Saturday, November 14, 2026

Brijitte West and the Greenowskis - self-titled


Supergroups can go one of two ways: they can sink under the weight of their lofty expectations, or they can be every last bit as awesome as you would expect them to be. Where does that leave Brijitte West and the Greenowskis? Well, if I'm writing about them, you know the answer! The band's self-titled debut album is out on Rum Bar Records, and it's an absolute scorcher. 

Brijitte West, of course, fronted the mighty NY Loose — one of the bands that defined the greatness and grandeur of that legendary '90s New York City punk rock scene. I've spent my whole adult life ranting and raving about bands that "should have been huge." But NY Loose in particular should have been huge. West has teamed up with punk rock lifer Lester Greenowski (Landslide Ladies, Honest John Plain) and an Italian-based band featuring Wilko Zanni from Rats on guitar. This album isn't trying to relive past glories; it's more about writing a new chapter. But 100%, anyone who loved NY Loose will love Brijitte West and the Greenowskis. This band blends gritty and powerful '70s-style punk rock with a classic pop sensibility. The music and lyrics were a full-band collaboration, and you can feel the love all these individuals have for the heyday of glam/punk/rock 'n' roll. Once this sort of music gets in your soul, it's there forever. Brijitte West and the Greenowskis is an album made for true believers by true believers. If you worship at the church where Johnny Thunders, the Dead Boys, and the Ramones are the holy trinity, this is your kind of music. And West sounds truly fantastic — her voice aging like fine wine and her heart so clearly in it as she tears into these hard-hitting, hook-laden tunes. 

Brijitte West and the Greenowskis waste little time introducing themselves to the world. "Doin' Alright," which dishes good-old down-and-dirty hard rock 'n' roll, is a proper mission statement to open this firecracker of an album. The snappy rocker "My Lower East Side" is a memoir of that legendary '90s New York punk rock scene — a paean to a special moment in time that is long gone but will never be forgotten. And with that 1-2 punch kicking things off, this rock 'n' roll party is in full swing with nothing to stop it. Across these 12 tracks, you'll hear everything from pure ripping punk rock ("Some Body," "Shoot Shoot Shoot," "Brutta Bimba Bella") to proper power pop ("Sorry I've Been a Stranger," "Don't Hurt Yourself," "Default") to straight-up rock 'n' roll ("Kill Me, It's Saturday Night") to wall-of-sound ballads ("Nobody Won"). The album's two covers show you where this band's heart is. "All This And More" is a faithful, full-throttle rendition of the Dead Boys classic, while "Luckiest Girl" is an acoustic reworking of an early NY Loose B-side co-written by Richard Bacchus. 

Closing the album with "Luckiest Girl" creates a wonderful full-circle moment. Brijitte West is by no means trying to turn the clock back 30 years, but she's not running from the legacy of NY Loose, either.  "In a lot of ways, I feel this is the best album I have ever made," she says. "It feels like the NY Loose album that never was, yet a seamless collaboration with the best I have ever worked with." That is perfectly stated. She found the perfect group of musicians to work with on this project. The magic these folks have created reflects not just chemistry, talent, and experience but also a shared vision for the kind of music that still needs to exist in this world. There's not a single release that Malibu Lou puts out that he doesn't endorse with genuine, 100% enthusiasm. But from the moment he first messaged me about putting out this record, you could tell that it has an extra-special place in his heart. Without reservation, he announced that this is the Rum Bar release of the century. I imagine many people will have a similar reaction. Lou's exact words were, "If this does not drive you ape shit, then I will eat both my left and right shoes! I can't think of finer words to leave you with.

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The ETTERS - Jij bent een sukkel en The ETTERS zijn gaaf!

