It’s getting better and better outside, so my ears are getting more and more attuned to those summery tunes.
Oh So Summery
1. “Philosophize In It! Chemicalize With It!” – Kishi Bashi. He’s on Joyful Noise Recordings, which sounds like a 100% perfect fit. This ridiculously happy and catchy tune will get stuck in your head. HAPPY SUMMER Y’ALL.
2. “Sweater Weather” – Challenger. If John Ross gets any more inspired by the ’80s, I’ll have to start questioning where he’s hiding his time machine. But for now, enjoy this blissed-out synth-pop, complete with gated snares and stuttering percussion fills.
3. “Dead Man’s Pose” – Old Smokey. Almost as excited as Kishi Bashi is Old Smokey, a folky outfit that features no guitars but 3000% enthusiasm. This is not your average folk: brass and clarinet counter throughout when the members of the band aren’t group-hollering. It’s just wonderful.
4. “Let’s Get Started” – Dylan Gardner. OH SUMMER YOU ARE ALMOST HERE. I will celebrate you with a guitar-pop tune by a flop-haired teenager with pop chops. I only thought of Hanson like once. Mostly the Beatles. But some Hanson. No Bieber though.
5. “Halo” – DamnRight! There’s always room in my heart for chillwave-inspired electro fun.
6. “I Spy” – Michael McFarland. I love Train, so take this as nothing but a compliment when I say that this track falls somewhere between Train and old-school Guster.
7. “Old Foes” – Yaquina Bay. Orchestral folk is not generally known for its easygoing vibe, but Yaquina Bay creates just such a mood here.
8. “Morning Light” – Andrew Judah. I’m not sure how Judah came up with the idea to get steel drums and banjo together, but it sounds incredible. I am extremely excited for this upcoming record–it promises to bend genres all over the places.
9. “Terrible Love” – Moda Spira. Latifah Phillips takes a different angle on The National’s slow-burner, but it’s no less dramatic or powerful at the end.
10. “Right In My Arms” – Exzavier Whitley. Like early Iron & Wine, this is deeply calming fingerstyle guitar that cares more about the mood than perfection of performance. Gorgeous work.
I love a good pop song. I know it makes me uncool that I’m a big fan of Train’s “Hey Soul Sister,” BUT WHATEVER Y’ALL. UKULELE POWER. JD Eicher and the Goodnights know the value of pop songs. Eicher and his crew fit squarely in the adult alternative pop genre (which I shorthand as the Matt Nathanson/John Mayer sound). And they’re awesome at it on Into Place. Tunes like “You’ve Got a Lot of Growing Up To Do” and “I’d Like To Get To Know You” are perky, poppy tunes with excellent melodies, memorable lyrics, and fun choruses that you can’t help but sing along with. It’s perfect summer music.
There are some heavier moments: “People” pulls the heartstrings in a Goo Goo Dolls sort of way, “Oh My God” is a pensive piano rumination, and “Edgar Greene’s Time Machines” tells a long story to make a point about the way history and us intersect. The best tune on the album, though, combines the excellent pop songwriting chops with the heavier musings. “Aaron” brings in some banjo and clapping, moving the melodic center a little more toward Mumford/Lumineers territory. The tune is basically an audio version of Nick Hornsby’s High Fidelity: it looks at our relationship to sad songs through the lens of one musician. “I don’t like sad songs, they just seem to write me,” the narrator shrugs before blasting off into a monster that should be all over radio right now. It’s far and away the best display of songwriting on the album, and I’ve had “Aaron” on repeat for several weeks. It’s just excellent.
If you’re into a good pop song, Into Place by JD Eicher and the Goodnights should be on your iPod. That’s all there is to it.
In 2002, a wise friend handed me copies of Coldplay’s A Rush of Blood to the Head and Counting Crows’ August and Everything After. Inexplicably to my pop-punk self at the time, I became obsessed with both. Thus began an interest in modern pop music that extends to an unironic enjoyment of Goo Goo Dolls and Train. Judge away.
JD Eicher and the Goodnights falls between the acoustic pop of August and Everything After and the arena-sized pathos of Goo Goo Dolls. The band’s best songs aren’t quite as navelgazing as Adam Duritz’ increasing self-defeating tunes, but stop short of going for the John Rzeznik stadium singalong. The lesser tunes fall on either side of the divide.
Eicher opens the Crows-esque “Feel The Rain” with the striking, “Seems like every couple hours, it’s six a.m.,” and its subsequent description of breakup symptoms doesn’t beg for sympathy or employ bitterness. The rest of the band employs a similarly impressive restraint, teasing the listener with a soaring chorus that never arrives. The song becomes a highlight because it doesn’t command all the modern pop tricks. Subversive!
The melodic bass work on “Distance and Space” echoes the style of “Feel the Rain,” proving the bassist’s vitally important role in the band’s best songs. The acoustic songwriting in “Love is Gonna Find You” leans in toward Goo Goo Dolls drama, but Eicher keeps the arrangement tight and low: more featured bass, no sweeping strings, no chorus pedal.
It’s not all success. Openers “The Beauty of It All” and “Two Weeks Back” do let the arrangements go electric, and the songs suffer blandness accordingly. “Crazy” is an odd acoustic-rock turn. “Fine Line” is a bit too Five for Fighting cute to pique my interest, and “Easy” flirts with that syndrome as well. But the high highs make the middling tracks easy to pass over.
That oft-maligned, major label-infested genre of modern pop is a tough bag in which to make a go of it. But JD Eicher and the Goodnights are not perturbed. It feels that Shifting came about honestly: Eicher and his band just process music this way, and the greatest honest move they can do is make these songs in this way. In a genre full of cash grabs, kitsch and knowing winks, it’s a pleasant and unusual experience to know that Eicher and his band really mean it when they rock out at the end of “Mr. Misery.” That level of honesty and real pop songwriting chops make Shifting into the success it is.
Oh, and JD: Buy your bassist a beer. And don’t let him leave the band.
The Jim Ivins Band‘s five-song EP is expertly constructed late-nineties and early 2000s pop. The Goo Goo Dolls, Mae, Train, and more of their ilk are all sonically referenced throughout this EP. To some, that’s the kiss of death. To me, it’s pretty stinkin’ awesome. I may be a sucker, but I’m friggin’ in love with Train’s hit “Hey Soul Sister,” and I’m excited about the Jim Ivins band.
The connection to Mae is very strong, as Jim Ivins and Dave Elkins have very high, warm voices and similar melodic ideas. The connection to the Goo Goo Dolls comes through the recording style, which punches the acoustic guitar way up in the mix and puts the electric guitar behind it as support. It results in a very full pop sound, but not in a wall-of-sound way. When you hear it, you’ll know it. You’ll most likely like it, too; it’s a very warm, pleasing sound.
The songs here are great on their own merits, too. Some albums make a great sound but create interchangeable songs within it; that’s not the case here. “The Chance” has a wonderful chorus hook that will stick in your head. “Back to Reality” has a great guitar riff throughout the chorus that will make you want to put the song on repeat. “How to Hold On” has a melody that Relient K would have been proud to write, and that’s high honors from this guy.
Jim Ivins Band’s self-titled EP is a bright, warm, charming release. I can see myself rocking this in my car on a road trip with the sun shining down. It’s the type of music that just begs to be sung along to. Pop songs may only be three minutes long, but if you put them on repeat, they last a whole lot longer. So it goes with the Jim Ivins Band.
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.