better get to listen to these guys now, because they're on the brink of being
HUGE... One of the most talented group of guys I know! –
Weeks (Film Producer of “29 Reasons To
“Many Moments of Glory - congratulations!”
– Mitch Easter
re Churning out some pretty Cool Power Pop The
Fevered Brain of
Pnk in the North East. Hell it’s great music
THE DROPZINES are Churning out some pretty Cool Power
Pop Punk in the North East. Hell it’s great music period. We just
wish they’d Come down to Austin and Impress a few People. The music is
tight and they are such a great three-piece. Indeed. - RadioMike Perazzetti
Smart power pop from Pennsylvania brings to mind retro
Brit sounds from the 60's. A little bit snotty,singer/guitarist Shawn Stabley
offers a slightly skewered look at society in a true gem of a song, "At the
And while the band has since gotten a new bass player,I sure like to know why
because Michael Brennerman and drummer Jason Kline had true chemistry and it
shows all thru out this fine album. The bass is a bit chunky which only adds
depth to Stabley's vocals.
Kline's drumming is both fast yet in control,a sign of a true pro. Too many pop
drummers either hit too lightly or disappear altogether.
The song "Lets Go of You" reminds of the late lamented Screaming Marys.
Very polished, very nice and very recommended.
With "Between Sheets
and Walls" the Dropzines have produced an album full of undeniably catchy
indie pop caught somewhere between the sunny bliss of Velvet Crush or Teenaged
Fan Club, and classic psych-pop with raw southern inflection. They are a solid
rock trio hailing from
and their idea here is simple; guitar, bass and
drums with basic but effective vocal harmonizing. Frontman Shawn Stabley
(guitar, vocals) brings with him a very impressive past. Formerly of The Most
Sordid Pies Stabley has recorded with such producers as John Siket (Yo La Tengo,
Phish, Sonic Youth) and Kramer of Shimmy Disc Records. Rounding out the trio is
Michael Brenneman on bass and Jason Kline on drums and additional vocals.
The album kicks off with the immediately accessible "Sad Tuesday", a
steady rocker which while being a tad sparse lyrically will not disappoint with
its brevity and Stabley's George Harrison-esque slide guitar work. The band
takes a stride toward more southern oriented rock with "Lets Go of
You", which seems to set the album's theme for the rest of the tracks;
steady shifts between southern rock and west coast pop.
A welcome change in instrumentation comes three-quarters into the album with 'At
the Party', an acoustic guitar driven piece. With the emergence of some warmth
from a strategically placed backing cello, further instrumental diversity comes
from harmonica chorus breaks and a sprinkling of piano on the bridge. 'Her
Curtains' presents itself as the standout pop gem of the album. Once again the
lyrics may seem a bit diluted, but they are certainly heartfelt as the often
reminiscent Stabley remembers either the literal or the symbolic death of a
loved one which in turn leads he himself to coming to terms with lost time.
Musically the track's down-tempo yet climbing nature makes it distinctive while
still remaining instantly recognizable and addicting. The Dropzines deliver this
by providing classic major/minor chord hooks along with the album's most
effective harmonies and plenty of la la la's to boot.
In the well-worn territory of indie-pop it is easy to commit a number of fatal
errors and yet here is a band that has been able to avoid most. As previously
stated the band's great strength is in brevity. Keeping the album to a concise
thirty-three minutes, they are able to provide traditional and familiar tunes
with heavy hook after heavy hook without triteness or overlap. As far as
straight ahead indie pop goes, The Dropzines are on their way to the top of
their class by showing great promise on their first full-length release. - Aaron
This Pennsylvanian trio is a highly
interesting and attention-retaining one, as their music so zestfully straddles
so many genres, with the opening track 'Sad Tuesday' being part-pop, part-punk,
park-rock, and all-engaging.
'Lets Go Of You' delivers a magical
jingle-jangle guitar sound straight out of the swingin' sixties courtesy of the
band frontman Shawn Stabley on both guitar and vocals (he who was once an
integral player in NYC's band Most Sordid Pies), while 'Creature Comfort' builds
on the Dropzines' love of upbeat pop-rock melodies.
