The A-Sides

In March of 2005, a teeny tiny Philly-based label called Prison Jazz released an indie rock masterpiece of an album that went greatly unnoticed by the general public. The album was called Hello, Hello and it pulled heavily from early Beatles and Pet Sounds-era Beach Boys. The band was called The A-Sides and if all was right with the world, they'd already be one of the biggest names in indie rock.

Flash forward to 2006. Their commitment to Prison Jazz fulfilled, The A-Sides go back into the studio to write and record an album that will finally break them out of their uber indie shell and send them barreling into the realm of The Little Ones, Birdmonster, Division Day, Cold War Kids, and other bands who have upped the ante this year and made a real name for themselves amongst indie fans the world over.

Silver Storms is that album. The band has rallied with a follow-up to Hello, Hello that shows an impressive step forward. No longer do The A-Sides rely so heavily on their Beach Boys/Beatles-inspired, pop-loving songwriting style. Instead, they've branched out and created an impressive collection of songs that are artistic, mature and exceedingly catchy in both lyrical and musical content.

Kicking things off with a 16 second string-heavy intro, aptly titled "Silver Strings," the dynamic album then flows effortlessly into "Always In Trouble." At 6 minutes and 33 seconds, the grandiose song swirls and bobs with an ever-growing, rich textured sound that at times is reminiscent of The Walkmen. The down-tempo offering then leaps forward with one of many up-beat, catchy-as-hell tracks, "We're The Trees." Bouncy keyboards, simple guitar solos and elastic harmonies make this one my favorites, though there are plenty of "favorites" to choose from - the dark and sinister "Cinematic," the dynamic "Amazing Graces," the lengthy-yet-undeniably-compelling "Diamonds" - each cut on this album has something special to offer.

I said it last year and I'll say it again. This band is ready for nationwide exposure on a large level. Someone please offer these guys a decent record deal so they can make tons of indie kids happy.

- Matt DuFour - The Tripwire.com

Hello, Hello is at its core an example of how good music will transcend age and find a suitable crowd wherever it does end up. Incorporating a good amount of British pop influence, the A-Sides effortlessly meander through psychedelic guitar work, bright vocal melodies, and deep harmonies that found such a receptive home back in the 1960’s. The melodies are so bright they almost shimmer, at least enough to make Phil Spector smile. Simple and playful as the music may seem in parts, it still shows evidence of Spector’s trademark "Wall Of Sound." Various horns, bells, and strings sprinkled throughout the album's duration add to the bouncy, upbeat feel the songs carry.

The joy-filled "Sidewalk Chalk" opens the album with some stomping and jangly chord progressions before you’re struck by the sugary sweet vocal melodies. All four members of the quartet lend their voices to the melodies, and it makes for some memorable ones. "Park Avenue" exhibits lead singer Jon Barthmus’ voice in conjunction with that of the band's other members better than any other, while also presenting one of the more memorable guitar harmonies. "Tall Buildings" slows down the tempo, but doesn’t drag on as long as the album’s 4th track, "Sorry Clouds" did, though that song cannot be sold short, due to the amazing chorus found amidst the reserved but enchanting vocals.

The A-Sides have recreated a solid piece of Beach Boys and Beatles-influenced psychedelic rock‘n’roll. They manage to dabble in Beatles territory just long enough to not be overindulgent, but long enough to have a solid base created. Through the jangly guitars, piano-driven melodies, and solid grooves are some of the brightest vocals you’ll find. Some will argue the album at a whole extends just a little too long, but on a bright summer day with your windows down and sunroof open, Hello, Hello would make a great home in your car stereo.
- www.punknews.org

The A-Sides are caught in a trap and they can't get out because they love you too much baby. Hello, Hello (Prison Jazz), the debut album rfom the Philadelphia outfit, is a DayGlo-daubed roller-coaster ride laced with vaguely familiar-sounding pop anthems that cherrypick great moments from heroic bands: from the Beatles to the Raspberries, from the Who to the Cars to the Beach Boys. - Magnet Magazine

Opener "Sidewalk Chalk" points to a band used to playing to crowds of 250, but dreaming of playing to packed houses of 5,000. It's an epic, head nodding pop song, and the dozens of "hellos" that make up the chorus are hella catchy. The majority of Hello, Hello's tunes maintain the high-energy pop/rock mood. "Park Avenue"'s guitars skitter across the headphones, it's a smooth, smooth ride.

