Scroll down for the latest releases by Kevin Tihista, The Supahip, Julian Cope, The Sames and Novillero

Kevin Tihista
Home Demons, Volume 1

(Parasol)

parasol.com

In the brief and witty liner notes to this demo collection, Kevin Tihista notes that not only is it his girlfriend pictured with him on the front cover, but he "can't believe she would go out with me." Well, I've got news for you, Mr. Tihista. You are truly correct. How she could spend time with a loser like you is beyond me. (NOTE: I actually don't believe this, but since so much of Tihista's best work is based on tales of sad sacks who are losing the game of love, I would like to instill a lack of self-confidence that will give him more grist for the songwriting mill).

Many of you may have heard about the gigantic stockpile of songs that Tihista has put together. Apparently, he could sell 30 disc boxsets at CostCo if he chose. Instead, he has kicked out the first of what I hope are many installments of his odds-and-sods. With every release, Tihista shows that he is worthy of being mentioned with artists such as the late Elliot Smith and The Pernice Brothers, making mellow pop gems that build on traditions from the ‘60s and ‘70s.

Tihista may not be a poet like Joe Pernice, or a tragic romantic like Smith, and, his songs may be a bit more emotionally facile than those two. But that isn't to say that his music doesn't resonate. If anything, this collection shows that there are a lot of facets to Tihista's music that bode well for a long and fruitful career.

Take two songs, one pithy and one epic. Tihista's "Stratford Upon Avon" is a folky strum where Tihista advises that "Shakespeare's a hoax/but let the legend live on." This little less-than-two-minute ditty is a trifle, like an early Paul McCartney album track. Yet it comes and goes in good spirits, bouncing along. It's fun, and that's just fine.

Then there's "Jim Henson's Blues/You're Not Bad", a seven minute narrative that weaves around lyrically as much as the back-and-forth piano part Tihista plays. He sings a stream-of-consciousness narrative that includes him dreaming that he plays guitar "for the hardest rockin' band in the land." The piano line fades out, and the music settles into a more languid groove. This is the "You're Not Bad" section of the song. Once the song hits the groove, Tihista then steadily ratchets up the intensity, as the guitars come in stronger, and he begins to really emote. The song then melds back into the "Blues". Why Tihista melded these two songs together, I have no idea. Perhaps it's just that he liked the way they fit together. Whatever the reason, the song takes the listener on a compelling journey.

Fans of Tihista's basic love songs will find things to enjoy. I particularly like the classic style of "15 Hundred Miles". This may the closest that Tihista has come to Bread, and the song features a simple and to-the-point chorus. This song would have been a natural, had it been released in the ‘70s, to be played before or after Dave Mason's nice guy break up anthem "We Just Disagree". With proper programming of this CD, you can run Tihista's swell cover of that tune back-to-back with "Miles".

It should be noted that these demos are fairly elaborate, for the most part. Only a few tracks sound like four track recordings that need more development. But among those tracks, "Idiots" (lots of keys, some guitar, icy pop-rock) and "This Should Be a Duet (Really)" (with a melody that is close to Paper Lace's "The Night Chicago Died") are quite good. There is only one track that has previously appeared, a nice take on "Sweet", from Wake Up Captain. And there's the tune "Wake Up Captain". Wonder why it didn't make the LP of the same name?

Other than a few tiny instrumentals, these are all full songs, regardless of how elaborate the particular recording. As such, it stands up with his previous three releases. Which is a flat out recommendation.

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Novillero
Aim Right For The Holes In Their Life

(Mint)

mintrecs.com

This is an album of terrific power pop songs built on a piano and keyboard foundation. I suppose some other piano rocking artists come to mind -- Ben Folds (natch!), Joe Jackson and Zumpano. Yet Novillero doesn't play by any strict set of rules, preferring just to write great songs with different textures and feels. Indeed, the opening cut, "Laissez-Faire System" (which they note, "is not quite working out" -- this is a smart look at capitalism), seems to mix the harder edge of Crowded House with a bit of a psychedelic swirl.

Like fellow Canadians (Vancouver-ites?) Zumpano, Novillero is capable of mixing real rock punch with candy coated ‘60s inspired pop. This is exemplified on the note-perfect "Abbey", a song of unrequited (in fact, miles from requited) love. This song doesn't focus on the details, but rather the aftermath. Like quite a few Novillero songs, the tune is a mini-symphony with multiple parts and layers of melody. Grant Johnson sings at the top of his range, pushing along with the primary melody. He waxes philosophically, asking "how can you lose something you never had to begin?" The middle eight is a superb baroque construction, conjuring up memories of The Left Banke and Sagittarius. Delightful.

