Friday, October 30, 2026

Softjaw - Love Can't Kill You


An epic year for power pop is now starting to flirt with legendary status. Softjaw's self-titled compilation album, released earlier this year, can be called power pop perfection without even a slight hint of hyperbole. When it comes to that Big Star/Nerves/Raspberries lane of power pop, this Long Beach–based band is setting the new standard. Songwriters Tanner Duffy and Dustin Lovelis had their work cut out for them as they set out to make a proper debut album. But clearly, they were up to the challenge. Out now on Dandy Boy Records and Bachelor Records, Love Can't Kill You more than lives up to expectations — mostly because it doesn't try to be anything more or anything less than a classic pop rock 'n' roll record.  

Love Can't Kill You, while still very much a quintessential power pop album, is far from a rehash of Softjaw's previous output. Over the course of a full LP, you get to hear the band trying some new things and exploring an even wider array of influences. But the main approach has remained unchanged. Guitars, melodies, and hooks reign supreme in this band's world. Granted, that is essentially every power pop band's MO. But not every band power pop has this kind of talent. Beyond their shared love for certain bands, Duffy and Lovelis are exceptional songwriters and naturally gifted harmony vocalists who thrive as a creative tandem. Rather than trying to recreate any specific era of music, they approach power pop as a living, breathing style with a rich history and a bright future. 

Love Can't Kill You is rooted in timeless sounds running the gamut from The Beatles and '60s pop to '70s rock to classic power pop to '90s and 2000s indie/punk guitar pop. I freaking love that the band chose to open the album with the wall-shaking arena rocker "You May Be Right." It was a ballsy move to throw a curveball on the very first pitch, and it definitely paid off. The song is a reminder that Softjaw is, above all else, a rock 'n' roll band. Elsewhere, "Poor Disguise," "That's Alright With Me," and the title track will have the power pop fanatics jumping for joy. "Go Mad" and "My Broken Heart" show how fresh and exciting Beatlesque guitar pop can still be when the songwriting is inspired and the execution is brilliant. "Million Different People" is the song you always hoped to get from a band whose origin story involves a Big Star t-shirt. "Pandemonium" is a snappy, toe-tapping rocker that will surely be stuck in your head all week (I speak from experience). "Flying High," which finds the band leaning into jangly, harmony-laden psych-pop, is a majestic album closer.   

I'm trying to imagine how I would have reacted if I had heard an album like Love Can't Kill You in the late '90s when I was at the peak of my classic power pop obsession. I would likely have sent the band psychotic fan letters and penned a 25-page review of the record that I would have published and distributed at my own expense. I might have even gotten a Softjaw tattoo. This really is one of those rare ten-out-of-ten power pop albums. And even with the self-titled comp record setting such a high bar, Love Can't Kill You does not fail to wow. It's not like those singles and first EP could have been a fluke. But an album like this leaves no doubt that Softjaw is the real deal. You could drive yourself crazy trying to make sense of why so many great albums of this general style have come out in this particular year. My advice is to not even bother. Just thank the music gods for the bounty of power pop treasures and enjoy it with full vigor. And then when I'm 80 years old and still reviewing records, I can talk about how I love bands that remind me of the music I loved in the 2020s.

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Wednesday, October 28, 2026

J Prozac - Muckspout


So this is just about the coolest thing ever: J Prozac's new 7" record is the soundtrack to a comic book! Muckspout is inspired by the three stories in the 24-page Muckspout Comic Book Anthology — one of which, Blister Meets The Prozacs, is based on Jay's own lyrics. I love multimedia projects, and I believe that all art forms ought to have soundtracks. Even though it's billed as solo J Prozac, this feels more like a Prozacs record. The sound is old-school '90s pop-punk and melodic punk, and familiar names like Glenn Robinson, Angelo Quaglia, and Jed Dion are contributing players. You won't find anyone in the world who's a bigger believer in this kind of music than Jay, and that really comes through in the songs. This is pop-punk delivered with zero apologies and complete joy. It even starts with a Muckspot theme song. If there's anything I like even more than soundtracks, it would be theme songs! There's a song based on Eric Cockrell's story Feral Punk and another (a first class Screeching Weasel homage) based on John MacLeod's The Stardust Projector. "Emo Song" is high-speed, pure burning hatred and a whole lot of fun. For people like me who enjoy the poppier stuff, "Prom Night" is a revamped take on an golden oldie from the Prozacs' catalog. As you can imagine, the artwork is out of this world. Even though this EP was created as a companion to the comic book, you can still enjoy it as a killer pop-punk record from one of the best in the business. It comes in five variants, so act fast if you want one (or all!) of them.

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Saturday, October 24, 2026

Ryan Allen - "Used Copy of Monster" b/w "Always, Now"


On his latest single, Ryan Allen leans into his shoegaze side — but not to a degree that will alienate fans of his power pop side. "Used Copy of Monster" and "Always, Now" are songs Allen had been sitting on for a while. Given that his mind has been largely on what's going on in the world today, he initially wasn't sure now was the right time to release these songs that aren't specifically about the current state of affairs. But as he considered the matter further, he realized that these songs are indeed relevant in the light of this particular moment. 

The mid-tempo rocker "Used Copy of Monster" is an ode to the most sold-back album in REM's catalog. Fittingly, it's a guitar-heavy track. Monster may be a lot of people's least-favorite REM album, but it's Allen's personal favorite. And this song which reflects on a divisive release from a legendary band ultimately becomes a celebration of doing your own thing and liking what you like — no matter how uncool or unpopular it may be. "You do you" is a powerful message at a time when so many people curate carefully calculated and ultimately disingenuous versions of themselves in search of likes and affirmation. I have to admit I've always had a soft spot for Monster. It seemed like everyone had been begging REM to make another guitar-driven record. And then when they finally did, people were like, "Why did you have to change your sound?" They never understood the frequency. Kudos to REM for making their rock record when they felt like making their rock record. And those of you who do take a chance on a used copy of Monster will probably discover that it's a lot better than you remembered! 

