Scroll down for reviews of Tiara, Robot, Monster Weekend, Jill Olson, PurrBox, Favez, Various Artists – Greasy Kid Stuff: Songs From Inside The Radio,The Dreamdayers, The Pills, Elvis Costello, Tom Waits, Mull Historical Society and Bronco Bullfrog.

Ultimate Fakebook – Open Up And Say Awesome (Initial): The Lawrence, Kansas trio merely polish up the powerpunkpop sound they perfected on their second album, This Will Be Laughing Week. Their meld of In Color pop smarts and ramshackle Replacements vigor, topped by the personality of guitarist/singer Bill McShane work so well, they should be nicknamed Geek Trick. But the muscular rhythm section, comprised of bassist Nick Colby and freakin' powerhouse drummer Eric Melin, bully proofs McShane's four-eyed anthems. The band is up to its old tricks, with plenty of stop-start rhythms, a winning use of dynamics and creative arrangements. Check out "Inside Me, Inside You", built on a simple repeating blues riff, which McShane first plays quietly and then turbo charges – varying how he plays the riff makes it even catchier. The band sometimes treads a fine line between spoofing metal and boogie rock cliches and embodying them. The opener "Wrestling Leap Year" may stumble over into the dark side a bit too much for some tastes, but "Popscotch Party Rock" has fun with its beyond obvious chord progression, throwing in some dual lead guitar, briefly. This song yet again shows McShane's talent for crafting a hooky rhythmic foundation, and then throwing on neat melodic twists. This is well thought out party music. The songwriting is not quite up to the last album's standards, and I wouldn't want the production to be any slicker than this, but this is worthwhile. initialrecords.com

Tiara – Titletron (Grand Theft Autumn): File under smart college rock. This quartet mines a few different rock seams on a fine disc. "Wish You Away" gets things off to a splendid start – delicate Dumptruck psych-folk verses and explosive guitar bursts – proving that dynamics aren't just a matter of being soft then loud – you have you sucker in the listener with your coos and whispers and then smack ‘em around – audio S & M that so many of us love. Credit to the band for its spectacular self-production. Hugh Jones would be proud of how the band seems to treat the recording as an x-y-z axis, filling space, leaving space, sometimes letting the sounds be so smooth, but not afraid of shredding guitar. Or precise and dramatic – the instrumental interlude that closes out "Velveteen Rabbit" is epic and thrilling – the song deserves to be twice its three-and-a-half-minute length. A couple songs venture into sleepy neo-Gram Parsons territory (a la Beachwood Sparks), but without substantially altering the band's basic vibe, which is to be expected; this is Tiara's third album, after all. The band scores with a creative pop composition – "What We've Become" has a ‘60s melodic spine, some vaguely Latin guitar and is pointed and swoony, if such a thing is possible. Hopefully the affiliation with a Parasol-distributed label will expand this band's audience. Specifically, maybe it will allow them to tour more, as this grand LP must really sound terrific on stage. parasol.com

Robot Monster Weekend – Turn Down Your Sorrow. It's Robot Monster Weekend (self-released): Fizzy fun, by a band that pens tunes that have a bit of a mod orientation. They sometimes sound like The Jam after a few hits of laughing gas. Or maybe Madness mixed with ? And The Mysterians. The buzzing energy is infectious, though the songwriting is not as developed as the playing at this point. "Escape from Werewolf Point" is slick – synchopating the lead guitar part with Franko Covington's drumming (he's the MVP on this EP), with a charming vocal from Aaron Thedford, who sounds like Too Much Joy's Tim Quirk after too many menthols. Primary songwriter Mike Gargiulo follows that track with his best compostion, "Strawberry Sunrise", which contrasts a jagged-but-smoothed over guitar part (as if Gang Of Four went pop) with his best melody. I'm totally rooting for these guys to step it up a bit, because they make the most of their production and arranging skills. And, like I said, they're really fun. Robotmonsterweekend.com

