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Hurry Up And Wait Reviews

Jack Rabid - The Big Takeover
Has it been seven years since this ballsy New York City power-pop threesome's second LP, Break Up? And they took three years off from gigging, too, until recently. This may have figured into their new third LP's title, but BOM have come back rejuvenated. Paul Crane and Co. taper back a Cheap Trick/Replacements jag for a ringing-guitars, rockin''60s pop paradigm, without losing the garage chops and sunny melodies-even on the lighter fare, such as the Byrds-ian acoustic-bop of "Gateway Center" and "Flunkin' Out." You could see them supporting Sloan now instead of Paul Westerberg, on the bouncy, upbeat-in-spirit/bittersweet-in-lyric "Exit 10," or the more hard-kicking "Cut and Paste" and "Little Truths." Crane has a classic power-pop voice, too, like Sloan's Chris Murphy, and importantly, the band's strong harmonies are as terrific as their Toronto cousins, too. Pure power-pop for now people!

Phil Rainone - Jersey Beat
Bastards of Melody are proof positive that those who missed the 70's power pop bands like the Raspberries ( I can even hear some of the 80's coolness of the Replacements), and The Knack, etc., can still build something great out of the crass and hallow corpse of today's Top 40 bands...

Absolute Powerpop
Time for a shout out to the FDR label, the "other" power pop label from New Jersey (we all know and love Kool Kat). They don't release a high volume of discs, but the ones they do are usually really good, and the latest from NYC's Bastards of Melody is one of their best. The Bastards have been kicking around since the late 90s, but this is their first release since 2003 and it's a gem. This is high-energy yet highly melodic, closer to the classic definition of "power pop" than most others...

Kook Kat Musik
YES!!! They're back! Paul Crane and mates are back with their fourth effort - their first since 2003! Brimming with chunky and ragged guitars (including some tasty 12-string guitar touches on several tracks), hooks, and harmonies, Crane proudly shares the same first name as Replacements frontman Sir Westerberg as someone who's been an obvious influence on his music...

Jam Records
Don't let the name of the band fool you, these guys deliver PURE POWER POP! No punk, no grunge, no slop rock. This is exactly what a power pop band should be and this album is a good one...

CW's Music Blog
When I first received this CD in the mail to review from the band's name I figured I was going to be hearing a lot of angst filled punk music but except for the releases fast paced pop-punk last track, "Unproductive," the release is pretty much made up of a collection of classic sounding power pop...

Other Reviews

Amplifier Magazine
The New Jersey based four piece play a nofrills, mid-fi brand of power pop that draws equal inspiration from gritty garage rock, late-70's power pop to Ramones-style punk. Through the grit and guitar crunch, the melodies ring through and the emphasis on hooks is strong.

Jersey Beat
Indie, emo, post-punk, anti-folk wave got way too many labels these days and not nearly enough good rock and roll bands. So here's a tip of the hat to the Bastards of Melody, who realize that good songs and a nice melody are still what count.

Aiding & Abetting
Speaking of the Replacements (or, more accurately, Paul Westerberg), here come the Bastards of Melody. They have that Sire-era 'Mats style down (slightly sloppy, but still tuneful), and they write nice three-minute pop songs.

Performing Songwriter
Bastards of Melody may be the textbook definition of power pop. They come straight out of the Cheap Trick school of hook, power, and melody but remain hungry, lean, and relevant.

Aiding & Abetting
Good old fashioned rock and roll. Like the sorta thing that Cheap Trick used to play eons ago. Loud, fast and almost criminally hooky.
For every ten bands out there making run-of-the mill, Xerox-copied rock for apathetic listeners, there's a band like Bastards of Melody who rock like they really mean it.