Speaking of segues, if you're one of those pretentious assholes who refuses to thumb-up an album 'til you hear it through your headphones, you'll be thumbing up Hello, Hello. Producer/engineer Brian McTear's work is complex without being overbearing...

pop-ditty turned soul-stirring epic "Tall Buildings" and "Jump Back Jack", which mixes The Beatles and the Stones in more ways than just its title. The band channels its pop-forefathers for three minutes of inspired musicianship and dead-on harmonies.
- Splendid Zine

The A-Sides make you feel like you’re six-years-old at your best friend's birthday party only instead of a killer magician, Tang and goodie bags, there’s a rockin’ band, beer and balloons. Balloons!!

The A-Sides took the Don Hill’s stage at their first NYC appearance, all smiles amongst a swarm of multicolored pearlescent balloons. Considering the Philadelphia four-piece have been making music together for three years now, I can’t help wondering why they have withheld themselves from us for so long. Is NYC so terrible? If there’s one thing this city needs more of it’s bands that have the foresight and childlike charm to wear pink striped shirts, as singer Barthmus did, and bring their own balloons to the rock party.

The band proceeded to kick out a number of jams from their latest album Hello Hello. Their sound is an upbeat mix of '60s vocal harmonies and modern indie rock. They are a band whose tracks would fit the A-Side of a mix tape perfectly in the company of The Shins, The Beach Boys and The Zombies, yet they maintain their own spin and distinct style. The A-Sides performed each song equally energetically, bouncing around the stage wide-eyed and enthusiastic. Although the upbeat, clean cut aesthetic of this band makes it seem unfitting to cuss, I have to say these guys are unjaded as fuck and although their music is really quite great, it’s this type of stage presence that makes a show go from good to great.

At the end of the set, it was clear that much of the crowd had come specifically to see them, and were now leaving to either go home or to keep on rocking at the British Sea Power show. If you’re looking for the opposite of a downer, the A-Sides are just what you need.
- The Tripwire

While the A-Sides share the same triumvirate of muses as the E6 collective, those being the Beatles, the Beach Boys, and the Kinks, they eschew both the fierce experimentation of Olivia Tremor Control and the by-numbers traditionalism of lesser like bands in favor of a more modern take on psych pop. While moments throughout the album point to these and myriad other influences, the A-Sides are nimble enough to not get caught up in the netting, crafting a solid, satisfying set of songs that blend brushes of originality with instantly familiar melodies.. - Eleven Elephants

Progress is a great thing, but there's nothing wrong with looking back for new ideas every once and awhile. The A-Sides cull their sound from professed influences such as The Beach Boys, The Kinks and The Zombies to attain the lofty goal of "mixing pop music with artistic brilliance." The result isn't nostalgia, but rather a novel approach at making music that places them alongside of bands like The Shins as groups making innovative rock-pop that would've been right at home in the 60's.

Hello, Hello kicks off with a floor stompin' headrush called "Sidewalk Chalk." If the whole album was like this song it'd be alright, but it's tracks like the next two, "Greetings," and "Everybody Knows the Way" that separate the A-Sides from every other canon-worshipping indie band. These songs demonstrate the sort of musical diversity that made bands like the Kinks so great. Don't get me wrong, the A-Sides aren't the Kinks- but they emulate those greats' versatility rather than just straight up rip off their sound. That goes for the rest of their influences as well; The A-Sides never sound like facsimiles of their favorite bands.

The melody-strong songwriting is coupled with unusually excellent production that sounds like Phil Spector if he got to make records with Berry Gordy in Hitsville, USA- except instead of a black vocal group he was producing a very white indie-rock band. That's all a very convoluted way to say that their wall-of-sound approach actually works and only adds to already rich tunes like the "Umbrella." It's almost enough to make me wish they included a mono mix.

Hello, Hello is a stunning debut; there are no duds dragging the album down, but there aren't any obvious stand-outs either which is maybe why this album hasn't received the attention it deserves. This is no Village Green Preservation Society or Forever Changes, but those albums will probably never be replicated anyway. The A-Sides achieve their aesthetic anyway, making an excellent pop album any fan of the above-mentioned bands will love.
- indieworkshop.com