The late great Harry Nilsson comes to mind on "Insomnia". The song starts with a piano part that is a bit similar to Nilsson's "One". The metronomic piano rhythm matches a lyric about a man who is living a "waking dream", aimlessly drifting through life. It's work, play and restlessness: "So I get up resembling/the stale smoke in last night's clothing/Mr. Hyde I'm getting awfully/tired of cleaning after you." This song has a nice delayed build with clever arranging tricks – subtle backing vocals, theremin noises in the background, uncredited horns). There is a middle instrumental break where Johnson slows down the piano, playing pretty notes while the theremin wafts in – it resonates. The guitars then build up in a dense wave, and a true majesty is achieved.

Amazingly, Johnson is not the only talented pianist/singer in the band. Rod Slaughter's frontman appearances tend to be less rooted in ‘60s/'70s pop, and have a bit more rock power. "Habit Over Heart" is a song premised on two different piano parts, making a good use of dynamics. The song starts with a lot of drive, with Slaughter protesting that he's a "firm believer in the status quo." If it weren't for the piano, this could be a late-‘60s Who number...until the counter-verse comes in with a Brit-pop perfect piano bounce. The song reaches its zenith when there's a dual vocal interlude, with Slaughter and Johnson singing different parts (or, it could be Slaughter multi-tracked) and things get more and more intense.

The lyrics are utter brilliance, as Slaughter depicts a man who is happy with a static relationship: "All I want is things to stay just the way they are/positive or not, it's habit over heart." Keen insight.
There are plenty more examples of Novillero's outstanding compositions, superb arrangements and fantastic lyrics. This is yet another example of the rich vein of talent that Mint Records mines from Western Canada. I presume that many artists working in that area are far enough from the mainstream radar, that they don't worry about making radio friendly pablum, and instead explore their interests and try to build on their influences to make something as good or greater. That's certainly what I get from this record, which is one of the best achievements in pop so far this year.

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Julian Cope
Citizen Cain'd

(Head Heritage)

headheritage.co.uk

Time has not mellowed out Julian Cope. Not in the slightest. The former frontman for The Teardrop Explodes has made an album that practically demands him to dig up the black leather gear he used to sport during the height of his ‘80s solo success. Joined by a quintet of oddly monikered musicians, Cope stage dives into an engaging and, at times, vitriolic, collection of psychedelic and garage rock.

At times, Cope really gets in touch with his inner Iggy Pop. On "I Can't Hardly Stand It", Cope gives an Arthur Brown-esque introduction, and the fury is unleashed. An arsenal of screaming guitars, with squalls of feedback and reverb go nuts over a relentless blues-rock rhythm. Cope reacts precisely as a rock singer should, when confronted with such backing – he goes pretty loony himself, seeming to almost shred his voice while blurting out sentiments like "I'm like a four-inch toad/I gotta biddadepop with love." In context, it makes sense.

Cope turns more to a garage rock tradition on "Dying to Meet You", though it has a Stooges style intensity. It's riff, riff, and even more riff. The song is based on a Norse myth, which is described in the liner notes. Of course, fitting this twisted collection, the myth is printed backwards, and you have to hold it up to a mirror to get the back story. Still, you don't need annotations or footnotes to appreciate the runaway train qualities of this track and the brilliant distorted guitar solo in the middle.

Some of Cope's concerns are much more earthbound. On the acoustic blues tune "Living in the Room They Found Saddam in", Cope mocks the efforts of the United States to stop terrorism in his own silly and disjointed way. Cope goes over the guest list: "And here's Bin Laden/he's hanging out/the dumb CIA can't find him/and here's Che Guavara hanging out with me/can't you see?" Cope's vocals are as distorted as his fantasy.

If anything, the details of "World War Pigs" are even harder to suss out. I mean, I understand that Cope is down on the war and all, positing that we're in a "Third World War". Some of his other rantings are as suitable for a man with a megaphone in Manhattan as a loon who snuck onto the speaker's list at Hyde Park. No wonder he sings "this song is freaking me out." Cope's vocal is consistent with the passion and confusion expressed in this slow burning blues rock song. The chorus is Sing Song 101 (kind of Doors-like), yet I can't help but sing along.

