesizers feature heavily in these songs - probably even more - but the songs are of a much poppier nature, as opposed to the slower indie rock Ulysses plays (though "Move On" does sort of fit in that style). Songs like "Out Of Zone" and "Magic" could've sat on the charts alongside Human League and Duran Duran in the mid 80s. At the same time, there are also somewhat experimental (and by experimental, I mean indulgent) songs like the soundtrack-esque instrumentals "Jewel Of India" and "Expo" that one could really only pull off on a solo record. Just like the Ulysses record, it still basically sounds like Robert Schneider, but not like anything he's done before; he seems to practically reinvent his style (while still retaining his basic songwriting style) with each record these days, which I think shows that he's a man with a lot of different ideas - and many of them are good.   MTQ=7/10

Maria - "Friends Forever" 7"  (Yay!)
My guess is that this group of kids from southern California somehow managed to find a time portal, land in Scotland sometime during the early '80s and snatch a tape containing four previously unheard Pastels demos. That would be the easiest way to explain how these songs sound so close to the Pastels, from the uneven boy/girl vocals and trebly guitar melodies to the general feel of amateurism that strips away any negative connotation of the word, revealing perfectly unpolished gems. Heck, they even have a song called "Baby Honey", although the tune Maria attach it to is far superior. The packaging itself (like the other Yay! label releases) also recalls indiepop's younger years (most notably the first half of the Sarah catalog), from the stark and simple artwork/typography to the record's labels, going so far as to include a one-color poster, proving that releasing decent 7" packages these days is not a lost art...   MTQ=4/4

Mark 700 - "Catchy Monkey" 7"  (Fortuna Pop!)
This is apparently the band's fourth single (on Fortuna Pop!, at least), but it's the first time I've heard or heard of them. This is good, fairly jangly pop, similar to Speedboat, Godstar, and Sportique (especially the vocals). The A-side is a mid-tempo song that I like a lot. I really like the rhythm guitar sound, which reminds me a bit of My Bloody Valentine's whammy-barred chords, but not as noisy, of course. On the flip is a slower song with female vocals, that also has an interesting guitar sound - this time it's very chorused out, to make it sound almost psychedelic (which the song is not). And the song has a sax solo, which you don't hear too often... And I have to mention that this is probably the thickest record I've ever seen - a little over 2 mm thick!   MTQ=2/2

The Marked Men - "Fix My Brain" cd  (Swami)
A friend of mine turned me on to this band a while ago, and jokingly mentioned that since they were from Denton that maybe I knew them. I laughed about it, until I looked at the liner notes and saw that the drummer, Mike, was an old roommate/bandmate of mine. Small world! Haven't heard from him in almost a decade, but it sounds like he's been doing pretty well, as this band is quite good! And they've apparently been going for a while, as this is their third album (man, I'm definitely gonna have to seek out the first two). They've got that classic pop-influenced punk sound (or is it the other way around?), pulling straight from the original sources, like the Ramones, Stiv Bators and the Only Ones - combining short and fast songs with lots of guitar melodies and vocal harmonies. And that combination is one of my very favorite kinds! This album is packed with hits, including "A Little Time", "Wait Here, Wait For You", "Sophisticate" and the title track, and it's not even 30 minutes long! Gotta say I'm rather impressed with this record...   MTQ=13/13

The Marlboro Chorus - "Good Luck" cd  (Future Appletree)
After determining that they were my favorite band on the recent Future Appletree Records sampler, "Soundtracks For Kisses, Trips And Fits", it's good to hear that the first album from the Marlboro Chorus does not disappoint! They play catchy, yet occasionally quirky, pop in the vein of the Shins, Beulah and the New Pornographers, with some additional similarities to XTC and the Beatles (the goofy "Always One For Fun" sounds particularly Sgt. Pepper-ish). There is a wide range of styles among the songs - with the upbeat 60s pop of "Potters, Daisies" and "The Clock Puncher's Carousel", the manic sound of "The Unrulable Child", the country-influence suggested in "The Discoverers", and the driving 70s sound of "Car Parked, Girl Crying" - yet the songs all certainly fit together well on the album. An enjoyable record, indeed!   MTQ=8/10