With Jason Kline on percussion
duties and Mike Brenneman on bass, the majority of these songs are indie-rock
anthems that bounce away merrily with catchy hooks aplenty, even if the overall
rock sound is rather endearingly 'raw.' Still, there is ample room for
surprises, as 'At The Party' bowls in its acoustic majesty while Shawn sings of
'boring people talking about themselves' (which, he realises, is what parties
are usually all about… are they not?) in rather a subdued and reflective mood,
before a fantastically angular blues-rock riff rides out their 'Endless
Perhaps the most interestingly
captivating track of all though is the one that comes last, because - no word of
a lie - 'I'll Take You Downtowne' is buoyed by the exact same harmony that the
Fountains of Wayne have since made famous via their 'Stacey's Mum' pop-punk
anthem. Which is weird.
'Between Sheets And Walls' and
between you and me, much of the Dropzines' success lies in the fact that their
music is so hard to categorise. And whatever type of music they are playing,
rest assured - it always a joy to hear.- (Steve Rudd)
Back in the day I used to love American bands like
Buffalo Tom and the Smoking Popes who produced emotional, heartfelt power
pop/rock epic tunes. Every one had great lyrics, a killer tune and that innate
ability to make you sing along at the top of your voice, no matter how badly you
sing. Imagine my surprise and delight to find a band still purveying all these
qualities. Dropzines album 'Between Sheets And Walls' is chock full of great
alternative rock tunes, workmanlike yet beautiful just like the aforementioned
Stand out tracks have to be the charmingly ramshackle
'Sad Tuesday', a song that appears to have a lot more time than most to make its
point. There's also 'At The Party' that shows that Dropzines do melancholia
aswell as Trashcan Sinatras used to and 'Purple Sandals' that displays west
coast pop sensibilities to rival Teenage Fanclub. - Russell Barker
was surprised by this record, very pleasantly surprised. I was expecting a pop-punky
type outfit and on the first listen, that’s all I heard. However, today I sat
down with it, threw on some clunky old headphones and stepped back into it. A
new album was placed before me; this album had great production and very catchy
hooks. So catchy and well done, that I could not help but wonder why I have not
heard of these guys before. This is an incredibly smart, well-constructed album,
and a great deal of time went into it. Shawn Stabley, Michael Brenneman and
Jason Kline are three wonderful musicians, and each carries his own weight
throughout each track.
Between Sheets and Walls
gathers elements of raw, stripped down rock n’ roll, 60’s garage pop, and a bit
of southern swagger. The vocals are sweet and throaty with backup harmonies laid
down by the drummer. Taking a slight turn, the track “At the Party” is a
sarcastic dive into British psychedelia complete with Syd Barrett style guitar
work. The guitar work on the album is wonderful; it’s simple at times but still
innovative and interesting. Sometimes Stabley comes in with power chord stomp
progressions, and then he’ll retreat back to a southern rhythm and blues style.
Right underneath the rhythm, a slide guitar line will creep through or a
harmonica drawl will find its way around the song. The bass lines are punchy and
all over the fret board, but they’re right in time and tune with the guitar,
always there to catch it or back it up. Kline’s drumming is pretty intense as
well, as his energy and explosiveness is stretched out so well through each
track. Each musician adds his own interesting parts to every track, and they’re
all firing off at the same time. “What Will My Mary Say?” is another standout
track on the album where the band experiments more fully with the 60’s garage
pop sound, even throwing in a clubbed drum feel.
