Today's featured shit

I can’t tell whether this is a lost album from the 1980s or it’s just pretending to be. I guess that makes it authentic. If you’ve seen a movie that had Anthony Michael Hall in it, you’ve heard this before. It’s just inoffensive keyboard-prominent ’80s music with a Stacey Q singer. Too late for Greased Lightning and too early for Electric Youth.

The nice thing about new 1980s music is that it’s common knowledge what has stood the test of time. If that means I am calling this formulaic. I’d rather focus on how this delivers on what it promises. Regardless, I am sure the backstory, whatever it is, with this band is awesome.

“You’ve Got Me Worried” is as good as the rest, I suppose. But the energy seems a little more focused on this one. I think it is the crisp bassline.

What gave me pause about when this was really made was “Who Do U Think U R?” First of all, the music has a strong ’90s sound to it. Secondly, did anyone really do that stupid text message abbreviating back in the ’80s? I mean, I did, but I was the only one!

It works. I like it. You should know going in whether you’ll like it too. It’s not rocket science. It’s not even the Challenger.

I honestly thought this was the Go-Go’s. Really, that should be considered a compliment. I even have a friend that drums in a Go-Go’s cover band. High praise, indeed.

The title track has it all: backing harmonies, keyboards and claps. But as if that weren’t enough there are 11 other tracks too. “In the City” has a similar melody to “Friendship Station” by Le Tigre, but there is no anger with these gals.

“Love Me Back” has a bit of a harder edge, but it’s still not angry. It does give one pause as to whether these women ever strike fear into anybody, because it seems that they are too busy having a good time. “Gotta Crush” is not about the Incredible Hulk. It does have a lot of ’60s girl group style to it and tramples a bit on the shtick that the Pipettes tried to make a living doing. It seems safe to say that Cocktail Slippers have a little more talent than they do.

“Anything You Want” has the same nyeah-nyeah vocals that Bangs were famous for. And the chorus sounds like something Marianne Pillsbury would belt.

This album came with no information, so when I saw it had a Rebecca Leigh in it, I figured I would give it a shot. Rebeccas generally rule. The names were listed in the liner notes in alphabetical order, so I had no way of knowing anything. Well, Ms. Leigh does in fact sing, but the fact remained that I still knew nothing about the album.

They’re a rock band. You can hear some R.E.M., but overall it’s only mildly inspiring. “Cage the Lions” reminds me of Lackadaisy. The music is slightly brooding but not threatening, ike Siouxsie and the Banshees in their later days.

Just when you think it’s another trapped in the 1980s band, “Webs” comes along. It has a 1990s feel to it! It’s not bad, although the drum beat is mixed a little too high for its own good.

“The Runout” is another standout track, but overall, this band exists to give goth-rock fans something else to listen to. We can always use more.

Sometimes when you like at an album you have an idea of what to expect. That’s never been more true than it is here. Jenny Owen Youngs is an indie pop artist among indie pop artists.

“Nighty Night” has neat keyboards and reminds some of Dido. It’s very mellow and makes you want to peel oranges, after which you’ll use the rind to make tea. “Start + Stop” has a ukulele going on, which helps call attention to the occasional country references that this album has.

“Led to the Sea” is more contemporary and has a glockenspiel. It also has the same melody as “Do You Think I’m Sexy.” It’s a little subtle, but you can hear it if you try. The best track is “Last Person.” It reminds one of another Jenny, the one named Lewis, and has musical stylings that would make Neko Case blush, especially if she had been drinking.

This album is pretty much a winner front to back. It will be interesting to see what she comes up with next.

Hukkelberg has a beautiful voice and should have no trouble coaxing blood from a stone or water from a turnip for that matter. Mid Night Sun Dream gets things going and provides ethereal vocals and music that is almost ambient.

The title track expands on her vocals and makes one think of the women of the B-52’s. “Seventeen” has vocals reminiscent of Pretty Girls Make Graves, but the music is completely different.

“In Here/Out There” has a Missing Persons feel to it. The musicianship is not overly complicated, but it doesn’t need to be. Even the other songs tend to have a crisp and simple approach. There’s not much that needs embellishment here, so that’s fine.

This album takes a few listens to really get going, but you’ll find it a key component of your collection if you want it to. You could certainly do worse that this album, and it likely would require too much effort to do better, so take that time and spend it on beer instead.

This six-track EP is great for a rainy day. Britt Warner’s voice reminds me of Alannah Myles on leadoff track “You Know You Can.” The sound is very stripped down and basic rock ‘n’ roll. The next track is “Elevator Eyes.” It is faster but still solid rock. They remind me of Picnic here.

