From Nuremberg, Germany, The Lovebites are Barbara Paul, Bettina Friedmann, Caroline Hausen and Daniela Eichhorn. They have just released Tear Up Tear Down, their debut full-length album, on the iconic label Monster Zero. As you would expect from a Monster Zero release, this is really excellent pop-punk. Kevin sure does have an ear for the good stuff! What I appreciate about this band is that it crafts a classic pop-punk sound without necessarily sounding like a million other bands you've already heard. The guitars punch hard, the songs are tuneful and catchy, and those four-part harmonies are super-tight. But there are some somewhat non-typical influences (e.g. indie pop and old school punk/new wave) in the mix that separate The Lovebites from a lot of bands who are just recycling the '90s (not that there's anything wrong with that — ha!). There's a dark undercurrent to some of these songs that I find very appealing, and I love how the band channels the frustrations of everyday life into these energetic songs that are made for you to sing along with. How many people are going to hear "No Time" and immediately adopt it as their new personal anthem? I could ask the same of "To Do List." Pop-punk as a style can be hard to master because a lot of bands might come up a little short on the pop or the punk end. But The Lovebites balance those contrasting sides perfectly, and Tear Up Tear Down is one of the albums that everyone ought to be cranking loudly this summer.
Back with its first new music in nearly two years, Bandung, Indonesia–based Saturday Night Karaoke has delivered a couple of songs for the times on the new single "Escalation"/"Doomsday." I was really impressed with Prabu Pramayougha's recent solo project Barpinson, and this new SNK single is in similar territory in terms of having something very meaningful to say. While this band is generally categorized as pop-punk, the speed and energy of these two songs practically border on thrash-punk. These tunes are fast and furious here, and that's befitting the urgency of the lyrics, which the band describes as "a snapshot of the bleak urban reality we're all dealing with right now." "Escalation" is about the way everything in your life keeps escalating and escalating, and it just keeps on going until you die. We never really escape the compounding anxiety, do we? The spastic punk rock of "Escalation" practically bottles that feeling. "Doomsday" is a little more in the traditional pop-punk lane but still kicks at a racing pace that will quickly leave you breathless. And if there ever were an anthem for Planet Earth 2026 and the role of music in our lives, I'd say these lyrics are spot-on:
We're all fucking doomed in this shit life Nuclear bombs and wars everywhere Don't say we don't care Here's to make it hurt less Anytime you're overwhelmed So let's just sing along
That kind of hits the nail on the head, doesn't it? These tracks were just recorded last month, so the social commentary here is very current and very relevant. I love the passion and conviction, and these songs do indeed lend themselves to singing along. If you still believe in the power of punk rock to make a difference, you need to be blasting this single and blasting it loudly.
Andresa One Man Band is the new band from Andresa Nugraha, formerly of The Battlebeats. How does a one-man band break up? Well, it was simply time to move on to a new project with a slightly different musical direction. Nothing But R'N'R is the debut release from Andresa One Man Band and the inaugural release on his new label, Junglestomp Records. The progression from The Battlebeats to Andresa One Man Band is not exactly a radical shift. Andresa is still in that stripped-down, blown-out garage punk lane. But in terms of style, the title of the EP says it all. This is more straight-forward, down-and-dirty rock 'n' roll inspired largely by bands from the American South like Oblivians, Reatards, and The Persuaders (who are covered twice on this release). The title track is a song about having nothing in life going for you except for rock 'n' roll. A lot of you can relate to that! "Let's Rock & Roll With My One Man Band" is essentially Andresa's new theme song, and it's glorious. "Can't Stop Thinking About You" is something you rarely if ever heard from The Battlebeats: an honest-to-goodness love song! This is a different kind of energy compared to The Battlebeats, but it's safe to say that anyone who loved The Battlebeats will be on board with this stuff. These tracks totally rip! This guy never disappoints, and I'm excited to follow Junglestomp Records as it grows into a go-to label for Indonesian rock 'n' roll!
I love the band name Piss Poor since that was one of my dad's favorite adjectives when I was a child in the '70s and '80s. And based on the name, you can probably surmise that this Connecticut-based band (another Jeffrey Thunders jawn!) doesn't fall into the easy listening category. Out on cassette tape on Big Neck Records, Piss Poor's new EP is as old school as it gets. Think OG hardcore a la early Black Flag and Void with a touch of Germs reckless danger and Samoans get-bent attitude. The band tears through 6 tracks in 7-and-a-half minutes in a bruising style that very much lives up to a title like Under Attack. You know what to expect: guitars that go through your bones, stabbing bass lines, and a singer who really knows how to holler. This is relentless, real deal stuff from a band that's poised to make some serious noise. Fucking excellent, pure and simple!