Why do I love The ETTERS so freaking much when I have no idea what they're singing about? Perhaps it's because I actually do have some idea of what they're singing about without knowing a word of Dutch! It's all in the delivery, isn't it? This band speaks the universal language of punk rock, and you can literally feel its attitude, snottiness, and sheer disregard for all that is proper, respectable, safe, and serious in this utterly lame world emanating from every barbaric note. Who doesn't love a band that's willing to give the middle finger to anyone and anything just for the sheer fun of it? The title of the new EP Jij bent een sukkel en The ETTERS zijn gaaf! loosely translates to "You're a loser, and THE ETTERS are cool!" Now that is truly hilarious! Musically, you know what to expect: three more tracks of trashy, obnoxious, and ridiculously catchy garage punk straight out of the heyday of Rip Off Records. You can't beat it! The ETTERS' debut album from last year can rightfully be called an instant classic, and every additional release they launch into existence is a gift from the music gods. Jij bent een sukkel en The ETTERS zijn gaaf! is their third EP of 2026 and as every bit as essential as the previous two. In a world where there are constant demands on your time and attention, The ETTERS have treated us to an EP that will consume less than four minutes of your precious time today. But something tells me you'll listen more than just once. 

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Wednesday, November 11, 2026

DeeCRACKS - True Nothing


How many times have I said something along the lines of "If you don't like pop-punk, this album won't turn you to the dark side" in a review? Well, isn't it time for me to review a pop-punk record that actually might turn a few people to the dark side? DeeCRACKS' new album True Nothing is an absolute ripper — the kind of record that you would probably describe as punk rock with a pop influence as opposed to the other way around. Across 18 songs in 29 minutes, this long-running and ever-dependable Austrian trio lets it blast with a blistering fury that nods to the Ramones without trying to copy them. If you generally dislike pop-punk because it's not tough or punchy enough for your tastes, you won't have such grievances with DeeCRACKS. This is a pop-punk band that knows how to rock, and these songs are anything but lightweight lyrically. There are some dark, heavy themes explored on this album. Yet when it comes to writing songs that are catchy as hell and fun to listen to, these guys are total masters of the craft. 

True Nothing is a terrific album for many reasons, but I especially appreciate that it mixes things up nicely. Songs like "In The Red," "Bad Intention," and "Dynamind" are pure pummeling punk rock at its finest. Elsewhere, the likes of "All Of You," "Next To No One," and "Revenge" are classic pop-punk done right. Other tracks such as "Hell Today" and "True Nothing" lean to the more rockin' side of pop-punk. All in all, this is music with guts, heart, and soul played with maximum gusto. This band isn't trying to reinvent music, but the energy and spirit it injects into the timeless three-chord attack cannot be denied. These guys prove that a tried-and-true approach will always work when it's executed superbly. Of course pop-punk fanatics will be all over this record. But I'd say that anyone who loves killer punk rock ought to take an interest in what DeeCRACKS have cooked up here.

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Sunday, November 08, 2026

Cult Crime - Fully Automatic


Toronto's Cult Crime is one of those bands that can best be described as real-deal punk rock. These guys aren't trying to break new ground or change the game for modern music. But you hear one of their records and instantly find yourself grateful that music like this is still being made. The style is classic; the execution is flawless; the conviction is undeniable. On its new album Fully Automatic, Cult Crime continues to unleash tunes that obliterate everything in their path. This, my friends is raging punk rock full of raw energy, pure power, and guts for days. These 12 full-blasting tracks recall the tougher side of '77 punk, the more tuneful side of early hardcore, and even a little '90s blistering punk rock 'n' roll. You know what I'm talking about. The drums and bass practically scorch the earth. The singer spits bile and fire. The guitars roar and scream. There's no room here for playing around or getting fancy. It's all fire and ferocity, but in a way that's sure to have you tapping your toes and triumphantly punching the air. If you crave full-speed-ahead rock 'n' roll that's positively pummeling but not afraid to be catchy, this is the tornado you ought to be bracing for. 


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Best Ex - Good Girl


I'm going a little outside of my usual stylistic bubble on this review, but I am fully sure that's a good thing. Who needs to live in any kind of bubble? We smalltime music bloggers are often frustrated or deeply annoyed by the endless emails from publicists who seemingly aren't even aware of what kind of music we actually write about. But the publicist who contacted me about Best Ex is one I particularly respect (and who does a really good job of only sending me stuff that I would potentially write about). So I listened, and I liked what I heard. Better yet, I related to it. So here we are. 