On the digital B-side, "Always, Now" is a softer, more melancholy track that again highlights Allen's talent for writing songs that are about one thing specifically but something else more broadly. On a personal level, Allen wrote this song for his ex-wife. It's about the relationship the two of them have as co-parents who, in spite of their differences, will always be bonded because they're "sharing the same person." That's a powerfully relatable sentiment in a world where co-parenting is a very common thing. And this song is not about two people merely being "civil" for the sake of their child. It's about seeking a friendship based on kindness, respect, and a shared history  — even if you're seemingly from "different planets." On a more universal level, Allen wrote this song about the idea of having someone's back no matter what. It's easy to say you're in a person's corner, but being willing to remain committed to that even when circumstances change is the mark of laudable human. Allen considers "Always, Now" one of his songs that he's the most proud of, and I can understand why. This must have been a difficult subject to put into words — especially given that he had previously aired his grievances over this very divorce on record and held nothing back. So for him to be in this head space today is a remarkable progression. The world is full of happy love songs, sad love songs, and angry love songs. But there are not many songs quite like this that explore rebuilding care and connection in the aftermath of a split. 

With "Used Copy of Monster" and "Always, Now," Ryan Allen has given us two songs with messages that resonate deeply in 2026. It's more important than ever to embrace your identity. And it's more important than ever for people to support each other. For musical inspiration, Allen drew specifically from 1990s shoegaze. He dug into his love for Swervedriver, Hum, Slowdive, and early Smashing Pumpkins as he wrote these songs. But like any other time when he's acknowledging a particular sub-set of his influences, it still just comes out sounding like Ryan Allen. From the first time I heard him on record, I was enamored because I instantly knew who he was. Over the years, he has further cultivated his own style and voice. If you didn't know these songs were supposed to be shoegazey, you could still appreciate them as splendid modern-day indie pop-rock songs. 

There's an obvious joke here about how it seems like a major crisis in the world if Ryan Allen goes seven months without releasing music. But perhaps the timing of this single turned out to be fortuitous. Now, as pre-election hysteria amps up all that is ugly, divisive, and awful in America, the positive energy of these two songs is exactly the antidote we need. If you're a Ryan Allen fan, you will not be disappointed.

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Friday, October 23, 2026

The Daniel James Gang - Ghosts Of The Past


As a child of the '70s, I was fully indoctrinated into the urban legend that legions of nefarious individuals across the nation were conspiring to murder or maim children by handing out Halloween candy laced with razor blades. It was a preposterous idea. Somehow there were evil geniuses all over the place who had the time and skill to unwrap miniature pieces of candy, insert sharp, deadly objects while leaving the confectionary goodness fully in tact, and then re-wrap each item to a professional standard. Yet there we were year after year, heeding warnings that we all may have been holding a bite-sized death trap in our Halloween haul. And those fine folks who went to the trouble to hand out candy apples were now suspected villains. It was terrifying yet oddly thrilling. The only thing crazier than the insane things people believed before the internet are the insane things a large portion of society now believes because of the internet. 

As I listen to Ghosts Of The Past, the new EP from The Daniel James Gang, my mind goes back to that mythical razor blade–laced candy. Daniel writes songs that are like that: sweet and chewy yet sharp and dangerous beneath the surface. I can't think of another songwriter who has a better grasp of how big-hook power pop and raw, street-tough glam punk are meant to come together in thunderous, staggering harmony. Ghosts Of The Past is the first new music from The Daniel James Gang since January of last year, and it's a crackling affair. On this release, the DJG is a proper trio with Mary Joy on bass and Pauly Hollywood on drums. "(Breakin') What Hearts Are Made For," the fireball opener, is electrifying old school punk rock 'n' roll with a massive, soaring chorus. I always love hearing Daniel and friends rock out, and that's happening here with full force. DJ collaborated with Geoff Palmer and Jackie Lemaire on the lyrics, and they really bring an edge to the love song genre. If that chorus were any catchier, half the country would declare it a hoax. "Artificial Romance," which slides close to pure power pop territory, is Daniel's most topical song of the bunch — a reflection on how bizarre and dystopian it is that artificial intelligence has encroached into the most human spaces we have: art and music. The dark yet melodious "Insanity" is inhabited by the spirits Joey Ramone and Stiv Bators — another reminder that some of the best love songs are the ones that are not for the faint of heart. "Drunk Like Me" is a super-charming cover of an absolute classic by one of Daniel's all-time favorite bands, The Dogs D'Amour. The band puts its full heart and soul into this rendition, which fits in splendidly with the rest of the EP. It's not hard to imagine people going nuts for this song when the band plays it live.  

I just went into my draft of my best EPs of the year list and penciled in Ghosts Of The Past very near the top. It's a tremendous little record that anyone who visits this blog ought to be interested in. It's everything I love about punk rock, power pop, glam rock, and rock 'n' roll combined into one band. Who hears those raw, impassioned vocals without being immediately smitten? And when it comes to lead guitar playing that totally shreds while still retaining an ear for melody, Daniel is hard to beat. This set of tunes is totally killer, and this particular rhythm section is a bona fide powerhouse. How many times must I chant "Mecca lecca hi, mecca hiney ho" to ensure the music gods hand us a Daniel James Gang full-length in 2027? 