Jill Olson – My Best Yesterday (1 2 5): Dave Alvin sympathetically produces this terrific country-rock singer. She writes fine traditional material and sings it with skill and feeling – what more can you ask for? Some of the songs were jangly with a poppy flair. "I See Sparks" is twang pop on par with the best of Carlene Carter and the pop side of Lucinda Williams (remember her "Passionate Kisses"). Even better is "My Best Yesterdays", a song that is perfectly crafted, perfectly sang and perfectly played, with nifty lyrics. This is probably too slick for the alt-country crowd, but is steeped in an authenticity that escapes most commercial country. Though the peppy stuff is good, the best song on this disc is an old fashion slowed down declaration of unrequited love called "Sam". This is simply a classic track, with a real ‘60s countrypolitan vibe, and Olson's phrasing is wonderful, fully in tune with the sadness of not being able to have her man, but there's still a bit of joy. She's in love after all. A few of her other slower numbers have more in common with Roseanne Cash and other smart country ladies. An easy album to recommend. 125records.com

PurrBox – PurrBox (LoveFest): Debut of the new project from former Big Hello members Johnny Million (guitar) and Miss Mellie (the artist formerly known as Melanie X?) (bass/vocals), who are joined by drummer Larry Brown, who has played in a variety of acts around Chicago. Mellie is the primary songwriter, and her voice that is similar in range and timbre to Belinda Carlisle, cut with a Chrissie Hynde nasality – perfect for rocking. The songs are sometimes kinda new wavey, sometimes kinda punky and sometimes kinda poppy, and sometimes a combination all of those elements. At their best, PurrBox is vibrant rock machine, with the Mellie/Larry rhythm section bouncing, augmented by the slashing yet stylish guitar work of Johnny – the music is sleek, crunchy and catchy. The songwriting isn't as consistent as the execution, and a few tracks sound like foundations waiting for the installment of a cool chorus or a melodic graft. However, the hits outnumber the misses and hit hard. Top tracks include the timely "Fireman", a mid-tempo tune that resonates more in these times, particularly in this intense performance, "Bill Frost" melds a Go-Go's surf-rock thang with some Buzzcocks vibrancy, "Burning", a hold over from Mellie's old band Joygirl has a cool spidery "Where's Captain Kirk" bass line (remember the old Spizzenergi tune anyone?), and "Babydoll" does a great job of weaving a wistful melody with shredding rock. The best of the bunch is "Make a Wish", which is a hookfest with dramatic guitar fueled verses, urgent choruses and an out-of-nowhere bouncy middle eight that Voice Of The Beehive would have killed for. Great production, too – kind of a mid-point between first (Jack Douglas) and second (Tom Werman) album Cheap Trick – crisp and poppy, with thick slabs of rock holding it all together. Purrbox.net

Favez - (from lausannne, switzerland) (Doghouse): The copyright on this disc says 2002, but it sounds like circa 1992 or 1993. Big slabs of metallic guitar that take the tunes to the precipice of metal without falling into the horned hand abyss. This is due to the band's skilled playing that indicates these guys may have also incorporated some Fugazi and likeminded post-punkers into their musical diet. Affiliating with producer John Agnello also help – having helmed projects from heavy mental rockers like Jawbox and Grither, he helps the band create a sonic space that allows the subtleties, such as they exist, to remain audible amongst the prominent noise. Favez also throws little melodic and rhythmic twists in their songs that don't make them catchy, but contrast the rock power, making it that much more powerful. Moreover, the band has a real emotional connection with the material – for example, "Chasing Honesty" is an urgent plea. Rarely can a song be so heavy but so touching. The guitars slam with angst, frustration and fury. This is thicker and denser than some of the emo forefathers cited above, and some metalheads might get off on this. Music you can think about, or just bang your head to. favez.com

Various Artists – Greasy Kid Stuff: Songs From Inside The Radio (Confidential): Greasy Kid Stuff is a radio program for the wee set on New York's WFMU. This collection is like Frosted Flakes – targeted to the young ‘uns, but still delicious for grown ups. Some of the stuff is just flat out silly (The Hoppin' Haole Brothers luau ditty "Monkey's Brain", and The Nutley Brass, perhaps in tribute to Ray Stevens' Henhouse Five Plus Two, doing "Chicken: Impossible", as clucked version of the classic Lalo Schifrin television show theme), and there are some numbers that have a Ramonesy zest (Fastbacks' doing the Sesame Street classic "One of These Things" and Mr. T. Experience's "Up and Down"). You want some educational music for your bairns? Michael Shelley's "That's Where the Plaque Is" (which was on his Too Many Movies disc) will have your kids brushing and flossing in no time. There's also some Dr. Demento-worthy tunes – Tony Burrello's "There's a New Sound (The Sound of Worms)" combines elements of Sheb Wooley and Spike Jones with a relentless repetition that Napoleon XIV would be proud of. Indie rock faves such as The Waco Brothers ("Them Bones" is an appropriate track) and Yo La Tengo appear also. Your kids may beg you to give this back. confidentialrecordings.com

