Sacramento's Frenchmen debut on Shelflife with "Powdered Blue," a 4 song 7-inch, ready to captivate c86 pop punk lovers everywhere.
The Frenchmen have embraced their indie pop and punk roots (as well as their striped shirts) and created an energetic mass of melody. They are an unstable compromise between big rock and twee pop. They are a catchy tune ready to break down the door.
Mike Slumberland once said they sounded like "Sacramento's answer to the Fat Tulips!" One recent show goer said they sounded like, "a really loud mess, with too many rat pedals." They are equally flattered by both descriptions.
Praise for The Frenchmen:
"It is a sign of the recovery of indie-pop (intriguingly, a revival still ably assisted courtesy of labels in the united states of) that the frenchmen 's new 7" is firmly redolent of their labelmates free loan investments , rather than purely recalling - as it indubitably does - janglers from that heady year 1987. nothing to do with arch london popsters the free french or post- hefner vehicle the french , the frenchmen hail from sacramento and even share personnel with the crabsticks , who recently contributed 40 seconds or so of joy to this compilation on another of those marvellous american labels. while "hey amelia" and the even better "unlucky day" allow guitars to skitter violently and deliciously around dropdead cute female vocals (in the light of the former's title rather inevitably recalling talulah gosh and the fat tulips as well as the rather debonair delightful little nothings ) and are therefore of intrinsic worth to all but the clinically insane, it's the title track that powers along most convincingly, not only reprising those more traditional anorak influences (more "ba-ba-ba's" in the area, bien sûr ) but with its nicely out-of-tune male vocal there are also shades of the edsel auctioneer 's patented mix of yearning and dischord, and in the feverish strumming almost a soupçon of, yes, early wedding present (nb can we just point out here that much as we like cinerama , especially live, anyone who thinks that their songs are better than the stuff the weddoes were putting out on reception records back in the day has gotta be several bricks short of the full hod).
"... oh you're such a charmer / but the sun has burned a hole in your armour / and all of your friends can see right through"
and yes, like the free loan investments' ep , these songs are full-on pop gems, blissfully simple in concept and execution. it's like when you used to give up trying to wrestle the sherbet from the sherbet fountain with that irritating bit of licorice, and just decided to pour the stuff down your throat. or sucking cola cubes til all the sugar came off. that kinda rush. only the last track "nar vs the ramones" seems not to travel anywhere, gingerly working up to a chorus that never arrives, but this ep makes a blissful day's sailing all the same." - In Love With These Times In Spite Of These Times Even een spoedcursusje indiepop: als een indiepopband een nummer schrijft over ene Amelia, tien tegen één dat dat het gaat over Amelia Fletcher (o.a. Heavenly ,Talulah Gosh ). Grote kans ook dat de band haar bewondering voor de koningin van de tweepop ook muzikaal niet onder stoelen of banken zal steken en ook gewoon klinkt als een van haar bandjes. Zo ook The Frenchmen die hier met een 7" op Shelflife debuteren: Hey Amelia en de drie andere nummers klinken met hun korte, lieve indiepoppunk erg als Talulah Gosh . En een heel belangrijke les in deze cursus: dat is al-tijd leuk! - Martijn Grooten (Think Small) Compilano un bel bigino C86 i Frenchmen da Sacramento, nati come cover band dei Talulah Gosh. Il loro sound odierno appare in verità più debitore verso il fuzz-pop dolceamaro di Rosehips e Flatmates, dei quali si dice propongano una fedelissima cover di "Tell me why". In questo sette pollici d'esordio per Shelflife allineano quattro pezzi acerbi e vivaci, che trascinano piacevolmente indietro nel tempo mentre graffiano appena le guance. Voci sbilenche e chitarre Ramonesiane suonate con la tecnica approssimativa imposta dal genere fanno tanta allegria, specialmente in "Hey Amelia", che paga il dazio dovuto a Miss Fletcher. Ci sarà tempo per crescere. - Salvatore (Indiepop.it)