Our first compilation album Shake Yer Popboomerang showcased the

impressive talent on the Australian pop scene. It was so much fun to

compile, that we decided to put together another set of songs. Only this time around, we have invited artists from all around the world to contribute.

As, with "Shake Yer Popboomerang", all the songs featured on this album are exclusive, unreleased or very hard to find. Most were specifically recorded for the project.

So! Pack your bags; the trip is about to begin!

Our first stop is Australia where powerpop supergroup The Finkers launch into their festive anthem Santa Comes in Stripes. Gippsland's favourite son Danny McDonald contributes the homespun urban tale, A Bitter End To A Sweet Weekend Away. New Sydney band The Richies appear here with cheeky nod to the great Teenage Fanclub, Fanclubesque. Prolific Sydney pop muso and producer Michael Carpenter delivers the rollicking Rolling Ball, which features backing vocals from Zac & Kate from the now defunct Melbourne pop band Sarah Sarah. Finally, from the vaults we unearth Fireplace, an unreleased jangle pop gem from pop god Dom Mariani (Stems, Someloves, DM3).

Following in the tradition of "Shake Yer Popboomerang", we have trans Atlantic pop productions. Australian singer songwriter CC Hua teams with Norway's Kenneth Ishak (Beezwax) on the tender S.A.W. and Perth expat Joe Algeri (Jack & The Beanstalk) joins Swede Magnus Karlsson (Happydeadman) on the fable Stories Remain Untold.

Leaving Australia we head for the USA to unearth a host of emerging American pop acts. Bands such as Pipitone, Lolas, Ed James, Florapop, and Jeremy are ready & waiting to be discovered by the masses. Perhaps the best-known USA band here would be Brooklyn act Champale who's sprawling line-up has featured members of Luna, Clem Snide, Nada Surf and Sparklehorse. Champale contribute a haunting acoustic version of their song Motel California which features harmonies from Sid Hillman (nephew of Chris from The Byrds),

The next stop on our adventure is the United Kingdom where we find Kelly's Heels who serve up the Beatlesque She (Still) Doesn't Know It's Wrong and The Samurai Seven who poke their tongue out at Australian soapie TV culture on Flamin Blake Hell.

Next up we jet set to Japan where the cream of the Japanese pop crop The Oranges, Sunbeams, Salt Water Taffy & Movin Jelly contribute new and exclusive pop gems. Salt Water Taffy contribute their unique take on the 80's rock anthem Quiet Riot's Were Not Going To Take It.

Our orbit around the world is far from over! In France we unearth the cute and catchy Sweet Apple Pie and their sing-along She Whistles In The Tube. In Finland we have 80's inspired rockers Ben's Diapers and punk-pop of The Sugarrush. Down in Spain we discover the Redd Kross/Jellyfish inspired Bondage. Possibly the most exciting find comes all the way from Israel with Shy Nobleman who donates his quirky love song Spring B# (Stevie Winwood). Finally, on our way home we swing past New Zealand for a send off from the crunchy melodic sounds of Vocoder.

There is a stratosphere of rare rock and pop selections on offer from around the globe on "Planet Of The Popboomerang." So, strap yourself in, sit back and enjoy the ride.

Tracklisting:
1. Lolas: Don't Change A Thing (USA)
2. Kelly's Heels: She (Still) Doesn't Know It's Wrong (England)
3. The Finkers: Santa Come In Stripes (Australia)
4. Sugarrush: Bootycall (Finland)
5. Shy Nobleman: Spring B# (Stevie Winwood) (Israel)
6. Champale: Motel California (acoustic version) (USA)
7. Vocoder: The Turnaround (New Zealand)
8. Pipitone: Anything I Want To Say (USA)
9. Sweet Apple Pie: She Whistles In The Tube (original version) (France)
10. Florapop: Come To Me (USA)
11. Bondage: Hollywood Is Babyfood (Spain)
12. The Samurai Seven: Flaming Hell Blake (alternative version) (UK)
13. Moving Jelly - Rock'n Roll Girl High School (Japan)
14. Go You Huskies: S.A.W (Australia/Norway)
15. The Oranges: All Day All Night (English Version) (Japan)
16. Michael Carpenter: Rolling Ball (Australia)
17. Ed James: You And Whose Army (USA)
18. The Richies: Fanclubesque (Australia)
19. Ben's Diapers: Punk Girl (Finland)
20. Dom Mariani: Fireplace (Australia)
21. Danny McDonald: A Bitter End To A Sweet Weekend Away (Australia)
22. The Sunbeams: Game (Japan)
23. Jeremy: This Is War! (USA)
24. Joe Algeri & Magnus Karlsson: Stories Remain Untold (Australia/Sweden)
25. salt water taffy: We're Not Gonna Take It (Japan)