The Dreamdayers – All Things Come (Hey, What's That Sound?): Yet another quality pop record from Australia. The Dreamdayers have a relaxed jangly approach that touches on sounds like The Byrds, The Records and the latter days of The Searchers. This would be a good low key companion with the Cosmic Rough Riders disc from last year. The band also has a downcast side that covers areas traveled by indie favorites like The Delgados, My Morning Jacket and Trembling Blue Stars. The best example of their approach is "The Hardest Words", which has outstanding guitar interplay by Zelko Rezo (who writes the tunes and sings ‘em) and Con Shacallis, who join in some creative harmonies with bass player Paul Francis. Their voices have a nice blend – you can distinguish each voice and they layer so well together. The band incorporates strings on some tracks and the violins and cellos make for some beautiful mellow pop – "I Can't Be Happy" is so wonderfully enhanced and hits its melancholy target with the light orchestral feel. The band goes the more straightforward route on the tracks "Yesterday's Gone", "Hold On" and the relatively spunky "Elizabeth Smiles". These tunes keep the Dreamdayers from being dreary. The finale, "Goodbye", blends the chamber music with real rock, and this is a direction the band should continue to pursue. Dreamdayers@idx.com.au

The Pills – Kick In (Monolyth): Boston quartet builds on their promising debut, with improved songwriting to go with their ultratight mod-punk sound. The band finds itself at times hitting a special powerpop rush that suggests skinny tie rock, but with major balls. The Pills have already played International Pop Overthrow, but could also win over crowds at a Cavestomp or on the Warped tour. "Musclecar" is a smoker that might help get folks over the break up of The Fletcher Pratt. "I've Got My Spies on You" is a great dramatic tune – maybe the best spy themed tune since Agent Orange's "I Kill Spies". "Apologize" has a slinky R & B groove, while "Spork" is blends ‘60s frat rock bounce with a splendid melodic chorus. "She's All Yours" suggests how punk-pop bands would sound like if they listened to both The (early) Beatles and They Might Be Giants – Merseybeat tune and amusing lyrics. I'm only skimming the surface of the wide range of reference points – The Pills bind their love of all sorts of catchy rock and roll with their charismatic energy. Whereas their debut captured the joy of simply rocking, now the joy is in rocking along to great songs – the best is "Halifax" -- this is a Swiss Army knife of a pop tune, with multiple hooks, a song that comes from artists who respect the tradition that preceded them, but aren't overwhelmed by trying to live up to it. As swell as this disc is, the avenues this band has opened up on this album could lead them to even greater places. the-pills.com

Elvis Costello – When I Was Cruel (Island/Def Jam): Beware of first impressions. After the hype machine screamed "rock album", I wasn't mentally prepared for this effort. The punchy sounds of the Attractions days work well even in this wizened form. By comparsion, Brutal Youth sounds like This Year's Model. In fact, this album builds on the promise of 1986's Blood and Chocolate, as Costello stretches out his characteristic compositional style to accommodate lyrics that are more often reflective than his usual clever. Elvis throws a few bones to fans of his oldies – "45" and "Tear Off Your Own Head (It's a Doll Revolution)" have that familiar sound. However, the heart and soul of this album is centered in more pensive tracks where Costello's forays into other styles reap big dividends. This particularly shows in the move away from straight 4/4 rhythms, giving a lot of songs a relatively jazzy and/or funky vibe. To a degree, this is a groove oriented album, so repeated plays are rewarded, as new tracks insinuate upon further reflection. The stand out track is "When I Was Cruel No. 2", a seven-minute slow burn tour-de-force – Costello's trademark anger and sharp wit is still intact, but it's tempered by reflection. Another subtly amazing track is "Tart", which has a slow dub inspired rhythm, and Elvis finds a melodic hook that could have come right off of Get Happy. At a couple of points, his vocals just explode, adding to the pained tone. "Alibi" further confirms Costello's continued growth – while retaining caustic couplets, the lyrics and composition are extremely simple and direct. A heartening testament to his skills. elviscostello.com.

