Jake and Jamin Orrall specialize in fuzzy West Coast rock that plays best in a party atmosphere (or on Tony Hawk’s Pro Skater 2). There is a vintage feel to the brothers’ guitar-and-drums lineup, forcing an emphasis on quality songwriting and stage presence; superfluous bells and whistles are not present to mask the occasional misstep. Fortunately for the Orral’s, their new album We Are the Champions has nothing to hide. It is a wonderfully refreshing throwback to early ‘90s power-pop and garage-rock. Their style possesses the same power-pop/surf-rock blend of Weezer up front, but often with a more aggressive take on variants of punk and noise-rock that bring influences like Sonic Youth, Jay Reatard, and Pavement into play. The most ambitious the duo get with production is via a guitar pedal or keyboard addition, which is a type of forgotten minimalism that aligns beautifully with their powerful songwriting and ready knack for hooks.

The brothers formed their project, Jeff the Brotherhood, when Jamin was in middle school and Jake was a sophomore in high school. They financed their first CD-R off early band profits, gathering enough money back home in Tennessee from $5-per-bootleg efforts to fund the effort. The boys’ father saw potential and brought some of his business savvy to the table at that point, though one can wonder how he felt when both his sons dropped out of college to pursue music full-time. Based on their recent hype and album (which is their best), he is probably more proud than pissed. After all, they play hundreds of shows per year and have aspirations of touring Japan, so it’s not like they’re slacking off. Jeff the Brotherhood are simply the epitome of quality DIY rock, representative of those whose genuine passion for music helps fuel an anti-label, do-it-yourself attitude. There are so many acts that slap on the DIY tag, yet embrace the first chance of corporate sponsorship that comes that way. It would be nice if more acts like Jeff the Brotherhood existed; they just want to get their music heard, and seem to care less about “the man”.

Sibling rivalries are unavoidable when on the road (which is why the duo always bring a mediator on tour), but there is certainly no doubting their chemistry when in the studio. “Endless Fire” is a gorgeous semi-ballad that would have fit seamlessly on Weezer’s classic Pinkerton. It is a frail and gentle effort compared to other tracks on the frenetic We Are the Champions, but its placement smack-dab in the middle of it provides a seamless breather between the post-rock intricacies of “Diamond Way” and bluesy guitar howls of “Ripper”. “Is it too late to think it isn’t over?” both brothers croon on “Endless Fire”, one reminiscent of a nasally Rivers Cuomo and the other higher in pitch – almost like a Steve Bays or Brad Nowell. The outro enveloping the final minute places a scraggly guitar solo over an airy organ, both of which fade out in a distorted whimper. It is one of the album’s most melodic efforts, even if the initial verse is too short. Conciseness is clearly something Jeff the Brotherhood value though, as not one song on We Are the Champions overstays its welcome.

Two standouts in particular, “Cool Out” and “Bummer”, are bound to give the duo some heavy notice. The latter brings back the Weezer feel, but now more aligned with the fuzzy punk influences of their debuting Blue album. “I can’t see through this dream,” is the line marking a chorus with an incredible build-up, with distorted guitar tremolos and increasingly furious percussion. “Cool Out” is just as great (especially the breathtaking final minute), albeit more in line with lo-fi revivalists like Wavves. Even better, “Shredder” is a no-frills take on old-school DIY punk that imaginatively adds a droning chiptune-like synth, while “Health and Strength” is a fascinating semi-acoustic effort with sitar and string samples that make it inarguably the most psychedelic-leaning effort on We Are the Champions. There are even some Celtic folk progressions hidden below the acoustic flaps, almost giving it a “The Battle of Evermore” sort of feel. It is a definite success, just like many of the efforts on We Are the Champions. This is the album that should put these talented brothers on the map.

RIYL: Weezer, Jay Reatard, Sonic Youth, Pavement, Sublime, Wavves, Ex-Models, Hagfish, Screaming Females, Turbo Fruits, Cheap Time, Jacuzzi Boys

Jeff the Brotherhood – Endless Fire

Jeff the Brotherhood – Health and Strength

Jeff the Brotherhood – Cool Out

Blog / MySpace / BUY

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Now 21 years old, David Pollack’s music continues to evolve. Often an age like this marks the beginning of an aspiring music career, but this NYC-based singer/songwriter has been at it for years already. I featured Pollack nearly four years ago when he was 18 and fronting a band called Play. Even at that point, the reception for his material was glowing. Tracks like “Rainbow Schemes” and “Get a Hold of You” garnered a very positive response in this site’s comments section alone, drawing comparisons to Weezer, Ozma, and other hook-filled alt-rock acts of the ‘90s and early ‘00s. Play disbanded in 2008 when Pollack went to college at the University of Vermont, but he continued writing songs. He joined the jazz vocal ensemble and an A-capella group, honing his already-amiable voice and keeping musically active. His native NYC kept calling though. He moved back last summer as a result, reuniting himself with a city and friends close to his comfort zone. This return to normalcy resulted in his first official release since 2006’s Play EP.

