Scroll down for reviews of the latest releases by Gripweeds, The Sounds, Rooneys and Mull Historical Society.

Grandaddy
Sumday (V2)

v2music.com

One of my friends insists that pop music is worn out. He says that every possible hook out there has been found and any pop music currently being made is merely rehashing what has already been done. Therefore, he insists, all forward-thinking music should focus on things other than being catchy. To argue this notion, which I have dubbed "The Mogwai Fallacy," I present the adventurous and melodic band Grandaddy. On their new album, Sumday, Grandaddy continues not only their knack for oddly-spelled album titles (their last full-length was called The Sophtware Slump), but for interesting, unconventional pop songs as well.

The first half of Sumday consists mostly of mid-tempo songs characterized by guitars and keyboards that chug along under singer/songwriter Jason Lytle's resigned vocals. While a half hour of slow songs initially seems a bit dull, the slower pace actually allows for Lytle's songs to develop and his gentle melodies to spread out. The additional dressing that Grandaddy adds to their songs is also more apparent and effective in a more laid-back setting; the drama of the sampled orchestra hits in "Now It's On," the subtle harmonies on "I'm on Standby," and the xylophone hook in the chorus of the excellent "El Caminos in the West"would be overwhelmed in an uptempo environment. Of course, this also means that when the songs don't have subtle charms and interesting addendums, such as on "The Group Who Couldn't Say", it's a complete bore.

The second half of the album is more musically varied than the first, but similar in that it is alternates between engaging and forgettable. The most obvious winners are "Saddest Vacant Lot in all the World" and "Stray Dog and the Chocolate Snake." The former is a simple, affecting piano ballad that finds the band stripping away all their usual synthesizers and effects and Lytle trading in his usual detached style for an emotional, Wayne Coyne-like croon. The latter finds the band back in their usual setting, utilizing a great synthesizer hook over an electronic beat and Lytle's distorted vocals. On the other hand, the not-quite-epic closer "The Final Push to the Sum" fails to deliver anything of worth before fading out at Lytle's spoken request.

From a pop perspective, Sumday isn't a perfect album, but it is a somewhat provocative one. Grandaddy is most certainly presenting pop songs, but not in the traditional sense. Rather than vocal melodies, the hooks are often other instruments layered on top of the vocals and rather than being thrust upon the listener, the hooks are somewhat subtle and occasionally develop slowly. This notion of understated, occasionally experimental music isn't a revolutionary one by any means, but it does show that there is still room for pop music to develop in new directions.

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The Grip Weeds
The Sound is in You

(Rainbow Quartz)

parasol.com

Prior to receiving Rainbow Quartz's reissue of their 1998 album, The Sound is in You, I had never heard a Grip Weeds album. Because of this, I can't determine if the remixing and remastering of the album noticeably improved its sound, nor can I discern if the resequencing and expanded liner notes make for a more effective presentation. I can, however, state with a fair amount of confidence that the reissue disc, taken simply on its own accord, is an exceptionally enjoyable one for any fans of psychedelic pop or just pop in general.

The Sound is in You plays like a lost collection of ‘60s pop gems. After a minute long psychedelic intro, the band launches into the Kinks-style rocker "Every Minute," a track that simultaneously reminds the listener of so many of the things that were right with the second half of the ‘60s and whets their appetite for what's to come. Over the next 16 tracks, the band runs through the original album, convincingly delivering one quality track after another. While never showy, The Grip Weeds are an exceptionally technically proficient band. Drummer Kurt Reil pushes the rockers to their logical limit and gives the softer tracks just the right amount of swing, while "In Waking Dreams" and "We're Not Getting Through" feature impressive, but tasteful guitar solos. The harmonies are also right-on throughout the album, making what are already solid hooks even stronger.
In addition to straight-ahead power pop, The Grip Weeds also tackle jangle pop on the Byrds-esque "Strange Bird" and "Morning Rain" and acoustic rock on "What I Believe is You" and "A Piece of my Own." In addition to expanding the band's musical palette, these songs also allow them to cull more musical tricks from their influences; the reverb-laden lead guitar and soft harmonies on "What I Believe is You" create an authentic sense of desolation while the chimey guitars on "Strange Bird" open up space to really let the group's harmonies take center stage.

The only complaint that one could levy against this collection is that many of the songs run together over the album's almost hour length. There are so many good parts and so many good songs, that the listener is a bit overwhelmed by the consistent quality and left wondering if the album could have been even stronger had the band been more adept at editing themselves.
The reissue also contains two bonus tracks added to the end of the album: a take of The Left Banke's "Lazy Day" that ups the rock quotient of the original a bit and an energetic version of The Move's "I Can Hear the Grass Grow." While these two tracks are perfectly enjoyable and prove that the Grip Weeds are just as capable with classic songs as their own, I'd be hesitant to say that they warrant a re-purchase of the album for fans who own the original version The Sound is in You. Still, these two tracks, along with a cover of Neil Young's "Down to the Wire" that's part of the original album, fit in with the rest of The Sound is in You seamlessly, which is just about the highest compliment that one could pay The Grip Weeds.

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Rooney
Rooney

(Geffen/Interscope)

interscope.com

With their self-titled debut album Rooney establishes itself as the little brother in the clan of current major-label pop bands. They're quite not as talented as Fountains of Wayne, as clever as OK Go, or as accomplished as Weezer, but they're not an embarrassment to the family, either. They know their rock history, have a knack for melody, and while they still haven't quite outgrown their influences, they're quite capable of crafting a solid and reasonably diverse pop album.