Tom Waits -- Blood Money (Anti/Epitaph): On both the front cover of this disc and the first page of the inner booklet, Tom Waits looks bad. Really bad. Like Satan with a hangover. On this album, Waits doesn't exorcise demons – he exercises them. This is Waits' most potent mix of Beefheartian blues bamboozlement with Weillian bop since Swordfishtrombones, the 1983 classic where Waits went from a Raymond Carveresque pianoman musing about love and life, to the gatekeeper to a netherworld of losers, freaks and drunken philosophers. This music was originally composed for a theatrical production called Woyzeck, a story that Waits was unfamiliar with until it was pitched to him a couple of years ago. Familiarity with the story is not a key, as the this touches on general themes and topics, not utilizing Waits' keen eye for detail. This is not a drawback, but it separates this from a large body of his work. In the midst of the weird and spooky stuff, Waits shows his tender side – "Coney Island Baby" is on par with aching songs like "Innocent When You Dream" and "Johnsburg, Illinois". And there may not be a better pessimist's anthem than "God's Away on Business": "goddamn, there's always such a big temptation/to be good, to be good/there's always free cheddar in a mousetrap, baby/it's a deal, it's a deal." Brilliant. www.anti.com

Mull Historical Society – Loss (XL/Beggars Banquet): A loopy and fun dose of lush and eccentric Britpop. Take some Sean O'Hagan, some Robyn Hitchcock, some Gilbert O'Sullivan, some Roy Wood and heaven knows what else, and mix it up and you come close to this. Colin MacIntyre is the Scottish mastermind behind this project, doing about everything except pressing the discs and putting them in the jewel cases. MacIntyre has somehow made a record that is ornate but still has a homemade flavor. He knows how to densely fill tracks with everything but the kitchen sink, but never overstuffs them, so the songs flow. Of course, it helps when you can write jawdroppingly inspiring hooks, like "Watching Xanadu", which melds a bunch of styles, with a chorus that sound like some lost girl group classic. Or "Mull Historical Society", which is a non-sensical anthem, with a bit of Jimmy Webb bravado, and ‘70s light funk wah-wah guitar; it just soars at the perfect time, a brief release from the tension built in the verses. A side benefit of the approach is that this album reveals new pleasures with each spin. There's just a lot of cool stuff to process. He really likes throwing in keyboards – sometimes for texture. Other times, like on "I Tried" (which is like a cross between "Oh Darling" and soulful Todd Rundgren early-‘70s track), his embellishments enhance the melody, giving the song extra pull and a unique feel. Looking for a new summer song? "Animal Cannabus" has aspects of late-‘70s Electric Light Orchestra and early ‘70s Beach Boys, with MacIntyre's own specific melodic style (he is really distinctive). Wonderful. beggars.com/us

Bronco Bullfrog – The Sidelong Glances of a Pigeon Kicker (Mushroom Pillow): Light psychedelic pop – more along the lines of The Small Faces and The Smoke than, let's say, The Pretty Things forays into the lysergic dimension. If you liked the lighter stuff on the Nuggets II box set, this may work for you. It's not all fey and paisley – there's also some of the proto-power pop leanings of The Move and The Who in the grooves, so the music never gets too airy. In fact, on some songs, drummer Andy Morten could be little higher up in the mix. But the band layers a lot of harmonies (they all sing, with the appealing Michael Paulson on lead vox) and is not opposed to piling on all sorts of acoustic and electric guitars (and Louis Wiggett finds space for his mandolin at times). Impressively, all three members write tunes, with no noticeable difference. That's called sharing a sensibility. Overall, this disc is likable, but could use a few more killer tracks. They have the sound, but not always the hooks. Still, their best moments are terrific. "Sunday" is actually more in line with late-‘80s Brit pop, a bit of The Dentists and even a smidgen of soft pop, with a great opening line: "I've never been to San Jose/I wouldn't like it anyway/someone told me it snows everyday." Makes no sense, but a great line. The band rocks out festively on "Look at Me", mixing a Townshend-ish melodic sensibility with their own smoothness, so this is a shiny rocker with a very sweet chorus. The bulk of the album is polite psych songs, perfect for folks who like the style, but not all of the bells and whistles (or fuzz and echo). mushroompillow.com

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