After recording eight albums with Beach Patrol over the past two decades, Domenic Marcantonio has finally released a proper solo album. His foray into the solo realm has long seemed inevitable given Beach Patrol's slow and steady progression beyond its roots in straight-forward power pop. In particular, 2020's Making Waves and 2022's Festivus really highlighted Domenic's widening array of influences, growing comfort with lo-fi home recording, and fully developed artistic voice. He's too gifted to limit himself to writing only a certain kind of song. Although my Beach Patrol fandom dates back to 2006, those last two albums are the ones I go back to the most. So for me, the folk/roots/blues/acoustic direction of Earthbound Spaceman is not a departure that's tough to swallow. The album title is a little bit of a vibe clue. If Domenic Marcantonio really is an Earthbound spaceman, that suggests an alienation from the contemporary world that a lot of us have been feeling to varying degrees. Who wants to be normal in 2026?
So no, this is not a Beach Patrol album, and it doesn't try to be. This is just a talented artist writing the songs he was inspired to write, and none of this needs to conform to any clear-cut musical genre. Domenic's flair for melody and hooks remains very much in tact, and his distinctive style of guitar playing is no less appealing in this looser, more laidback sonic space. From the opening strains of "Two Signs," you immediately know who you're listening to. Even as it meanders along without the tight economy of a three-minute pop song, "Better Luck Next Time!" is certainly as catchy and memorable as any song Domenic has ever written. "Strange Transformation" is nothing short of a masterpiece — a song that's practically a guide to spiritual contentment in these ugly, divisive times. "Clear As a Bell," one of two tracks in which Domenic duets with his wife Mirra Laes, brings a warm '70s soft rock energy, and it's absolutely beautiful. "Dominic Kinnicinnick," a peppy, country-fied adaptation of The Singing Nun's 1963 hit "Dominique," is pure joy without pretension. "Tabula Rasa" would not have sounded out of place of any recent Beach Patrol album.
I'm certainly not the most objective reviewer since writing about Domenic Marcantonio at this point feels like writing about my brother. So I was thrilled to see a writer I immensely respect, Dennis from Add To Wantlist, beautifully articulate the appeal of this record. As Dennis points out, the album feels unassuming at first but has a way of gradually pulling you into a state of intoxication. Sometimes the phrase "rewards repeated listens" is reviewer-speak for "There are no hooks." But in this case, it means the hooks are more subtle and sophisticated. Given that it has been more than four years since Festivus came out, it's a great pleasure to again encounter new music from one of my favorite songwriters. Songs like "Battlestar Galactica," "Don't Panic," and "Thanks Coach" have profoundly impacted me in recent years, and now "Strange Transformation" and "Clear As a Bell" are sure to follow in their footsteps. There is no doubt in my mind that any fan of Beach Patrol will be delighted with Earthbound Spaceman.
Well, this is a somewhat significant anniversary. On this day 15 years ago, I launched this blog. I figured it was something I'd do for a little while. And now "a little while" has turned into a decade-and-a-half and over 2,700 reviews. On day one, I stated that I'd only be reviewing "old school punk rock and its immediate variants." Clearly, my mission has evolved. I doubt I'll still be doing Faster and Louder in five more years, so this is most likely its last big milestone anniversary. Much about music has changed in the last 15 years. Much about the world has changed in the last 15 years. But I've managed to remain enthusiastic and consistent in maintaining this blog, which is somewhat surprising given that I tried to "retire" from writing about music numerous times in the past.
My longest "retirement" was the three-and-a-half years that preceded me starting F & L. When I came back into this world, I did it on my terms. I vowed only to write about music I liked. I wasn't going to be a "critic," nor was I going to review stuff just because someone asked me to. I was just going to be a fan and spread the gospel about bands I was into. I envisioned myself as an evangelist for independent music.
I am so against self-promotion that I don't even feel particularly comfortable writing this post. But there's a reason why I'm still here 15 years later: I really love this music I write about! So I thought a fun thing to do for today would be for me to compile a list of my favorite albums from these past 15 years. More or less, these are the 15 albums I've listened to the most since 2011 — the ones I keep going back to and the ones I'll want to own on vinyl if I ever have the space for a record room. On that note, let's go!
20. The Exbats - Song Machine (2023)
On Song Machine, the greatest '60s pop band of the 21st century set the Wayback Machine for 1971 and released one of the most perfectly-titled albums in the history of recorded music. Song Machine finds daughter/dad duo Inez and Kenny McLain delivering one could-have-been '70s AM radio hit after another — with timeless melodies and majestic harmonies reigning supreme as always. How do soft rock, bubblegum, and sunshine pop vibes fit in with The Exbats' signature pop classicism and punk spirit? Gloriously, it turns out. We have not heard any new music from this band since Song Machine, and that bums me out.
