Reviews

The Eisenhowers made an impressive debut in 2006 with ‘Almost half-undressed’ and now, almost three years later, they have taken the next step in their maturing sound, in which the influences of XTC, Kinks and Elvis Costello are heard. The sound is richer here, with Weir getting the help of backing vocalists and sharp studio musicians, while the lyrical content has also taken a leap forward. Include the addition of violins and many instrumental effects and you get the idea. With 14 tracks, there are plenty of highlights. ‘Gathering Dust’ resembles an Andy Partridge song with looping melodies and percussive details, while the epic ‘1969’ is a ballad that goes through an astronaut's mind, full of both idealism and narcissism. The jazzy feel of ‘Janine’ is a great sophisticated pop ballad with little Bowie accents and ‘The Long Way Home’ is my favorite here, with just the right mix of all the influences and melody. It ends with ‘Icarus Succumbs’ an expansive epic along the lines of latter-era Tears For Fears. The Eisenhowers will win many friends with this literate and tuneful pop music.

Aaron Kupferberg - The powerpopaholic

www.powerpopaholic.com

Film Your Own Atrocities is a step forward from the debut, as they refine their take on the classic British pop of bands like Squeeze, XTC and The Kinks.
Frontman/songwriter Raymond Weir shares the sardonic sensibility of his influences, and ‘Reign of the Stupid’ does them proud with its biting Elvis Costello-style lyrics and its easy-on-the-ears Squeeze-style melody. ‘Less Than Nothing’ continues in the same vein, although with strings and more of an XTC influence. The disc's most ambitious track is ‘1969’, in which Weir weaves the awe of the first moon landing together with an indictment of today's mass culture, all in the context of a ‘Hey Nineteen’-style attempted seduction. At 6+ minutes with strings, choirs and samples of the Apollo 11 astronauts, it runs the risk of overkill, but Weir & Co. manage to pull it off.
There are plenty of other highlights: the Beatlesque piano pop of ‘The Things That Make You Happy’, the lilting, loungy ‘Janine’, and the Ray Davies-inspired ‘Lighthouse’. By the time things close with the epic, 6:43-length ‘Icaurus Succumbs’, you'll realize that this isn't a run-of-the-mill release; instead it could best be described as a thinking man's power pop album. Or to be succinct, I like ‘The Ikes’.

Steve Ferra
http://absolutepowerpop.blogspot.com/

Given that it has taken over 2 years to record this album, it is perhaps no surprise that it is all big production here, with every song stuffed with everything but the kitchen sink.
As always, there are influences from the finest sources of intelligent pop music like XTC, Squeeze and the Maypops aligned with a nice epic or two (like ‘1969’).
Up-tempo numbers like ‘Aggrodisiac’ work well too, but the choice cut on the album is ‘Janine’ which is delicately seasoned by the suitably salacious piano of Giles Tingey.
There's a lot to enjoy in this album … a recommendation for music lovers with a bit of maturity in their tastes.

Matt McGowan
http://www.bluesbunny.com/

Back in 2006, I had the pleasure of discovering ‘Almost Half Undressed’, the first record by Scottish act The Eisenhowers. Touching on some great cornerstones of literate pop - chiefly XTC, Elvis Costello, Squeeze - it simply had to feature in my “best of” list for that year. Two years later, the follow-up duly arrives and little has changed; the music still revolves around the wordsmithery and vocals of Raymond Weir but now he is assisted by more than ten other musicians.
Although the sound is understandably fuller (with backing singers featured on every other song), Weir remains the real hero being the sole songwriter and his vocals have a melodic and yearning quality in their own right. The bright, strutting pop of ‘Gathering Dust’ is a definite highlight whilst the spirit of Costello is recalled again for undeniably infectious pop nuggets ‘Reign Of The Stupid’ and ‘Less Than Nothing’. There’s no lack of ambition in ideas either. On the centrepiece track ‘1969′, he contrasts the TV spectacle of the moon landings from that year with today’s love for Z-list celebrities.

