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 Mode magazine, Cleveland, OH On their 1997 debut, Kinky Boot Beast, The Jellybricks proved that breakneck speed pared with infectious melodies and sticky-sweet harmonies still deserved a spot on the radio dial. In two years the Bricks have learned absolutely nothing, and if that’s not reason for celebration there never will be one. With Soapopera, The Jellybricks have not only made impressive songwriting strides, but they have saved a barrel full of their best hooks for this sophomore release. For fans hoping for more Kinky Boot Beast, several songs foot the bill (most notably “Mite” and “Prerequisite Rocker”), but Soapopera’s strength lies in the tempo mix that seemed lost on the heavy-adrenalized first record. Songs like “Too Far,” “Bittersweet Days,” and “So Many Times” ride a relaxed crest on drummer Laine Wehler and bassist Garrick Chow’s steady rhythm, while up-tempo numbers like “Speechless,” “Soapopera,” “Brand New Sunglasses,” and “Martyr” showcase Bryce Connor and Larry Kennedy’s dueling guitar mayhem. And while the melodies take center stage, Kennedy’s lead vocals (and the imaginative backing vocals) are head and shoulders over their first release. With Kinky Boot Beast, The Jellybricks set the bar pretty high; on Soapopera they’ve blown the roof off the damn building. The Album Network Independently Speaking SONG: "Speechless" Blank Pages For Fans Of: If you’ve ever had a jones for an American stew of Elvis Costello and Oasis, with a little Keith Moon thrown in for taste, then you’ve come to the right place. Best tracks: Speechless, Bittersweet Day, Mite, Stupid One, So Many Times These guys from Harrisburg, PA left spectators slack jawed after their rousing performance at last year’s International Pop Overthrow festival, and on their second album they’ve succeeded in putting that magic to disc. The songwriting has greatly matured this time ‘round, and there’s something for everyone here. If you want power pop, check out "Speechless". Want garage-pop? You won’t find much better than "Mite," which should be short for dynamite as it’s as explosive a song as you’ll ever hear. Fans of Brit-pop will love the swirling "Bittersweet Day," and "Stupid One" is My Aim Is True-era Elvis revisited. The guys might also coax a tear or two with the poignant "So Many Times". Soap Opera is a very solid effort by a band that’s quickly establishing themselves as a force on the pop scene. As a bonus, you’ll be hard pressed to find a better drummer than Laine Wehler. Consumable Online With this second release on the Badlees private label Rite-Off Records, the Jellybricks ( http://www.thejellybricks.com ) have honed their artschool pop influences -- that creative surge in pop that occurred 20 years ago in pockets of England (the Clash, the Jam, Joe Jackson, and most obviously Elvis Costello) and the U.S. (Steely Dan, Husker Du, The Replacements, Graham Parker) -- into a strong collection of hard-edged pop songs. The songwriting and performances are tight, melodic and inventive. Complimented by the production team (Dale Epperson & Robert Welsh) at the Green Room in Harrisburg, Penn. (more on Harrisburg later), the result is 45 minutes of great music. The songs are lyrically clever, like Costello's writing with the Attractions; the old boy-meets-girl-means-doom chestnut is pushed and pulled into new territories. Band mates Larry Kennedy, Garrick Chow, Bryce Connor and Laine Wehler have collaborated to create this collection of insightful, intelligent, witty -- even a bit sarcastic at times -- short stories set to music and told in three or four minutes. There are a broad array of styles, all of them "radio friendly" (in a good way). "Bittersweet Day," for example, has a great melodic hook which sweetly links the verses to the chorus and takes the edge off the protagonist's cold, empty lament, "You were the first one listening to someone with nothing to say," then the perfectly dissonant, "bittersweet day." It's a gentle & sympathetic tale about surviving the depression following a relationship break up, featuring tightly voiced pop harmonies. Three and a half "schizophrenic" [default running order] minutes later, they're blistering through "Mite" as fast and lean and angry as anything the Replacements or the Clash ever released. The opening lyrics, "jammin' me in like I waste your time/makin' me feel like I'm asinine" or "...with eyes revolting red with all the things you said" are prime examples of the approach to writing these guys have taken. And the album is overloaded, on every song, with more of the same. They're getting good reviews for the energy of their live performances and the arrangements hint at the possibility the songs could be expanded, ala jam-bands like Phish or Government Mule, during live performances. By continuing to polish their songwriting and performance skills and expanding their attention beyond clever laments / rants (la'rants?) of love lost, they could lead a major expansion of the pop-genre envelope. They're certainly pushing it hard enough. If you like this kind of music, catch this band now, at the beginning of their career. It'll save you the heartache of trying to find their indie discs, secondhand. Back to Harrisburg: Potential Scene Alert. Harrisburg appears to be in the early stages of building and nurturing an original music community. From what I can gather, they've got everything necessary for that kind of creativity to bloom -- and I mean on the level of Seattle, Minneapolis, Boston, or Cleveland. There are a sizeable collection of talented, proficient musicians and songwriters, co-operative regional radio playlists (WQXA-FM), a supportive (and affordable) studio (the Green Room) staffed by an experienced group of producers/engineers/perfomers, sizeable cities with numerous clubs/theaters within a couple hours drive (Allentown, Philadelphia, New York City) and a seasoned management team (One Louder Management) to help guide the resulting professional careers. If the market