Scroll down for reviews of releases by Dipsomaniacs, Every Single Saturday, Cosmic Avenger and P76. Click here for reviews of releases by Parallax Project, Starsailor, Peter Lacey and Pop Under the Surface

Bad Religion
The Process Of Belief

(Epitaph)

badreligion.com

Release Date: January 22, 2002

Though not afforded the respect given to fellow indie-rock legends Fugazi (and this is not a knock on Fugazi), Bad Religion is one of the most influential punk bands ever. Musically, Bad Religion's speedy, clean, melodic punk tunes and societal awareness have been aped by legions of young skatepunk axewielders - though the wordy lyrics, so complex that even Will Self would need a dictionary, are still a unique facet. The band's business savvy is also a model - they formed Epitaph Records over 20 years ago, and it has become the home of some of the biggest names in indie punk, and a refuge for legends like Tom Waits and Merle Haggard.

If anything, Bad Religion is a victim of their own success. After an awesome string of albums, including 1989's hardcore punk masterpiece No Control, 1993's Recipe For Hate and 1994's Stranger Than Fiction, guitarist Brett Gurewitz left the band to run Epitaph full time. Though Brian Baker (ex-Minor Threat) was an able replacement guitar player, the band seemed thrown for a loop. The Hate and Fiction albums threw in a few curveballs - slower tempos, some poppier melodies - which may have been more Gurewitz's doing. Ric Ocasek and Todd Rundgren each produced an album, the band perhaps looking for input that they missed from Gurewitz.

Well, the band is back on Epitaph after a four album dalliance with Atlantic, Gurewitz has rejoined (and Baker remains, which is great), with drummer Brooks Wackerman taking over for Bobby Schayer. Wackerman does a great job and the album is better-than-average, but the disc reveals the prison Bad Religion has constructed (constricted?) for itself.

To the band's credit, the bread-and-butter speedy punk numbers don't sound mailed in - they still play with passion and authority. But when doing these fast tracks, the line between solid and great is very thin - if the hook is not there, the song just moves by, and that's generally true of the trad Bad numbers here - only a few are memorable. "Kyoto Now!" is probably the best of the lot, with some interesting tempo shifts and typical Graffin skepticism, with this message about the sad state of corporate controlled world affairs: "We can't do nothing/and think someone else will make it right". The thought of a 16-year-old kid hearing this and actually thinking about the world at large makes these numbers easier to take - what is rote to the veteran Bad Religion fan may be revelation to a newbie.
When the tempos slow, things get better. "Broken" may be the best track on the album - a tale of disaffected youths, one who may have killed the other (it's vague) -- the song has a rousing chorus, and runs on acoustic guitars in the verses. It's still aggressive, but the different texture is a plus. Likewise, the reggae opening to "Sorrow" is a welcome change-of-pace, and when the tune gets to rock tempo, it has one of the better hooks on the record. "You Don't Belong" has all the earmarks of a Gurewitz tune, relentlessly melodic, with a repeating lead guitar part that is similar to the one in The Weirdos' "Cyclops Helicopter" - this is my other favorite track on the record.
This album is pretty good, but it still isn't what it could be. What bothers me is that these guys are just scratching the surface of their talents. Maybe they should create an alter-ego band: Into The Unknown. Coincidentally, this is the name of the only Bad Religion album to deviate from formula. The 1983 release blended prog rock, strong melodies and even some late-'70s Blue Oyster Cult into tunes that still sound good today. Fans hated it and the record hasn't been in catalog for years, but it shows further vision that has been curtailed. (Likewise, Greg Graffin's American Lesion solo project showed that he could meld his intense lyrics with piano based pop). These guys really need to challenge themselves at some level.

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Dipsomaniacs
The Life You're Faking

(Face Down)

facedown.net

Dipsomaniacs is apparently a name synonymous with top notch rock. The Norwegian band by this name, reviewed here last month, is a fantastic psych-pop outfit. The band that waxed this album is a New Jersey power pop outfit that combines ballsy rhythms, creative songwriting, tight musicianship, and strong vocals into one hell of a package. Maybe there should be a rock version of Iron Chef, with a bunch of different bands called Dipsomaniacs engaging in different genres (pop-punk, alt-country, prog-rock, etc.).

