Parallax Project

Parallax Project - I Hate Girls (CD, Kool Kat Musik, Pop)
Parallax Project was supposed to be a variable rotating band created by Michael Giblin...but after he assembled a live band to promote his debut album the group stuck together. Produced by Don Dixon, I Hate Girls is a direct shot of pure melodic guitar pop. Giblin borrows ideas and sounds from classic artists from the past few decades...but injects his tunes with his own unique point of view...and he's got a great voice for pop music. Girls spins like a non-stop string of hit singles (hit singles that you have never heard before, of course). Upbeat, positive cuts include "All The Same," "I Hate Girls," "Half," and "Needle In A Haystack." Catchy peppy pop. - Don W. Seven

7 out of 10

The Parallax Project is a loose collective of musicians centered around lead vocalist/guitarist Michael Giblin. On his new album I Hate Girls he does a fine job with the opening track "All The Same," full of Revolver-styled rhythm and a workman-like effort in the chorus. Much like Squeeze meets Elvis Costello, "The Day After Tomorrow" is has a compelling lyrical story that leads to a catchy chorus with guitar and organ breaks, "it's all about singing a brand new song" he intones. "It's So Easy" will remind people of Phil Seymour with its sunny sound and understated beat. The title track and it's follow up "Waiting To Pull The Trigger" are similar to more recent Glen Tilbrook efforts, with some nice guitar solo work on the latter track. Some of the tracks are a little too understated ("Half") and although very easy on the ears, Michael need to push those hooks to the next level to be a bit more memorable. By the albums mid point things loosen up and sound better for it. A big highlight here is the energetic "Coming Around" which reflects Michael's time spent touring, hanging, and recording with The Plimsouls. "You And Me" is another fun tune. All capped off with a very cool cover of Martha and The Vandella's "Needle In A Haystack."
- Powepopaholic.com

Parallax Project “I Hate Girls” (Kool Kat Musik 2026)

Sitting behind the boards on “I Hate Girls” is Don Dixon, which is a good fit, considering Parallax Project are purveyors of things that go pop in the night, and that’s indeed the genre of music the noted knob twirler is generally recognized and praised for. The actual ringleader of the band is Michael Giblin, who not only possesses a neat voice and strums a mean guitar, but writes witty and catchy tunes.
It’s no exaggeration to say every single track on “I Hate Girls” is absolutely fantastic. Strong hooks, attended by compact arrangements and totally together instrumentation are staples of Parallax Project. Pronounced by a piercing riff smacking of power pop royalty, “All The Same” gets the album off to a roaring start and sets the standard of excellence for the remainder of the material.
Stitched of incisive breaks and a cranky, sarcastic mood, the title cut of the disc concludes to a blast of choppy six-string plucking that brings to mind Chuck Berry, while “Waiting To Pull The Trigger,” with its hard driving motions and air of excitement, continues to emphasize Parallax Project’s penchant for pinning crafty pop sensibilities to a rocking beat. Elsewhere on “I Hate Girls,” visions of Squeeze, Cotton Mather, The Kinks and Crowded House are sighted. Sophisticated structures and melodies tempered by a stabbing undercurrent are the ingredients responsible for allowing the music to tick. The sole cover on the record is “Needle In A Haystack” by The Velvelettes, which in the able hands of Parallax Project is turned into a pure pop pleasure.
- Beverly Paterson

Cherry Twister released a couple of the better critically reviewed records of the 1990s, at least among pop music circles. When primary singer/songwriter Steve Ward issued a dynamic solo record in 2000, many wondered what would become of the band — or if there was really a band beyond Ward. Bassist extraordinaire Michael Giblin has answered those questions with Parallax Project, a musician's collective unit that features contributions from Jeffrey Gaines, Pete Kennedy and several other associates.

Giblin initially started to record a solo album before realizing that he didn't want to limit the scope of the record or not attain his vision by trying to do everything himself. But players with Mike's credentials only need pick up the telephone to fill the recording studio. And months later we now have Oblivious (Tall Boy Records) as the result.

While Giblin doesn't have the operatic voice of bandmate Steve Ward, he is a strong vocalist well suited for the material. "Just Like Yesterday" goose-steps out of the speakers to immediately grab your attention, and "To The Moon" rocks like Jellyfish. Others are mid-tempo and dare to break the five- and six-minute barrier (very unusual for a pop record). Either way, there's nary a weak track among the 13, with "Definitely Maybe" one of the better songs you'll hear this year. Join the corporation!
- Bill Holmes

Way back in 1999, Cherry Twister's brand of breezy power-pop was a big hit with critics and listeners alike. Now that their highly melodic pop has become something of a recent memory, the assumption has been that Steve Ward was the creative fuel that had propelled that vehicle (verified somewhat by Ward's highly melodic solo outing in 2000, Opening Night). Though he had authored one tune on At Home With Cherry Twister and had helped contribute to seven others, bassist Michael Giblin had somehow managed to avoid the spotlight. Most people saw him as a talented musician, performing his parts well and, while contributing some, not a major creative force.