Best Ex is the solo outlet for singer/songwriter Mariel Loveland, formerly of Candy Hearts. On her new album Good Girl, Loveland lives at the intersection of indie rock and contemporary pop music. These songs are clearly '90s alt-rock inspired but feel very modern in sound and production. Loveland co-wrote this record with producer Andy Tongren, and what results is a terrific collection of polished but earnest pop songs that essentially tell a story of what it's like to try and figure out life in your 30s when nothing has turned out the way you thought it would. The album begins with these lines that absolutely knocked me out:

I want my childhood back
Bare feet, wet blades of grass
Now my sister’s a mother
My brother’s losing hair
And I’m still exactly how you left me here

My god, that's brilliant. With that tone set, Good Girl proceeds into a powerful and personal exploration of a phase of adulthood that might be a little under-represented in the world of music and art. There are thousands of records, movies, and books about "coming of age" into adulthood. But what about when you enter your 30s and you're not settled and secure the way you're expected to be  (or the way you once expected to be)? So many people can relate to this moment in life. You're not a kid anymore, but it feels like you just were yesterday. So many things are changing. Everyone around you is having kids and getting real jobs, but you're still trying to figure out if you even want those things. People start wondering what's wrong with you — as if your nonconformity to normalcy is some sort of personal defect. This would, I imagine, be even more difficult for a woman. Everyone would like to define you as someone's wife or parent, and you just want to be defined as an individual. That's the gist of Loveland's story on this record. She beautifully captures that feeling of being in your 30s and thinking, "No, this is NOT how it was supposed to turn out!" 

Along with the songs which tackle identity and self-examination, there are some really great love songs (including deliciously scathing ones in "Man Like You" and "Living In Hell") and even some thoughtful reflections on the current state of the world (which totally makes sense since nobody experiences life in a vacuum). "Boring" gives me all the feels given my own discovery that my happiest life is one that wears its boringness like a badge of honor. Of course these songs are well-crafted and undeniably catchy, but it's their substance that really stands out. As a songwriter, Loveland is smart, truthful, and relatable precisely because she leans into being her authentic self. As someone who didn't really come of age until way after I was supposed to come of age, I'm strongly feeling these songs. And I think the connection will be even deeper for Millennials who are still actively living the life depicted on this record. 

In a more fair world, I could see Good Girl being an absolutely massive record. These songs are as hook-laden as they are relatable. And Loveland is an appealing, endearing singer with a story that ought to be heard. This album ought to go over well with anyone who has a soft spot for '90s indie rock, and the Swifties and Livies in your life just might like it too. Is this something I would have written about a decade ago? Probably not. But in my old age, I seem to becoming less of a genre stickler and more of a fan of artists. And Mariel Loveland is an artist I'll be excited to hear again. 

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Friday, November 06, 2026

Joy Cleaner - Laugh A Minute


Listening to Joy Cleaner's new album Laugh A Minute, I feel as if I've been transported back to the '90s — in an entirely good way. Joey DeGroot, Kyle Wilkerson, and Phil Connor are Joy Cleaner, a Jersey City–based band doing indie rock meets noisy pop meets slacker rock meets power pop meets geek rock. I'm reminded so much of numerous great bands that were all over college radio and the cooler alternative rock stations in the early-to-mid '90s. But crucially, Joy Cleaner doesn't just have a sound — it has songs. This band has been at it for a decade-plus and is clearly getting better with age. 

