Scroll down for the latest releases by Sparkwood, Petra Haden, The Doves, Bloc Party and The Sugarplastic

Sparkwood
Jalopy Pop

(self released)

sparkwood.com

Sugary sweet is not always the best way to describe pop music. If sugary sweet means the aural equivalent of sour gummy worms, well then you're probably talking about the next Hillary Duff wannabe. Yecch! However, if sugary sweet means something you'd fine at a good neighborhood bakery -- a wonderful eclair or...a chocolate cannoli in Little Italy -- that's a splendid thing. This disc is a splendid slice of sugary sweet pop.

The second Sparkwood disc comes four years after the first one. Band leader Bart Padar has spent that time refining his approach. In so doing, he has sacrificed some of the rock energy exhibited on the debut, but that wasn't the essence of Sparkwood. Instead, it was smooth and insinuating pop songs that put Sparkwood in league with artists like Fountains Of Wayne, Cherry Twister and The Davenports.

Sparkwood remains in that league. Padar quickly demonstrates that he has grown over the past four years as a songwriter. "Cruel World" is a song that shows both ambition as a composer and a lyricist. The song's melody harkens back to classic ‘50s rock and roll balladeering, and would be suitable for swooning with a teen queen at a sock hop. However, this pop waltz has more depth than a slow dance song. Padar sings about a seemingly perfect love that falls apart because the man and woman's lives were going in different directions. While there is no brilliant wordsmithing here, Padar is direct and economical, and the music and words mesh perfectly, creating a maximum impact. There's even a wonderfully beautiful instrumental break, that is almost symphonic in its power.

Likewise, "Ready for the Day" is another pretty and resonant number. Here, Padar fits a sing song melody over a nimble piano part, augmented by soothing synthesizers. Indeed, the whole song is soothing, and Padar effectively moves the melody to make the chorus stick. This all leads to another jawdropping instrumental break, with his battery of keyboards painting lush sound pictures and Deborah Lutes's operatic vocals (that's what it says in the liners) creating a substantial atmosphere. And Michael J. Wane contributes a pithy lead guitar figure that compliments this bittersweet song.

These stretched out songs are indicative of Padar's maturation. By no means, however, has he abandoned the art of making happy, perky pop songs. On "Where She Ought to Be", Padar puts a Texas spin on the sunny songs that The Beach Boys did in the Sunflower era. "D" sounds like ‘70s AM radio pop, as if Sparkwood was competing with Gilbert O'Sullivan to make a song that's pop-rock with a music hall/vaudeville twist. At least it comes off that way early in the track, when a clarinet and trombone blow whimsically. The song then takes a detour into soaring guitars, and the wind instruments join them. The song then gets back to its original course. It's a trip worth taking. There is a basic rock and roll number, in the fun "Where She Ought to Be", and songs like "Emergency" and "Miles Away" are the best evidence to support those comparisons to Cherry Twister and Fountains Of Wayne.

Making a record that can be this sweet without being cloying or annoying is a tribute to Padar's talent. Moreover, although Padar has a limited, nasal voice (which sometimes comes close to reminding me, in an uncomfortable way, of REO Speedwagon's Kevin Cronin), he knows how to tailor songs that suit it well. What more can be said, other than Sparkwood has made a superb sophomore disc.

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Petra Haden
Petra Haden Sings: The Who Sell Out

(Bar/None)

bar-none.com

As explained in his loving liner notes, this project started as a challenge -- Mike Watt effectively daring Petra Haden, the accomplished vocalist and violinist from that dog and The Rentals, to cover the entirety of The Who's third album. Watt explains that he and his former Minuteman bandmate (the late) d. boon, were gigantic fans of the album, and, for whatever reason, he thought it would be fun to hear Ms. Haden interpret the album. Watt leaves unexplained whether the challenge included a stipulation that Haden do this project with only the sound of her voice. Nevertheless, armed with an eight-track recorder that Watt gave her, that's how Haden, who was not familiar with the album, tackled the project.

If you, like Haden, are not familiar with The Who Sell Out, let me tell you right away that Watt and boon were, as usual, spot on in loving the album. It is also my favorite Who album. First off, you should know that it's a concept album. The album attempts to recreate a commercial pirate radio station, commercials and all. The challenge for Pete Townshend was to write a bunch of songs in a variety of styles. He passed that test with flying colors. Second, as a result of tackling this diversity, Townshend's burgeoning skills blossomed as never before. In trying to write a bit of everything, Townshend unlocked a door that led to reservoirs of melodic and lyrical depth that he may not have opened otherwise. Compositions like "Rael" and "Sunrise" are stunning, and would have been great achievements for genius contemporaries like Lennon and McCartney and Ray Davies.