“Feel Alive Go Numb” is slower and has Led Zeppelin-inspired guitar. And here Warner sounds like Paula Cole. Luckily it does not feel too slick, which can often be expected with such comparisons. “Slow Down” is a midtempo song, whose accompaniment reminds me of Red Hot Chili Peppers. Sometimes music sounds like nothing. These guys sound like a lot of things.

“This Is It” is another midtempo song. It’s a little better in the muggy afternoon sun with a nice glass of iced tea. Something seems to be missing here, as in maybe it’s too stripped down. Some sort of glue is needed to connected the guitar with the rest of the song.

“Belong Together” finishes it up, and it reminds me of Poe. Johnny would never have been angry if this Jezebel from hell were singing to him.

What a treat this double CD is. You get an album of studio recordings and one of live stuff. The first album has two EPs and a full length. The second has some demos and two live shows. This is great for comparing their sound, because some songs show up three times.

“Molly’s Lips,” far and away my favorite Vaselines song was played live in London, and that means it shows up on the live CD with the other London tracks. It’s not as good as the studio version, but generally, most of these songs work well live.

“Oliver Twisted,” originally from the album “Dum Dum,” is typical of the Northwest sound that personifies the Vaselines. And to be able to hear a demo of “Red Poppy” is a real treat. I bet they love it when people call it “Red Poppy” and that they raise their hands in the air because they’re all true players.

“Rory Rides Me Raw” is a waltz and focuses on the male vocals, which are every bit as good as the female ones and helps break up the album well.

It doesn’t sound like a sextet, but it is one. “Sweet Singin’ Birds” takes a Neko Case sound-alike and gives her ’60s girl group backing vocals and throws in keyboards. I guess you do need six people to accomplish all of that.

All the songs are good. If you want more male-focused vocals, you can listen to a song such as “Sinking In.” Still, it’s a very relaxing song that makes me think of the Richmond District in San Francisco. The sun is finally out at 3 p.m., and even though the shirts won’t dry by sundown, you’re just happy to be outside watching the 31 Balboa go by. Who cares if your roommates are moving to be with a cat and you have to find new ones? That’s what crazy exes are for.

“Close My Eyes” has Beatles-inspired piano and an-octave-higher female vocals. “My First Surprise” has some hot snare drum action. I suppose the others do, but the song is so slow that it really stands out in a good way. This is also a male-dominated song for those who are into that.

“Concrete Feet” focuses on the female lead and an organ. It slowly builds but never gets crazy. After the chorus it’s like Roofi on the Simpsons: nine, ten, start over again.

They’re Japanese. They sing in Japanese. It’s a rock band with Japanese lyrics and English song titles. The onesheet smells like cigarettes. The songs all sound the same and have this Gogol Bordello feel to them (and there is a song called “Go, Gal”).

These songs are long. Twelve tracks take 72 minutes. “Solo” is shorter than most and a bit of fun. It makes me think of the Black Crowes. “The Stranger” has banjo and sounds a little different, but really it’s just a ballad.

This album has three sides, according to the track listing. It makes me wish I could see a record. All the songs on Side 3 are exceptionally long and some are instrumentals. “North Gate” isn’t, but there’s not much else to say about it.

“Slow Number” is a very Japanese title and has a bit of a country tinge to it, in addition to being a waltz. It’s a bit of fun. It’s hard to get crazy about something when I know it’s good but isn’t something I normally don’t listen to ever. At all. Not even once. But I can get behind “Slow Number,” even if it is not what the band typically sounds like.

This is a pretty cool record. The lyrics are silly, but even if you don’t understand the wit because you don’t speak English or pay attention to words, you’ll still like this album because the music is chipper.

“Vacuum” doesn’t suck. It goes on about not being born in a vacuum cleaner. Really. Even at more than five minutes, it’s still fun. “Decoy” has good harmonies at the forefront, with the accompaniment quietly doing its job in the background. This song is about their complementary vocals.

“Sunday Stopped Honking” is a slower track and more thoughtful than the rest. It may not make you cry, but the potential is sure there. Maybe the racehorse Sunday Silence was the inspiration for this song.

The title track is at the end of the album. It has xylophone and some other leftovers. Although it’s not slapped together, it sounds like they had a bunch of cool shit they wanted to do on the album but never got around to doing. Of course this is ridiculous. It’s the band’s theme song, so obviously more thought was put into this track than any other. Maybe the band sees itself as an amalgamation of loose ends.