Magnapop records have always been a sizzling sunspot in the pop rock galaxy and with the band’s first release in nearly a decade nothing has changed. The Circle Is Round is an unapologetically charming proposition but one with a punk growl in its lining and instinctive volatility giving it even greater drama in sound and imagination.
Released via the ever magnetic label, HHBTM Records, The Circle Is Round is the 1989 formed Atlanta-based quartet’s sixth album and the successor to 2009’s Chase Park. Majorly fertile in sound, releases, and acclaim in the mid-90s, Magnapop have embraced a lower profile over the past years since ‘reuniting’ in order to play a benefit gig for local record store, Criminal Records. That laid the seeds for the desire to write and record new material now resulting in the captivation that is The Circle Is Round.
It is fair to say that attention and appetite was immediately gripped by the album’s opening breath, the hook carrying lure of Dog on the Door instant persuasion to ears and body. Vocalist Linda Hopper’s tones prove just as swiftly enticing as crisp rhythms match the tempting of the guitar’s punk jangle; Ruthie Morris’ bait effortlessly verging on the addictive. Keys and the latter’s backing tones only added to the eager temptation with the darker grumble of Shannon Mulvaney’s bass and the senses clipping swings of drummer David McNair a matching incitement.
With a slightly calmer but no less infectious bounce Change Your Hair follows and equally had little trouble getting under the skin especially with its Buzzcocks-esque hook and warm melodic smile while A Simple Plan straight after, explores an even mellower gait whilst accentuating its inherent catchiness across a fuzz borne landscape graced with the magnetism of keys. There is a great nagging quality to it with the vocals of Hopper and Morris, as in its predecessor, contagious caresses on ears.
Super Size Me bowls in throwing its creative weight around next, its punk nurtured vitality and pop woven tenacity another moment breeding addiction before Need to Change has hips swaying and pleasure boiling with a contagion something akin to B-52’s meets Weekend meets Throwing Muses. Both tracks simply had the spirit and passions bouncing and alongside the album’s opener shared favourite track moment between them.
The raunchier rock ‘n’ roll of What Can I Do gave further food for thought on that choice, echoing the strength and undiluted temptation on offer across The Circle Is Round. As with most tracks, the coarser growl and punk irritability of rhythms and chords align perfectly, almost seductively with the melodic adventure of voice and Bruce King’s keys not forgetting the weave of melodic temptation also escaping Morris’ guitar enterprise.
Through the enchanting balladry of Rain Rain, a song with another animated gait as manipulative as the song’s emotive croon is bewitching, and the similarly buoyant and reassuring Disabled, band and album piled on more temptation to be captivated by with Rip the Wreck capping indeed eclipsing their vibrant success with its own frisky escapade cast with feral riffs and aggressively agile rhythms. The track is a riveting slice of uproarious rock ‘n’ roll but again an incitement skilfully and imaginatively tempered by the melodic and harmonic instincts within Magnapop.
The Circle Is Round is completed by a pair of previously unheard demos recorded in 1992; Leo and Pretty Awful two glorious untamed punk fuelled treats of Magnapop in its heyday. As the new album proves though, that zenith is still lingering in the creativity of the band, its songs and character deviously addictive and deliciously individual.
The Circle Is Round is out now digitally, on CD, and on vinyl via HHBTM Records with a white vinyl deluxe addition also available@ https://www.hhbtm.com/product/magnapop-the-circle-is-round/
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Pete RingMaster 15/10/2019
Copyright RingMaster: MyFreeCopyright
The following Making Trouble brings a thick growl to its Vaselines-esque flirtation, eager energy and a dirt encrusted sheen adding to its instantly gripping character while Never Is Forever simply had ears hooked from its initial invitation of lone bass. The ever manipulative rhythms of Sturgis soon join the inescapable temptation; guitars and voices no slouches in adding to the refreshing enterprise fuelling one irresistible moment within Stay Cool.
From its opening bait of bass, the first of the pair had the body swinging; its temptation instantly escalated by the vocal collaboration of Mears and band around Tollefson‘s lone and as potent lines. The guitars of Chris Munford and Corianton Hale again almost tease as they melodically entice but it is Mear’s melodic cries which made for the greatest seduction in a song and particularly chorus which made for increasingly mischievous aural manna. Its successor with its jovial jangle and frisky rhythms allowed for no relaxation of feet and body swerves, its flirtatious vocals and melodies a pleasing mix of comforting warmth and playful unpredictability.
The indie seduction of This Handsome Boy absorbs attention next. It is a track with a touch of Lightning Seeds to it at certain moments and pure pop contagion throughout led by the golden tones of Iona Macdonald and warm surges of brass expelled by trumpeter Bill Thompson, trombonist Denis Webb, and saxophonist Dave Carter. Sometimes there is something about it which feels quite familiar yet for no obvious reason as it floods ears with instinctive pleasure.
It is a bright and tempting start which is built upon by the more boisterous exploits of Five Fingers. Rhythms are a tenacious guide into the raw melody woven web of the song, everything from voice and sharp words to a wandering keys bred warble offering enticing hooks taking the EP to another level in no time.
around the ear, the whispering almost stark air of the song a background to the throaty bass enticement and electronic shimmering around the vocals of Julie. Suggested here and reinforced across the album, there is a bewitching lure to her voice which seduces like a mix of Alison Statton (Young Marble Giants/Weekend) and Harriet Wheeler (The Sundays), and musically at times the release also offers glimpses of their bands. It is an enchanting sound which glides through the songs with a sultry narrative to unite with thoughts and emotions whilst musically, especially on this first song, the band envelope her potent delivery with equally persuasive sounds.