ARI SHINE'S CV reads like a 'Who's Who' of indie cult tastemaking. He grew up shuttling between Northern California and Israel and cut his teeth with heavy psych rockers Granite Path, garnering supports with the likes of The Melvins, Kyuss and Cathedral along the way. He then moved to LA permanently for spells with The Shocker (featuring Jennfier Finch of L7) and Capitol Records' shoulda-beens The Chelsea Smiles and wound up writing songs with respected Dave Gahan/ Porno For Pyros acolytes Victor Indrizzo and Martyn LeNoble.
Bloody hell. I'm breathless just after reading that whistle-stop resume, yet it seems it's merely the tip of the iceberg where young Mr. Shine is concerned, for - after attracting the attention of respected Canadian label Bongo Beat - he entered the studio for his debut solo album with renowned Californian legend Earle Mankey (Sparks, Dickies, Concrete Blonde) during 2007.
Importantly, though, all this name-dropping would mean squat if the contents of said debut album - the aptly-titled 'A Force of One' - were lame and forgettable. But they're not. They're mostly first-rate and if you still have room in your heart for classy US power pop then I suggest you pull up a chair. It'll be worth your while, I promise you.
Indeed, especially where the album's first half is concerned, Shine basically knocks out his own version of the great US power pop jukebox, such is his adroitness with great tunes, chugging guitars and harmonies. Opener 'Cooler Than Me' simply oozes edgy, radio-friendly glory and makes you feel you're 21 forever; 'The Most Popular Girl In The World' dazzles with a divine sunburst of a chorus and could easily have graced The Scruffs or Raspberries' back catalogues; 'She Wants It (More Than Me)' adds the phlegm-spittin' self-belief of the early Costello/ Graham Parker axis and 'Beat U' even remembers to include some of that wonderfully naff monophonic synth The Cars spread across their debut album.
All of which is more than enough for all discerning power pop heads to be turning synchronised somersaults, but it's actually what happens from here on in that really catches your attention. 'Flirtation Device' was previously featured on the 2007 International Pop Overthrow promo CD and its' synth-addled, compressed, beatbox-imbued invective and "whoah-oh-oh" choruses are the first intriguing deviation from the norm. It's pretty cool, but it's with the superficially glossy 'Party People' that Shine really gets serious. Once again, synths and beats are utilised and the backdrop is even reminiscent of Duran Duran's debut album, but it's the perfect vehicle for Shine's narrative about the emptiness of the Hollywood dream: a harrowingly artificial place where "I know you're scared to be alone."
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This is a fine track, but its' successor, 'Beirut 1978' is arguably the best song featured here. Moody, atmospheric and extremely vivid, it's quite a change of pace and scene as Shine describes party central in the middle of a war zone ("exchange rates are bad, but the Coke is great") before letting fly with the loneliest of guitar solos. The good impression is then confirmed by the title track: an initially acoustic affair driven along by soulful vocals, organ and a clever arrangement. Lyrically, the industry's very much in his sights here ("you'll do awful things to survive...and it gets worse from here, because I've seen every well-rehearsed tear") and he pulls impressively few punches in exposing the dirt behind the daydream for all to see and hear.
'Deep Pockets/ Led Wallets' also has the music biz in its' lyrical sights, although its' tone ("we're all merely minions to the opinions that cloud our minds...we've all got to compromise") is a tad more conciliatory, which is more than can be said for the ensuing 'Keep You In Cabs'. Despite the music's dinky, Bo Diddley-beat variation and a fine gutsy vocal, there's no mistaking the alimony-fuelled lyrical content ("I stood in amazement as you drove away my car/ how on Earth did you take that from me?") and the irritation in Shine's voice as he hits back with some vitriol worthy of David Byrne when he spits "there's more important things than what we earn!"
It makes for compelling, if perhaps slightly voyeuristic, listening and sets the scene beautifully for the finale and 'Neurotic Girls' : another very bitter(sweet) affair where Ari makes like a one-man Big Star and admits his one-time beau is "a bitch of the finest breed" while saving one of his very best tunes especially to do it justice.
It's a marvellous endgame and more than enough to make you realise that this young Californian is a very real find indeed. 'A Force Of One' in the studio he may be, but he'll also a force to be reckoned with if he can maintain this standard.
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