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Wednesday, October 21, 2026

Nick Piunti - Under the Wire


Well here comes Mr. Dependable again! When it comes to Nick Piunti, the one thing you can always count on is quality. The new EP Under the Wire finds this master craftsman of guitar pop in prime form on a six-song set that feels a little different from his albums. This release is, for the lack of a better term, more "singer/songwriter-ish." 

Piunti often brings to mind Paul Westerberg with his flair for writing songs that are so sad and truthful that they hit you like a ton of bricks. That's the vibe here. Under the Wire favors ballads and laidback, melancholy numbers. While not fully a concept record, it does explore recurring themes of people who are plagued by despair and struggling to find their way out of the darkness — sometimes due to circumstance and sometimes by choice. These songs play to all of Piunti's strengths. He's not just a skilled crafter of melodies but also a fine singer and superb storyteller. These six songs come together like a collection of short stories or a movie made of vignettes. It takes a special kind of talent to make sad songs something you look forward to, but Piunti possesses that skill set in abundance. "Hope You Got High" opens the EP in particularly devastating fashion, and from there it's a veritable parade of stunning, gorgeously bittersweet gems. If you've heard a Nick Piunti record before, you know the kind of music to expect. But his act never wears thin, and every new song he turns out is a delight to behold. If you or people close to you are struggling or haunted by demons of various sorts, you will feel these songs deeply. 

Given the creative roll he's been on now for a decade plus, getting two releases from Nick Piunti in a single year feels like a gift. He epitomizes class in the indie pop-rock universe, and Under the Wire captures him at his absolute best.

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Monday, October 19, 2026

Vista Blue - "Here Comes the Rougarou"


Well, I suppose it is time for the Halloween music! Vista Blue has treated us to its annual spooky seasonal release, and this single is absolutely up my alley as it serves up a double shot of songs inspired by urban legends. I always love hearing about regional mythical creatures, and so now I receive my education on the Rougarou in southern Louisiana. It's half wolf and half man! "Here Comes the Rougarou" describes an encounter with this terrifying beast, and of course it's upbeat, lively fun. We have the Albatwitch here in the south of Pennsylvania — which is like a tiny Bigfoot that steals apples. Admittedly, that's not as creepy as the Rougarou, but you can bet I never enter the woods along the Susquehanna River unaccompanied. So I would not take any chances with the Rougarou. Urban legends are cool, aren't they? "Faster and Faster" is inspired by Alvin Schwartz's Scary Stories 3: More Tales to Chill Your Bones and was recorded for Vista Blue's upcoming 50 Stories album. Living up to its title, it's over in a minute. If you have a Halloween playlist, both of these songs would make fine additions. 

In 12 days, it will be Halloween. So I'll enjoy what's left of candy/pumpkin/monster season and prepare myself for the quick switch to Christmas mania. Something tells me that Vista Blue will have Christmas songs for us a little earlier than usual this year!

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Sunday, October 18, 2026

Blondie - "Spectral Eyes"


The chance to write a Blondie review in 2026 is giving me all the feels. Parallel Lines was my first-ever purchased album, and that was so long ago that it was an 8-track tape. I can't think of many bands that have been more important than Blondie in influencing the general style of music that this blog centers itself around. Due out in February, High Noon will be the first new Blondie album in a decade. It will also be the last Blondie recording to feature the late, great Clem Burke on drums. "Spectral Eyes," the advance single, is an instant fan-pleaser. Although the song was written by Johnny Marr (who also plays guitar on the track), it sounds uniquely like Blondie. There's no question about what band you're listening to, and you're just grateful to live in a world that still has Blondie in it. Glen Matlock guest stars on bass, so this track is truly star-studded. But it's the ageless Debbie Harry who shines the brightest. My friends, she has still got it. What a glorious four minutes of music we have here! I can't wait to hear the whole record!

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Self-Cut Bangs - Growth Spurts


One thing that always brings me joy is being able to follow a band from the very start — to hear that initial promise and experience the group's progression and growth in real time. I swear it feels like it was just a couple years ago that Self-Cut Bangs emerged as one couple's pandemic home recording project and one of the most pleasant surprises of 2020. But no, that was six years ago (yeah, really!). And the project was such a smashing success that Self-Cut Bangs became a bona fide, permanent band. And now another four years have passed since the band released its second and most recent album, Circle Around The Free. So what have Self-Cut Bangs been up to since 2022? Quite a lot, actually! Two pairs of band members got married. One of them had their first baby. And so the title of the new album, Growth Spurts, makes perfect sense. The band says the record is "inspired by and about the rapid musical, romantic and familial growth within the band." What's not to love about that?

To recap: Self-Cut Bangs feature two married couples in Cayley and Shawn Petsche and Nicola and Dillon Cavanagh-Whitfield along with Joel Nye. They describe themselves as "like Fleetwood Mac, but replacing the drama and drugs with more guitar solos." Sign me up for that, please! I notoriously love family bands, and I notoriously like Canadian bands. And on this third long player, SCB has fully realized a sound that's super appealing to me, one that lives at the intersection of the power pop/indie rock/arena rock Venn diagram. On this release, the band noticeably expands its repertoire but doesn't stray from its love for simple, hooky rock songs that are just the right mix of thunder and sugar. A band that's equal parts Redd Kross, Blondie, New Pornographers, and April Wine is either going to be an absolute mess or just about the best thing ever, and this evolved, more adult-oriented version Self-Cut Bangs is truly firing on all cylinders. Of course more power pop-ish tunes like "Stonewalled" and "Be My Shelter" have become fast favorites, but I'm just as keen on pure rockers such as "Witness" and "Baby Blues." Elsewhere, the likes of "Ouroboros," "One Day," and "Hot for Me" acknowledge post-punk, glam, and butt-kicking garage rock influences that have become defining pieces of the modern-day indie/punk underground. 