Pollack’s new EP, Out the Other Side, is the first under his name. It makes sense too; the songs are emotional and thought-provoking in a very personable format. Lo-fi songs that that “indicate the dark side of depression” place more emphasis on lyrics than his past material. Whereas Pollack’s past efforts would be very melodically inclined with somewhat forgettable lyrics, his evolution as an artist is occurring simultaneously with his maturity as an individual. Even though he never had issues turning emotions into melodies, it is now apparent that Pollack is also able to transpose his emotions into words without the slightest touch of melodramatic desperation. Not surprisingly, the musical accompaniments follow suit and make for his richest material to date. His melodic chops remain the same – strong. And his lyrical wits and structural tendencies have improved, resulting in an even more promising outlook for his musical future than when he was 18. Rarely does an artist’s potential increase with age, but Pollack appears to be an exception.

As he grows as an artist through his solo material, his talents continue to spread to other projects as well. In addition to his solo work, Pollack has spent most of his time recently with his new band, Bridges. He and friend Steele Kratt formed the five-piece last year, playing a natural progression of Pollack’s interest in ’90s alternative. It is more in the infectious vein of Play than his emotive folk as a solo artist. The difference simply shows off his diversity as a songwriter. Bridges’ new EP will be released shortly, but in the meantime one of its tracks – “Again and Again” – gives us a nice taste of what to expect. This time around, bands like The Wrens, Teenage Fanclub, and Guided by Voices are more apt comparisons than Weezer, even if emphasis on power-pop and some punk is still there. As far as more recent comparisons go, the soaring guitar work of British Sea Power is not too far off from their sound. In “Again and Again”, the suitable amount of distorted rhythm guitars and its lead twang-y counterpart mixing infectiously over Steele Kratt’s succinctly tight drumming. “I wake up from my slumber,” Pollack kicks it off with subdued restraint, before yelping “clock tells me it’s a quarter-to-three!” The chorus is just as impulsively excitable, capped off by several band members shouting “again and again and again!” It is a damn catchy track that should make any alt-rock fan excited for Bridges’ upcoming release.

“Again and Again” is infectiously distorted enough to prevent Pollack’s lyrical sentiments about daily monotony to dominate the track. His solo material, on the other hand, emphasizes wordplay and emotion with prominence. “The Right Night” is one of the finest examples of Pollack’s development as both a songwriter and lyricist. Touched with the delicate touch of horns (via Harry Hipwell), it utilizes the brass with grand proficiency. So many artists, especially young ones, tend to over-use an instrument simply for its novelty. Pollack, though, clearly knows how to write for a specific instrument; it is particularly useful in a genre like this. There are moments where Elliott Smith, DeVotchKa, and Smog might come to mind as influences, but “The Right Night” is clearly an individualistic piece. “It only happens when the stars collide, that’s what happens when you feel high,” he sings over a beautifully arranged acoustic melody. “That’s when you found your happy place.” The depth on Out the Other Side exceeds Pollack’s previous work – which was impressive in its own right – in the seamless accommodation of his stirring arrangements and the genuinely expressive pathos it accompanies. The expansive “Why Not Now?” blends lovable lo-fi alt-rock with bluesy stream-of-consciousness sentiments, producing a result just as successful but with added vigor and intricacy. Especially based on his recent material with Bridges and as a solo artist, David Pollack’s future continues to look bright.

David Pollack and his band Bridges will be playing tonight, 9PM, at Sullivan Hall.

RIYL: Weezer, Ozma, Built to Spill, British Sea Power, Teenage Fanclub, The Wrens, Guided by Voices, Archers of Loaf, Sublime, The Kinks, Sebadoh, The Strokes, Paul Simon, Pavement

Bridges – Again and Again

David Pollack – The Right Night

David Pollack – Why Not Now?

David Pollack – Official Site / Bridges’ MySpace / BUY

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