The most obvious influence on the debut album by this Califonia quintet is the Beach Boys. Singer Robert Carmine has a somewhat gentle, airy voice that occasionally gets a bit of edge, not unlike a young Brian Wilson, and the other members of Rooney lend solid harmonies, most notably on the ultra-melodic chorus of the lead single, "Blue Side." "If It Were Up to Me," a rocker in 6/8 time with chunky guitars and a harmony laden chorus plays like an updated version of the 60s pop that the members of Rooney so clearly love. Meanwhile, the lush arrangements and soaring chorus of "Popstars" recalls the beautiful complexity of Pet Sounds.

In addition to paying homage to the Beach Boys and other classical pop acts, Rooney also features a handful of rockers that fit in well with more contemporary artists like Superdrag. On "Stay Away" distorted guitars chug along during the verses while Carmine sings with more conviction than anywhere else on the album, leading to another chorus that vies for the distinction as the album's best. The exhilarating "Shakin'" and "Terrible Person" are nearly as good, with the latter showing the band's more playful side and the former successfully taking the less-is-more approach to its chorus, which consists solely of repeating "I'm Sha-sha-shaking."

Like so many albums in the genre, however, Rooney's debut is quite front-loaded. However, even the lesser tracks towards the end of the album are at least somewhat distinctive and usually manage to avoid the dreaded "filler" tag. The lyrics and melody on the semi-vengeful "Sorry Sorry" are more than a little trite, but the band's energy and a neat production trick of quieting and distorting the track in the pre-chorus keep the song from being totally forgettable. Similar problems plague "That Girls has Love," but the song's 6/8 time signature and varied dynamics make sure that the song doesn't slip into a generic pop black hole.
With their debut album, Rooney pulls off the difficult trick of being immediate and catchy without feeling disposable. When they're at their best, they deliver irresistible melodies with fervor and passion. The album also sounds great, thanks in no small part to its major label budget. The hooks are as sharp as they can be, and the songs just jump from the speakers. While the shortcomings of trite lyrical topics and occasionally indistinct songwriting keep the album from receiving a whole-hearted recommendation,, I have little doubt that most pop fans will find something on here that they can latch onto.

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Mull Historical Society
Us

(V2)

v2music.com

Ben Collins

Some musical artists are expert craftsmen. They know how to develop melodies, how to arrange their songs for maximum effect, who to bring in to play various instruments, and how to compensate for any skills they may be lacking. Other artists are just really bloody talented and can pretty much do whatever they want and make and even the most elaborate endeavors seem effortless. Colin MacIntyre, a Scottish gentleman who makes recordings under the name Mull Historical Society is of the latter persuasion.

On MHS's second album, Us, MacIntyre plays almost all of the instruments and does almost all of the technical work in creating a complex, ambitious, and surprisingly cohesive long-player. Opener "The Final Arrears" works as a solid encapsulation as to what's to come: organ and piano set a backdrop while MacIntyre confidently delivers somewhat sensical lyrics and is harmonized by a mellontron on the song's chorus which doesn't really sink in until about the third time it occurs in the song. The next few songs are variations of the chamber pop of the opener: the emotional waltz of "Am I Wrong?" the pensive "Oh Mother," and the beautifully laid-back "Asylum." On the fifth track, MacIntyre proves that he's capable of more than just crooning on the driving melodic rocker "Live Like the Automatics."

Sitting at the center of the album is "Minister for Genetics and Insurance M.P.," probably the finest moment on *Us*. After about 15 seconds of piano and scraped guitar, the song's driving drumbeat enters and MacIntyre sings the first verse over this spare arrangement before coming to the song's irresistible chorus in which he harmonizes with himself, with each voice singing a counter melody to the other. Other instruments are gradually added so that by the time the bridge hits, xylophone, a swirling organ, and horns are all in the equation. The song's elaborate majesty continues for its extended fade out as well, which consists of a repeating piano and drum pattern underlying alternating horns, harmony vocals, and sampled voices.
The remainder of the album is far less consistent than the first seven tracks, but no less intersting. "Gravity," the album's most upbeat track is a good change of pace with a ultra-melodic chorus and swagger to spare. On the other hand, "The Supermarket Strikes Back" and "Five More Minutes" are merely pleasant pieces of British pop that don't quite coalesce like so many of the other tracks. "Her is You," MacIntyre's attempt to spin straw into gold by making something of worth out of a vastly undeveloped composition, doesn't quite work out either. The closing title track manages to be simultaneously excellent and excessive: the first three and half minutes of the song are a precious piece of fragile pop, if only because the melody is almost identical to Spiritualized's "Don't Just Do." On the other hand, the song's extended fade out, coda, and completely superfluous (but kind of catchy) hidden track that ends with 20 second of goat noises seem to exist largely to test the endurance of the listener and make sure that no idea of MacIntyre's went unused.

Excesses aside, Us is one the better albums of the first half of 2003. It synthesizes a number of influences without seeming like rehash, and most of the songs are both immediately catchy and musically complex so that repeated listens are both rewarding and enjoyable. While the album occasionally gets overwhelmed by its own ambitions, it's best moments proves that while MacIntyre hasn't quite perfected his craft and Us, for lack of a better term, isn't a terribly efficient album, his unmistakable talents do make for a consistently engaging listen.

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