Ari Shine: about

Ari Shine is a Los Angeles based singer/songwriter with roots in both rock and roll and powerpop. His latest album “Ghost Town Directory” was co-produced with Noah Shain (As Tall As Lions, The Secret Handshake) and is his most direct and realized work yet. It’s ten tracks offer a modern spin on the hooky yet gritty sound of Petty and Mellencamp while retaining a smattering of the Nick Lowe styled songcraft for which he has earned a worldwide following. At the forefront are tunes featuring what Americana UK called “bruised earnest romanticism and infectious good natured vibe”. Classic Rock Magazine noted his “wry turns of phrase” and “incredibly well-crafted vignettes”. 

Ari has toured the US, UK and Canada extensively, sharing the stage along the way with acts like Rhett Miller, John Doe, Silversun Pickups, Liam Finn, Ian Hunter, The Donnas and many others. Official showcases at SXSW and NXNE garnered glowing reviews and Shine has appeared at numerous other festivals both in North America and overseas. 

Shine’s first ep “Age/Occupation” earned nods from the Village Voice and underground press alike. Its followup, “A Force Of One” was shortlisted for a Grammy nomination. In Feb 2009 legendary Rolling Stones producer Andrew Loog Oldham made Ari’s cover of “Waterloo Sunset” from the itunes only ep “4 Covers” his pick of the week on Sirius Radio.

Ari’s music has been licensed heavily to shows like Veronica Mars, DeGrassi: The Next Generation, Kyle XY and all over the MTV network (whose new station Iggy profiled him in early 2010). In addition, Ari is endorsed by Fender guitars and has been featured in their Soul of Tone series.  As an in demand collaborator, Ari’s co-writes have received airplay from KCRW to CMT and have been heard on programs like Ghost Whisperer and Lincoln Heights. They also earned him the Grand Prize in the John Lennon Songwriting Contest as co-writer of the Spanish language track “Escondidos”. 2010 will see the release of “Ghost Town Directory” and extensive touring in support. 

In some ways this is the perfect debut album, sparkling with wit, invention and some truly memorable pop tunes.

After releasing an EP in 2006, indie pop tunesmith Ari Shine has issued his debut full-length, the quite catchy A Force of One. Killer opening track “Cooler Than Me” channels early Elvis Costello through 21st century indie rock. The major influence of Costello permeates the whole record, in fact, although to varying degrees. “She Wants It (More Than Me)”, another great cut, has a more straightforward rock ‘n’ roll appeal, while still retaining Shine’s indefatigable pop instincts. “Flirtation Device” is radio-friendly AAA and wouldn’t be out of place on a Semisonic album. The sneering “Party People”, meanwhile, possesses the same dark disco appeal as the latest Of Montreal. The waltz-time title track reminds us that Elvis is king in Ari Shine’s world. Fortunately, the dude’s got the chops to pull it off. As his press material emphasizes, Ari won the John Lennon songwriting contest. He’s a good singer, too, delivering with skill and just enough of a bitter attitude to sell his songs of relationships gone wrong. On A Force of One, Ari Shine is a force to be reckoned with.

Musical trends come and go, but some things never go completely out of style, and good power pop is one of them. Cheap Trick will probably never again achieve anything close to the chart positions they enjoyed in the late '70s, and Fastball will probably never come close to those heights of popularity at all -- but Cheap Trick will keep selling out venues as long as they keep touring, and you'll keep hearing Fastball on the radio. If those names make the rock lobe of your brain tingle, then you'll want to run to your computer and immediately order a copy of Ari Shine's A Force of One. Like the Rocket Summer, Shine plays all the instruments himself and sings almost all the parts, but he never falls prey to the one-man band sickness -- that low-grade fever that afflicts somebody like Prince when no one is around to tell him he's being a dork, and that shuts down the part of his brain that can tell the difference between brilliance and self-indulgence. Shine is all about tight song structures, sharply observed lyrics, and focused hooks -- and if his hooks don't bite quite as deeply as those of some of his colleagues, his songs are still plenty of good fun. Even if you don't walk away from A Force of One singing any of the choruses obsessively, you'll have a great time listening to the widgety '70s synthesizer on "Beat U," the wry humor of "She Wants It (More Than Me)," and the cheerfully cheesy house-ska of "Party People." Definitely worth a listen.

Shine is a confessed Sparks fanatic so it makes sense that his album was produced by early Sparks alumnus, Earle Mankey. Indeed, there is some of that smart prog-pop here but he's a little earthier than art-pop, sounding occasionally like Matthew Sweet or Big Star.