And those songs were relegated to the second side of the LP. Of course, in the pre-digital age, the radio concept did lose a little steam when the record was turned over, and on the last few songs, it was disposed of entirely. This may be the only flaw in the album.

So does Haden's low-fi a capella version shed any light on the album? Yes, it does, or at least on some of the songs. And how does it stand on its own? Pretty darned well, I must say. She is clearly a skilled arranger, and a wonderful vocalist. She's fine in the mid-range, where many of these songs reside, and when she gets a chance to move to the top of her range, she sounds angelic. In spots, it almost sounds like The Roches (a big compliment, in my book), as on "Odorono".

Perhaps the only song that doesn't quite fly is the best known track on the album, "I Can See For Miles". Not that it's an outright dud, but the original is so rhythm driven, that Haden's "do dos" and "dits dits" fall a wee bit short. More often, the a capella renditions add a sheen or reveal just how good these songs are. Or, in the case of the Speedy Keen composition "Armenia City in the Sky", Haden shows that there is more than one way to make a psychedelic song sound psychedelic. (OK -- that's an empty phrase -- what I mean is, The Who version is full of production tricks and feedback and distended horns. Haden's good attempt at replicating that with her voice is equally, if not more, trippy).

This is certainly the case on her stellar rendition of "Tattoo". This classic teenage drama about two brothers who get tattoos and face the wrath of their parents has brilliant lyrics that are both formal and self-important, yet leavened with subtle wit. Haden's choral rendition heightens both the seriousness of the narrative and the underlying humor. Meanwhile, Haden's superb pipes give the soaring melody of "Our Love Was, Is" its proper due. Haden's effort here makes the song her own. She doesn't quite wrest the overlooked gem "Sunrise" from Ol' Pete, but she comes close.

There is one other song that Haden, if she doesn't steal it from The Who, she has at least staked a claim for a share of it. The epic "Rael", part of which formed the basis for the subsequent "Underture" from Tommy, sounds majestic and ethereal. Lyrically, the song is an incomprehensible myth/sci-fi/or something else tale. Again, Haden's stellar singing imports a seriousness to these words that fits so well with the music, which is stirring in the verses and in the middle eight -- my word, the melody of the middle eight is one of the best Townshend has ever written. No offense to Roger Daltrey, but Haden simply does this melody more justice.

I can't say that I'll play this as much as I play the original. But I can say that in at least a couple of the instances I noted above, when I'm listening to The Who's album, I'll be hearing Petra Haden's version.

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The Doves
Some Cities

(Heavenly/EMI)

emimusic.info

The third Doves album does not reveal any major changes in direction. The rock band with the warm and inviting big sound has apparently just spent the past few years refining their craft, listening to some soul sides, and not resting until they had a couple fistfuls of top drawer material. The result is perhaps the best Doves album yet.

What I find most striking, particularly on the first half of the disc, is how successfully the band incorporates old R & B moves into their music. They do so in a way that puts a fresh spin on their songs, without changing the basic ingredients that typify The Doves. The single "Black and White Town" is a sterling example of this. Basically, The Doves found a way to thread a 50-foot high Doves melody with a rhythm track based on Martha and the Vandellas' "Heatwave". The band comes perilously close to owing Holland-Dozier-Holland royalties, playing a very very slight variation on the classic tune, on a distorted wobbly electric piano. Thus, the band makes this familiar music still sound a bit different and otherworldly. This wouldn't mean much if the band didn't add anything to it, but The Doves are more than up to the task, coming up with a killer chorus.

On "Snowden", what would otherwise be a decent mid-tempo pop tune gains an edge and intensity with the use of a haunting backing vocal chorus that sounds like it came from some big ‘60s soul production. This both contrasts and compliments the song, giving more heft to the tune. The song builds to a microburst of fuzz guitar which then sends the song into the clouds. This is a jawdropping track.

On other tracks, The Doves stay the course. This may imply that they are coasting, but the title track, "One of These Days" and "Walk in Fire" all sound like potential singles with strong hooks. "Fire" is a very simple song, perhaps comparable to some of the blues laced material that U2 did in the late ‘80s, but more lightfooted. While maybe it's not an obvious hit, this is an incredibly accessible song, and I could see it really expanding The Doves' audience. "Some Cities" is just a great piece of British rock, sounding like a collaboration between Paul Weller and The Stone Roses. The airy semi-psychedelic pop swirl surrounds dollops of bluesy guitar licks. Meanwhile, "One of These Days" hits upon a chill bump inducing melody -- at its core it reminds me of one of the Jackson 5's "I Am Love". While different in many aspects, this song shares a similar dramatic and haunting feel.