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Various Artists
Shake Yer Popboomerang
Popboomerang PB007

Pop music is a universal language. You can travel virually anywhere in the world and meet a band singing odes to the likes of The Beatles, The Byrds, The Beach Boys & Badfinger. And that brings us to Planet Of The Popboomerang, a twenty five track compilation album starring melodic missionaries from just about every single corner of the globe. The majority of folks on this discs are key players in the movement, so it goes without saying that quality is guaranteed.

Contributions from Japan include The Oranges’ “All Day All Night”, Movin’ Jelly’s “Rock n’ Roll High School Girl” and Salt Water Taffy’s saucy cover of Twisted Sister’s “ We’re Not Going To Take It” From Spain, Bondage’s “Hollywood Is Babyfood” witnesses to be a real keeper, and over in France, Sweet Apple Pie articulates the story of a rather strange women in “She Whistles In The Tube”. A Los Angels band Champale yields some nice acoustic aromas on “Motel California” and Jeremy from Partage, Michigan, as usual has his mojo working on the emotionally charged “This Is War”. In Birmingham, Alabama, top of the line sounds are heard on “Don’t Change A Thing” from the Lolas.
Straight forward guitar pop comes to us in spades from Australia, courtesy of godly figures such as Michael Carpenter, The Finkers, The Richies & Dom Mariani.

Electrifying performances, amplified by sharp songwriting makes Planet Of The Popboomerang a true blue pleasure.

Beverly Patterson (Rock Beat – Issue 25 – Sumemr 2004)

Where would we be without another power pop compilation? And it's some kind of unwritten law that a guy named Jeremy should be on all of them? Okay, here's the form: worldwide roster of artists; some names you'll know, most you won't; 25 tracks; all worthy, so far superior to others. The Lolas start things off in fine style, but then it's the Kelly's Heels track "She (Still) Doesn't Know It's Wrong" which is so perfect – a rip roaring Lennon-styled screamer it makes it impossible for any of the other songs to compete. Though coming close are Shy Nobleman with the amusing "Spring B# (Stevie Winwood)", the Wondermints like Bondage, Japan's Oranges with, incredibly the first song they've song in English, and Champale's fragile "Motel California"

If you don't think you can stand another rollercoaster ride of styles and quality, buy the CD for the perfect 1 min 59 sec Kelly's Heels song alone, and pretend it's a single.

Clint Thigh
Bucketful Of Brains Issue 66

This shimmering Australian label knows what makes glorious pop, er, glorious. The home to such acts as the Richies and the Windmills, this label issued Shake Yer Popboomerang a couple of years ago to showcase just what Down Under had to offer. Now, with the musical telescopes searching outside of their homeland, Popboomerang has returned with this collection of 25 songs from home and abroad. While there are few that people outside of critics may have heard of, it doesn't mean that the album is unbelievably infectious and inviting. And unlike compilations that are basically an hour's worth of contemporary radio, all of the songs here are exclusive to the record.

The Lolas open the record up with a sweet pop song entitled "Don't Change a Thing", which brings early Kinks, early Petty, or Sloan circa Twice Removed to mind immediately. It's the type of song to get a couple of limbs moving or having you air drumming alone in your office cubicle. A great tune to get things going that's for sure! "She (Still) Doesn't Know It's Wrong" from Kelly's Heels is '60s-era Britpop that falls in line with Herman's Hermits or the Hollies. Like most of the songs here, it's a two to three-minute gem. "Santa Come in Stripes" is from Australia's the Finkers and doesn't really do much for the listener, somewhat gliding along without dropping the ball. The sleigh bells tend to drag on too long though.

