1. “Inside Your Heart” – Hectorina. This track manages to make the lovechild of Prince, James Brown, and a garage-rock band sound like a fine, upstanding individual. Also there’s a choir at the end. Need I say more?
2. “Other Kids” – Mighty. Yawping, hectic, mile-a-minute, ideas-everywhere garage rock that sounds as wild and wide-open as the youth that it so clearly evokes.
3. “The Runner” – Mountains Like Wax. As a fan of the Mountain Goats, I am a bit of a connoisseur of enthusiastic yelps. (John Darnielle actually remarks on the quality of his own yelps in the All Hail West Texas re-release liner notes.) I must say that the scream at 4:51 that turns this slow burner into a post-rock thrasher is an exquisite example of the enthusiastic yelp. I believe it when it happens. That’s rare. The rest of the band puts all they’ve got into it too, but man. That scream.
4. “Her” – The Oswalds. I love an ambitious tune. This one zigs and zags all over the place, moving from garage rock to strict-rhythm indie-rock to acoustic sections to a fractured, crazy guitar solo and then through it all again. The panning is all over the place, adding to the chaotic-yet-controlled feel. You feeling adventurous?
5. “Haunted House” – Ancient Cities. Gotta love an indie rock track that uses the piano as its driving force: check how they use it to escalate the intensity of the song instead of the guitar.
6. “Pressure” – Down Boy. Will a heavy, scuzzed-out guitar and thrashing drums duo ever get old? Not yet, at least: Down Boy makes my feet want to move and my head want to rock.
7. “Anime” – Debris of Titan. You know how Pogo makes these fluttery, wide-eyed electronic burbles? Debris of Titan makes that sort of music in a chill psych-rock vein. I don’t get a lot of psych-rock, but I know intuitively how to jam to this.
8. “Big Sky” – The Pressure Kids. Straight-up-and-down indie rock that draws off elements of Young the Giant, Spoon, and other people that manage to make mid-tempo sound intense.
9. “Denim” – Brave Town. This guitar-fronted pop-rock tune has arena aesthetics (if not aspirations) and hooks to match, reminding me of Colony House (similar) and Arctic Monkeys (less so, but it’s totally there).
10. “Not That Easy” – Lime Cordiale. Some songs just sound like they belong on the radio: this fusion of pop-rock and electronica fits right in the zeitgeist (or maybe we’re just past it?). Either way, this tune is great.
11. “Alright” – Lemmo. Sometimes a chorus just hooks me and I can’t turn away.
12. “Deerhunter” – Ghost of You. Tight groove, attractive arrangement, solid vocals: indie rock gold.
13. “The Road” – DB Cooper. Noisy-yet-slick pop-rock a la Fall Out Boy and the like, with vocals reminiscent of All American Rejects. It’s the sort of catchy chorus and fist-pumping drive that people who love nuanced indie pop secretly love.
14. “Goddess of the Sun” – Postcards from Jeff. Manages to work a flute into the rock part of an indie-pop to indie rock transitional track. Mad props. This one could fit great in any number of indie movie soundtracks.
Pop, Light and Dark
1. “Just What I Needed” – Wonderful Humans. Whatever the opposite of “reign of terror” is, WH is on that path. Their seemingly endless stream of high-energy, ’80s-inspired dance-pop singles continues with this tropical track.
2. “Summertime” – Ships Have Sailed. ShS are also on a hot streak: this latest tune is some combination of the Cars and All-American Rejects.
3. “Eternal Sunshine” – Memoryy. Yep, you can hook me with any invocation of steel drums. (They’re just so happy!) The rest of the track besides the chorus splits the difference between nu-disco and glitchy clicking–always fun.
4. “Too Damn Good” – JOA. The inimitable Jesse Owen Astin is back to making guitar-rock/electro-pop mini epics, and this one is a builder that grows to a huge apex and then fades away.
5. “She Speaks the Wave” – The Nursery. This song would have fit right in on radio when Interpol, The Killers, and The Bravery were all towering. Some real sleek, solid dance-rock here.
6. “Drive” – Ships Have Sailed. You know when Jimmy Eat World goes for a ballad but still gotta have the angsty energy? Ships Have Sailed power through this track with that same feel.
7. “Tears” – Prints. Dark, clubby electronic pop songs.are a dime a dozen, but Prints float above the pack by balancing your emotional needs with your club needs.
8. “Earth Not Above” – HÆLOS. Cinematic, evocative trip-hop mixed with some modern beats? Sign me up.
9. “Underlined Passages From Your Books” – Underlined Passages. Here’s some lush, walking-speed romance from members formerly of indie-rockers The Seldon Plan. Combining early ’00s indie-pop melodies with early ’00s emo guitar tone is a sweet spot these days.
Ever since Nirvana became the world’s most prestigious rock band by playing distorted pop songs, the line between pop and rock has been blurred. To me, it’s pretty much an attitude at this point. Modest Mouse is a rock band, mostly because they sneer at anything and everyone who doesn’t fit into their ideas of the way things should be. Even though Three Days Grace, Hinder, and even Nickelback play “rock’n’roll” by modern standards, they are pop bands. They are pop bands because they act like preening pop stars and not like rock stars (i.e. hedonistic excess does not a rock band make).
Play the Angel is one of the best pop bands I’ve heard in years. They play “rock” by the radio’s standards, but they don’t have any of the attitude of a rock band. And that’s a good thing, because they embrace their pop star aesthetics and give the people what they want. There are five songs on this EP: straightforward rock’n’roller, major-key powerballad, dance-rock tune, whoa-oh pop-punk tune, and Gavin DeGraw-style emotive piano ballad. They have real names, of course, but they each fit excellently into their own radio niche. “So what?” you say. “Bands do that crap all the time.”
Yeah, they do, but they do one of the genres better than the other. Play the Angel does all five right. They could release every song off this EP as a radio single and, with proper label backing, they would have five number one hits. Their songwriting is just that good. Their vocalist has an incredibly appealing voice that’s a tad lower than Tyson Ritter of the All-American Rejects but just as emotive. Their production values are pitch-perfect. The band knows when to get out of the way of the vocals and when to crash in for the emotional payoff. Play the Angel does everything right.
If you like anything on rock radio right now, from Fall Out Boy to Hinder to Panic! at the Disco to Paramore to All-American Rejects and anything in between, you’re going to absolutely fall in love with Play the Angel. I don’t have a clue why this band hasn’t shot to the top of the charts yet. They’ve got every piece of the puzzle in line. They just need to see the right guy at the right gig who turns them into mega-stars. Cause, geez, they’re infinitely better than Nickelback. And that crap still sells millions. Again, if you turn on the radio and like anything you hear, Play the Angel is there for you. It’s that good.