Velveteen Rabbit


As the genre has been consumed and reconstituted over the years, it’s hard to find a take on glam-streaked power pop that doesn’t feel a bit worn through, a pale imitation of the original. However, when a band is able to rise through the veil and embody the spirit of swagger in just the right way it becomes a bit transcendental. Velveteen Rabbit are just such a band. Comprised of ex-members of The Jeanies, the band nails the fey n’ fragile, heartbroken yet hipswung vision of pop that Milk n’ Cookies, Hubble Bubble, Brett Smiley, Advertising, The Shivvers, The Records, and The Quick were all able to make into a beloved underground beacon for piners and frustrated teens throughout generations. The thing is, those songs weren’t just about pent up hormones. I mean, they were, but there was so much more seeping into the ether around the genre. If that were the only engine driving the wheels here, they’d have fallen off years ago. There’s a special spark that flickers into motion when the line between pop and punk is perfectly sliced.

Velveteen Rabbit are constantly walking that line like a tightrope and it’s impressive how many perfect nuggets they’ve packed into their debut for HoZac. They hit the ecstatic highs of the aforementioned collector’s bin burners then throw in some early shades of The Time, bringing Dez Dickerson’s “After Hi-School” to mind and infecting their sound with a silver-slung funk at times. But the band knows how to bring it down too, and that gives this record a fuller dimension. “Guitar” strokes at the wounded Chris Bell territory that gave power pop it’s heart, solitary and solemn, but just as aching as any of the rest. Similarly, “Better Than Ever” sidesteps power pop just a bit to sprinkle in some swooning R&B and white boy soul, but it pulls the strings tight between the Minneapolis slink and the Midwest jangle n’ crunch.

There’s always going to be the cloud of derivation hanging over something like this, and yeah it points to a dozen dots on the map and snags those vibes with a gleeful grab, but the way the band hangs it all together makes the their eponymous LP a true gem. For all the references they conjure, they never sound outright like they’re biting a song. They slip into the satin soul of the ’78-’82 sound and make it their own. Overabundance of riches in 2019 makes me worry this one’s gonna slip through the cracks, but I say sleep on this and you’ll be losing out.

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