Growth Spurts is the work of five talented individuals who have grown as both musicians and people since we last heard from them. I love the idea that you can become more serious and self-reflective in your songwriting without abandoning that fundamental mission to make the kind of music you wish they still played on the radio. This is an album that's simple and satisfying and at the same time deeply relatable on a human level. Somehow these songs pull from the past and still manage to sound like the present and future of rock 'n' roll. File this under "well worth the wait"!

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Guerrilla Teens - Sympathy for the Decibel


Here's a review that I almost don't need to write! You see there's a new EP out from Guerrilla Teens, and you already know it's going to be great. This is my eighth time writing about this Portland, Oregon–based rock 'n' roll powerhouse, and I never tire of further spreading the gospel. There's just some kind of magic that happens when Scott "Deluxe" Drake and Jeff Fieldhouse write songs together. That's a history that goes back decades. And with Saul Koll, Tim Connolly, and Anna Andersen lining up with them, they continue to rip it up relentlessly. You can still hear those familiar influences running from '50s rock 'n' roll through the Stones, garage rock, and early punk. But this isn't The Humpers. This isn't Lovesores. It's Guerrilla fucking Teens, and they're cooking up the real-deal rock 'n' roll of today. These folks have the fire and the fury, the chops, and the tunes. At a lean five tracks, Sympathy for the Decibel is a quick-hitting, all-action affair. The title track is the fist-pumping, shout-along anthem you hoped it would be. Songs like "Ghost of New Orleans" and "You're Looking Good" tear into the old school punk rock 'n' roll style with a vigor and a venom that decades-younger bands would hope to emulate. "Spider Bouquet" has that darker garage rock edge that has been a signature for Guerrilla Teens. 

Sympathy for the Decibel delivers the goods just as you knew it would. Last year's Monkey's Paw was probably a new high point for Guerrilla Teens, and this follow-up keeps the momentum going. It's amazing to think that a band that came into existence as a pandemic project has blossomed into one of the defining bands of modern-day punk rock 'n' roll — a reminder that this kind of music is still very much alive and kicking all kinds of ass. If you're balking at the steep price for a Bandcamp download, there's a reason for that. This thing is coming out very soon on 10" clear pink vinyl on Sonic Jett Records, and that's the purchase you ought to be waiting for. Stay tuned for the ordering details!

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Friday, October 16, 2026

Hayley and The Crushers - "Crash"


I can't decide if reviewing a cover song is the easiest thing I've ever done on this blog — or the hardest. It would be simple enough to say, "Hayley and The Crushers have covered one of the greatest pop songs ever written and made it their own," direct you to the music video, and point in myself in the mirror in appreciation of a job well done. But what fun would that be? We're talking about Hayley and the freaking Crushers — who are on my Mt. Rushmore of present-day bands. I can't phone this one in! 

So let's start with the obvious: covering the utter perfection that is The Primitives' 1988 single "Crash" is a gutsy move, but would you expect anything less from a band that has previously had at The Ramones' "Teenage Lobotomy" and X's "Los Angeles"? There is no fear in the Crusherverse. You can acknowledge a song is unfuckwithable and still put your signature on it. The band points out that it has always loved "songs that feel like candy with a switchblade tucked inside," so "Crash" was a perfect candidate to be properly Crusher-ized. This cover has the original's spirit, but it's a little louder, a little punchier, a little more glittery, and a lot punkier. Of course you're starting with majestic material. But the band's own DNA is all over this track. This is music that energizes and uplifts, music that has you shouting "Yeah!" as soon as the song starts. In a world full of "meh" music, we need a lot more "Yeah!" And the music video has me in stitches. I can't say much more without spoiling it, but man, I just about choked on my Cheerios. You want bands with humor and personality? Well here you go. Dr. Cain deserves an Oscar!  

With a new album releasing on Kitten Robot Records in 2027, Hayley and The Crushers have been nice enough to give us a little taste of what's to come with the singles "Jewel Case" and "Cringeworthy," both of which are gold-certified bangers. And now "Crash" amps up the excitement even more. I've made so much about how great this year has been for new music, but who says next year can't be even better? Drive safely, kids! 

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Wisconsin Anger Team - True Spleen


Bands like Wisconsin Anger Team are the reason why I never lose the fire for writing about music. In a world where (perhaps by necessity) many bands have to put as much effort into self-promotion and a social media presence as they put into their music, Wisconsin Anger Team lets its music speak for itself. It doesn't do social media. It's not all over the streaming sites. In very old school fashion, the band communicates with fans and friends via email. The focus is on making really great albums and releasing them without fanfare via Bandcamp. 

True Spleen is the band's sixth full-length album in six years. Like the previous five, it's extraordinary. It contains 14 powerful tracks in a style reminiscent of the melodic punk, pop-punk, and louder indie rock of the '80s and '90s. Yet this is not just punk rock — this is art. Every song is essentially a poem, short story, or the first page of a novel you'd never want to put down. I'm blown away by the amount of time and effort that must have been invested into bringing every one of these songs to life. And the fact that the band includes the lyrics on Bandcamp tells you how much they mean. Every word was carefully considered. Every song title was an artistic decision. But those lyrics aren't there to overshadow the music. They're part of the music. You push play, and you can feel the energy, heart, and guts of what Wisconsin Anger Team has captured on tape. And then you start reading the lyrics and get the deeper meaning of each song. At a time in which so much music being released into the ether is just "content" meant to go in one ear and out the other, this band is making records that demand your time and attention. This is music, visual art, and literature all in one package. This is an album that you ought to experience the way you'd experience a movie or a book. How can you not appreciate a band that oil-paints a digital album cover on a canvas board? Yet there's nothing even slightly pretentious about this album. As smart and literate as it is, above all else, this is music full of feeling and life. 

