THE RESONARS
Lunar Kit (Get Hip, CD)
     The Resonars is Matt Rendon. Sure, the photos on the cover imply there's a real band playing on this record but it's plainly one man's work. He writes, sings and plays everything with enviable ability.
     Opener 'A Slice Of Today' adds a harder edge to the tried and tested Resonars formula (Hollies harmonies and Byrds jangle over Moby Grape muscle). The sound is immediately bigger, ditching the previous albums' home-cooked 8-track atmosphere for a fuller studio flavour. There's more stylistic diversity here too: 'Retro Rocket' has breakneck surf rolls battling with punk riffs, 'She's In Love With Her' is a pure pop confection full of those crystalline vocal gymnastics while 'Little Spoiled Baby' is virtually a bar-room boogie.
     I for one would love to hear Matt pick up his acoustic guitar for something a little more genteel but until then, I'll happily keep listening to his unique take on good old fashioned pop songcraft.
Andy Morten

BANGTWISTER
The Moon On A Stick (Trepanner Headmusic, LP)
     A stunner! A mind-fuck! A beautiful voyage into Space! Bangtwister's first full length album sees the guys keep things raw and relatively lo-fi on this 10-track selection of numbers that has been bashed into shape over the past few years. These rock, and not in the AC/DC/Stooges vein either. Okay the music papers have finally cottoned onto ROCK and are getting all excited over it, but for how long? This hardened trio has been playing super heavy rock for years (see SD#3) and long before it was trendy. What with their psychedelic, progressive and occasionally definably melodic touches it's clear that they play their music loud and heavy because they want to, not because they have too! And its head and shoulders over the young guns as well. To hear a band playing out of date music for all of the right reasons is a joy! Bangtwister may well have even invented bombastic, noisy Prog Rock! That's how fresh it sounds!
Jon 'Mojo' Mills

NEW BAND 45s
     BANG from Paris, France, have had two 45s released over the past couple of years, the latest on Misty Lane features a version of The Seeds 'Wildblood', which is played in a way not unlike drone act The Spacemen Three grappling with The Eyes. Kinda strange, but a tad different from the other Mod and garage bands. 'Cousin Clyde' is like Pink Floyd played by the TV Personalities, and 'Unknown Band' is a stomping attempt at Who-like Pop-Art, sounding like a weaker Event. The earlier Corduroy 45, produced by Wreckless Eric, features a different line-up, with a slightly more up-front London '66 meets New Wave edge. For slightly mashed Pop Art styling this works, but like lesser bands of the genre, melody is hidden by power chords and Moon-like drum patterns.
     Corduroy have dished out a few more small run 45s; the THE FACELIFT / SHUTDOWN 66 split, features a high-energy Jap punk band who clearly have learnt the rule book, and a sloppy punk/RnR hybrid from the Oz band Shutdown 66… More Oz rawk from THE EXOTICS who on their 'Peak Hour' EP (Wild Eagle Record) play the type of Cramps-trash-a-billy that I can't stand, but some will. In a similar ilk, but with more a Link Wray feel is OLLIE LAURUIE, whose 'Liquor Up' is released on the same label.
     Spanish label Butterfly have released a slew of quality pressed singles of late, including the psych-rock extravaganza by my own band LITTLE BARE BIG BEAR, but that's all I say regarding that. What I particularly like about this label is that it doesn't restrict itself to one style. THE REDD FOZZ BBQ, for instance, display their incredibly cool late '60s jazz/film-score style even further on the excellent 'Last Call' / 'Leave My Room' 45, which is a million miles away from some of the labels garage releases. Frontman R. Scott takes his jazzy soulful leanings even further with new band THE HELMUT STEIN EXPERIENCE who's 'On Return' and 'Big, Bad Feeling' show off his deep throaty voice, as well as the Peggy Lee like voice of Melinda Jones. Also of a jazz ilk is the second EP by London Hammond/Horn quartet THE GENE DRAYTON UNIT. Their take on '60s Mod Jazz is fully recognised with their fab Lalo Schiffrin-esque take on 'Stepping Stone' particularly standing out of the pack- it sounds as it's been lifted from the customary groovy party scene of a late '60s US movie. Garage and beat are provided by THE WAISTCOASTS who deliver on the 'Live @ Kut' EP, recorded in Austin 2001, and Other's side project THE TYME SOCIETY offer three originals in a typically New England jangling manner. THE DILEMMAS, on the other hand, maintain more of an '80s Mod/Pop sound; 'Buffalo Bates' isn't unlike The Prisoners 'In From The Cold Era' or even The Inspiral Carpets. Finally, French stalwarts LES SLOW SLUSHY BOYS return with a Gaelic take on early '60s soul and funky Mod Jazz with their adaptation of 'I'm Blue' and 'Little Ways' and band original 'Soeur Alice'.
     From London's Blow Up label comes the almighty 'Hip Teens Don't Wear Blue Jean' by THE FRANK POPP ENSEMBLE (a German cut 'n' paste DJ with a love of all things '60s). It took me some time to accept that these fine tunes are made using samples; but the seamless production is only let down by the dance-beat drum machines. The strong female voice has a UK Girl-Sound, a little like Billie Davis or Lulu, and the sample from St Louis Union's 'East Side Story' work well on 'The Catwalk'. Oddly enough, if this may seem be a bit too Austin Powers for some, it comes as no surprise that 'Hip Teens…' has been used in the soundtrack to the latest instalment. Kitschy '60s pop, you bet B-a-b-y! By the way, http://www.frankpopp.com/ is well worth checking out!
     A few more 45s have been issued by Misty Lane since #6 (of which the pdfs can be viewed on this site); new young Swedes THE GUILOTEENS may not steal The Strollers' thunder, but they're better than most of their country's new school. I believe a few singles have been issued prior to this, but this has been my first exposure to these mop top purists. The songs may lack craft, but the snotty vocal, jangle and reedy organ sound is achieved fully. 'The Summer Was Gone', the moody ballad of the set, is worth particular note, and sounds somewhat like The Strollers if they turned down the fuzz a bit, or perhaps The Wylde Mammoths. THE POETS (not that Poets) do a fine interpretation of '60s pop a little like The Hollies. Although not in the same league as Bronco Bullfrog or Spanish act The Winnerys, these three young Italians have a solid grasp of melodic chord changes, harmonies and positive pop tunery. I think after another release or so they will be hot property on the more '60s side of the Power Pop movement. Last but not least, the band you either love or hate, THE FUZZTONES, are back. Something of an institution in Italy and Spain, Rudi and company will play forever, and really just like The Ramones, or more so Status Quo, their formula is set in stone. 'Help Murder Police' is covered with enough gusto, but do we really need another cover of 'Out Of Our Tree'? Hmmmm… no comment!
Jon 'Mojo' Mills