This is really
decent power trio rock n’ roll with a great kick. The only complaint I might
want to make would be that the lyrics, in some places, could be a tad better;
but the ridiculous hooks make up for anything there. This is a solid band with a
very full sound, and I’m impressed. - Chaz Martenstein
hail from Pennsylvania, the sound that fills the room when Dropzines
self-released album ‘Between Sheets And Walls’ is on repeat will be familiar
to English ears. Falling midway between the classic, harmonic power-indie of
Olivia Tremor Control and Guided By Voices, the mordant, minor key threnody of
early Echo & The Bunnymen and the sun-shimmer joy of Anglican west-coast
revivalists The Thrills and Cosmic Rough Riders, Dropzines are an everyman act
in that there’s something here likely to appeal to every man. Front man and
lynchpin Shawn Stabley (formerly of New York’s The Most Sordid Pies) also does
a mean Jonathan Richman impression on the spikily melodious ‘Her Curtains’;
that he then takes it into the territory of The Beautiful South and makes it
sound completely natural tells you all you need to know about this most
Quote: "Move over as
the Dropzines take their rightful place on the throne of captivatingly grungy
Innovative pop has come at last in the form of the Dropzines’ album Between
Sheets and Walls. Somewhere between The Wonders from the movie That Thing
You Do and modern indie rock emerge the Pennsylvania band with an amazing
eye for the catchy. Not a moment exists on this album when you won’t be bobbing
your head thinking of early Beatles tunes.
Although a bit unsteady when it comes to lyrical flow, Shawn Stabley,
vocals/guitar; Michael Brenneman, bass; and Jason Kline, drums pull it all
together for a poppy social commentary that will start your mind spinning and
your feet tapping. You know that song that’s been running through your head for
days? Well it can get ready to move over as the Dropzines take their rightful
place on the throne of captivatingly grungy pop-rock.
“Sad Tuesday” should perhaps be the mascot of the entire album with its
certainty in its place in modern rock and that extremely upbeat melody inherent
to every one of the Dropzines’ songs. It’s that edgy basement pop your mom tells
you to turn down because she’s nervous you’ll turn into a rock star groupie.
“What Will My Mary Say?” proves itself, however impossible you thought it, to be
even more bubblegum-pop-with-attitude than “Sad Tuesday” and calls to mind early
Weezer meets early Beatles.
The unquestionably best song on Between Sheets and Walls is “Endless
Driveway,” as it has all the aforementioned virtues of the other tracks, yet
more openly touches on some kind of depth or sadness perhaps lacking entirely
from the rest of the album.
Conceivably, the greatest thing about the Dropzines is not their catchy songs or
ability to call to mind other bands you’ve loved, but their brazen comfort in
the pop nature of their music. - Genevieve Will
Riff rocking guitars, pounding drums, catchy lyrics and soothing vocals makes up
this three piece band, the DROPZINES. Right off the bat you're lured into their
seductive world of indie rock'n'roll. This is a band that comes off sounding
like a typical "garage band," but with the high quality of production work shown
on this album, it gives them more credibility than just your average band. Their
sound, in most songs, reminds me of David Usher and Moist. The DROPZINES have
that type of soft rock/alt sound mixed with their own unique edge. Overall,
"Between Sheets and Walls" was a very enjoyable album. It's an album for many
occasions, surroundings and will please music listeners of all ages. –Wednesday
Elektra Rating: 9/10
Has indie pop reached perfection?
ask because I think the 1990s produced a TON of great indie pop music (look to
anything on Little Darla, March, Kindercore, Harriet, et. al. from the previous
decade), and since then, I haven’t heard anything that has branched out in a new
indie pop direction.
And so, we are left with another album that sounds like ’90s poppy rock legend
Matthew Sweet and uber-underdog acts like All About Chad. I love it.
Catchy nuggets of tasty melancholia rolled up in layers of harmony. The guitars
prance and hum and buzz just enough to shove twee out of the way and latch onto
a little bit of power pop. The (typically) hopeless romantic lyrics are sung
with confidence, and those delicious harmonies make songs of sadness and
solitude a joy to hear.
“Sad Tuesday”, with its down turned, simplistic chorus, was in my head all day
yesterday; and the other opening ballads keep up the momentum long enough to
hold the ear till we hit pay dirt later on.
The standout “Creature Comfort” has a sweet, haunting melody, tinged to great
effect by a lonesome-sounding keyboard, and “What Will My Marry Say” and “I’ll
Take You Downtowne” contain bits of pop you might find on an Elephant 6 record.