‘Being There’ is a beautifully arranged wistful number about a disillusioned millionaire; in fact, it is probably the pick of the album overall. Elsewhere, ‘Lighthouse’ and the piano-led ‘Janine’ are imaginatively produced.
Weir retains a happy knack for penning sweetly melodic material, coupled with the kind of acerbic lyrics which we’ve come to expect from the finest Scottish songwriters.

Jon Leonard

http://leonardslair.wordpress.com/

Way back in the early eighties, pop music was in confusion. Style had triumphed over substance and quality songwriting was fighting a rearguard action in the once glorious battlefield of the charts. The mighty generals of this army were Squeeze and Elvis Costello. Their output from this time never received the commercial success that it should have. It is a compliment indeed to say that this album from The Eisenhowers can be considered alongside the best produced by the aforementioned artists … it contains some of the best songs we have heard for a long time.
‘Mr and Mrs Frankenstein’ has a sixties feel (reminiscent of the Kinks), ‘If I Had to Make a List’ is sugar-candy coated Elvis Costello, while ‘Plastic Jesus’ gives us a sharp commentary on the emptiness of modern life. ‘Novelty Act’ could stand alongside Squeeze's ‘Tempted’ and provides the highlight of the album.
All the twelve songs are from the pen of Raymond Weir and the quality is remarkably consistent. It has been said that songwriters are the only commentators left on our society. Nobody reads anymore and nobody believes what they see. All we have left to trust is the songs that reach our ears. Immaculate musicianship makes this an easy listen, but it is the intelligent lyrics that give it the depth to ensure longevity on the CD player.
BluesBunny is impressed … very impressed!
Matt McGowan - Bluesbunny
www.bluesbunny.com

Unashamedly Adult-Oriented Rock, Glasgow’s Eisenhowers quite clearly don’t care about labels, and it’s this uninhibited stance which lets them unashamedly write some actually rather top tunes. ‘Useless Love’, whisper it, sounds VERY like the Beautiful South. However, there are touches of Prefab Sprout and Danny Wilson in there too, and with that, a rather a bigger slice of cred. The track '... and consequently’ is a mis-mash of Elvis Costello and XTC which (unsurprisingly) works, and that's the pattern for the album, with nods to Bowie, Travis and the Beatles. Maybe it is AoR, but The Eisenhowers make for a guilty pleasure which, if you don’t tell, neither will we.
- Donald Bush, Is this Music?
www.isthismusic.com

The sound here is simply beautiful. Prefab Sprout immediately came to mind for a reason I couldn’t quite fathom out. Maybe it was the lush sound of the opening song 'Useless Love', maybe it was the glorious melody, or maybe it was just simply that it was one of the best pop songs I’ve heard in a long while. It was no lucky opening shot either, for the following eleven tracks are all finely-crafted pop songs with heavenly melodies, stunning harmonies and first class playing from all the musicians involved. There are a good few bands currently looking back to the 70’s for inspiration and who produce good melodic pop songs; The Feeling come immediately to mind and The Eisenhowers follow much the same musical route, albeit with a little more grit and a lot more humour. It’s one of those albums where it takes no time at all to become familiar with the songs. One gets the feeling that they have been around and played on the radio for what seems like ages, but not annoyingly so. The tunes are extremely catchy, but in the same way that the songs of Jellyfish and Squeeze were catchy. I’m well aware that those comparisons have been made time and again, but for once they are spot on. The album was recorded in Glasgow, but the music made by The Eisenhowers knows no boundaries; it could have been made in America, Scandinavia or almost anywhere. There is not a dull or dud track on this album and it would take very few radio plays of any of these twelve songs to get the band noticed. The tunes really are that instant. ‘… and consequently’ is currently the favourite around these parts … the chorus is one of those once-heard-never-forgotten moments and the guitar solo really is something else. Jellyfish are sorely missed, but in The Eisenhowers we have found a band more than capable of filling the gap they left when they split.
This album is highly recommended to all lovers of good, solid pop music … it’s the best of its kind to emerge in a very long time.
- Malcolm Carter, Pennyblack Music
www.pennyblackmusic.co.uk