19. The Gaggers - Gag on This (2018)
Is it cheating to include a singles collection? Who cares? When it comes to snotty old school punk rock, this album earns a seat at the table with the all-time greats.
18. The Yum Yums - For Those About To Pop! (2020)
The title says it all. This is the magnum opus from Morten Henriksen and his merry band of power pop/bubblegum punk enthusiasts: 14 tracks of pure sonic sugar for the eternal teenager in all of us.
17. Pale Lips - Wanna Be Bad (2016)
This is the only band to appear twice on this list. Everyone talks about "Mary-Lou Sniffin' Glue," but how great are "Jangaroo" and "Rock 'N' Roll Dipshit"?
16. Night Birds - Mutiny at Muscle Beach (2015)
The entire Night Birds catalog is not to be fucked with, but they were at the peak of their powers on this particular record, a genuine classic of modern-day American hardcore punk. "Left in the Middle" was so prophetic that it still gives me chills.
15. honeychain - Crushed (2017)
I can't believe this album isn't talked about more often. It's one of the best punk-inspired power pop records ever made, and Hillary Burton's songwriting is extraordinary. Kim Shattuck produced this album, so those '90s punky alt-rock vibes are no accident. A perfect record!
14. Natalie Sweet - Oh, By The Way... (2019)
Since a debut Shanghais album and a sophomore Tina and the Total Babes album never got made, Natalie Sweet and Travis Ramin got together and collaborated on this gem. Textbook power pop with a punk rock attitude and hit songs for days.
13. The Dahlmanns - All Dahled Up (2011)
When it comes to defining power pop bands of the past 15 years, The Dahlmanns take a back seat to no one. Their new album is incredible as well.
12. Rich Ragany - You Can Get Dark with Me (2024)
I've been championing Rich Ragany for years. I have raved about albums he has done with Role Models, The Digressions, and now The Sideshows. But on this intimate solo album, Rags crafted his masterpiece. These are songs that hit me deep in my soul. When I call Rags one of our greatest living songwriters, I can point to You Can Get Dark with Me as Exhibit A.
11. The Melmacs - Good Advice (2022)
True to its title, this debut from Germany's most lovable power pop/punk band is full of indispensable life advice....and amazing tunes.
10. Hayley and the Crushers - Modern Adult Kicks (2022)
2020's Vintage Millennial was the record that made me notice that Hayley and the Crushers had become something special, but Modern Adult Kicks took it to another level. All those punk, pop, surf, and new wave influences come together here to form a truly great modern & mature rock album that has surely gone platinum in some alternate universe I wish I could be living in.
9. The Cheap Cassettes - They'll Never Forgive You for Pop (2024)
There are few precedents in music history for what happened here. A great band with one vocalist/songwriter brings in a second vocalist/songwriter and turns into an even greater band. Charles Matthews and Scott Sutherland went together like peanut butter and jelly, and I'm pretty sure everyone has forgiven them for pop.
8. Phone Jerks - self-titled (2018)
In just a couple years, Phone Jerks went from being a band I probably liked mainly because they were one of the few bands out there doing real-deal '90s-style garage punk to a band I liked because they were genuinely great. Much has been made of Phone Jerks knowing how to rip off all the right bands, but when I listen to this record now, I'm struck by how killer these tunes are. Sure, they were not adverse to lifting directly from the Rip Off Records catalog, but they also brought those early American and Aussie punk influences that are often missing from budget rock. This may very well be the best album Alien Snatch Records has ever released.
7. Nato Coles and the Blue Diamond Band - Promises to Deliver (2013)
I didn't get fully into this album until Rum Bar Records reissued it, but once I did, I played it to death and still do. Heartland rock meets Midwestern punk done to perfection. Rock 'n' roll with soul. If I ever have a baseball career, the title track will be my walk-up song.
6. Something Fierce - Don't Be So Cruel (2011)
I reviewed this album 15 years ago today — meaning this was one of the records that made me want to write about music again. And it still holds up. This was classic punk rock with progressive intentions. Imagine The Clash in 1982 if they'd been more into power pop and Wire's Pink Flag. It was a shame that they never followed this album. But what a way to go out!
5. Midnite Snaxxx - Chew on This (2017)
When it comes to straight-forward old school punk with pop hooks, this album is worthy of modern classic status. Dulcinea Gonzalez is an all-time great in the punk world.
4. The Cry! - self-titled (2011)
I can still remember how floored I was when Greg Mongroll turned me on to this record. This debut from Portland, Oregon's The Cry! is the embodiment of perfect power pop with just the right amount of '50s/'60s rock 'n' roll flavor and modern punk influence in the mix.
