Scroll down for reviews of releases by Sean Na Na, Sparklejets*UK, Lasse Lindh and Sunshine Fix. Click here for reviews of releases by Alien Crime Syndicate, Chris Isaak, Chantigs, Fools Face and a Jeff Lynne Tribute.

Cry Baby Cry
Jesus Loves Stacey

(Skoda/Dischord)

skodarecords.com

This indie rock quartet defies easy categorization, which is why Cry Baby Cry merits your attention. The collective brain at work here is filled with ideas, and the band manages to integrate these ideas into songs that are loaded with surprises and twists and turns. Yet Cry Baby Cry never seems to let their hyperactive creativity overwhelm the material - every offbeat guitar chord, ornate vocal arrangement, and melodic shift seamlessly fits in place.

CBC has an alt-rock core, a precision attack that fits in with other bands on the Dischord label. On top of that foundation, the band adapts other genre elements to its needs. The first four songs on this album are an impressive display of creativity, executed with powerhouse playing. The opening chords of "The Last Days of Tarzan the Ape Man" sound like they could have come off a Black Crowes record - Blues Rock 101. The melody is more punkish while the guitars sear and the band moves into a pumping rock middle eight, the song then cooling down during a pensive instrumental break, and then...bedlam. "A Sad Song" follows with a blast somewhere between Pixies and Jawbox (former Jawbox/current Burning Airlines frontman J. Robbins produces, superbly finding space for all of the elements buzzing about in the mix), as Kathy Cashel takes the mike, with the song settling into something akin to X if they used more folky melodies.

Next, "The Fast-Assed Sumbitchie" draws you in with a slinky rhythm, then the guitars kerrang, James Brady screams out "you gotta set the alarm now baby" with bulging vein intensity, and the song gets back to the slinky groove, Cashel's vocals floating like an angelic Debbie Harry. Completing this quartet of wonderment, the title cut is poppy number (think Lennon's lighter stuff during the tail end of The Beatles), with two cool lead guitar parts, the song mutating midway through into something from a rock opera, and sly lyrics: "Alas, some people take it in the ass/so some cracker billionaire can make a fortune in gas".

The album continues to flow along, spouting out more hooks and jagged bits, smartly taking a pretty two song acoustic break ("Metropolis", "Chemical Castration"). The highest peaks come back-to-back. ""Wake Up Now" starts off with a kinda funk intro (somewhere between The Suburbs and early XTC), drummer Jenn Thomas and bassist Drew Sutter totally locked in, contrasts with a clangorous chorus until the song devolves into an alt-rock frenzy. "Monkey's Darling" sounds like 'the hit' - a soaring anthemic tune, with Brady and Cashel singing wonderfully in tandem.

This disc is thoroughly invigorating. I wish I had heard it earlier, since it easily ranks among the best 10 or so discs of 2001.

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Sean Na Na
My Majesty

(Frenchkiss)

seannana.com

What a difference an album makes - Sean Tillman released a debut album under the Sean Na Na moniker in 2000 which showcased a witty singer of primarily acoustic indie-pop songs that owed a bit of a debt to Jonathan Richman and Violent Femmes, though by no means was he limited to that template. Promising stuff. In the interim, Tillman has done his share of split singles, compilation tracks, etc. More importantly, he has put together an impressive band. His material still is, at heart, modern singer-songwriter material, but the excellent musicians backing him allow him to lay his unique personality over a variety of music styles.

For example, the band takes on a Who-like persona on "Grew Into My Body" - St. Patrick (bass) and Bryan Hanna (drums) provide some majestic rhythm work on par with Quadrophenia, while a Townshendish jangle keys the melody. The song deals with triumphing over the bullies who picked on him when he was a small kid: "I grew into my body and now I'm going to work it/gettin' more play than all the pretty boys did back at an age when they couldn't use it." The middle eight has Tillman rushing through the lyrics while Hanna fires away quickly on the drums.
Tillman's vocals are quite impressive throughout. While his half-talking/half-singing vocals are still the norm, he shows surprising range, particularly pleasant on the high end. By opening up his approach to vocals, he is able to easily handle the range of material he composed. His improved vocal approach is best shown on the pretty trifle "Third Life", the tender yet sardonic closer "I Need a Girl" ("I need a sexy shrink like I see on TV/to fix my head, let her hair down and give it to me") and especially the harrowing "The Human Raft", a dramatic tune about the ravages of AIDS on drug users, with lyrics that balance straightforward reporting with some trenchant imagery.

A few songs smack strongly of the mid-'80s British pop scene - musically, "Give Me a B-Side" has a strong Smiths flavor. "Spread The Feelin'" careens like a Woodentops or early James track, Tillman reeling off lines like "Now I'm burning your books/oh you give me dirty looks/because the page that you were just referencing/became a cloud of smoke". While Tillman isn't strictly into wordplay, his literate lyrics remind you of Elvis Costello, as they amuse as often as they sting.