doesn't get flooded by heroin (or receive meddling corporate attention), it should produce some outstanding music over the next decade. I suggest taking "Made in Harrisburg" -- and this latest, of the city's emerging bands -- seriously. Reading Eagle/Times The Jellybricks, who provided quite a kick throughout the area with their CD release, "Kinky Boot Beast" a few years ago, will soon release their newest effort, "Soapopera." Another regional hit should be expected. The Jellybricks hail from Harrisburg, more or less. That is to say that lead singer Larry Kennedy has made Harrisburg his home away from home after arriving in 1995 (from Youngstown, Ohio) to record some tracks at the locally famous Green Room Studios. It was there that he met recording engineer and bassist Garrick Chow. The two hit it off and decided to start a band. As Kennedy is wont to say, "It was like a blind date that worked out." The duo added the talents of Bryce Connor on guitar. Chow and Connor had known each other since kindergarten and had played in several area bands. Finally, the trio recruited drummer Laine Wehler and the Jellybricks were truly born. And, unlike many local outfits, the lineup of the Jellybricks has never changed. This is truly a minor miracle in todays' regional music world. "Kinky Boot Beast" made an impression locally. It garnered radio airplay throughout (on both commercial and college stations) as well a favorable press reviews (including one from this reviewer). The media tend to enjoy "clever" songs with lyrical twists and powerful hooks. That's why bands such as Squeeze were always promoted by everone from Rolling Stone to The Reading Eagle and why acerbically clever turns of phrase from the likes of Elvis Costello were quoted feverishly in record reviews. If the Jellybricks are to be compared to anyone, it starts with these two acts. But more on the music later. The band has a very energetic live show, and this has translated into some highly sought-after tickets. The Jellybricks have opened for the likes of the Goo Goo Dolls, 10,000 Maniacs, Seven Mary Three, Black Lab, Jeffrey Gaines, They Might Be Giants and the Badlees. Live's recent tour included a show HersheyPark Arena that featured a "local artists" stage, and the Jellybricks were among the first acts asked to play. As such, they played in front of thousands of Live fans garnered mention on MTV News and in Spin magazine. All of this means that the Jellybricks have something going for them. So it came as no real surprise that they were signed by One Louder Management (whose main success story is the Badlees) and the regional Rite Off Records. Rite Off will release the new album on April 13. The Jellybricks have scheduled serveral [sic] regional appearances in support of that CD, including a performance at Media Play record store in Harrisburg on Sunday, April 11, as a kind of "Pre-CD Release Party" hosted by radio station WQXA. The band will also appear on WGAL-TV (Channel 8) on the program "12:30 Live" on the 13th. And finally, the band will host an official CD Release Party at the Chameleon Club in Lancaster on April 24. It should be a busy time, and deservedly so. The Jellybricks have much to be proud of, both in regards to their regional career and their new record. "Soapopera" is yet another fine piece of work. The most important part of the run-together title is, of course, the "pop." The album is infectous -- as hook laden as the movie "I Know What You Did Last Summer" - and hummable from the first listen. And on second and third spins (you won't be able to resist), the record rewards with its inherent cleverness. The lyrics are smart, if never really heartfelt, and they whiz by at such speed that it's easy to miss the twists and turns that the band obviously loves to throw at its audience. "Talk is cheap, but it's not for sale/She keeps telling me hers is in the mail" is just one example (from "Overdrawn) of the lyrics that fly by the listener. The songs deal mostly with relationships and all the foibles involved, as well as the occasional song about a laundromat. The only time the 'bricks stumble a bit is when they try for more depth. When the band skims along the surface, it is superlative. After a while, one begins to wonder if this band listened to too much Costello and Squeeze or if it's consciously trying to rip them off. I mean, if imitation is flattery, both pop artists must be blushing. But I believe the Jellybricks is simply a band with incredible pop sensibilites having a great time. The members have grown up smothered in smart, infectious gooey pop, and it shows. "Soapopera" may be one of the finest pop albums ever released regionally, and one of the most hummable listens since "East Side Story" or "This Year's Model." The Patriot News The Jellybricks’ second disc arrived in stores this week serving as further proof that the foursome is clearly one of the top rock outfits in the area and stars on the rise. In its musicianship, lyrical content and production, "Soapopera" shows a marked maturation from 1997’s "Kinky Boot Beast" disc. And, local rock studs Pete Palladino, William "Rej" Troupe III, Dale Epperson, Gary Greyhosky and Matt "Elmer" Thomas all lend a hand adding a nice bit of diversity on the 14-song collection. That said, "Soapopera" is not perfect. Like a diesel engine, the disc kicks off quite well with the power-packed "Speechless" but then idles through several cuts. The Jellies really don’t kick into gear until the Elvis Costello-like chorus of Martyrs, the Smithereens-esque "Mite" and the REM-ish "Too Far." "Stupid One," "Overdrawn," "My Favorite Fear," and "Fingernails," find Larry Kennedy, Garrick Chow, Bryce Connor and Laine Wehler at their edgy, melodic best. "Prerequisite Rocker" is sure to be a favorite at upcoming shows. But given all there is good to say about this album perhaps "Soapopera"’s most impressive characteristic is its ability to convey the energy and style the J-bricks exude at their live shows, a rare commodity indeed for a studio album. |