But I digress. What you get here is the pow of the Shazam, the good time nature of the Montgomery Cliffs, and a sensibility that matches Who/Move based rock moves with Crenshawian tunesmith instincts. Lead singer Mick Chorba is the straw who stirs the drink - he has more gusto than the typical Badfinger inspired power pop singer - his voice is rangy but has rough textures. More importantly, his voice is distinctive and expressive - say what you want about the lyrical range of this style of rock, if you're going to sing about good times and girls, you need to sell it convincingly, and Chorba pulls it off effortlessly (though you imagine he works up a good sweat live).
The best track on the whole danged thing is "Tina's Good at Everything" - the verses are reminiscent of Cheap Trick (one could hear Zander rollicking over the crunchy yet bouncy guitar lines), but the chorus is pure Dipsomaniacs - a pithy delicate wrinkle of a melody and a simple lyric ("I'm good at something/Tina's good at everything") - this is Singalong City, folks.

Other songs vie with "Tina" for best of disc honors. "Quiet Quiet Quiet" excels with stinging lead guitar, varying tempos, dynamic delicate passages and the middle eight admonition, "all I want to hear from you is quiet" - if, like me, you're divorced, you totally understand that line. "Rubber Soul" has a bit of a groove (Rascals, perhaps?) and a mid-summer afternoon bounce featuring Chorba's judicious saxophone bits. "Valerie Valerie (NJT)" also has some R & B drive - the rhythm is a cousin of The Four Tops' classic "Something About You" - it's also politically relevant to our current Middle Eastern political situation, as Chorba is encouraging the titular lady to join him on mass transit (thus, reducing our dependence on foreign oil).

Throughout the album, the band impresses with its sound - tight, but not too tight, giving the record a live feel. Furthermore, even when adhering to mid-tempo structures, their energy remains intact - this is a disc that is always in action. While you'd never call them quirky, the songwriting never gets rote - they always find a slight twist to give songs a special identity. Of course, this is made easier when you play like you've absorbed every great power pop influence dating back to the '60s. If Dipsomaniacs' next album matches this high level, they will have to be considered in the upper echelon of modern pop bands.

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Every Single Saturday
Building

(self-released)

everysinglesaturday.com

The latest entry in the power pop sweepstakes, Every Single Saturday comes from the crisp and clean sector of the genre - their well-crafted songs should find favor with fans of groups like The Tories, Jellyfish, Gigolo Aunts and The Grays. Ostensibly a trio, the band, spearheaded by drummer Luke Adams, who recorded the disc, is very studio friendly, as the record has a dense sound, with plenty of guitars, keyboards and percussive embellishments.

Both Adams and guitarist Joel Martin sing - quite honestly, their vocal styles are relatively similar (no playing favorites here!), which is a pleasure when they harmonize - for a great example of this, listen to "Misery", a great modern Grays-styled mid-tempo number - the use of dynamics is spectacular, as the rhythm section pulses along, distinctive keyboard and guitar lines weave together, and at different points the song goes from the hush of an a cappella vocal to a burst of guitar chords that is as bracing as cold water in the face.

The band whispers quite effectively on "Tragedy" - it takes a lot of confidence on a debut album to do a five minute number that is a model of restraint. But, as is often the case, by staying quiet, the listener has to focus on the melody (and yep, this is about love gone wrong), and the melody here may be the strongest on the album. Even better is the sympathetic playing - Adams is subtle with the sticks, and Martin's guitar solo is brilliant.

The band takes a page from the Bellybutton playbook on "Another Day", starting the tune out with a soulful electric piano before delving into more straightforward pop territory. They do a great job of conjoining those two vibes. Meanwhile, fans of Gigolo Aunts and The Rosenbergs will do back flips over "Tricks of the Trade", which features appealing tandem vocals from Adams and Martin, and three separate distinct guitar parts, which make this catchy times three.

The last four tunes aren't overall as swell as the first six, although "Gillian" is another great rocking tune. Nevertheless, this is a fine debut record. What makes Every Single Saturday a treat is how they don't let their obvious emphasis on craftsmanship and precision (they nearly equal Dada in those departments) overwhelm their energy - this record almost totally avoids the sterility of similar discs in this vein. This record is sure to be a favorite of many rabid pop fans. Major label execs might want to take notice, too.

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P76
Into The Sun

(Zip)

ziprecords.com

Shimmering thick chords, sunny dispositions (the album title is entirely appropriate) and ingratiating hooks add up to P76. This Australian trio, aided by Oz powerpop legend Dom Mariani (The Stems, DM3) behind the boards, strikes paydirt with a sound not far removed from Mariani's best work, with a spirit that has also been heard in New Wave-era powerpop bands and current groups like Lolas.