Next up is Finland, where "Bootycall" has the same lovable pop rock flavor courtesy of Sugarrush. The bass line sets the song in motion and the jangle keeps things flowing effortlessly. But, like most of these songs, savor each section because it ends quickly. What is possibly the first iffy tune is Israel's "Shy Nobleman (Stevie Winwood)", a cute little ditty that has a stop and start nature that creates next to no momentum. An acoustic version of "Motel California" from Champale takes things down a notch but still has that Matthew Sweet/Thorns sound oozing through it. Vocoder, a band from New Zealand, takes things to a near rave-up pace with the Costello and the Attractions-sounding "The Turnaround". Brimming with keys and frantic guitar riffs, it's a definite highlight, which is saying a lot thus far.
A lot of these songs fall in the same category sound-wise, so it should be generally black and white whether the album takes you in or not. If it does, however, it is fantastic thus far. Continuing with the United Nations approach of rock albums, France's Sweet Apple Pie perform a pretty chick-led "She Whistles in the Tube". The first true clunker though is a slower campfire tune by Florapop called "Come to Me". "Now is the time for letting go / To plant the seed and let it grow", the opening couplet says, kicking my gag reflex into high gear. Fortunately "Hollywood is Babyfood", performed by Spain's Bondage, is a great orchestrated tune that is a third Oasis, a third the Verve, and a third Ocean Colour Scene. Japan's Movin' Jelly do "Rock 'n' Roll Girl High School" with more keyboards and tight pop melodies. The sleeper pick of the record is a brilliant moody alt. rocker from Go You Huskies called "S.A.W.".

Not to short change the other artists on this record, but the second half of the record seems just as qualitative as the first side. Notable is the Crowded House-ish "Rolling Ball" by Michael Carpenter. The gritty garage pop sound emanating from the Richies on "Fanclubesque" is also outstanding. Things start to loosen up a bit, especially on the rambling country rock of "Punk Girl" from Finland's Ben's Diapers. After a terribly sweet bubble gum pop tune from one of the best in the business (Jeremy's "This is War!"), the album ends with a cover of Twisted Sister's "We're Not Going to Take It" from Japan's Salt Water Taffy. This is a terribly addictive record!

Jason MacNeil www.popmatters.com

Syrupy and darling run the tracks on this pop recording from many spots on the map including Finland, Japan, Sweden and our own home sweet home. The retro astronaut cover art indicates some yesteryear influence, and the simple tunes often reflect the trouble-free songs of eras past.

From the opener by USA’s Lolas you can tell that this compilation is really cute. It’s easy to imagine The Sugarrush singing with Bambi eyes and pouty lip when they ask “shake your booty for me tonight” all innocent and boyish. A catchy trumpet toots brightly in Shy Nobleman’s song Spring B#. This Israeli Tom Jones has a bit of a Kinks kick to him, and it’s marvellous to listen to. Vocoder have endearing wavering vocals and girlish wooing by the back up singers. The jacket sleeve tells you the stories of each song according to each band, and these New Zealand lads show off their wonky humour. It’s pretty charming. Anything I Want to Say by Pipitone is a pretty dumb kinda song and yet I often find myself quoting their line ‘I’ve got baggage’ all whiney and impatient like. Oh this catchy stuff, it’s all too catchy! Speaking of which, the brilliant ditty She Whistles in the Tube by French outfit Sweet Apple Pie with its clambering bass licks and sweet spirally chorus make this the stand out pick of the pop. Bondage give us Spanish Britpop about Hollywood, while Britain’s Samurai Seven discuss Australian telly soaps, including Alf’s love interests.