Props should also go out to Nathan Grumdahl (guitar) and Lucky Jeremy (keyboards) who add to the color of this disc. If Sean Na Na continues to improve at this rate, look out, but I'd be happy if they could stay at this lofty perch for a while.

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Lasse Lindh
You Wake Me Up At Sea Tac

(Hidden Agenda)

Release Date: February 26, 2002

parasol.com

As the commercial used to say, if you want to get someone's attention, whisper. I'm not sure if Lasse Lindh saw that particular commercial in his native Sweden (which may also mean that he is unaware that when a woman invites you to her place for Harvey's Bristol Cream, it's downright upright), but his music conveys the same message. It's a message that has also been implicitly taught by singers like The Zombies' Colin Blunstone and (the Reverend) Al Green. Lindh is a singer-songwriter who falls somewhere between the indie world of Elliot Smith and the slicker '60s retro stylings of Tahiti 80. His recordings aren't ornate, but this ain't a low-fi recording - the arrangements are relatively spare on this well-produced disc, but each detail is expertly rendered and serves a purpose and causes a pleasant effect.

The disc appends three bonus tracks to the original Swedish release, and my favorite track is one of those cuts. "Stargirl" is very comparable to Tahiti 80, with a winsome melody and lite electronica backing - Lindh uses old style synthesizers (like Air uses on their recordings) which have that combo of cold and warmth, and his vocal is precious without being too precious. The song is catchy and some of the synth fills make it extra hooky. Meanwhile, Lindh shows off his dramatic side in its best light on the beautiful "C'mon Through" - starting with only piano accompaniment, Lindh caresses each word - the song sounds like a Pernice Brothers ballad, but slowed down about 13 RPMs or so, Lindh nearly straining his voice to get the song into its spectacularly inviting chorus.

Some of the tunes are more insistent and driving. "Bruised" is an focused, moody guitar number, with nice lead guitar support - the song structure isn't too far from some of Chris Isaak's material, but Lindh's quieter vocal approach gives it a much different feel. Lindh achieves an emotionally ambivalent state on "Computerwelt", which begins with more of a trip hop feel, as a percussion track and some ominous synth melodies are all that support Lindh. The guitars come in during the pleading chorus.
Lindh's lead guitar skills really pay off on "Damage Done", a pulsing number that reminds me of Firefall's "Just Remember I Love You" (yeah, Firefall was pretty cheesy, but that was one hell of song) - not only does Lindh's fret work suck you in, but his lead work counterpoints the melody in the chorus quite well.
The bittersweet sounds Lindh makes are the right soundtracks for his dim view on affairs of the heart. A couple examples of Lindh's philosophy of the world - "When a man loves a woman/he beats her up, abuses her and breaks her heart/when a man loves a woman/he knows just what to do" ("The Stuff") - or how about this one - "Cut him loose and be mean as you can/the greater the hurt, the greater the joy when you are mine/cause this is not meant to be something fun/this meant to be a love affair" ("Walk with Me") - there's definitely a reason this wasn't released on Valentine's Day.

OK - so don't play it at your next party. But if your heart has ever been broken or bruised, Lindh's songs may not pick you up, but they make for sympathetic company.

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Sparkle * Jets U.K.
Bamboo Lounge

(Smile)

sparklejetsuk.com

Release date: February 26, 2002

California quartet's second disc shows the band continuing to explore what they can do - and there is plenty of stuff to explore, since The 'Jets are blessed with two compelling frontpersons. Susan West has a great voice, but more importantly, she has a strong personality, and so it makes sense that she can try out some different styles. The same goes for Mike Simmons, but for different reasons. Simmons seems to be a walking rock encyclopaedia, as his songwriting reflects a broad knowledge of rock genres, while managing not to sound like some guy recreating his record collection. His voice isn't as distinctive, yet Simmons can effortlessly pull off whatever vocal a song requires.

In fact, in contrast to their often frenzied shows, Sparkle * Jets U.K. is as cool as a cucumber on record - this disc is an intriguing listen because the songs are so instantly likable and have such palatable surfaces, it takes multiple spins to hear all that's going on. Another contrast to the live experience is that the band doesn't rock out a whole lot - Simmons, in particular, is showing off his mellow side.

Like on the lovely Beach Boys inspired intro to "Sorry", a pretty ballad with a guest flute solo by Lisa Jenio of Candypants that will remind you of a similar solo in The Beatles' "You've Got to Hide Your Love Away", but rather than triumphant, Jenio's work adds to the blue tones. Meanwhile, "Beautiful Girl" has a slight tropical lilt and a tunefulness that Chewy Marble fans will dig. And "Nobody's Girl" is a slice of '70s blue eyed soul with Simmons' best vocal - Stevie Wonder would be proud to claim this melody as his own.