Opening the proceedings is three tracks from Los Angeles-based Ari Shine, two of which from his upcoming debut 'Force of One' out in July. Opener 'Cooler Than Me' is reminiscent of US pop/punk band Simple Plan and 'Flirtation Device' seems to have influences deeply implanted in 1980's electro-synth. Shine is an artist who seems to have an impressive ability to create addictive pop hooks; don't be surprised to hear more from him later in the year.

Elsewhere, LA-based newcomer ARI SHINE demonstrates that Bongo Beat's antenna remains reliable where new signings are concerned. Shine contributes three tunes to this sampler and the chewy, riffsmart arrogance and sunshine combination of songs such as 'Crank It Out' and the lippy 'Cooler Than Me' prove to be instantly likeable whacks to the gut for fans of early Costello and the Knack/ Raspberries school of gritty, radio-friendly guitar pop. Shine has been laying down his sussed choons with legendary LA producer Earle Mankey (Sparks, Dickies, millions more) and even when synths and beatboxes accompany the chugging guitars - as on the wicked 'Flirtation Device' - he's onto a winner. Remember his name.

First song on his EP is about selling out to music and movie moguls in Los Angeles, but its riffs and/or hooks can be traced back to the Raspberries and Mott the Hoople.

On Age/Occupation (Meticulous), Ari Shine plays sunny songs spiked with punk (the Elvis Costello wing of it) and power pop.

Shine’s solo EP Age/Occupation is beautiful. Furthermore, the EP has achieved an unprecedented level of critical acclaim for a debut.

One half of this package, the “Acoustic EP”, opens with the lyric “She’s a sweet ex-stripper with a penchant for knife fights”. I could probably just end the review there and enough people are going to be convinced to look this release up.


But for those of you still reading, here’s a bit of elaboration. What we have here is a neat little bundle of two short discs, “4 Covers” and the “Acoustic EP”, in which Mr. Shine demonstrates a great ear for melody and hooks, and in the case of the latter disc a penchant for strong pop songwriting. Shine’s songs have been featured on shows such as “Veronica Mars” and “Kyle XY”, no doubt playing out over end of episode montages offering tidy narrative resolution. And they’re a good fit; cinematic and easy on the ears. It can’t be long until we hear him on “Scrubs”.


Let’s look at the acoustic disc first. You can imagine Rhett Miller singing this material, such is its bruised earnest romanticism and infectious good natured vibe. There’s sensitivity to it but also an unfazed power pop bravura: one track is entitled “Everybody Wants Me (But I Want You)”. It’s not quite as acoustic as its title suggests but listening to it you get the feeling that’s a good thing, the instrumentation is fleshed out and fits together perfectly. “End of My 20s” is all angsty youthful disaffection and closing track “Rock and Roll Shoes” channels the exuberance of early Buddy Holly. It’s all very catchy and easy to listen to.


The “4 Covers” EP is different enough to justify the bundling of two separate discs. It’s got a different approach; it’s less exuberant power pop and more serious tribute to some interesting choices of artist. There’s a hushed, daydreamy reading of The Kinks’ “Waterloo Sunset”, and a bluesy stomp through a Eurythmics track. Then there’s a version of Nick Cave’s “Into Your Arms” that eschews the looming machismo of the original for a disarmingly fragile interpretation, stripping things down to acoustic arpeggios and washes of pedal steel buoyed by thrumming organ, and lent a convincing romanticism by female co-vocals. Things come to a close with a soulful rendition of Howard Jones’ “No One is to Blame”.


It’s all very radio friendly fare. Aside from some fresh interpretations of other artists’ songs, there’s nothing on these discs that will surprise or subvert. Mr. Shine doesn’t break the mould, he just fits into it very well.

Later that night, I hit another high when I caught the L.A. power popper Ari Shine who, along with his capable band, provided a perfect blast of sweet, sweet early-Costelloesque power pop. Somewhat coincidentally, given that my day had begun with Mike Rosenthal, I found myself thinking that Ari Shine could be the Mike Rosenthal of the year.

Performing sharp, clean guitar pop featuring hook after hook after irresistible hook, Ari Shine ended their set with what could have been an ill-advised choice of a cover in Mellencamp’s “R-O-C-K in the U.S.A.” but, by speeding up the pace they turned it into a bash-and-pop rave-up that brought the house down.

"Ari Shine has had much success already. His deep involvement in both singing and song writing has earned him critical acclaim and widespread mention, as well as collaboration with other artists. A solo act with a guitar and a harmonica, Ari’s songs break the mould of acoustic singer-songwriter with the passionate intensity of his voice. He must have as many stories and songs as he has tattoos. Ari proves that you don’t always need backup to rock the stage, and that rocking your emotions is something that is also favourable in a solo set as well. His skull note t-shirts and pins are the perfect representation of his bad-ass heartfelt music."