A Melbourne/ Oslo internet collaboration by Go You Huskies, produces a pretty and melancholy tune you could imagine sweeping down those phone lines. The Oranges’ cute Engrish version of their Japanese song All Day All Night will get you giggling as you groove. Listening from a distance I found the words to The Richie’s Fanclubesque (yes, it’s an homage to Teenage Fanclub) to be quite pertinent, ‘ I don’t know where the truth’s gone’ but as it fades out and in again I discover it’s ‘where the tunes go’. Aha! Cute Aussiness either way. There’s an appealing Danny McDonald travel song on there, and a few slow ones just to mix things up even more. Other notable – and rare, most importantly, rare – insulin injections are provided by the dictionary definition of power pop, Dom Mariani, and folk like Movin Jelly, Ben’s Daiper’s, The Finkers, Florapop, Bondage and Michael Carpenter.

Well if you’re after some new and rare music then this is one Various Artist album that certainly lives up to its label. Pure pop perfection. Just don’t forget to brush your teeth afterwards!

Emily K Perkin Beat Magazine Melbourne

POPTASTIC!
If Dom Mariani is the godfather of Australian pop, there’s no doubt that Michael Carpenter sits at the same table. To say that Michael is “ubiquitous” is an understatement. He’s all over the new Popboomerang compilation, Planet Of The Popboomerang, including a wonderful new solo track, Rolling Ball (featuring Sarah Sarah alumni Kate Duncan and Zac Anthony on backing vocals), as well as drumming with The Richies on their contribution, Fanclubesque (written by Leo Mullins of The Welcome Mat). As the title suggests, Popboomerang Records have gone global with their second compilation, which follows last year’s all-Australian Shake Yer Popboomerang. The 25-track collection gathers acts from Australia (including Dom Mariani, Danny McDonald and The Finkers), the US, UK, Japan, France, Spain, Norway, Sweden, Finland and Israel. Several of the overseas contributions have Aussie connections, including the UK’s The Samurai Seven, who sing about soapies on Flaming Hell Blake: “Watch Home And Away, Neighbours twice a day … and Alf loves Ailsa.” We like the singer’s liner notes, too: “‘You’ve got to be yourself, you can’t be no-one else’, earnestly proclaim Oasis in Supersonic. Rubbish. The world is full of fakes, so why should you be any different just because pop music tells you to? Having said that, if you are not going to be yourself, then at least pretend to be someone with more to offer the world than the person you really are underneath.” Michael Carpenter is definitely the real pop deal. He says: “I love pop music and I’m an unapologetic pop artist. And there’s a great feeling when you bash away at the ringing open chords of a pop song.” Popboomerang Records have also unleashed The Richies’ fine album, Forever and Today.

Jeff Jenkins Inpress Magazine
http://www.bonemachine.net/howzat031119.html

A few years ago, there was a definite power pop boom, with oodles of terrific genre discs coming out. That supply has dwindled somewhat. No matter. Power pop is trend proof, which makes it hard for its practitioners to score on the charts, but also means that a good power pop record is not defined by its times. The virtues of good melodies married to ringing rock and roll are constantly appealing. One difference for power pop now is that there are dedicated labels who will make sure that talented artists are getting their wares out. Popboomerang may be new, but the label has already established its presence. This is the label's second compilation, and it sports an impressive collection of artists from around the globe. Even better, a fair amount of the material here is unreleased. Three songs alone make it worth having for the hardcore pop fan -- Japanese bubblegummers The Oranges doing an English language version of their Bay City Rollers-esque "All Day All Night", Michael Carpenter's terrific "Rolling Ball" (kinda in the Buddy Holly vein), and Lolas' "Don't Change a Thing", which is good enough for either of their albums. And there are plenty other swell tracks. Sweet Apple Pie is aptly named, as "She Whistles in the Tube" is jangly girl-pop that sounds good in demo form. Then there's salt water taffy's "We're Not Gonna Take It" – this Japanese band takes the Twisted Sister classic and gives it a Swedish power pop treatment, alternating sweetness with blasting guitar. Ed James is at his best on the propulsive "You and What Army". Fellow Yanks Champale do an acoustic take on their song "Motel California", and it is simply lovely – Gene should cover it.

