From Ottawa Canada, pumping out a unique style of high-energy power pop come MOTHER’S CHILDREN. The four piece got together to start a punk band in the vein of THE BOYS and TEENAGE HEAD with the pop sensibilities of THE RASPBERRIES and THE EASYBEATS, and the stomping rock n’ roll energy of T.REX and SLADE. In their two-year existence MOTHER’S CHILDREN have played backyards, birthdays, basements, bedrooms, dive bars, concert halls, cottages, parking lots, even on a boat, and have won over the hearts of local audiences with their positive attitude, and relentless love for rock n’ roll. The bubblegum loving punks playing power pop in a modern age are finally starting to receive international attention with their brand new debut album. “That’s Who!” is a slice of pop perfection that stands alone today, but probably would’ve once fit in nicely amongst the STIFF or BOMP! records catalog. The songs are innocent, unpretentious, exciting and filled with unforgettable hooks that sound just as good on your stereo at home as they would on a summer afternoon on the beach, blasting out an AM transistor radio.
REVIEW OF THAT’S WHO album:
TERMINAL BOREDOM - Glam-rock/power-pop hybrid action from Ottawa’s current kings of swing, riding high off the A-Side of their 7” which was a banga-banga humpa-humper. This thing shimmies and shakes from start to finish, absolutely bursting with exuberant hooks, liberal sprinklings of glitter and power-pop with some actual power. They kick it off in style with the cocksure swagger of “Shaky Sue” and don’t let up until the dead wax sends the tonearm home. These kids have the chops to pull this whole thing off, the guitar playing is scalding and the drummer is a beast. Strong vocals which they split three ways and all four of them share the songwriting duties to great effect. Meaning it’s chock-full of hits, mixing up the expected Slade/Bolan-style moves with the punk energy of The Kids and the sharp poppiness of The Boys. Other quality points: they don’t do any covers, they manage to do their thing without goofy costumes or a schticky gimmick (which is something most Bay Area bands have yet to figure out), every single song is about girls and it’s recorded really crisp and loud (which is what an album in this genre requires). Drop the needle anywhere on this thing and get a hook stuck upside your head. I’m not much of a fan of this sound overall, but this shit is done so well it transcends my genre specificity. I think it’s mostly because of the fact that while they might be playing in a “lightweight” genre of sorts, they still manage to rock with some balls. Glam-pop doesn’t have to sound wimpy, take notes here all you wannabe lo-fi popsters and bubblegum chewers; spend less time worrying about your platform boots and bowlcuts and concentrate on rocking the fuck out like these cats. I give it a month before Burger releases this on cassette. Scum stats: it’s on Deranged, so watch out for limited test press versions and other “variations” on eBay…just get the black vinyl, it sounds better
STANDARD ISSUE zine - Being in Ottawa, it’s rather difficult to have a completely detached opinion about a band. Regardless of that, it’s no secret in (or outside of) Ottawa how ridiculously great this here LP is. You’re gonna love it - unless you’ve got shit for brains. Do you have shit for brains? You should probably buy this anyway, in that case. In can only aid you in your quest. A strange fit on Deranged, “That’s Who!” would be sure to make a mark on any label’s discography. This LP would stand out in stack of records, regardless of genre. Besides, one look at the cover art and I’m sure no one will pick this up thinking it’s The Age Of Quarrel 2, or anything. You know what you’re getting into before you have a chance to take the LP out of the jacket, fart and drop the needle. What you’ll find is full length packed with Canadian power-pop hooks. Note the “Canadian” reference, as it is true: Canada has it’s own trademark power-pop sound. Love it or hate it - it definitely exists, and it’s alive and well on this album. Similar to the debut 45 on Going Gaga, they didn’t complete rid themselves of the glam influence. But, I should clarify what I mean by that, ‘cause that can be heinously misleading: What I mean by glam is, say, Dictators “Bloodbrothers”, rather than Lizzy Borden or some shit. “Bloodbrothers” I think pretty much nails it. A largely punk record, with a mild swagger at times (not unlike “Shakey Sue” on this record). To throw in another Canadian reference, Mother’s Children have the Nothern-Pikes-in-the-1990s syndrome, ie: 3 lead vocalists. Even so, it doesn’t loose any consistency. “No Touch”, sung by bassist Davey (and written by Tim, the one member of the band who doesn’t get a lead vocal spotlight), might be a personal favourite. Although, this record has the charm that it does due to Ken and Mike’s original spin on an overly covered genre. Good work. Review of the artwork: If I got high a lot, I’d probably stare at this album cover for extended lengths of time. The basis is simple, yet it’s disgustingly detailed. I’ve never seen a two-colour jacket stand out like this. The dark-orange-y tone grabs you on the exterior, then you get lost in the references included as you look closer. Almost looks like a building from the video game Rampage. Great fucking game! The presentation of this release is second to none. Worth it for the jacket alone. (Steve Adamyk)
OX - If you´ve listened to the 7” on Going Gaga Records you already should have known what to expect and keeping in mind that they´ve just been on the road with PAUL COLLINS BEAT even the unaware should know where this platter is going to. Fantastic Powerpop / Punkrock which definitely makes it clear, that the roots of Punkrock in the U.K. are Protopunk, Pubrock and Glam bands like EDDY & THE HOTRODS, 101ERS, THE JOOK, IRON VIRGIN or the HOLLYWOOD BRATS but that can also take the turn back to the bands of the British Invasion like THE KINKS or the early ROLLING STONES but not only this. If not all this would be enough this platter also makes fun like the first one of TEENAGE HEAD. What makes the difference between the MOTHER´S CHILDREN and other bands within this genre is that “That´s who” could easily also be a record coming directly from the Seventies and if you´re honest to yourself even most bands from that period couldn´t make such a strong and inspiring effort on full distance. Whatever it is that makes it possible that the row of at least great if not fantastic bands from Ottawa doesn´t seem to end, counting on me it could go on and on and on.
RAZORCAKE - Hey current Ottawa punk rock scene: you’ve done it yet again. About a year ago there were like a thousand new bands in this town, most of them good, if not great. Inevitably, some of them turned out to be summer romances or slightly longer flings, but others stuck—long-term polygamous relationships based on boozing, power-pop, biking, hardcore, and pizza. I consider myself incredibly lucky to be part of a community that continues to flourish and gain recognition, and one of Ottawa’s best exports, Mother’s Children, have just churned out one hell of an LP for Deranged Records. As first evidenced on last year’s Dance to the Rock N Roll Band EP on Going Gaga, these four fellows (whose current and previous affiliations include Year Zero, Million Dollar Marxists, the Sick Fits, Cloven Hoofs, and a handful of others) have the goods required to pen some of the most memorable power-pop-rock-n-roll songs this side of the first Any Trouble LP, infused with a proto-punk/glam snottiness and energy that sets them well apart from the legions of copycats currently huddling under the power pop banner. It’s easy to shrug this kinda stuff off these days, but regardless of musical preference, give this a spin and a good listen. You won’t regret it
MUSIC RUINED MY LIFE - Even though Ottawa-based Mother’s Children have the name (and cover art!) of some sorta psych-folk band from 1970, they are in fact are a(n) insert macho-sounding compound-adjective preferably missing its final ‘g’ here rock n’ roll band who clearly love the same sort of half-punk/half-power-pop bands, like The Boys, The Flys, The Beat et al, that set the Exploding Hearts racing.