I receive a huge number of CDs in the mail, but it's only while reviewing this album that I realized that I receive a large proportion from Scottish bands, which given the comparative size of Scotland, is pretty amazing. I don't know what's stimulating this creative juice, but I don't care, stimulate away. Whilst you may not have heard of The Eisenhowers, Raymond Weir's other band -Gum- may be more familiar. This offering has an altogether different flavor, but you can almost detect the common thread between the two bands. Between Gum and The Eisenhowers, it's amazing that Raymond has time to do anything else. If all his other ventures are as well put together as this one, then the future does indeed look interesting. This 12-track CD opens with ‘Useless Love’, which is wonderfully laid back, with an almost jazz flavor.
The next track ‘Novelty Act’ has an altogether more contemporary feel and is more representative of the rest of the album … it has a great balance of upbeat music, great lyrics and excellent delivery. If I had to pick a favorite track, it would be a toss up between ‘If Satellites Should Fall’ and the track that rounds off the album, ‘Plastic Jesus’.
Conclusion: A great album with a real upbeat sound.
- Colin Meeks, Indielaunchpad
www.indielaunchpad.com

This Glasgow-based group show no shame in revealing their influences of Elvis Costello, Aimee Mann and XTC and so they shouldn't. Even their album title, with its thinly-veiled acknowledgement of Jellyfish, is an open and honest acceptance of the artists who informed their sound. Good job then, that their own brand of literate pop/rock music is up to scratch. Superior songs such as '...And Consequently' and 'Useless Love' suggest a Scottish Squeeze, the doleful 'If I Had To Make A List' crosses Costello with Lloyd Cole, whilst 'Jigsaw' is an excellent example of their sophisticated power pop. Even their slower-paced material ('Abracadabra Man', 'If Satellites Should Fall', 'Plastic Jesus') is perfectly judged and adds new layers of maturity and depth to their already impressive oeuvre. Rather than an exercise in rewriting other groups' ideas, 'Almost Half Undressed' is a lesson in great songwriting that can more than stand up on its own two feet.
- Jon Clarkson, Leonard’s Lair
www.leonardslair.co.uk

This album is jam-packed with witty & entertaining pop/rock music … some of the best we've heard this year! We thoroughly enjoyed it and highly recommend it. Both ‘Novelty Act’ and ‘…and Consequently’ are absolute perfection and are our favorites on the album, with some Elvis Costello-style genius songwriting. '25 O’Clock’ is another fantastic track; it has a great beat and is very danceable and you can also hear just a little bit of Squeeze in here.
‘The Abracadabra Man’ is very witty and it grew on me fast … its melodies are interesting and it has a relaxing quality to it. ‘Mr. And Mrs. Frankenstein’ is a fun song about the craziness of cosmetic plastic surgery, while ‘Constantinople’ is absolutely beautiful. It has a melody and flavor somewhat similar to that of classic Crowded House. ‘Plastic Jesus’ proves that song order means nothing. Despite being track 12 it is one of the best on the album. Besides for personal play, I highly recommended this for college radio and coffee houses. I’d definitely have a few more cups of brew if The Eisenhowers were playing!
- Stacey Sardelli, Babble and Beat
www.babbleandbeat.com

On the Eisenhowers site they mention that they are "a loose collection of people who sometimes make a noise with musical instruments." Well, if lots of neat harmonies and catchy guitar riffs are noise, then bring it on. Raymond Weir, primary force for the band, does a great job here. ‘Useless Love’ is a low-key rocker that reminds me of a lost Dream Academy track, while ‘Novelty Act’ is a flat-out great song that evokes Crowded House; it has a great chorus, biting lyrics and some amazing guitar. ‘Jigsaw’ is another song with some great hooks … it recalls the best singles of The Rembrandts. ‘If Satellites Should Fall’ has a beautiful arrangement and flows along like a lazy river. Little influences of Squeeze, Elvis Costello and XTC appear in all sorts of places, so this will not disappoint most powerpop or AOR fans. You should enjoy this one!