I knew I'd love this record like a long lost family member the first time I heard the opening chords of "Headed Straight for the Sun" - they are a slightly more subdued take on the majestic beginning of Bram Tchikovsky's classic "Girl of My Dreams". While not as massive as that tune, "Sun" combines the large intro with a mix of jangle, an interesting hesitation rhythm and a feel good chorus that typifies prime You Am I.

In fact, that tune is almost like a syllabus for the band's winning attributes. P76 measures out these ingredients in different amounts on the other tracks, with a few additions on other tracks. Not to say it's formulaic - it's more that the band has developed its own musical vocabulary and finds 12 ways to effectively use it.

Two of the best tunes run back-to-back. "Sleeping In" ("I don't want to waste my time/when I could be sleeping in") may be one of the most genial tracks ever recorded about adolescent/young adult ennui - the protagonist wants to get something going, but has a deficit in the effort department. The bouncy track shows that the lazy years could be pretty fun. "Something" is a great track to follow up - here, the singer is looking for "something to pin my hopes on" - the track is more yearning, and the chorus melody is so perfect, as the melody, like the lyric, sounds like it is reaching to grasp something - this track really resonates.

P76 also acquits itself well on more downbeat tracks. "Golden Days" sustains interest throughout its five minute plus duration. Danny McDonald's vocals are a bit edgier, sounding a bit like Cheap Trick's Robin Zander. The track has the heft and drama of a top notch Oasis track, without the overblown theatrics that undermine the Gallagher brothers. The gentle "Slow Down" has an inspiring chorus - it has a soulfulness akin to Astrid.

This record establishes a template, and the band's mature lyrical outlook seems to forecast that they will also be looking to expand their musical horizons as well. P76 is certainly off to a terrific start, doing a great job of chronicling the joys and frustrations of being young and wanting it all while having not the slightest clue how to get it.

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Cosmic Avenger
Something On The Radio

(Norville's Songs)

cosmicavenger.com

A clever post-modern take on '80s mallrat new wave. On its third platter, the band immediately lets you know you're in good hands on "Teenage Lovesong". The song begins with a sweet acoustic motif but after that minute of loveliness, John Pompilio pumps out an Elliot Easton-type guitar riff (think The Cars' "Magic) - y'know, a riff so obvious, you wonder why nobody thought of it before and so catchy that you could care less.
At times, it seems that the only thing missing from the disc are DJ's announcing call-in giveaways for Haircut 100 concert tickets and Stridex commercials. John Moller plays a key role - his keyboards and synth-bass really define the vibe - it's fairly retro, but not to the point of sheer imitation. And unlike other '80s leaning acts like The Rentals, Deathray and Pulsars, the band isn't Moog dependent - not that Moogs are bad, but Cosmic Avenger certainly distinguishes themselves from those equally fine acts.

Another band that comes to mind is Fountains Of Wayne - "Before the Fall" has a familiar, and always enjoyable, combo of wistful melody and uplifting guitar. The clever new wavey bits embellish the song, rather than define it, making for something more enduring.

The band is not afraid of disco - both "Wait 4 the Summer" and "The Revolution will be Televised" allow Gene Pompilio to make like Blondie's Clem Burke on "Heart of Glass", creating a Hustle-worthy beat. Don't fret - this isn't the second coming of Cerrone - the BPM throb is augmented by fine melodies. In particular, "Revolution" grabs you with an insistent rhythm and layers on embellishments - a dash of melody here, some scratchy guitar there. Sometimes a terrific song can be so simple.
Geography merit badges are well deserved. "You Can't Get Lost on New York" is idiosyncratic - offbeat verses with narrative vocals buried under oblong music juxtaposed by a totally uplifting chorus. Moving south, "The Garden State Parkway Blues (Again)" sounds like Ace Frehley (circa his first solo record) fronting the aforementioned Fountains Of Wayne - rocking vocal and acoustic pop tuneage.

There are two fantastic softer numbers - "Daffodils" has a majestic melody that bears some resemblance to "Card Cheat" by The Clash and "Wild Homes" by The New Pornographers. And "Hypnotist's Moon" is simply haunting - mournful keyboard notes cutting through the downcast bed of guitars. Great stuff.
It's always a treat to hear an album chock full of ideas - especially when the band doesn't waste a single good one. The only thing I'd like to hear would be cleaner production - it isn't bad here, not at all, but a band this smart deserves the best sound possible.

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