The Bloodtypes, who haven't released an album in 11 years, are back with a new EP. That is an event worth celebrating. And I mean literally celebrating as in getting dressed up, inviting friends over, and serving snacks. Portland, Oregon's most beloved new wave garage horror punkers are in fine form on the Bandages & Stitches Tour EP — which (fingers crossed!) is a taste of even more to come. You had to wonder after all this time if The Bloodtypes were still going to sound like The Bloodtypes. What if they learned too many new chords? What if they were now inclined to take themselves seriously? What if they properly laundered their blood-spattered attire? Fortunately, the 2026 version of the band is very much classic Bloodtypes. This new EP, the band's first recordings to feature new drummer Spiz Spasm, is everything you love about punk, pop, new wave, and garage rock combined into one hauntingly fun and infinitely danceable package. This is music for your Halloween party if you believed that Halloween ought to be every night of the year. Listening to Schneck and Jesse duet on "Bandages & Stitches," I can't help but be reminded of classic Rezillos. And from there, it only gets better. The Bloodtypes still exemplify brilliant poppy punk that is retro in spirit but fresh and fully contemporary in its appeal. I always felt they were criminally underrated, but perhaps that can change going forward.
In these darker, more desperate times, the reemergence of The Bloodtypes definitely falls into the category of "exactly what the world needs." This is a band that understands that music ought to be fun, exciting, and a little goofy but can still be intelligent, passionate, and deeply human. A world with The Bloodtypes in it cannot be entirely hopeless. The Bandages & Stitches Tour EP will leave us all wanting more, and surely that was the master plan.
After seeing Ted's review of the new album from San Diego's Mistress 77, I knew it was something I needed to check out. Ted was right: this thing is a ball of fire! Mistress 77 is a band made up mostly of veterans of old San Diego indie rock bands (Lucy's Fur Coat, No Knife, Shake Before Us) along with a singer who's in his first band but sounds like he's been at it for years. Disorder By Design is the band's second album. With John Reis sitting in the producer's chair, the record will surely get a fair amount of attention. And that's a good thing. This is the kind of music that not enough bands are making these days: straight-up old school punk rock with guts, energy, and hooks. These guys just put the pedal to the metal and let it rip. I'm hearing a mix of '70s American punk, early '80s SoCal, and '90s-style '77 street punk. That's a fine recipe in my book, and it's executed emphatically. The production is stellar (as you would expect), but more importantly, it's the perfect style of production for music like this. The guitars absolutely blast, and everything sounds super-crisp. John Reis really "gets" this band and found a way to properly capture its energy on tape. As I've been listening to this album, I keep thinking that Mistress 77 is the kind of band I would have been touting in the late '90s. And apparently, it's the kind of band I'm still touting three decades later! If you're craving some real deal punk rock, Disorder By Design is one you'll wanna crank.
Quickly following up his previous solo single "The More I Scroll" from late September, Rob Moss returns with "AM Gold (On the Radio)" — a song that gave me high hopes based on the title alone. Sure enough, this song is a celebration of the early-to-mid 1970s heyday of the AM dial and what it meant to be a kid loving great tunes on the radio. I'm always a sucker for songs like this since I have my own cherished memories of being a carefree kid sitting in my room, playing records, and listening to the radio all night long. By the time I became enthralled with pop music, FM radio was king. But I'm a huge fan of what people might call the "'70s AM sound." Moss, who is a few years older than I, had the privilege of growing up with this music. He brings that autobiographical perspective to this song.
Moss can even tell you the name of the AM station he grew up on: WPGC (1580 AM and at 95.5 FM) out of Baltimore/DC. On this channel, he heard Slade's "Gudbuy T' Jane" and T. Rex's "Bang a Gong" in 1972, Sweet's "Little Willy" and "Block Buster!" in 1973, Blue Swede's "Hooked on a Feeling" in 1974, and the Bay City Rollers' "Saturday Night" in 1975. He also loves many of the poppier hits from that period (such as "Seasons in the Sun" by Terry Jacks, "Billy, Don't Be a Hero" by Bo Donaldson & The Heywoods, and "The Night Chicago Died" by Paper Lace). So there's nothing ironic or funny about his love for this music.
Moss's specific inspiration for "AM Gold (On the Radio)" was Slade and similar bands (I'm hearing some Sweet and the Bay City Rollers in the song's DNA as well). The track takes a glam rock 'n' roll approach with a sing-along earworm chorus and incorporates it into Moss's signature musical style. And while this kind of song can sometimes get corny, Moss does a great job of elevating the lyrical approach. The way he contrasts his priceless childhood memories of discovering music with his friend Marc Alberstadt (the original drummer in Government Issue and his pal since Kindergarten) with a recognition that that particular golden era of music is long gone and can never be revived gives the song a wistful, bittersweet depth. But just when you think that this tune is concluding on a bummer note, a fake-out ending changes the mood in a big way. As the music comes back for one final emphatic burst, we're reminded that even if those old times are gone, the songs are forever. Says Moss: "The reprise on this one means only one thing: it's impossible to let go of the music we loved when we were young even if we want to let go of the past." And that's the beauty of it all. We never have to let go of the music. We grow up, live in the present, and form new memories all the time. But those songs we discovered as kids stay with us. They are part of us. In many ways, I'm here right now championing new bands because of records and songs that, as Moss puts it, opened a door for me 45 years ago. And 50 years on from those days in Marc's basement, Rob Moss is putting lots of great new music into the world. I really appreciate this window to his musical soul.
"AM Gold (On the Radio)" is out now and available from the Rob Moss and Skin-Tight Skin Bandcamp site!
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.
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.
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.
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?
