The Popovers - Make It So!

The Popovers, like Pomplamoose and my dear, talented friend Harper Phillips, are evidence that the internet can be used for good, namely as a swift distribution method for exceptional music and artistic achievement. I first heard of the Popovers through Dan Savage's Savage Lovecast, where the band wrote his catchy-as-hell theme song and lead-out music. From that tidbit, and it is an extremely minor one that demonstrates the band's pop sensibilities and vocal strength, I felt beyond compelled to see what else they had done. And there, in the wilds of the internet I discovered their newly released, for free but requesting donation, album Make It So! And through now three listens this very afternoon, I have come to the conclusion that the Popovers are one of the most talented and dynamic unsigned bands currently populating the internet. Make It So! features such exciting and inventive song writing, all still nested in the ideals of pop creation, that each track feels fresh, alive and party ready. What's more, Tim LaFollette and Catie Braly, offer frank, witty and smart lyrics that poke fun at relationships, pop music and life, all while maintaining a sense of style and dignity that prevents them from becoming a "parody band."

The Popovers possess the ability to turn simple concepts into opuses of emotion. "Yoga In The Morning" is playful and energetic, a plea to stay the night on one hand, but also a well done, not-too-cute barb at yoga as the en vogue exercise. A mix of guitars and sweet harmonies keep the song rushing along beautifully. And then on "Desk Chairs," the progression and vocals paint a sad, but spirited look at life, as we do simple things in the midst of a chaotic world. "The Worst In You" is a brilliant piece of call-and-response that concisely sums up the feeling we get from some failed relationships. Even as we love the other person, we acknowledge that our mixed lives create a sort of emotional miasma. And on the electronic, throbbing "I Desire" we are treated to visions of romantic devotion mingled with a desire for control. Love is this dangerous, complex thing and on this track particularly the Popovers show the insight to juxtapose a robotic musical style with the truth that our desires and hearts cannot be contained or ruled by laws.

The band's influences seem to range from Ben Folds to Badly Drawn Boy to Built To Spill to a handful of other pop guitar outfits whose names start with any of the other 25 letters of the alphabet. And really the influences don't matter quite as much as the execution and the Popovers continuously present excellent songs that have compelling and interesting hooks. The album is comprised of tracks recorded over 5 years, from 2004 - 2009, and if these songs are the cream of the crop, then the B-sides must be pretty fucking insanely great too. If you want to listen to something heartfelt, uplifting, thoughtful and intelligent, check the Popovers out. And if you're not sure you want to download the whole album, consider streaming it from their site too. Or their MySpace page. You'll be glad you did. It's feel good music, sometimes about things that don't feel good, but then, that's the way the world works sometimes.

Once again, you can download and contribute for the album at the Popovers' website here.

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He Went To Jared: Parts & Labor - Mapmaker

Today I'm cracking open a new feature idea. It's called, as is evident from today's title, He Went To Jared. But this isn't about diamond shopping, oh no. This space will be used to review albums recommended to me by my dear friend Jared. Some of these albums may qualify, technically for the Underappreciated Music File, but I'll save that floor for stuff I dig up. So, without further ado...

Parts & Labor's 2007 album Mapmaker is something of an enigma. It toes the line between hardcore clattering speed and hook-laden pop. Drums are the heavy feature throughout, but there's also a healthy injection of electronic buzz, samples and looping. It's a lively album that the aforementioned Jared even stated should only be listened to after two cups of coffee. "No less," he continued. The heavy drumming and speeding lines fall in contrast to a lot of a solid, chanting and slow lyrical flourishes. It's kind of a chocolate-covered pretzel of music. Sweet and savory; equally cloying and enchanting. And while the album as a whole isn't perfect. It's a dynamic aural experience that requires attentive listening to dissect. There are layers of information coming at you in almost every track, allowing for hints of stadium rock anthem-esque charm amid the density of crashing cymbals.

The opener, "Fractured Skies" is powered by drums, but allows for a calm vocal refrain. And the second track, "Brighter Days," relies more heavily on the sung word, still running on drums and thrashing beats, but also allowing for an ornate, looping guitar riff that descends into grungy chaos between the verses and choruses. Really, there's a way in which Parts & Labor feels like Built to Spill on speed (and perhaps a bit of acid) because they are adept at composing catchy tracks, but are not content to let them ride only guitars and a backing beat. The beat here is one of the headliners. If you ever wanted to be a drummer in a band and your are neither Phil Collins nor Tommy Lee, Parts & Labor is the group to join for a healthy dose of attention. On "Vision of Repair," which is weaker than the two openers, the vocals accelerate, and the drums churn wildly like a fire built out of popping, damp wood. It's like boiling oil. It just keeps assaulting you. And the guitars are just for accent, a bit of a healthy electric wail, dressed in static.

For "The Gold We're Digging" we receive a transition. It's a march, with carefully paced lyrics and wailing, fuzzy guitars. And the drums seem to blend back a little more, but they are still essential. Again, this track is an anthem. It begs you to listen, even with the lyrics drowned in noise. But, that's the idea, with an experimental noise rock band, as they are labeled on Wikipedia. Parts & Labor try to maintain a bit of pop sensibility even as they're hitting you with chaotic, disparate sounds. "New Crimes" lives by a pop hook of a riff. And dives into a chaotic, mixed-signature drum beat, while "Long Way Down" may be the closest thing to a "radio-friendly single" on the album with its clear lyrics and machine-gun drum licks. All told, the album maintains its interest in experimentation, but never goes off the deep end. The album is welcoming enough, as long as you are a fan of drum talent. A hidden gem is a cover of the Minutemen's "King of the Hill" that Parts & Labor successfully makes their own. The original being a 1985 classic of the DIY punks, this version cranks up the speed and mixes the drums higher. The only loss comes from drowning vocals and guitar licks that are slightly subdued.

Pitchfork gave Mapmaker a 7.5 back in 2007. And I think that's a fair assessment. The album is not perfect, but it does a solid job combining beauty and chaos into something that requires multiple listens to fully appreciate. Were a couple of tracks near the album's end a little stronger, this would be an album deserving even greater respect, but as it stands noise-rock, glitchy-ness and healthy hooks keep Parts & Labor in a great place throughout. Take a chance on this one, and don't forget those two cups of coffee beforehand.

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