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Is any phrase more maligned or misunderstood than pop music? Alt-rock noisemakers cop to it yet can barely cobble together a melody. So-called purists often succumb to the lure of kitsch in attempting to conjure it. And power pop disciples are just too bubblegum for their own damn good.
Chicago quartet Post Office might best be described as neo-traditionalist. With admiration for the underrated American iconic pop of Dwight Twilley, Big Star, Tommy Keene and The Plimsouls , PO starts with dynamic songs and builds from there. The result is a resume chock full of hummable hooks and witty lyrics in should-be hit tunes.
Lauded for stripped-down acoustic performances as well as electric rave-ups, PO happily embraces the aesthetic of fellow songcentrics Teenage Fanclub , Semisonic, The dBs, Squeeze and The Kinks. Intelligence, humor, kickass guitars and a superb rhythm section combine to fathom an inimitable listening experience, both in concert and on recordings.
During its brief heyday, PO recorded two albums, Public Displays of Affection (1996, cited by renowned Chicago critic Jim DeRogatis as the "best local band in this genre since the Reverbs"), and Fables in Slang (2001). While the band produced its debut with engineer, Ed Tinley at Chicago's Kingsize Sound Labs, the latter was produced by Chris Stamey at Modern Recording in Chapel Hill, NC.
Since disbanding, songwriter Larry O. Dean formed The Me Decade , releasing
Gentrification Is Theft (2002), and currently fronts The Injured Parties . Stephen Becker formed Le Concorde, releasing Universe & Villa in 2005.