Pop Boomerang artist The Richies do a song called "Fanclubesque" that lives up to its title. The Samurai Seven show the snotty side of pop on "Flaming Hell Blake", managing to fling a melody into the buzzsaw with it coming out intact. Finn band Sugarrush make an impression with "Bootycall", with distinctive vocals (like an accented, more nasal Phil Judd) with a wobbling melody and a yearning chorus asking pretty girls to "shake your booty for me" with an intensity that is incongruous with the lyric, yet perfect for it. There also are tracks from Dom Mariani, Shy Nobleman, Kelly's Heels, Ben's Diapers, Florapop, Jeremy, Danny McDonald and a whole lot more. Aces.

Mike Bennet www.fufkin.com

Scott Thurling's fledging Aussie label is going great guns at the moment with *Planet* being its second such compilation. With the added bonus of Jam artists like The Lolas, Ed James, Florapop and of course, Jeremy matched with the recognizable talents of Michael Carpenter, Ben's Diapers, Dom Mariani, Joe Algeri & Danny McDonald, this is a no-brainer purchase!
Kevin Matthews www.fufkin.com

It's no longer a crime to like pop. I don't mean the crap that passes for mainstream, major label FM radio fodder, but the stuff that's bubbling up from under the surface from bedroom studios and garages all around the world. This is the second compilation in less than a year for fast-blooming Melbourne label Popboomerang and where their first, "Shake Yer Popboomerang", drew on demos and outtakes from Australia's powerpop/pop identities (some well-known, some positively obscure), this one's an international affair.

Part of the charm of "Shake Yer Popboomerang" was the underdeveloped nature of much of the material; it was like thumbing through someone's sketchbook. "Planet" heavily leans on the finished product and consequently comes across as a stronger collection. Lots of variety here and some killer hooks. Some of the material ranges from mildly saccharine to a full-on sugar hit, but I'm betting there'll be enough substance among the salad to keep most anyone with a liking for guitars married to melody dipping in for more.

The opener, "Don't Change a Thing", is slightly scummy, hooky guitar pop - the sort of tune DM3 used to reel off six or seven times in the course of one album. Its perpetrators, Lolas, come from Alabama and if there are any more songs like this back home, they deserve to be huge. Israel's Shy Nobelmen resort to horns to sweeten their contribution, "Spring B# (Stevie Winwood)", which owes an obvious musical debt to the slightly twee/psych strain of English '60s pop.

"The Turnaround" is a tightly-wound pop song with enough quirkiness to stand it out from the pack. Tinny keyboards and a quaint "oooo-wooo-oooo" chorus propel it on its way. Its owner is a band called Vocoder who are from New Zealand, but ewe knew that (sorry). At the other end of the scale, it doesn't get much more languid than "Come to Me" by American one-man band Florapop (aka Mark Flora). This one's from a planned trib to Jeremy Morris (nah, new one on me, too).

Every pop album must have a Sgt Pepper's-influenced cut and "Hollywood is Babyfood" by Spanish band Bondage fills that bill. Can't argument with a lyrical sentiment like that, though. England's The Samurai Seven sound like a cynical mob and that's just fine when they slag off fakes with a song like "Flaming Hell Blake". Tight harmonies and some tasty guitar top a clever lyric. Who said small rustic pubs were Aylesbury's only asset? Jeremy is a Michigan solo artist who's anti-war/anti-bullying tune "This is War" is brash pop and pretty bracing.

Echoes of that '60s craze called "Group Sounds" cuts through "Rock'n Roll Girl High School" from Japan's bouncy Movin' Jelly, who feature the dinkiest keyboards in many a moon (or rising sun). With a name like Space Gu-Tara Man, their singer wins extra brownie points. Also from Japan are The Oranges and their "All Day All Night" is bouncy, infectious pop (even with the wheezy synth line). Great stuff. "Sunbeams" by Game is Nipponese buzzsaw pop with a sharp edge. Japan brings up the rear with the closing track by Salt Water Taffy, a cover of Twisted Sister's "We're Not Gonna Take It" that's clangy metal pop with cute chick vocals. Do you really want to be reminded of Twisted Sister? A curiousity.