One concept that weaves in and out of the album, mentioned first in the aforementioned "Dying to Meet You", is the notion of the living dead. By this, Cope doesn't mean zombies. What he means is living life without any real awareness of really living and understanding what is going on in the world around and beyond you. Cope sums up his contempt for Western culture thusly: "I heard a young girl say to her mother/"Did you watch Big Brother"/I knew I was listening to the living dead." Cope ultimately moves on to Armenia, in a technologically backward land where people live life from day-to-day: "they had cool/like Milanos have cool/they had such grace-under-pressure style." Having seen this, he ultimately repeats, over and over, that he "will not represent the living dead." This is probably the last song on the album you'd want on a mix CD, with its dirge like tempo, but it's a very powerful statement. Cope doesn't just remember how to rock, he also remembers when music had direct meaning.

Cope ends the album pleading that someone save us from the "Edge of Death". This is one of three extended songs on the album, all of which are very successful. This song sounds like a marriage of *Shazam*-era Move, Led Zeppelin and Blue Oyster Cult. This is foreboding blues rock territory, and Cope and his band navigate the territory expertly. While this isn't the happiest of endings, it is a plea for redemption after over an hour of slogging through the muck in a mostly rocking fashion. It's feels like the right way to end.
I wouldn't want to call this a comeback, so much as a reappearance. Whatever you might want to call it, it is clear that Cope is at or near the peak of his creative powers. The songs are strong, the playing is great, the production is spectacular – it's just dirty enough to fit the tone of the songs, without sacrificing too much fidelity. And Cope may be a better singer than ever, as he works all over his range, embodying his lyrics. This is a great album.

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The Supahip
Seize The World

(Not Lame/Big Radio)

notlame.com

This album exudes a low-key charm that befits the nature of this project. Australians Michael Carpenter and Mark Moldre (of Hitchcock's Regret) got together to bash out an album quickly. According to the liner notes, in 13 days, they came up with this effort. The end result is like a power pop cousin to the first Finn Brothers album, a relaxed and relaxing pop album that beguiles more and more with each play.

A few of the tracks on this album are immediately striking. "Satellite" features Moldre on lead vocals, and it's a jangling guitar rocker on par with Matthew Sweet and Velvet Crush. This typifies the easygoing groove of the song. Moldre has a dusky, slightly sandpapery voice that is instantly compelling. The song has a nice pulsing bass line, drums that are in the background, with some nice fills, and there are interlaced guitars. The song has three good melodic ideas – the Beatle-esque melody of the verses, and nice counter melody coming out of the chorus and then a wonderful bridge.

Carpenter scores points on his cynical "Radio". This percolating track is grounded in a prominent repeating bass line, with lots of lead guitar accents. Carpenter sings from the perspective of...radio! He explains the power that he has ("if I play it/it will go gold") and how he specifically, and sometimes arbitrarily, wields it. In a nice touch, during an instrumental break, a DJ voice explains that you should pretty much give up hoping to get your record played on the radio. Wisely, this number wraps up in just over two minutes, as it's a quick punch to the jaw.

As is so often the case with music inspired by The Beatles, it is ironic that music of this quality can't get played on the radio. And Moldre and Carpenter wear their Beatle love (and like minded souls like Crowded House) on their sleeves. The album opener, "Like Love", has a strong Paul McCartney vibe. In fact, the melody reminds me a bit of "Band on the Run", though it goes in a bit of a different direction. This is terrific mellow pop. On "Falling Backwards", the Supahip conjure up a picked acoustic number that has a bit of a "Blackbird" meets back porch folk feel. This is one of a handful of numbers where the duo trade off lead vocals.

This is where the Finn Brothers comparisons really ring true. The mixture of casual ambience and sure craftsmanship yields many wonderful moments. "Everything's Alright" sounds like a tune that could have come off a recent Carpenter solo project, with a typically ebullient melody. Carpenter sings the verse, while Moldre takes the bridge and they trade off lines in the chorus. Their different voices play off each other superbly – Carpenter is full of energy, while Moldre is effortless at a lower ebb.

The partnership works seamlessly on the "Hanging By a Thread", a basic song about needing a friend when you're lonely. To some extent, the vibe on this song reminds me of some of Ronnie Lane's numbers on his LP with Pete Townshend, Rough Mix. Meanwhile, the team up on "Ultra Black Light" sounds like a lost Aztec Camera song. The melody positively rings, as Moldre and Carpenter take turns during the verses.