Some other nice touches include the strings on "The Storm". This song would segue well into Electric Light Orchestra's "Above the Clouds". And there are two powerful slow numbers, the mournful piano piece "Shadows of Salford" and the pretty closing track "Ambition", which wafts from the speakers like light puffs of smoke.

One thing that is remarkable about this album is how evocative and emotional it is, even though The Doves lyrics are, in themselves, unremarkable. While the vocals aren't buried in the mix, they aren't emphasized and often, only snatches of words come through. This clearly isn't an impediment, perhaps because the vocals are expressive, even when the lyrics aren't memorable. The other thing that strikes me is how The Doves are capable of the type of success gained by Coldplay, Travis and their ilk. All of these are bands with big sounds and melancholy vibes. What distinguishes The Doves is that their music has much more emphasis on rhythm and has earthier roots. I don't know why that would hurt their chances for a bigger audience, but it does explain why I like them better than somewhat similar British bands.

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Bloc Party
Silent Alarm

(Wichita)

wichita-recordings.com

This British band came to prominence in 2004, with a series of singles and an opening slot for Franz Ferdinand. The band is definitely part of the wonderful post-punk brigade that seems to be everywhere nowadays. Unlike Franz Ferdinand and The Futureheads, Bloc Party is more of a rock band. These guys simply sound massive. While there are traces of Gang Of Four in their sound, Bloc Party comes closer to the sound of Joy Division, The Chameleons, and, dare I say it, early U2. If you want to get a bit more contemporary, then look to Interpol, though they don't reach for the rafters like this band, and Idlewild, though Bloc Party hasn't reached Idlewild's level of consistent songwriting. Or should I say, they haven't found enough variety yet – Bloc Party is a model of consistency.

This album has some great songs on it, and the lesser cuts tend to sound like weaker versions of the great songs. Making up for this, in a big way, is the fact that Bloc Party is already one of the most explosive bands on the planet. It all starts with drummer Matt Tong. He's a perpetual motion machine who is all crisp fills, big drum rolls and a constant presence on the kick drum. Shit, he could probably make Train or Matchbox 20 sound like a really rocking band. Yes, he's that good.

Meanwhile, singer Kele Okereke and Russell Lissack form a devastating two guitar attack. Not only can they cobble together scratchy funk riffs like Gang Of Four, but they can lacerate with stinging and searing leads, often lacing their leads together in beautiful and deadly fashion. Gordon Moakes is a great bass player, simply because he can do whatever it takes to allow his mates to take off in all directions. Okereke is a passionate singer, whose intensity matches the playing, though he never gets carried away.

The first half of this disc contains about 1,000 megatons of rock power, and almost renders the second half an afterthought (please note that almost). The opener, "Like Eating Glass", is what the first cut on a rocking album should be – starting with a light lead guitar and plucked bass, and then Tong brush the hi-hat before getting the beat going. Then the lead guitar riff gets going, and Okereke exclaims "it's so cold in this house". This is a song that coils the tension. Listen to the creative basslines Moakes plays while the guitars and drums are in lockstep. Even when the tension releases, the song doesn't explode in the first chorus, but they instead wind things tighter. An amazing steady build, and it's not even close to the best song on the disc.
A distinctive lead part propels "Helicopter", a blistering critique of George Bush. From a lyrical standpoint, Midnight Oil would be proud of the level of polemic at work here, even though the words are pretty simple: "Just like his dad/just like his dad/(the same mistakes)/some things will never be different." The band throws in snatches of melody amidst the stop and go dynamics and blitz of rhythms and lead guitars. The "are you hoping for a miracle" refrain is one of the strongest hooks on the album.

On "Positive Tension", Okereke sounds a bit like Robert Smith, playing with a band that meshes Joy Division and The Ruts and Midnight Oil. Again, the Tong/Moakes rhythm section is massive, as everything in the song plays off the relentless fat rhythm they play. The Gang Of Four sound comes to the fore on "Blue Light", with great call-and-response guitar work from Okereke and Lissack, and Tong breaking out his disco drumming pea soup beat. This is the song that might hook in the Franz Ferdinand fans, though it's hard to suss out what the fuck it's about. The hook of the song is just a staccato chord change and there's a really swell middle eight that is melodic and supported by roaring guitar. The pulsing "She's Hearing Voices" suggests a Joy Division and middle period Public Image, Ltd. blend, aided by Okereke's vocals that remind me a little bit of Johnny Lydon.

The band offers a respite on "Blue Light", which is reminiscent of the softer side of Idlewild. The song is a gentle piece of pop, with shiny reverberating guitars and nice stately percussive instrumental break. The band is pretty comfortable when the temperature is lowered, which is also illustrated on the medium cool "This Modern Love".