The acoustic driven “At The Party” reminds me of...well...when the indie pop
bands stopped rocking to pluck out something on a comfy couch.
Although is textbook, it’s damn enjoyable listen. I’d say it’s...oh...99% fun.--Mark Hughson
What can I say? I really enjoyed
it! I immediately started bobbing my head and didn’t stop until I had to get up
to get another cup of coffee. With poignant lyrics, retro-esque progressions,
and a healthy dose of lo-fidelity you have definitely crafted an infectious
brand of indie-pop. This is the type of music that could definitely cause a big
stir on the college radio airwaves and, in turn; earn you some well-deserved
“Between Sheets and Walls”
subscribes to traditional pop songwriting values while subverting itself with
clever lyrical content in a fashion similar to the songwriting of Difford and
Tilbrook. Take the delightfully sentimental “Sad Tuesday” for example (Which
happens to be my favorite track off the CD). This animated little shanty
freewheels via a melodic soundscape adorned with placating harmonies – the type
of song that comes off modest until you find yourself humming it all over town.
Another noticeable track off of the album (though, they are all outstanding)
would have to be “Wire”. The euphonious, bass-driven melody rocks out while
maintaining a buoyant vintage-pop sensibility reminiscent to that of Superdrag.
All in all, we here at Shut Eye dig your style. – Ryan Hoffer A&R, Shut Eye
aquí ante el clásico tipo de disco del que nunca hablarás bien delante de tus
amigos ni tampoco lo pondrás
tu habitación en, digamos, ocasiones especiales, pero que un buen día lo
rescatas entre la colección y te quedas
pancho escuchándolo. No aportan nada nuevo ni pasaran a la historia, pero a
quien diablos le importa esto cuando
se encuentra ante un puñado de buenas canciones.
Un disco absolutamente inofensivo, sencillo y deseoso de dejarse escuchar, con
pequeñas gemas anónimas del clásico
americano. Dentro de unos meses quizás tengan una nueva oportunidad en mi
estereo. - Adrian Garcia
spritzig, rock-poppig. Das ist das Album von DropZines. Gitarre, Bass und
Schlagzeug, das ganze umrandet
einer einschmeichelnden Stimme. Es sind in der Mehrzahl einfache Songs, im Stil
vieler Bands zu Beginn der neunziger
wie den Lemonheads oder The Beautiful South, wenngleich die Gitarre in einigen
Songs, so z.B. "Endless Driveway"
dominiert als bei den genannten Bands.
Die Texte handeln von der Skurrilität des Lebens. Nicht zu wissen, wohin das
Ganze führen soll. Die Unsicherheit und Ängste
der Liebe. Glücklicherweise haben sie keine schmachtende Ballade fabriziert,
sondern bleiben bei ihren Rocksongs. Mein absoluter Favorit ist
"Wire", ein flockig-rockiger Song mit einem einnehmenden Refrain, aber
auch "Creature Comfort" ist durchweg gelungen. Es sind nette Mitsing-Songs
... Naja, und seinen wir mal ganz ehrlich: Auf die letzten zwei Songs hätten
auch verzichten können. Wie meine Mutter immer meinte: Viel hilft nicht immer
viel! - ks
The DropZine are apparently "A
COLLECTION OF CIRCA 1930'S PERIODICALS DEDICATED TO ESSAYS ON NATIONAL
DEPRESSION AND MASS EXHAUSTION". The DropZines, the band, are a
Pennsylvanian trio, who play Indie-Pop. They consist of
singer/songwriter/guitarist Shawn Stabley, bassist Tony Romanell (although
Michael Brenneman was the bassist on the album) and the vocal harmonies
& percussion of Jason Kline.
"Sad Tuesday" is typical of what is on offer here. Jangly and
buzzing guitars are combined with 60s style vocal harmonies and song
structures. Shawn has a 'forlorn' edge to his vocals which fits in with the
general sense melancholy that prevades these surprisingly 'bouncy' songs.