There is also one awesome cover. The Supahip do a pretty faithful version of Nik Kershaw's shining moment of brilliance, "Wouldn't It Be Good". Using a more guitar based arrangement, the band creatively arranges the song without the sci-fi sounds from the original. Of course, all you have to do with the killer hook is play it straight, and that is done with the expected entertaining results. Great job.

Records like this run the risk of being too casual, with slight production and leftover songs. That is certainly not the case here. In fact, some of the tracks really play with stereo separation. To aid listeners, the Supahip included mono mixes of many of the tracks. Twice the value for the money.

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The Sames
You Are The Sames

(Pox World Empire)

poxworldempire.com

With their debut full length release, The Sames continue two legacies. First, the legacy of great indie rock bands from North Carolina, The Sames hailing from my father's birthplace, Durham, NC. Second, a larger legacy of classic college rock -- music that is not pop, it's not slick, but it's premised on intelligent lyrics and thoughtful arrangements, tight but not-too-tight playing, and littered with hooks. The Sames fit in with bands from the past like Archers Of Loaf, New Radiant Storm King, Arcwelder, Small Factory and Hypnolovewheel, and could very well appeal to someone looking for something cool to slip in their CD carousel with their Arcade Fire, Shins and Flaming Lips discs.

The band is led by guitarist Zeno Gill, who also produced the record. This album leads me to presume that Gill must have stockpiled an array of distinctive and catchy guitar parts, as every song on the album has at least one or two memorable ones. There's also an energy here that may very well appeal to fans of The Arcade Fire. Though The Sames are working in a more traditional guitar rock format, they are often capable of producing a big sound akin to the Fire.

This is apparent right away. The opener, "Heart Pine", is a concentrated piece of guitar fire, rolled up in a tight little song. The song begins with a tense, Morse code like intro, before the rhythm section arrives. The song then adds swaths of guitars, keyboards and what not, pulls back, and then adds more and more guitar frenzy, sweet backing vocals, building into something dramatic.

Another Fire-ish number is "Like a Song (Really)". This shows off the more playful side of the band, with shouted vocals from The Pox Family Singers. Gill takes us on an observational travelogue: "Up in Bangor, Maine last fall/I danced with junkies at the Retro Ball/I ripped my shirt and I missed the call." The chorus is a rousing rush and this is a fun burst of tuneage.

Indeed, one of the things The Sames do well is sucker you in with a mid-tempo verse and then move up a level on a big hook chorus. For a prime example of this, check out "Hate the Ocean". The verse is a soft vocal and some taut lead guitar. Then the chorus kicks in with a fast rhythm guitar part. Then there's an additional hook in the form of a melodic guitar part coming out of the chorus. The instrumental break down truly breaks down in an inventive fashion.

The band has a melodic sense that could probably win over fans of bands like Grandaddy and The Flaming Lips, even though they don't really sound like them. One of those songs is "You Are a Ghost". This song is grounded in a repeating rhythm guitar part, steady rhythm and a keyboard part that plays off both. With these elements, the band keeps things spare, allowing for plenty of sonic space, as the interlocking parts work their magic. This is one of those songs that navigates a certain path, takes an unexpected turn or two, and ends very strong. It is extremely memorable. Another song in this vein is the sunnier "In Liberty Lights".

When necessary, the band can flat out rock. "Honorary Wilmingtonian" is probably the most blazing song on the record. It has immediate impact with a dramatic guitar part that could have come from an old R.E.M. record. As often is the case on the album, Gill and company find a way to rework that part throughout the song. This song also reminds me in the verses a bit of Mission Of Burma, if they were just a bit less prickly. Until the swirling and stinging guitar instrumental part that brings the song to a thrilling climax, which is full on Burma-esque. Awesome.

This disc has been a real challenge to review. It is so consistent, and it's virtues are hard to describe, beyond generalities. In fact, I was hoping to write up a review a month ago, having listened to the record over a dozen times. I just couldn't quite figure out how to encapsulate the experience. Even having listened to it more than 30 times, I'm not sure I've fully figured it out. Which makes it sound like it's some complex piece of high art. Which it isn't. It's just an excellent record that amply rewards constant plays. I've tried my best to explain why.

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