In some better, alternate version of the universe, True Spleen would be a vinyl release and be selling like hotcakes. It almost seems too good to be true: How is music this good available for a free download? But if you feel that guilty about getting it for free, you can pay whatever you like. Most importantly, Wisconsin Anger Team has puts its heart and soul into making a record, and it deserves to be heard. We live in an odd time where the "cost" of listening to new music is often just the opportunity cost of not doing something else. You have podcasts to listen to and Reels to watch and reality shows to stream. I get it. So here I am, week after week, year after year, pounding the table for bands I think are more than worth your time. If you are a regular viewer of this blog, you most likely gravitate to a certain type of music. Wisconsin Anger Team plays that certain type of music at an exceptionally high level of quality. Again I pound the table. One of these days I might make my knuckles bleed. It will be a reasonable sacrifice for the cause.

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Thursday, October 15, 2026

The Summertimes - Luminous


The Summertimes, an Australian pop group I enthusiastically reviewed in 2023, are back with a new EP that picks up where their excellent debut album left off. Out on Golden Robot Records, Luminous puts on a master class in jangling, melody-driven guitar pop. Led by two exceptionally talented songwriters in David Beniuk and David Challenger, The Summertimes also feature Stephen O'Brien (Tumbleweed), Steve Bull (ICEHOUSE), Marco Forlano (The Mustard), and Ashley Naylor (The Church, Paul Kelly) in their lineup on this EP. Amanda Brown of The Go-Betweens makes a guest appearance, and five-time ARIA Award winner Paul McKercher returns as producer. With all that talent involved, you know the musicianship and production on this record are going to be immaculate. But as usual, it's the songwriting that shines the brightest. The two Davids are in fine form on these five tracks — crafting lovely, hook-laden songs that live on the more sophisticated, easygoing side of power pop. I put them in similar company with a longtime favorite of mine, Nick Piunti (who also has a new EP that I'll have something to say about very soon). Every song is a keeper, which is exactly the way it ought to be on a five-song EP. 

When it comes to bands like this, I'm sometimes at a loss for what else to say beyond talking about the sheer excellence of the songwriting. But perhaps there's not much more that needs to be said. A band like The Summertimes isn't trying to reinvent guitar pop or usher in a new era in music. But what the Davids do so well is to work within a timeless style of music and execute it so splendidly that you wouldn't tire of it in a thousand years. Writing "simple" pop songs is one of the toughest things to do in music, but The Summertimes make it seem effortless. They excel at crafting melodies that soothe the ears, choruses that linger in your head, and lyrics that say something meaningful about life. A lot of pop bands have the sound, but not all of them have songs. The Summertimes have songs all day long. "Save You Now" and "Luminous" bookend the new EP in quintessential guitar pop style. In between, "Horses," "See Me," and "Falling" are marvelous deep cuts that stretch the band's signature style in gently elegant fashion. With the longest track barely eclipsing three-and-a-half minutes, The Summertimes remain a pop-rock band through and through. However, their ability to make every song sound distinct and memorable puts them in a rare class. If "power pop for adults" is a real genre of music, "Horses" and "Falling" epitomize it. 

If you are already a fan of The Summertimes or a fan of '80s & '90's inspired indie power pop in general, Luminous ought to be on your must-buy list. It's a wonderful little EP chock full of radiant melodies and gorgeous guitars. As good as the album was, this set is even better — yet another feather in the cap of a remarkable year for guitar pop.

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Sunday, October 11, 2026

Nonchalant - When I Lost My Heart


When I talk about this being an epic year for power pop, part of that is the great variety of bands/artists who fall broadly under that banner. So it's not like all this stuff sounds the same. On its debut album When I Lost My Heart, Germany's Nonchalant meets at the intersection of power pop and '70s punk with a touch of new wave. Well now you're really speaking my language! This album is absolutely a throwback to 1979 or '80, and I've got no complaints. Once again, I will reiterate that punks aspiring to write great pop songs is my jam. And Nonchalant nails that vibe perfectly. It's as if this band hailed from the heyday of Good Vibrations Records, lived through the early years of synth-pop, and then hopped a time machine to today. The melody, hooks, energy, and romance that make this sort of music so appealing are all there. This band leaves no doubt as to which lane it wants to occupy, and it carries off the sound with reverence and vigor. If O.G. punk/powerpop is your thing, you won't be nonchalant about this record!


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Gene Champagne - Too Pop For Punk...Too Punk To Care

Drummer extraordinaire and punk/power pop solo artist Gene Champagne is back with a new mini-album (or maxi-EP) titled Too Pop For Punk...Too Punk To Care. The title sums up what this guy is all about. Punk rockers writing pop songs has always been a sweet spot for me, and these tunes hit the mark just right. Half the record is comprised of previously released digital singles (the double A-side wham-bam of "Gimme Ammunition" and "She's an Atom Bomb" along with covers of The Barracudas' "I Can't Pretend" and The Ohio Express's "Yummy Yummy"). Too Pop For Punk... adds four new tracks for a proper long extended play experience. The best of the new tunes, "Friends Like These," is vintage Gene Champagne: punchy, crunchy punk-pop that serves up hooks a plenty and hits with authority. "Sweet Little Lies" is a mid-tempo number that puts the power in power pop. "Beach Boy Wannabe" has great fun living up to its title. "I'm Disconnected" caps things off in a decidedly different direction with some tough & gritty '70s-style punk fury. All in all, this is a terrific little album from the Teenage Head/Killjoys/Black Halos drummer, and it's available on white vinyl while supplies last!