The Marlboro Chorus - "Entangled" cdep  (Future Appletree)
Not long after the release of their debut album, "Good Luck", comes this brief six song ep. It's not too different from the album; the songs are just as varied in style, though they certainly still sound like the same band. There is still a similarity to the Shins & Beulah in songs like "Our Mother Of Perpetual Helpdesk" and "The Moondial", while "Song For L" and "Running Out" remind me a lot of the Hang Ups. However, this ep is a lot more focused than the album - there isn't one wasted second here; every single track is perfect the way it is. I really liked the debut, but this disc just completely blows that out of the water - let's hope that their forthcoming second album will be just as stunning!   MTQ=6/6

The Marlboro Chorus - "Youth Medium" cd  (Future Appletree)
One of the best new bands of 2003 have returned with their second full-length album, and following the same pattern of the EP preceding this, it's even better than their previous work! Like their other records, the band shows off their talents for mixing many different sounds to create a record that can't be likened to just one band or stuck in just one genre. Starting with the Beulah-ish title track, the album is instantly loveable. "Those Shoes" follows, and is a bit quirkier, reminding me of something off the A.C. Newman record, and "Takin' A Ride" after that is more upbeat, in a New Pornographers vein. I also notice a bit of the Replacements in "Don't Sweat The Fallout", a swirly, early Hang Ups-ish sound in "The Incredible Journey (Revealed)" and a bit of a later XTC in the acoustic stomper "Dark America". Basically, the band likes to keep things interesting, which is just fine by me. Yet with all these different sounds, the band still manages to make it all come together, where others might just sound like they're reaching too much. The band have really outdone themselves on this record - and they're on a roll.   MTQ=9/10

Mas Rapido - "s/t" cd  (Parasol)
The name may be new, but the band is not - this band is the new project from everyone's favorite indiepop married couple from Seattle: Toothpaste 2000. Rumor has it that the name change was to mark a change in style, but I really don't hear much of a change here - the duo still plays short and sugary pop songs that are as bubblegum as they are power pop. In fact, there's not really much to differentiate this from any of the last few Toothpaste 2000 records, as both Frank & Donna are writing the same type of songs, and alternating lead vocal duties throughout the record. Sure, there are a couple tunes that don't quite fit their usual formula, like "Christopher Robin's Dead" (which has a subtle psych-pop feel to it), "Cry Just A Little Bit" (a slower song with impeccable harmonies, which actually turned out to be one of my faves on the album) and "Later That Same Day" (which sounds more like a straightforward indie rock song), but they've traditionally deviated once or twice per album before, so I'm still not sure where the name change came from. And like the last records, there's still that minor problem where the songs can be a bit same-y after a while, but if a band's going to have similar-sounding songs, I can always overlook it when their songs are as good as these.   MTQ=14/17

Mass Solo Revolt - "Easy Mark" cd  (no label)
Though the liner notes list four members in the band, the credits actually say that band leader Martin Brummeler recorded the majority of the record on his own (save for drums and a few assorted parts). Either way, this album is a fine display of skewed indie rock, the likes of which you don't hear too often anymore. Most of the songs remind me of bands like New Radiant Storm King and Polvo, who combined solid songwriting with structured experimentation to create truly interesting and riveting pieces of music. Sometimes you'll find catchy (but slightly twisted) pop hits like "Waiting" or "Hostage Taker", and sometimes you'll get songs like the moody and effects-filled "All Bark" or the rambling, spacey "Au Gres" (which took me a few listens before I warmed up to it). It seems the record is a little lop-sided, as it starts with the epic title track and takes us through the more experimental songs before finishing off with the album's four catchiest songs (including the unlisted tenth track), but that measly trifle is the worst thing I can say about this record... Definitely a band worth checking out for any fan of '90s indie rock!   MTQ=9/10