Album Review: Wes Hollywood – Fantasy Arcade
In 2012, it’s an open question how many listeners are looking for new music that draws upon the best of powerpop and what in 1979 we called new wave. Well, there’s one right here, and this listener is digging the new album Fantasy Arcade from Chicago-based Wes Hollywood.
“It’s Good to See You” pleasantly recalls Crashes-era Records; the bouncy, hook-filled arrangement sounds purpose-built for use in TV commercials, and that’s meant in the best possible way. Imagine Sgt. Pepper era-style songwriting with the instrumentation pared back down to the traditional guitars-bass-drums lineup with insistent piano accompaniment.
Wes Hollywood has a sound that’s clearly influenced by The Beatles circa ’65 but not slavishly imitative. There’s a healthy late 70s/early 80s new wave vibe to many of the songs on Fantasy Arcade. Hollywood’s vocals are always out front, and the band’s overall sound is tight without being slick, uncluttered without sounding like a demo.
On “Alfie” Wes Hollywood and band strike a skinny-tie pose reminiscent of The Real Kids. With appealing and accessible hooks built upon straightforward melodies, Hollywood stakes out musical territory similar to that of Cheap Trick, but without the arena-rock mentality and approach. Subtle splashes of keyboard add texture without lessening the guitar-based impact of the songs.
Throughout Fantasy Arcade, Wes Hollywood navigates just the right balance between jangle and crunch, between assertive lead vocals and tight, upbeat harmonies, between simple guitar-based songs and subtly textured arrangements. It’s always about the song, and through out the album that focus remains laser-sharp.
On the title track, Hollywood and band lean in a glam direction, loosening the pace a bit and adorning it with splashy drums; you can easily imagine the guitarist pose for playing this one: feet spread apart, guitar slung extra-low while the power chords are hammered out.
Fantasy Arcade is eleven catchy songs that manage both to blow by quickly and still stick in the listener’s memory, begging for another spin. Actually, there are twenty-two songs, if you consider that the LP version of the album is packaged in a lovely gatefold that contains both mono and stereo records. There’s something for the moderns – a download card – and a special bonus for those who fondly remember the albums of the 1970s: a band poster with facsimile signatures! What could be cooler?
About the Author
Bill Kopp
With a background in marketing and advertising, Bill Kopp got his professional start writing for Trouser Press. After a stint as Editor-in-chief for a national music magazine, Bill launched Musoscribe in 2009, and has published new content every business day since then (and every single day since 2018). The 4500-plus interviews, essays, and reviews on Musoscribe reflect Bill's keen interest in American musical forms, most notably rock, jazz, and soul. His work features a special emphasis on reissues and vinyl. Bill's work also appears in many other outlets both online and in print. He regularly hosts lecture/discussions on artists and albums of historical importance (including monthly events Music to Your Ears and Music Movie Mondays), and is a frequent guest on music-focused radio programs and podcasts. In Spring 2023 he taught a history of Rock 'n' Roll at UNC Asheville's College for Seniors. He also researches and authors liner notes for album reissues -- more than 30 to date -- and co-produced a reissue of jazz legend Julian "Cannonball" Adderley's final album. His first book, Reinventing Pink Floyd: From Syd Barrett to The Dark Side of the Moon was published by Rowman & Littlefield in 2018, and in paperback in 2019. His second book, Disturbing the Peace: 415 Records and the Rise of New Wave, was published in 2021 by HoZac Books. His third book, What's the Big Idea: Great Concept Albums will be published in 2024. Read even more about him here.