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Pocket - self-titled


On its self-titled debut album, Bristol-based Pocket tears through eight songs of raw, energetic, and totally excellent pop-punk. This one-sided 12" is an absolute thriller for anyone who enjoys pop-punk that leans to the punk side but doesn't skimp on hooks. Thom Weeks, Kathryn Woods, Andrew Horne, and Brian Scally are all established players in the UK indie/punk scene. As Pocket, they come together to deliver a perfect mix of melody and aggression. All these tunes hit hard and are carried off with urgency and feeling. Even when the band ventures into noisy indie rock territory, the songs are still crackling and brimming with energy. And at a lean eight tracks, this is the quintessential all-killer, no-filler affair. This is a record that you can't help but crank super-loudly as you shout along and pump your fist. From start to finish, you can truly feel the passion that went into these songs. Since this is technically half of a vinyl record, I don't know whether to call it an LP or an EP. But it's one of the most exciting records I've heard this year, and you know I've heard a lot. Get it from Specialist Subject Records!

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The Shortstops - Preseason


You have to love a band with a baseball-themed name releasing an EP called Preseason just in time for the postseason! I'm still salty about the Phillies' early playoff exit, but I sure dig this record. The Shortstops are from Louisville, Kentucky, and they don't write songs about baseball. But it's possible that they play baseball and certain that they like baseball. The band cites Matthew Sweet, Weezer, and Jeff Rosenstock as influences, so that gives you some idea where these guys are coming from. They're broadly a power pop band — but not the kind that wants to be The Beatles. I'm feeling some serious '90s indie/alternative rock energy on the endearingly dorky "Absurd." "Caroline" and "Betsy" are giving jangly, mushmouthed early REM vibes. What really won me over is that the song lyrics are interesting and creative. "Absurd" is about this dude who's into this girl who clearly, obviously thinks he's a loser — and so, of course, that makes him all that more obsessed with her and all the more convinced in his chances. "Ford Pinto" crafts the ultimate metaphor for a relationship that you ought to know is destined for disaster. "California" seems to be your typical romanticized road trip pop song, but then it takes a very sudden dark turn. "Mockingbird" comes off like the pop-punk song Edgar Allan Poe might have written. There are also a couple of more conventional love songs to bring it all home. This is a charming little EP that shows exactly the sort of range you'd want from a bunch of Shortstops.

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Friday, October 09, 2026

The Brickabrats - "Fun Night


 "Fun Night" is the debut single from The Brickabrats out of Portland, Oregon — a foursome that reminds me of all the bands that made me fall in love with punk rock back in the '90s. The band likens itself to "Screeching Weasel making out behind a 7-Eleven with The Queers while Sloppy Seconds steals beer from the gas station next door," and I am here for that! Sometimes I want to hear pop-punk that has found a way to grow up a little. But other times, I just want pop-punk to be simple, stupid, and (above all else) pure fun. The Brickabrats aren't trying to be original or practice rocket science. They aren't hiding their influences. They want to write the catchiest possible songs and blast them with maximum enthusiasm. It's a simple approach that a million other bands have tried. But they pull it off so well that you wouldn't want it any other way. 

"Fun Night" is about getting ready to party, but they're talking about the sort of party I would have actually gone to — where people chow down on junk food and listen to cool records. Getting into pop-punk in the '90s wasn't just about discovering music that seemed like it was made for me. It was about bonding with all the other misfits and weirdos who loved the same stuff. That spirit is baked into "Fun Night," a song that is literally all about anticipating good times and putting everything else to the side. You know there will be shenanigans, but there's an undeniable innocence at play as well. 

"Fun Night" is the first taste of The Brickabats' debut EP THWACK! (as far as I'm concerned, there can never be enough onomatopoeia in record titles), which releases January 22nd. I have to respect that level of planning ahead when I haven't even figured out what I'm having for breakfast 40 minutes from now. If you're not a pop-punk person, "Fun Night" won't turn you to the dark side. But something tells me that The Brickabrats don't make music for people who dislike pop-punk. If you do like pop-punk, this is a band to watch!

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Wednesday, October 07, 2026

Twerp - 1,000 Ways to Hotwire Your Life


1,000 Ways to Hotwire Your Life, the new EP from Cleveland-based frantic foursome Twerp, is an absolutely delightful jolt of energy that rides the oh-so-fine fine line between punk rock and new wave. I suppose you could call this "egg punk." But my mind doesn't go to modern-day egg punk when I hear this record; it goes more to Devo and The Waitresses. These tunes are spastic, jerky, and endearingly weird — the sort of music that is in the air and water in northeastern Ohio. Even with the artsy, freewheeling edge, the songs are well-crafted and super-appealing. The singer Mojang has personality and charisma all day long. And I'm totally won over by the audacity of a band that can follow 6 songs in 11 minutes with a nearly 7-minute symphony of chaos. What a brilliant record! I'm late to the party on Twerp's previous EP Digital Distortion, but that's totally killer as well. This is one of the best new punk bands I've heard in quite some time. I'm always up for new ways to hotwire my life, so I'll gladly welcome 1,000 of them!

