There’s really only one way to describe III, the new album by Peach Kelli Pop – quirky but fun. If this is the first time you’re hearing about the solo project of Allie Hanlon, the Ottawa native ,now Los Angeles resident has previously produced two other albums that have spawned a cult following in Canada, US, and Japan with her short musical bursts (rarely do songs extend beyond 2 1/2 minutes) that are a combination of high adrenalin, punk-pop and zany yet infectious Japanese-cartoon pop.
As an example of the latter, “Sailor Moon” is dedicated the Japanese anime legend, and it’s a quick song (just over a minute) that could used as the new theme song should the franchise be re-launched. The opening single, “Princess Castle 1987”, also utilizes the same uptempo, frenetic approach, where the music feels like it has been fast-forwarded at least in double time.
On songs like “Shampoo” and “Nude Beach”, the tempo is slowed down just a little bit, but still feels frenzied. The first and latter songs are fairly humorous and unpretentious numbers. Who wouldn’t like a song about a daily routine that some people take too much time doing (along shampoo is also an analogy for relationships where one person takes advantage of another, and at the end the relationship goes down the drain) or one that talks about getting rid of tanlines.
There are tracks that harken back to Hanlon’s The White Wire days, a garage-rock, punk band she performed in during her Ottawa residency. While none of the songs are full-blown punk songs, “Heart Eyes”, “Big Man”, and “Plastic Love” are punk-pop songs that have an edge of grittiness underneath the pop melodies (think early Liz Phair). It is also on these tracks where Hanlon’s songwriting takes a more serious tone, from one-sided or “conditional” relationships like on the terrific and catchy “Heart Eyes” and the body swaying “Plastic Love” to obnoxious fans on the buzzing “Big Man”.
Hanlon, though, shows she’s not all about high-energy, punk-pop tracks. “New Moon” is a melodic song that echoes of ’50s bubblegum pop and captures the essence of possibilities and innocence on a dark night. “Please Come Home” really slows things down, closing the album with a reflective and contemplative track and showing another side of Hanlon that is not often seen.
Share This Article On...
Follow The Revue On...