Aaron Kupferberg

www.powerpopaholic.com

Ornate power pop in the vein of The Tories, Jellyfish, and Doug Powell. The Tories is the best comparison, because this band makes glistening music, but doesn't pile on lots of production tricks. This is a style that can grate when it becomes too pristine or precious. Like the best music from The Tories, The Eisenhowers avoid this, due in part to sharp observational lyrics (meaning their music isn't just an exercise in sounding good) and having some muscle underneath the sheen. These qualities are displayed to good effect on ‘Mr. and Mrs. Frankenstein’. The song works a sinister pop melody, with an ominous psych-pop vibe in the verses and an instantly memorable chorus. There are also some cutting lyrics, for example, "money talks and we understand it." One song (‘Jigsaw’) has a nice Beatles gloss on it, with some George Harrison-like slide guitar that augments the basic Eisenhowers approach. That is, everything fits within the Jellyfish template, but other elements are added, like the underlying dance music rhythm (think Squeeze's ‘Cool For Cats’) in the inspired chorus. Inspired is a good word to describe this disc as a whole, and the inspiration is backed up by strong committed performances.

Mike Bennett

www.fufkin.com

Often overlooked as one of the United States’ greater presidents (and hey, I’m a liberal!), The Eisenhowers might share a similar name to the late great but they’re way more provocative. Melodic vocals and tender guitar rock strum away gently with breezy choruses rocking you back and forth like a small sailing boat on a great ocean. Their songs are fused with character-building pop hooks and they manage to conjure an image of Elvis Costello without going overboard. Adult contemporary pop-rock that is fun for a pub and fun for a small get-together as well makes this Glasgow pop act one that is essential to follow.
- J. Sin, Smother Magazine
www.smother.net

This album sits nicely in the adult pop genre. The tunes are direct and guitar-driven, while Weir’s vocals are pitched somewhere between the gutteral Elvis Costello (circa ‘Armed Forces’) and the genial Glenn Tilbrook. The arrangements are tight and imaginative, while the production is always punchy and clean. There is a nice balance of light and shade, with plenty of neat harmonies and more catchy choruses than you could shake a stick at. Like the acts that influence them, The Eisenhowers are lyrically cute and this album exhibits a healthy dose of cynical humour. There are some nice throwaway lines, like: "you learn from experience that you don’t learn much from experience" from the marvellous ‘25 o’clock’, a would-be single with loads of musical reference points. Featuring retro synths, a disco bassline, crashing powerchords and harmonies straight out of the Beatles songbook, it’s simply made for radio play. Several of the songs appear to focus on dysfunctional characters. The creepy ‘Plastic Jesus’ starts with a news story about a weeping religious figurine and ends up with a gun rampage, while ‘Mr. and Mrs. Frankenstein’ features an insane celebrity couple filming a pop video in the jungle, complete with starving natives as the hapless extras. In the acoustic ‘Abracadabra Man’, a sinister politician (described as "another Napoleon" selling snow to Eskimos) goes door-to-door, signing people up for an unholy crusade. But for all the sardonic vigour, there are lighter touches too. ‘If I had to make a list’ is a jazzy little song about parenthood which manages to avoid cloying sentimentality, while both the dreamy ‘Useless Love’ and the atmospheric ‘If satellites should fall’ extol the wonders of romantic infatuation, although in the latter, Weir can’t resist a punchline about the star-crossed lover who, when "staring up from solid ground" is inevitably "going to lose his way again". If this is, as their press release states, a compilation selected from two ‘failed’ album projects, it will be interesting to hear what The Eisenhowers -said to have the second album virtually in the can- come up with next.

- www.cdbaby.com/eisenhowers