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Tuesday, October 06, 2026

Parasites - self-titled EP


How wild is that I've now been reviewing Parasites records over a period of thirty+ years? If you had told me, when I was a 24-year-old kid, that I'd be writing about a new Parasites EP in 2026, I would have declared you insane. But Dave is still going strong three decades later, and I still haven't found a more appealing hobby than dancing about architecture. So here we are! Out on Something To Do Records, Parasites' new self-titled EP is the band's first release since 2023's EP​-​Onymous and its first standalone EP comprised of new recordings since 1997! So yeah, this is kind of a big deal. In my admittedly biased opinion, Parasites are an all-time top ten pop-punk band, and the A-side of this release is totally in line with what you'd expect from a band that helped define the sound of '90s pop-punk. If you could somehow go back in time and slip "Until You Go" and "The Day You're Gonna Break My Heart" onto Punch Lines or Rat Ass Pie, no one would have been the wiser. When it comes to writing these gut-punch earworm love songs, Dave remains a master of his craft. 1996 me would have eaten these songs up. 

So we're talking vintage Parasites, right? Yes and no! Flip the record over, and you are in for some real surprises. "Drown" is the first time Dave has ever done a proper ballad (replete with strings and piano), and it's all raw emotion and heartfelt sentiment without any heavy guitars or speedy tempos to lean on. I have to admit I heard those opening strains of acoustic guitars and thought Dave was about to go full-on Goo Goo Dolls. But you know what? Lyrically, this is pretty par for the course for a Parasites song. It's genuinely moving and more than a little devastating. It should never be a stretch for a really good pop band to be able to pull off a song like this, and so the Parasites as legitimate balladeers is unexpected but perfectly logical. Dave's vocal definitely has me feeling the song, and that melody has been slowly but surely lodging itself inside my brain. To finish the EP, "What Am I Gonna Do With You" finds the band further entering orchestral pop territory with a cover of an old Gerry Goffin/Russ Titelman composition. The song is most closely associated with The Chiffons, who recorded it first. But Dave's inspiration here was Lesley Gore's version from 1965. Those are some big shoes to fill! At the very least, I applaud the ambition  

I imagine the second side of this EP will be highly divisive. Some longtime fans may be thrown for a loop and perhaps even feel ripped-off. Others might actually like Side 2 better! Certainly no songwriter should ever have to be limited to one musical style for life. Even Dave Parasite can only write so many textbook pop-punk songs before he gets a little tired of it. Whether this is a one-off thing or the start of his Brian Wilson phase remains to be seen. I will certainly be interested in hearing what people think of this departure from Parasites-as-usual. For now, I'll say this: I don't hate it. 

Hit up Something To Do Records if you want to order this EP on 12" vinyl or CD. First vinyl pressing is limited to 150 copies on glow-in-the-dark green vinyl and 150 on black vinyl. You can also order the vinyl and CDs from the Parasite's Facebook page, Dave's Facebook page, and the Waterslide Records web site. Dave is also selling t-shirts and his back catalog items from his Facebook page and the Parasites' Facebook page. You can find all the links below! 

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Sunday, October 04, 2026

Cindy Lawson - ¡Long Live the Resistance!


¡Long Live the Resistance!, the new EP from Cindy Lawson, is exactly what the title promises: a collection of raging, defiant songs that push back against an authoritarianism state and billionaire class that oppress with unchecked power. Out on Rum Bar Records, the EP is available on CD and limited edition 10" vinyl. 

Lawson (The Clams), a legendary figure in the later '80s Twin Cities music scene, has had quite the career renaissance in the 2020s. Her fantastic EPs New Tricks and Don't Come Crying To Me were standout indie/garage rock releases in 2022 and 2023. Last year's single "The Reckoning" was exactly the anthem my discouraged heart needed — a furious assertion that evil individuals will ultimately have to square up with unforgiving karma. It was a noticeable shift in style for Lawson, and it was a thrill to hear her and her band find inspiration and energy in raw, impassioned old school punk rock. The song returns as the lead track on the new EP — followed by three new songs inspired by ICE's takeover of Minneapolis. 

What is a proper response when the powers-that-be brutalize communities, trample all over fundamental human rights, and murder their own citizens? You push back any way you can. Not only has Cindy Lawson taken street-level action in her own community, she has also used her platform as a musician to inspire resistance. Again, she and her band (Jerry Lefkowitz on guitar, Pony Hixon Smith on bass, and Mark Devaraj on drums) utilize fierce, fiery punk rock as their vessel for social protest. I swear Lawson has been drinking from the fountain of youth. She sounds so focused, energized, and full of conviction. When it comes to righteous indignation, there's no denying she wears it well. "Burn," "Eat the Rich," and "Howard Zinn Died for Your Sins" hold nothing back. They are pissed-off, uncompromising, and fearless. They take the fight to the bullies. They speak truth to power. And as I always say about protest music, the key is that these would be powerhouse songs even if the lyrics weren't political. Lawson is such a force of nature on these tracks, and her band matches her energy at every turn. So it's not that the music is bigger than the message; it's that the music amplifies the message. If you're out there in the fight, this is your soundtrack. These are your rallying cries. 

¡Long Live the Resistance! does not shy away from being exactly what it aims to be. Cindy Lawson is not here to negotiate a consensus or implore people to "agree to disagree" with her. She doesn't give a flying fuck if you don't like her politics. She's here to speak her truth and stand up for what she believes in. She's here to speak for everyone who's angry and appalled about injustice in America. And it hits all the harder because this is personal for her. There's a great tradition of punk rock as protest music, and Cindy Lawson is keeping the fire burning at this present and crucial moment.