There a a lot of contradictions in what I've just written and the band do fuse
a few different styles making them difficult to put a tag on. Anyway putting
the detailed descriptive labelling to one side, "Sad Tuesday" is a
pleasant sounding indie-pop track. The same can be said for virtually all of
tracks on the album. The most interesting tracks for me were the ones where
they play around little and deviate from that formula. "Wire" adds a
more prominent bassline making it standout. "At The Party" slows
things down and adopts a more rootsy style that kind of reminds me of The
Jayhawks. "I'll Take You Downtowne" is like a mixture of The Cars
and possibly chilled out Ramones.
at the end of the album we're left with a somewhat brief & pleasant album.
This is in keeping with what seems like a preference for 'slices of pop'
rather than grandiose anthems. Maybe it is because I tend to listen more to
rock music than pop music, but I found this a little too 'safe' to really grab
my attention. -Nigel Wilson
If there's one band format I'd like to declare
really and truly dead (with the understanding that it would come back better
than ever in thirty years or so), it would be the basic guitar/bass/drums trio
-- what I've termed "The Bare Minimum". A three-piece isn't even minimalist
any more -- it just sort of is.
On the other hand, every time the rock trio
concept seems to be exhausted, a cool new band comes around to briefly revive
it, as The Dropzines do here. As Between Sheets and Walls soundly
demonstrates, good ideas never die. We only allow ourselves to become jaded as
listeners. Simplistic pop-rock be fun again. The
bridge/chorus/bridge/chorus/bridge structure never deserved to be spurned! The
pervasive sense of familiarity, of comfort, of having been there and done
that, is not alien to The Dropzines; they make it their own, crafting music
that'll make you nostalgic for the first time you heard it, even as you listen
to it for the first time! The simple joy of singer Shawn Stabley's gruff but
highly melodic performance should not be underestimated, and The Dropzines'
smart, hooky lyrics and vocal melodies don't merely request singing along --
they seem to demand it!
Between Sheets and Walls will quickly
wear thin if it's overplayed, but it's not meant for hours of close scrutiny.
You'd be wise to hide it away in your record collection, bringing it out for a
fresh listen every time you feel yourself getting too jaded. Used sparingly,
it gives new life and vigor to everyone and everything it touches.- Mike
three-piece The Dropzines politely present us with ‘Between
Sheets and Walls’, a ten track offering of warm and ear-friendly
pop-rock. Moderate gratification is almost instantaneous, with opener ‘Sad
Tuesday’ laying some unobtrusive foundations for the rest of the
album to be carefully built upon. The finished product is a well-executed and
eminently safe excursion into well-chartered musical territories.
And this is wherein lies our problem. It is undeniable that ‘Between
Sheets…’ is pleasant to the ears, with well written songs. But
the end result is so clean, and so tame, that it does little to engage your
desensitised brain for any length of time. Indeed, the most memorable moments on
the album are those which wander from the beaten and tired path and dare to
diversify a little. ‘Wire’
exploits a wicked little bass line (in fact, bass services are sterling
throughout) to deliver it’s catchy melody, ‘Creature
Comfort’ adopts a synth to an almost haunting degree, whilst ‘At
the Party’ captures a melancholy ambience very effectively to
partner the lyrical imagery. And finally, lo and behold, ‘Endless
Driveway’ smacks us with the impact we have been craving, with its
tougher rock edge, in contrast to its more affable predecessors.
On balance, it is very unlikely that you will find much here to actively
dislike; The Dropzines play competent, breezy, and enjoyable pop rock. But to my
ears there is currently nothing here to separate the Pennsylvania trio from the
50,000 other rock bands out there vying to inhabit the all important grey matter
between your lug ‘oles.
Sheets and Walls- indie pop 3-piece from
Pennsylvania w/ a
knack for great 60's harmonies over ballads of
angst, loss, &
indifference. Clean & pretty on the outside, solid &
full on the inside.
Check the Brit psych playfulness of "At the
Party" and you're
hooked - Bomp
record...Downtowne is great w/o words...and Endless Driveway of course brings
back some memories! - James
Sheets and Walls" (Dropzines CD)
Radio friendly pop emo. I bet they throw
like a girl.