Australia's well represented with Dom Mariani dusting off a demo from Someloves days ("Fireplace") that kills most of the material they released, for mine. Sydney's Finkers are one of the best Aussie pop outfits ever to straddle two cities (Melbourne and Sydney) and "Santa Came in Stripes" comes from the (slightly) slick side of their catalogue. Nice, if not their best moment, and a tune with obvious Xmas affectations. Consistently great Danny McDonald offers up "A Bitter End to a Sweet Weekend Away" finds him in ballad mode with a guitar line swiped straight from the Church, but it works well. Michael Carpenter swerves on the glossy side of polished on his solo outings but "Rolling Ball" sounds like one of those songs that he didn't try hard to write (or produce) yet still sticks in the mind.
The Richies are a Pyramidiacs outgrowth with a sharp Beatles bent (the Everywhereman, Michael Carpenter, is a member) but the aptly-titled "Fanclubesque" seems to borrow more from the Scots band of the same name (even though it was written by Leon Mullins of 2 Litre Dolby/The Welcome Mat). Transplanted West Australian Joe Algeri teams up with Swede Magnus Karlsson for "Stories Remain Untold" but it doesn't really go anywhere.
You're hard to please if you don't find something to like on "Planet of the Popboomerang". Infectious and fun.

The Barman - I-94 Webzine

“Wissenschaftliche” Auswertungen eines interstellaren Astronautens : “Der Planet heisst Erde und hier regiert die Popmusic ! Die audiophile Erkundigungsreise beginnt im Basislager Australia (The Finkers, Richies, Dom Mariani, Danny McDonald, Go You Huskies…), fuehrt uns dann ueber die US of A (The Lolas (!!), Florapop, Jeremy (!), Champale…) ins Vereinigte Koenigreich (The Samurai Seven, Kelly’s Heels). Kleinere Abstecher nach Frankreich (Sweet Apple Pie), nach Spanien (Bondage(!)) sowie nach Finnland (Ben’s Diapers) werden unternommen, bevor das Spaceshuttle in Israel einen gewissen Shy Nobleman einsammelt, um dann im Land der aufgehenden Sonne (Movin’Jelly, The Oranges (!),The Sunbeams, salt water taffy) aufzutanken. Auf dem Rueckweg machen wir einen kleinen Zwischenstopp im Kiwiland (Vocoder (!) ), um die Mission mit der Erkenntnis, dass dieser Planet von verborgenen bzw. zu entdeckenden Musiktalenten nur so wimmelt, erfolgreich zu beenden. Viele der Entdeckungen sind der Species “today’s Power-Pop” zuzuordnen; einige sind Acoustic Pop, Guitar-Pop, Indie-Pop sowie Punk-Pop-Hybriden. Von Taylor, Zera, Cornelius und leider auch von Nova(!) (Planet of the Apes) keine Spur. Roger, Roger…over and out.” Matze
http://www.moloko-plus.de/content/reviews_platten_i1.htm

Pop is still thriving amongst the entourage of garage rock. And Planet Of The Popboomerang is back once again to prove it’s a global phenomenon. With 25 tracks boarding rhe spaceship from USA, UK, Europe, Japan, New Zealand and back home to Australia get ready for a long journey through the stars. From the USA The Lolas kick-start the compilation with Don’t Change A Thing and a chorus that sticks like a lollypop on ya favourite jumper. Just in time for Christmas The Finkers jingle it to Santa Comes In Stripes with an Aussie anthemic feel. A female sugar hit doesn’t come until track 9 with cute 60’s stylin’ Sweet Apple Pie from France with She Whistles In The Tube. The Beatles do Spain in Hollywood is Babyfood by Spanish band Bondage. The Brits get bitchy as The Samurai Seven break lose with the tongue-in-cheek taunt to Australian TV culture in Flaming Hell Blake.- a racy pop song with KISS-like undertones. And Aussie band The Richies give some to Teenage Fanclub in “I don’t know where the tunes go” chorus of Fanclubesque. Japanese bands The Sunbeams with Game and The Oranges with All Day All Night bring a fresh enthusiastic flavour to the compilation. As The Oranges cutely quote, “This is out first song sung in English. Please listen to it with your minds eyes”

The Australian choices are subtler with Michael Carpenter’s rollicking Rolling Ball, the grooving countrified Fireplace by Dom Mariani of The Stems, Someloves, and DM3 fame and the acoustic ballad A Bitter End To A Sweet Weekend Away by Gippsland boy Danny McDonald. The man behind Popboomerang is Melbourne lad Scott Thurling who went from providing CD’s across the globe via the internet, where he’d throw in snippets of his mix samplers, to independently producing his second pop compilation. Japan’s Salt Water Taffy end the ride with a soft and jangly version of We’re Not Going To Take It, proving that pop will not take a back seat to rock.