This doesn't mean that Simmons has forgotten how to rock. "So Gone" storms into your speakers, throwing in a '70s hard rock guitar bit (Rush, perhaps?), but juxtaposes some sweet melodies and bitter words ("I don't get to choose, I know I'll lose/but she says that's just what losers do" - ouch!) in the verses - the way the band stitches together the hard rock with the soft rock is ingenious. "Hate Your Hair" is a punky basher, and a video of the track is included on the ultra-enhanced CD (which includes Mp3s of live tracks and much more).

West provides the spice - "Consult Your Physician" is a (as Johnny Otis would say) crazy country hop, Larry Doran snapping out a loping rhythm, while West tries to cheer up a friend: "You can agonize/till your agony/is your heaviest load/come on, get happy." West shows a flirty, girlie side without sounding cutsie - she unleashes enough of her vocal power to remind you she's woman and don't you forget it. This song also has cool chunka-chunka guitars that make it extra catchy.

"Monster" is a chugging mid-tempo rocker (that would segue well into Heart's "Barracuda") with West again totally in charge. When the horns kick in on the middle eight, victory is hers. Some may already be familiar with "Real Nice Time" from the third International Pop Overthrow compilation, but it's too good not to make a Sparkle * Jets U.K. album - another West composition that is definitely guitar pop, but hard to define, it is a rollicking song that is celebratory and withering, as West chastises her lover for trying to two-time her: "Did you have a good time?/did you have one with lime?/did someone say l'chaim?/Did you tell her you're mine?"

The album flags just a bit towards the end, but there are plenty of strong songs until that point. They have a definitive great pop album in them (and perhaps more) and they are very close to getting there.

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The Sunshine Fix
The Age Of The Sun

(Emperor Norton/Kindercore)

emperornorton.com

Sometimes I get tired of the whole Elephant 6 jive. Mid-fi recordings of '60s styled pop songs chock full of pretensions - pop music for people too hip to listen to the real stuff. Yep, I've got an attitude problem. I think my beef lies with the bohos who go apeshit for the E6 stuff, but wouldn't lower themselves to dig a Chad and Jeremy record or try out The Virgineers or The Orgone Box. Because many of the artists are pretty keen.

Bill Doss is as E6 as you can get, based on his membership (and major contributions) to The Olivia Tremor Control. His new record will be a tonic for those who liked The OTC's pure psych-pop stuff but found most of their experimental forays to be irritating. With the exception of one irritation, this is a charming disc of songs that find a middle ground between The Turtles, The Beach Boys and other sunny '60s groups and more psychedelic melodies.

Not that The OTC was amateur hour, but The Sunshine Fix ups the playing and production quality just a bit - things are smoother, but Doss and Co. have wisely left in some of the rough edges. Thus, the band strives for the perfect song while trying to retain a very human element. This is what differentiates this band (and others within the Elephant 6 collective) from the pop classics they pay homage to, and what removes this album from the 'File Under Retro' bag.

So "Mr. Summer Day" sounds like a Turtles single with a lot of the gloss stripped away - still cheery (the band's name is truth-in-branding - this is happy music), but with a much smaller scale and a corresponding increase in intimacy. The Fender Rhodes playing drives the song and Doss drapes a nice little melody over the piano rhythm. The song takes a turn for the dramatic at the end that makes it the most resonant on the entire disc. "Hide In The Light" is almost a waltz, and the chorus lilts a bit like The Beatles "Here, There and Everywhere" - again, in a more intimate fashion.

Doss's voice is a wee bit comparable to Ray Davies, and a couple of songs here have Kinky structures. "Everything is Waking" melds a pastoral Village Green Preservation Society structure with an overlay of Magical Mystery Tour-type psychedelicisms. It features Doss's best vocal and a sublime middle eight. On a much more urgent tip, "See Yourself" is one of the few rockin' numbers, with a cool angular lead guitar part - The Fix still plays it in a relaxed mode, but this would be good fodder for a garage band.

Two other noteworthy tracks: 1) "A Better Way to Be", a cautionary tale about how to live life with endearing harmonies (harmonies are important throughout - they aren't pristine but are always enjoyable) and a quiet enveloping melody; and, 2) "That Ole Sun", which begins with the trippiest freak out on the album, with plenty of reverb and a odd repetitive drum and bass combo, before recasting itself as a wisp of a folk-rock song, with tinges of The Association.

While no world beater, this disc has its merits. Though be forewarned that the last track is an irritating near 20-minute repetition of the opening vocal theme. So don't put this on shuffle.

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