Superdrag hit their stride quickly with the catchy single "Sucked Out" from their pleasant first album. The video had a slight impact on the MTV Buzz Bin and the band made a name for themselves with high energy live shows. Their record label and the public at large unfortunately ignored their sophomore album, the fantastic "Head Trip In Every Key." For their third release, In The Valley of Dying Stars, the band managed to break its contract with Elektra and release the tracks they recorded for the label on the small-time outfit Arena Rock Records. The title sets the tone for the whole CD, as songwriter John Davis explores his role as a "never has been" rock star with a set of fuzzy and insanely catchy power pop songs. Superdrag had been recording this style of rock since their debut, but here the band finally managed to maintain their focus throughout an entire album. Davis' lyrics express his frustration and his determination to create music on his own terms. The result is an exhilarating album, full of raw emotion and blissful, melodic power pop. Every song on this CD is a keeper, with highlights including the straight pop of "Baby's Waiting," the guarded persistence of "Keep It Close To Me" and "Lighting The Way" and the optimistic "True Believer." This is one of the finest records of its kind and will hopefully garner the respect it deserves in years to come.

It was hard to choose between this fantastic CD or the band's 1997 disc "In The Strange Underworld of the Tall Poppies." Both albums feature the Pearlfisher's brand of lush pop with bright melodies and endearing lyrics. Principle songwriter David Scott draws his musical influences from '65 and '66 era Beatles and Beach Boys records without sounding derivative. His lyrics maintain certain boyish charm that are lightweight, but not trite. The production, vocal work and instrumentation on these records are impeccable. The band experiments with various textures, styles and instruments while maintaining a clean sound that's never cluttered. The Pearlfisher's first album emphasizes jangling guitars and harmonies, epitomized by amazing opening track "Even On A Sunday Afternoon." The second album expands this sound to include more keyboards and a few tastefully placed vintage synths. "You Justify My Life" sounds like a classic Wings song with a Linda McCartneyesque moog solo. These beautiful albums continue a pop tradition the Beatles pioneered in the 60s.

Although they have a huge following in their native land of Canada, Sloan has garnered only modest popularity on college and indie radio in the United States. It's a shame that they continue to go unnoticed because they have been recording excellent indie rock and pop for over 10 years. However, the acknowlegement of their indie status in much of the world outside of Canada also helps them to add somet