Jo Cackett Inpress Magazine Issue 793 Wed 10th Dec 2003

Upon discovering the word ethereal, it wasn’t that my place in the realm of music had changed, it was about a newfound ability to encapsulate a sensation sparked by a sound into a word. And even then, it is still merely a word. I have to say that it was only when attempting to hold dialogue around techno that the uselessness of words to describe music really hit home for me (“…and then this track came on that went dingadingprrringdrowwwneeow…uh, yeah, so anyway…”). So it was the nineties that I stumbled across ethereal, allowing me to converse with greater ease around such topics as The Stone Roses, Ned’s Atomic Dustbin, Ride, The Pixies and My Bloody Valentine. And now, in the 21st Century, I can confidently say that pop is not a dirty word and is a feeling that often hits you in the deep innards, levitating you above the mundane and bitter. Good pop that is.

And certainly this is what you will find on ‘Planet of the Popboomerang’, the second compilation to emerge from the stables of Melbourne-based indie, Popboomerang Records. While the fantastically-titled ‘Shake Yer Popboomerang’ explored the confines of Australian shores, this second instalment reaches out to places as diverse as Spain, Norway and Israel with a healthy sprinkling of local produce included. It would seem that our domestic output is impossible to ignore. One only needs to take in CC Hua’s contribution to the Go You Huskies track, Michael Carpenter’s unapologetic jangly guitar pop and Danny McDonald’s saccharine acoustica to understand why.

It is in the liner notes that Sydney-based Carpenter asserts his “unapologetic” love of pop and this is what the compilation means to me. Pop isn’t simply the pre-midday bracket on a video clip television program. It has become a global musical movement that can incorporate luscious harmonies, deep melodies and (oh my gosh!) geetars. Whilst I’m on the topic of liner notes, there are some enjoyable morsels in the CDs booklet, whereby the music is reinforced in its quest to squash the myth of pop as a meaningless pile of fluff.

I really enjoy quality pop music, particularly of the six-string variety, and the beauty of ‘Planet of the Popboomerang’ is that it is able to provide an overview that is an antidote to the danger that is boring formula. Like all genres, Popboomerang’s brand of pop has a consistency to it, particularly with the uptempo stuff, but the label has been selective enough to incorporate a healthy diversity of tracks so that things don’t get stale. Your more classic tunes are flavoured with a more contemporary sound like Sugarrush’s ‘Bootycall’ or the soothing caress of Champale and Florapop. Then there’s the straight-out, very Japanese fun of salt water taffy’s take on Twisted Sister (I’ll let you guess which song) and the humorous storytelling of Finnish act, Ben’s Diapers. Hell, listen to the Vocoder for chrisesake.

At a mammoth 25 tracks, none of you have a right to complain “where has the review been?” but the length is not a hindrance it’s a pleasure, apart from the difficulty I had listening to the whole CD in one session! The trick is to either press random play (if your player is old enough) or simply start the CD from where you last left off. Popboomerang have given us value for dollars as you are given the luxury of immersing yourself in what truly is a global genre, going beyond the US, UK and Australia. In the words of someone else entirely, “do yourself a favour” and wax ethereal with a different kind of world music.