This is one reason Oblivious comes as such a pleasant surprise. Parallax Project is Michael Giblin's solo outing, and it cuts through a wide swath of pop/rock styling, serving up 13 tracks of enjoyable melodic diversion. As it turns out, Giblin is second fiddle (or bass) to no man. Perhaps while acting as musical helpmeet to others (Cherry Twister, Steve Ward, Jeffrey Gaines, Dan Kibler), he quietly was saving up nice material for himself. On behalf of an unaware public, let me apologize now -- Michael, we never knew.

While not really a follow-up to Cherry Twister, Parallax Project does offer the occasional reference in its more upbeat tracks. Honestly though, Giblin has assembled a separate entity that forges its own musical identity here, with ballads and rockers and mid-tempo tunes that recall pop sounds of the past in fresh ways.

Giblin has assembled an impressive complement of musicians for this Parallax Project: Ronny Crawford (who drums for Lisa Loeb) drives the rhythms, and guitarists include Boston's David Minehan (The Neighborhoods, Paul Westerberg) and Pete Kennedy (The Kennedys, Nanci Griffith). Jeffrey Gaines and Dan Kibler make cameo appearances as well, while Steve Ward helped mix the CD, returning favors for a musical friend.

Perhaps the most infectious song here is "To the Moon", evidence that Cherry Twister owes more of a debt to Giblin than previously known. This is great hook-filled driving pop (particularly the ascending line into the chorus), loaded with the crunchy guitars of David Minehan. In contrast to the upbeat melody, the lyrics tell a tale of two who have reached a plateau of non-communication as familiarity breeds contempt

Giblin and pals show us a more acoustic/folky side with the contemplative musings of "City Rain." The bass line really holds things together, as "pleasure pain and city rain" keep him awake to sing, "Yesterday is just a memory, tomorrow's still a threat / I want to run outside and get myself soaking wet". And just when you think it's going to be slower stuff for the rest of the CD, "Definitely Maybe" comes bursting out of the speakers. Giblin gives us a sing-along anthem-rocker that reminds us of the best of the 1970s.

While even the press release for Parallax Project admits that it won't make a difference in the world, this is an impressive debut effort from Giblin and Tallboy Records. There is talent in abundance here, and plenty of torn relationships too: Oblivious seems anything but. Giblin knows how to make pretty power-pop in the old-fashioned way. If sweet guitars and nicely crafted pop tunes make your day, this one gives you a generous 56 minutes worth.
- Gary Glauber

Parallax View was a Warren Beatty political thriller, chock full of intrigue and paranoia. The film is dated, but has all the earmarks of what was good about filmmaking in the '70s, with a strong, deliberate sense of pacing and creative cinematography. Parallax Project hearkens back to the virtues of '70s power pop - real Old School stuff. However, it should not be confused with the somewhat similarly titled film, as the Project's debut, while aiming for the high standards of The Raspberries, Dwight Twilley and Shoes, is in no way dated (fresh as a daisy, in fact) and is full of joy and comfort, as opposed to the less rosy world view of the movie.

Having clarified that confusion, let me advise you that this band is Michael Giblin's first work since the dissolution of the superb Cherry Twister. Whereas partner Steve Ward's 2000 solo debut showed what contributions he made to the band - mainly a terrific voice and the unique melodic sensibility - Giblin shows that he was the foundation guy - while the Project doesn't sound like Cherry Twister Jr., Parallax Project shares a nearly perfect balance of slap and tickle, of crunch and sweetness.

The readymade, repeat button reuse required "To the Moon" demonstrates the Giblin Guarantee - a winsome teenage melody matched with just the right amount of rock oomph (steadfast rhythm section - great bass playing - and a catch-your- attention opening guitar salvo). This is the type of song that fills the void left by The Greenberry Woods. Close on its heels in high quality, "Definitely Maybe" has a deadly double hook, the chorus featuring the title phrase which feeds into a bopping "na na na na" bridge. Effervescent rock, indeed.

In classic powerpop tradition, Giblin and his mates do not shy away from the sweet ballad - verging on gooey, but never quite falling into that bathetic abyss, these songs pluck your heartstrings like a prom night disappointment. Giblin knows how to grab your attention - his tenor voice (which has a similar timbre to REO Speedwagon's Kevin Cronin, minus Cronin's overenunciation and REO's crap songs) tinged with sorrow as he starts off "(If it's) all the Same to You": "staring at the phone/ talking to the dial tone/thinking 'bout the things I didn't say/ when I had you hanging here". It sets the mood for a plaintive acoustic lament, with sad string accompaniment. "When I Die" has a haunting acoustic guitar coda opening, Giblin singing closer to a whisper: "When I die/want to come back as your bass guitar/hold me in your arms/bounce me off your hip/tune me up/pluck my strings/'til my body sings". It screams old school pop romanticism, and I love it.

Throw in a few more tunes that sound like the '70s power pop ideal - Americans playing peppy pop tunes with a big nod to the best of the British Invasion - and you basically get an idea of what this well balanced album is all about. It might have been a good idea to lop off a tune or two, not because anything is outright bad, but at 56 minutes, it's tough to take in the whole disc. Of course, if the description above already has you salivating, this point is probably moot. A stellar debut album for both the band and the label.
- Mike Bennett