Laugh A Minute is all hits and no shit — the work of a seasoned band that knows exactly the kind of music it wants to make and exactly how to make it. A lot of the influences are no mystery. You'll hear a little Weezer, quite a bit of post–Husker Du fuzzy indie punk, and a whole lot of Thirteen-era Teenage Fanclub in the mix. But these guys aren't copyists or nostalgia freaks. They've crafted their own version of '90s left of the dial guitar pop that feels very much at home in 2026. Much of that can be attributed to the band's impressive range. While "Full Speed Ahead" is straight-ahead buzzing slacker rock, songs like "Seven and Seven," "World of Good," and "Postcard Blue" highlight the band's flair for pristine melodies and pure pop hooks. "Blond in a Bomber" and "Something Like 25 Hammers" put the rock in indie rock. The fantastic "Expressway" recalls they heyday of alt-rock power pop. "Something's Wrong Here" has a dense guitar sound that suggests post-grunge without the grunge. And there are a limited number of bands on this planet that could write a song as good as "Neon Blister." The band's secret weapon is its lyrics. As catchy and pleasant as these songs are musically, they are surprisingly deep and thoughtful lyrically. Joy Cleaner songs don't believe in empty calories, and all these tracks are worth exploring for the pictures they paint of failed relationships, regret, and disillusionment. Surely the album title is an ironic nod to these being bummer songs beyond the surface. But there's a true genius in being able to write bummer songs that will make people happy, and Joy Cleaner has that kind of magic touch. 

As the pile of great releases in 2026 begins to become too towering to scale, I urge everyone to give Laugh a Minute some attention. It's a wonderful record that pulls from a bygone era of music and drags it fully into the present.

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Vista Blue - "Is It Time for Christmas Yet?"


Vista Blue releasing a song about Christmas creeping exactly at a time of year when many people rage indignantly against Christmas creeping is a true stroke of genius. There is, I'd say, a high degree of probability that you're looking at me reviewing a Christmas single on November 6th and thinking, "Oh, come on!" But the conversation can certainly be had. When is it too soon to put up the Christmas decorations, listen to Christmas music, watch Christmas movies, and indulge in seasonal foods and drinks? Hallmark started its Christmas movie schedule on October 16th. What higher authority could possibly exist? I was standing in front of a six-pack of Victory Brewing Merry Monkey last week and just didn't have the guts to pull the trigger. But then I went back this week and snagged it. So perhaps my personal cut-off is Halloween. I will say this: it's time for Christmas music when you believe it's time for Christmas music. And the stats do show that people are consuming Christmas music earlier in the year than they used to. So if you're ready, Vista Blue has launched its annual Christmas single earlier than expected — which means you have more time to enjoy it (or ignore it). 

Given that Vista Blue has been putting out Christmas songs every year for a decade, you'd think it would eventually get hard to write new ones. But Mike's creativity is an ever-flowing fountain. The concept of "Is It Time for Christmas Yet?" is a little deeper than just poking fun at Christmas creeping. It's a far more innocent perspective. The song is more about being excited about the Christmas season and wondering when it's finally okay to start partaking in festivities. One of the things that makes Mike one of my favorite songwriters is his ability to connect with his inner child. The first time I heard this song, I was thinking about how much I would have loved it when I was a kid who gleefully anticipated all that was merry and bright about the holiday season. You grow up, become a rational adult, and just accept that it's out of bounds to get into the holiday spirit before Thanksgiving because that's how things are "supposed to be." My God, when FDR used a presidential proclamation to move up Thanksgiving by a week and essentially lengthen official Christmas season, the masses kicked and screamed in protest. But I bet that none of the complainers were kids. "Is It Time for Christmas Yet?" is the anthem for any of you who are seeking permission to jump the gun on holiday mode. You've got it! Mike Patton and Scrooge's nephew have got your back!

On the virtual flip side of this single, the punky "Snowman's Curve" is an adorable takeoff on Jan and Dean's "Dead Man's Curve." Again, this is classic holiday fare. Songs about all the fun and merriment you can have in the snow are truly timeless. There's an obvious element of thrill and danger to this track — but again there's that kid-friendly innocence to it that is truly classic.  

For those of you who maintain that it's not time for Christmas yet, you can look forward to some more holiday songs from the Vista Blue Universe turning up later in the season. But if you're already in the spirit, it's time to update your playlist!

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