The last five songs on the album are all fine, at one level or another, though none of them seem to be as strong as what preceded them. It may be that Bloc Party's level of intensity is such, that a 10 song album would have been a better idea. Either that, or as I mentioned earlier, just a little bit more variety is needed. It would also help if it was clear what they were being so passionate about. For example, "The Pioneers" may be about colonialism...or our poor treatment of the environment...or something else. It's not that have any obligation to be U2 or The Clash and solve the world's problems in song, but all this power would mean more if the words had more meaning.

So this exhilarating debut is not perfect. But this band has carved out a unique niche with its post-punk style. Just hearing them play is a pleasure, and that fact that there are some great songs on here makes them one of the most exciting bands around. Let's give them some time and see how far they can go.

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The Sugarplastic
Will

(Tallboy)

tallboyrecords.com

Around some circles, The Sugarplastic are just thought of as a band that sounds like XTC, yet there is so much more to this band. From almost the get-go, The Sugarplastic has dabbled in spectral, somewhat twee psychedelia (for example, find a copy of their "Where Dead Bullies Go" from what now seems like ages ago). This aspect of the band has become more prominent and is a large part of this fascinating disc. At the heart of this album is frontman Ben Eshbach's unique guitar style, where he seems to play notes in a circular fashion (I don't mean this technically, it's how it sounds to my untrained ears). Eshbach has said that The Monochrome Set was the initial inspiration for how he plays, and that makes sense. Like XTC and The Monochrome Set, The Sugarplastic have perfected a sound that mixes odd, dissonant sounds with pure melodies.

Parts of this album have a real Alice In Wonderland, dreamy quality. Sometimes this is due to the distortion put on Eschabach's vocals. Other times, it's just due to the childlike simplicity of the compositions. For example, "Underwater" plays like a series of mantras, with almost every instrument, from the guitar to the bass to the bells that are prominent on the track, playing similar rhythm parts, as Eshbach sings lines like: "Bells and chimes/a pair of paradigms/everyone tries/to open their eyes/underwater". While the meaning of this track is elusive, the elusiveness is actually part of what makes this and many of the other tracks on this album so compelling.
Other songs float in from the mist, such as "The Bodice of a Young French Girl" and "What the Boy Said". On "Bodice", Eshbach's delicate lead guitar playing, doubled up by a keyboard, wafts in and keys the track. He distorts his vocals in parts, going from his normal range to an altered lower range. The melody heads in one direction and then reverses itself. The song is an effective exercise in repetition, with a wrinkle or two thrown in (like Julie Bachman's wordless vocal interlude) to break up the ebb and flow. This is mysterious and beguiling.

The opener "What the Boy Said" is another song that folds parts on top of each other. Here, the initial vocals sound like they are at the wrong speed, with a pinched, near chipmunk-like effect. These elfin tones are offset by the XTC-ish refrain, and there's a rocking middle-eight after the second refrain. Which is followed by an unintelligible, but cool, heavy lead guitar driven part. Yes, I am utterly unable to describe this distinctive song. What I'm trying to get across is that it has about six or seven distinctive parts, and all of them are perfectly woven together.

It's because there are quite a few tracks in the vein of "Bodice" and "Boy" that this is an album that takes a few plays to fully sink in. Only a few songs are immediately accessible. "Very Stereo" is a classic Sugarplastic song, with Eshbach extolling the joys of Miss Katherine (or is it Miss Catherine). This song is played in a waltz tempo, and Eshbach counts the days until he marries her, and counts the ways he's going to capture her, write to her, and do many other things to her, too, I suppose. I could count the ways that this is a conventional psych-pop tune, and then count the ways that it still is unique. Like Kiara Geller's spare and sympathetic coloring on the bass, or the numerous guitar parts Eshbach plays, including some stabbing leads, and the nifty use of dynamics that sets up the primary guitar solo, and how he goes from that to a more playful solo.

A little ‘20s style guitar antics (how about "I'm Going to Alabamy Now" or "Flat Foot Floogie"?) are the prelude to "Jesus Is His Name", the most XTC-ish cut on the whole affair. This appears to be a pretty straightforward declaration of faith, that is lumbering and nimble at the same time, and catchy as all get out. "The Runaround" is breezier, relying on a pulsing bass-and-drums rhythm and sweet guitar playing by Eshbach. The chorus is more rushed – rather than loud-soft dynamics, this is laid back/aggressive dynamics.

This is one of those albums where I keep noticing some a snatch of words or guitar part or chord change that I hadn't focused on before. I'm still trying to suss out what it all means. For example, is the reference to Jesus in "French Girl" tied to the song "Jesus Is His Name"? Are there broader concepts here that I can't grasp? Maybe I'll figure it out, someday. I do know that this music means something to the folks who are playing on it. What they have created is an album that stands out from the crowd, and it's unforgettable.

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