The good: Track 25
The bad: Track 25
The vibe: Track 1 through to 25

Joe Kim Vibewire Magazine www.vibewire.net

This is the second compilation in few months for the Melbourne based label : after the excellent “Shake Yer Popboomerang” which made us appreciate the cream of Australian power pop, this “Planet of The Popboomerang” lead us through an inside view of the music scene all over the world.
The form of the compilation is the same : it alternates successful bands or artists - like “The Lolas” (very nice their opening track “Don’t change a thing”) from USA or the Australian “Finkers”, Michael Carpenter and, as usual, the super-great “Dom Mariani” (“Fireplace” is another outtake from the “Someloves” album, year 1991) and “Danny McDonald” – to other less known bands or artists; the most interesting of the latters are the French “Sweet Apple Pie”, the Spanish “Bondage” (the psych-pop of “Hollywood is babyfoot” put the band at the same level of monsters like “Cotton Mather” and “Shazam” and it’s one of the peaks of the album) and the Japanese “Sunbeams” (very catchy the pop-punk Buzzcocks’ style of “Game”). Very funny the closing track : a childish pop version of the “Twisted Sister”’ heavy metal anthem “We’re not gonna take it”.
Another feature in common with “Shake yer…”, every selected tune is absolutely unissued or recorded on alternate version.

WHERE THE ACTION IS! (Savio records)
Gabriele Savioli

Popboomerang Records appear to be emulating the consumption habits of my older brother. When we were kids and the folks took us out to a smorgasbord dinner, Andrew would never eat the main meal. He’d sit, fidgeting until dessert, at which point he would load onto his plate a small portion of every dessert on offer and proceed to compare the slice with the cake, the mousse with the soufflé. This way, he would satisfy both his sweet tooth and critical faculty. In his wise opinion, he was taking full advantage of the opportunities granted by a smorgasbord restaurant. It is in the same spirit that the Planet of the Popboomerang compilation brings together samples of the best global indie pop to form a selection as tempting as a delectable plate of desserts.

It goes without saying that the CD sports what is like a marathon tag team’s worth of hooks and harmonies, each track passing the baton onto the next with much pride. The Aussie’s do it in a glorious fashion, The Finkers starting off with their seasonal contribution “Santa Came in Stripes”, contributing jingle bells to the occasion, reminding us all that just because Santa is a legend, he doesn’t necessarily have a boring wardrobe. Go You Huskies fill the quota for sweet, soft acoustic pop with a grace which brings the mainly hyperactive pop album down to quiet reflection. Points for pure beauty there.

Comprising 7 of the 24 tracks on the compilation, the Aussie’s contribute their fair share of nasal sounds (Michael Carpenter), but also some old school gems which may have been lost amongst poorly stacked boxes in cramped studios. The Richies’ “Fanclubesque” was originally written by Leo Mullins of early nineties band 2 Litre Dolby and The Welcome Mat and sung by the trio Cocksure way back when, and it’s been dug up just for Popboomerang.

The last spoonful scraped eagerly off the dessert plate is Joe Algeri (Australia) and Magnus Karlsson’s (Sweden) “Stories Remain Untold”, a quiet number reflecting dark days in Stockholm, reminding one of the necessity for call and response vocals when composing the classic pop ditty.

Planet of the Popboomerang marks the second release of Melbourne label Popboomerang Records, and we can only hope they continue to link up the best of indie pop for more decadent moments, because the kids are lined up out the door for the all you can eat menu.

Soph - Oz Music Project January 2004

The Popboomerang label from Australia is doing a great job of putting out some of the best pop from Australia, and their earlier compilation, “Shake Yer Popboomerang” showcasedthe best of Aussie pop. This effort takes another look at some of those bands, and expands the view worldwide. The one thing in common that all these bands have are hooks galore; and although I’d love to write something on every song, I just can’t. Suffice to say, there are a number of gems on this, ranging from the big guitar sound of The Lolas, the Rubinoos influenced Japanese band The Oranges, the overtly Big Star sounding Champale from Brooklyn, and the Teenage Fanclub sounds of The Richies (a little tounge in cheek actually, since their song is entitled “Fanclubesque”) from Australia. Other artists include Danny McDonald, Movin’ Jelly from Japan, Aussie pop godfather Dom Mariani, and the CD closes with Salt Water Taffy from Japan, who do a great pop take on Quiet Riot’s “We’re Not Going To Take It”, complete with female vocals and a Shop Assistant vibe. For anyone looking for where the sound of powerpop is heading over the next decade or so, this is the perfect release as it showcases a variety of styles in the genre from all over the world.

Steve Gardener Shredding Paper Issue 17