When it comes to Resonars reviews there are always the requisite mentions of the Hollies swirling about. However, Matt Rendon brings in a large array of influences that are as deep as the copper mines and wide as the cinematic horizons of Southern Arizona. There is probably a good chance that the Captain Nemo album by the Sundowners has been in his collection for years along with Columbia 45s by the Black Sheep, who were the psych-pop pride of La Cañada Flintridge, CA in 1966-67. On Electricity Plus, the Hollies do remain a major component along with an affinity for the Beach Boys and Raspberries when it comes to vocal harmonies. I also detect as an oft-overlooked, but slight Tommy James influence on the lead vocals. The surging instrumentation continues to draw upon the searing sounds of the Yardbirds and the flash of the Who with subliminal embellishments provided by countless stacks of records from across continents, genres and decades.
Pleasant and Enjoyable
Rendon has long cracked the code on succinct psychedelic garage pop by funneling his influences into indelible songs of 2-3 minutes that are entirely his own. On tracks 3 and 4, the record settles in and hums along in typical Resonars fashion. “Spidery Light” has that jolly Roger McGuinn-ish cadence, while “Sure As Shooting” abounds with their signature big hooks, catchy choruses and soaring harmonies. Another Resonars album to go along with “No Exit” from 2019 and 2020’s “Disappear” would have been most welcomed in the context of a world that has long knocked itself way out of balance, however it’s something else to be caught by complete surprise with Electricity Plus.
Detour
“One Nobody Knows” instantly placed a big smile on my face with its slight disco beat and its entirely new direction for a Resonars song. It’s the catchiest and possibly the most ambitious song of this decade and provides liftoff for the entire album. Imagine the Three Degrees meeting the Wondermints under the management and direction of Eric Carmen before Shel Talmy stops by Rendon’s Midtown Island recording studio to discuss the proper incorporation of strings. “One Nobody Knows” is a faithful vow to ‘70s AM Top 40 that is not only powerful pop, but also soulful perfect pop. This defining moment evokes the same sunniness as riding in my parents' 1968 Javelin with the big WIBC Indianapolis continually playing “Don’t Rock the Boat” by the Hues Corporation and “Love Will Keep Us Together” by Captain & Tennille.
Stealing the Show
The propulsive percussion continues on “Easy to Be Found” with harmonies that radiate out in all directions and commands attention with its guitar-driven glory. The innovative “At Journey’s End” is an entirely new sonic structure erected between the experimentation of Butterscotch Cathedral, the blazing Crummy Desert Sound and the ramshackle eclecticism of the second Leaves album. Perhaps all this adventurousness was inspired by Rendon returning to tour Spain in fall of 2023. Bring on the Gregorian chant next time around!
Tucson Modernisme
For those who have been listening since the ‘90s, Rendon has retooled, reimagined and reconceptualized his already successful approach. In other words, Rendon had erected new walls of guitars and dig-dugged tunnels of sound that connect the ‘60s and his previous releases to this still undefined age of the mid-20s. With this trio of songs, he has cleared an already high bar, while providing a countervailing sound in response to this current era of constant distraction.
Sealing the Win
The album then gets heavy in a good way, while maintaining its forward momentum. “It’s the Same” needs both a voltmeter and seismometer with the taut and coiling guitars and earth-shaking percussion. “Little Grey Man” melds “It Can Happen” by Yes (Yes, I wrote that) and “La La La” by the Cavedogs topped off by a dash of MC5’s “Looking at You," while the drilling guitars create new subterranean passages. The album arrives at its destination with the brilliant “I’ll Get By” which could be described as the Gants or the Knickerbockers incorporating a clave rhythm.
Above All
Rendon has taken his own route away from the path of least resistance, which leads him to explore different hues, gradiations and dynamics on Electricity Plus. The highly-attuned musician is steeped in multiple eras and across a vast expanse of sonic projects. In fact, make sure you see and hear his formidable drumming for the Freezing Hands. Nine albums are extremely hard to make without repeating oneself to eventually diminishing returns. All of the previous Resonars recordings are essential for reaching this current peak. Equally important, Redon also displays the “Pet Sounds” courage to break away from what has successfully worked in the past. He proves his sounds are still open to experimentation and further advancement. By going into the unknown and doing something he has not previously done, it has allowed Rendon to surpass all expectations.
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| Label Design by Jason Willis |