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Saturday, October 03, 2026

The Exbats - My Dinner With Crumar


If you put on the new Exbats album without any advance knowledge of what the band had been cooking up the last couple years, you were probably shocked out of your shoes. The Exbats falling in love with synthesizers and drum machines is something literally no one could have seen coming. But of course this bold departure is an unequivocal success. It's the freaking Exbats! Anything they touch turns to gold!

So here's the story behind My Dinner With Crumar. The Exbats became massively inspired by Sweeping Promises a few years back, and a close friendship between the bands was formed. The Exbats were intrigued by the idea of recording in Sweeping Promises' house studio, and Caufield Schnug kindly agreed to record them. So the band trekked from Bisbee, Arizona to Lawrence, Kansas four different times between the summer of 2024 and the spring of this year and made a record. I love the idea of bands inspiring and pushing each other to grow and evolve. The Exbats would not have been able to make this exact record in any other studio. The band discovered the Crumar Orchestrator (an Italian string synth from the '70s) in the studio and realized it perfectly fit the mood they were going for. And hence we have the name of the album. Yes, it's really, really different. But it's also really, really great. The McLains took a really huge swing with this album, and they knocked it out of the park. 

What I love about My Dinner With Crumar is that all those electronic instruments (there are also a Moog Grandmother, Oberheim DMX, and Pulsar 23 in the mix) aren't just there for show. They serve a purpose and fit a more modern, atmospheric wall of sound. The programming here is beautiful and very intentional. You can still hear the band's love for '60s pop and girl groups coming through, but on this record, the McLains advance their time machine into the heyday of new wave and synth-pop. A five minute, 31-second slow-burning epic is an interesting choice for a lead track, but "Will You See Me in the Morning" really is the perfect table-setter for this album. It's a bold, emphatic statement. If "I Only See You When I'm Dancing" sounds like classic Exbats turned electronic dance band, I suppose that's exactly what it is! "Back Where You Belong" is picture-perfect new wave pop. "Come and Get Me" is funky, punky disco-pop and a certified earworm. "Call Me An Idiot One More Time" ought to be a smash hit on every continent. Songs like "Falling Into Something" and "Nobody Told Me I Was Dead" aren't that far off from The Exbats of old, yet they sound perfectly in place on this record. "Hide My Baby," which Franksteins together The Shangri-Las and Velvet Underground, will be the track of choice for those who always like a punkier Exbats. And how about a synth-pop reprise of the band's old favorite "Hercules" to remind us that what's old can always be new?  

I will admit that I was a little dubious when I started listening to My Dinner With Crumar. I'd been waiting a long time for the band to release music, and I wasn't sure I was ready for a synth-pop Exbats. But my skepticism was very short-lived since the songs are just so undeniable. Given that this band had been so long known for a traditional guitar-based rock style, it was a gutsy move to embrace synthetic sounds. But whatever instincts were guiding Inez, Kenny, and friends as they conceived, wrote, and recorded this album must have been deemed by the music gods. They knew what kind of album they wanted to make. And with a lot of help from their friends, they made it. This record turned out to be everything I was hoping for and then some. 

I don't think there's anything better for a band than catching that jolt of inspiration and finding yourself super-excited about a new direction. The first rule of making music is that you have to love what you're doing. Whether or not anyone else loves what you're doing is largely out of your hands, but I don't think My Dinner With Crumar will have many people hopping off the Exbats train. If anything, more people will be jumping on. Any time I talk about the best bands out there right now, The Exbats are always in the conversation. They are a reminder that new, exciting music is still out there if you care to look for it. That remains truer than ever. As this band, now 16 years into its story, enters its self-described "middle period," I can't help but be pumped about what's still to come.

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Friday, October 02, 2026

Psychotic Youth - Ready Go


When it comes to power pop and garage rock, Psychotic Youth is at the head of the master class and aging like fine wine. Ready Go is the band's 18th album (and fifth since reforming in 2015). It sounds like...Psychotic Youth! This album is exactly what you'd expect it to be: a perfect blend of power pop, punk-pop, garage, and surf rock (all the best things in life!) that doesn't concern itself one bit with breaking new ground. There aren't a whole lot of bands that can get away with staying in the same lane forever. But when you practically invented this lane, and you can turn out records this good, why not keep doing what you do?! It's a beautiful thing to hear Psychotic Youth in vintage style and vintage form. Jörgen Red Westman remains in peak power as a songwriter, and the band still sounds like it's having a great time making this kind of music. 60 is the new 30! 

Ready Go is not just a passable effort from a classic band. It can stand toe-to-toe with the best of this band's albums. Not quite as lyrically bleak as the last album Happy Songs, this is a full-on return to form. Garage rippers like "Rat Race," "Breakdown," and the surfy "Predator" show that these guys can still rock and roll with the best of 'em. But power pop is the prevailing style here, and that's apparent from the opening strains of the upbeat and irresistibly catchy title track. Likewise, "Back To You," "Can't Get Enough of You," and the smash hit "Girls" are the sorts of songs that Psychotic Youth built its brand on. "Endless Summer" is a joyous callback to the heyday of beach-pop. The band's choices in cover songs (The Plimsouls' classic "Now" and Phil Seymour's "I Found a Love") tell you everything about the vibe and energy it was going for with this record. It's an album to play in the car with the windows down or put on at your next house party. Just push play, and it's summertime any day of the year.  

It's still hard to believe that we went without new music from Psychotic Youth throughout the 2000s and most of the 2010s. But here these guys are in 2026, sounding truly timeless. Is Ready Go a fan-pleasing kind of record? It absolutely is, and let's not make the mistake of thinking that's a bad thing. In this Year of Power Pop, you'll want to be sure to make some room for the OGs!

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