Indie Pop. Dream Pop. Jangle Pop. Power Pop - Vague terms defining very specific niches within the independent/underground world of pop. One could use any one of these 6 cent music critic terms (just pick up a copy of Magnet magazine for usage examples) to describe the musical style of Chris Powers depending on which song you were describing: Bittersweet, the opening track from Powers' second EP Last Exit, is pure indie power pop. The sparse arrangement leaves the first half of the verses completely void of the rhythm section, opting instead for simply a vocal and guitar accompaniment. Then along comes a chorus that jolts the song forward with a roller coaster melody underpinned by a bouncing bass line, thrashing drums and a simple jangly guitar strum. 'Her lips were sour bittersweet, she rolled her eyes shuffled her feet...' Happens All The Time is the kind of mid tempo, anthemic dream pop song that you've been waiting years to come along. Tribal verses explode into soaring choruses, a shimmering ebow guitar solo cascades into the final verse: 'Living existing for you, breathing just for the gasp of air you blew. The well from which you drink is dry, it happens all the time...' Last Exit takes a left turn from the eponymous debut released in 2001. Whereas the Gordon Raphael (The Strokes' Is This It?) co-produced debut found Powers experimenting with different sounds and playing much of the instrumentation himself, for Last Exit (engineered and co-produced by Matt Chiaravalle) he enlisted the rhythm section used for live shows (Nick diPierro on bass/backing vocals and Eric Slovin on drums). There is very little in the way of overdubs and second guitar parts, preferring instead to simply record the live show. Coming in at 14:00 on the dot, the four songs on Last Exit are an urgent statement of intent: Melody over dissonance, pride over love, apocalypse over complacency and Brooklyn over Manhattan. For more information on Chris Powers, contact Chris Brudzinski at 718.522.7171 or email firstname.lastname@example.org.
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