Dropzines :.Reviews:.

You 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! – Gary Weeks (Film Producer of “29 Reasons To Run”)

re Churning out some pretty Cool Power Pop The Fevered Brain of
RadioMike 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 Party".
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 Pennsylvania 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 C. Lindell

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 Driveway.'

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 Buffalo Tom.

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

I 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

Though they 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 impressive band.

Quote: "Move over as the Dropzines take their rightful place on the throne of captivatingly grungy pop-rock."

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

I 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 attention.

“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 Records, Inc.

Estamos aquí ante el clásico tipo de disco del que nunca hablarás bien delante de tus amigos ni tampoco lo pondrás

en tu habitación en, digamos, ocasiones especiales, pero que un buen día lo rescatas entre la colección y te quedas

tan pancho escuchándolo. No aportan nada nuevo ni pasaran a la historia, pero a quien diablos le importa esto cuando

uno se encuentra ante un puñado de buenas canciones.

Un disco absolutamente inofensivo, sencillo y deseoso de dejarse escuchar, con pequeñas gemas anónimas del clásico

pop-rock americano. Dentro de unos meses quizás tengan una nueva oportunidad en mi estereo. - Adrian Garcia

Erfrischend, spritzig, rock-poppig. Das ist das Album von DropZines. Gitarre, Bass und Schlagzeug, das ganze umrandet

von einer einschmeichelnden Stimme. Es sind in der Mehrzahl einfache Songs, im Stil vieler Bands zu Beginn der neunziger

Jahre wie den Lemonheads oder The Beautiful South, wenngleich die Gitarre in einigen Songs, so z.B. "Endless Driveway"

mehr 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

in 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

wir 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.

Opener "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.

So 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

Pennsylvania 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.

Love the record...Downtowne is great w/o words...and Endless Driveway of course brings back some memories! - James

DROPZINES "Between Sheets and Walls" (Dropzines CD) Radio friendly pop emo. I bet they throw like a girl.