3. Kurt Baker - Brand New Beat (2012)
This album practically launched a new genre of music: power pop played by '90s pop-punk kids. Its influence is undeniable, and this set of songs (co-written by Wyatt Funderburk) perfectly defines Kurt Baker and his "Have a good time all the time!" persona in the 2010s. You could argue that the Baker/Funderburk collaborations only got better over the years, but this one is special to me because it came first!
2. The Speedways - Radio Sounds (2020)
I'll put this record up against almost any power pop album ever made. Matt Julian isn't just a great power pop songwriter. He's a great songwriter, period.
1. Pale Lips - After Dark (2019)
This holds the top spot because numbers don't lie. I've listened to this record more times than I've listened to any record on this list. This is everything rock 'n' roll music ought to be. These songs are fun and full of energy, and they're also smart and full of substance. Toss '70s punk, power pop, girl groups, garage punk, and straight-up rock 'n' roll in a blender, mix thoroughly, add oodles of charm, gusto, and effortless cool, and you've got yourself a classic record. It's no shocker that members of this band have gone on to do more amazing things.
Honorable Mentions
Los Pepes - For Everyone (2014) Brad Marino - Extra Credit (2019) Fashionism - Smash Singles (2018)
The Sleeveens - self-titled (2024)
So there you have it: a little look back at my favorite records since 2011. Now I can return to looking straight ahead and forward. When I launched this blog, I had just turned 40. Now I'm 55. I've gone from a young man to an entry-level senior citizen. Back then, I never could have envisioned a time when literally hundreds of thousands of songs would be getting released daily and even little-known music bloggers like me would have their inboxes inundated with communication from professional publicists. In theory, the move away from traditional media controlling the music scene should have led to the music mattering more than marketing and promotion. But the opposite has happened. There's so much competition out there for people's time and attention that you have to hustle just to get anyone to give a damn about this music that you're putting your heart and soul into. And that's what inspires me to keep doing what I'm doing. I'm not trying to make anyone rich or famous. But if I can write about a band I love and turn one or two people into fans as well, then I've made some sort of small difference.
Whether you've been along for the ride from the start or are tuning in for the very first time, thanks for taking the time to check out the music I feature here. And of course, thanks to all of you who make this amazing music and give me a reason to keep spreading the gospel!
The only thing cooler than being pleasantly surprised by a new band's debut album is being pleasantly surprised when its second album turns out to be even better. 2024's Splash Hit was a seemingly out-of-nowhere hit for Philadelphia-based foursome Log Flume. It had scrappy indie charm in spades, but it built its foundation on the timeless art of melody-driven guitar pop. And there was something immediately likeable about the band that was hard to put into words (beyond the band name bringing up cherished childhood memories!). Had Log Flume gone back to the same script on its sophomore release, I would have been perfectly happy. But Go Where The Money Goes finds the band taking a big leap forward, and it does so without losing the qualities that made its predecessor so great. That likability is still undeniable, and again the songwriting is super-lean (with not a single track reaching three minutes). But the band has come into its own in ways that were only hinted at last time. If well-crafted guitar pop is something you live for, this album needs to be on your must-hear list.
While Log Flume is still working that indie power pop territory on album #2, its influences run deeper and its sound is more elegant and refined. From the jump, "Dynamic" makes it clear that infectious pop hooks remain this band's calling card. But it's on track two, "Far from You," that the progression really becomes evident. At this point Log Flume sound less like promising up-and-comers and more like established masters of their craft. It's evident that they've become more accomplished songwriters and musicians and have have fully blossomed as a band. "Necessary Evil" is a gorgeous, sophisticated slice of mature power pop. "Got This Feeling" brings a more delicate, laidback touch yet still sounds fully realized in only two minutes. "Up By 9 O'Clock" is full-on psychedelic pop that channels the '60s by way of '80s indie rock. "Misery" is jangly indie pop done to perfection. It wakes up echoes of the '80s and '90s yet still sounds like music of now. Elsewhere, "Anything" finds the band exploring its punkier side with full energy and exuberance. "Every Single Day" brings back some of that early Weezer energy from the last album but doesn't seem like a rehash. Album closer "Follow You Around" is a particular highlight, and it encapsulates everything I love about this record. It's at once a progression from the band's earlier work and a reminder of why I came to love this group in the first place. It's two minutes of pure, perfect pop.
When I heard that Log Flume had a new album coming out, I was excited to hear it. I knew it would be good. But did I expect it to be this good? Probably not. It's impressive that the band has figured out how to give its songs more room to breathe without making them longer. Compared to Splash Hit, Go Where The Money Goes comes off more as more painstakingly crafted and certainly more meticulously produced (kudos to Mike Bardzik), but it retains the first album's whimsical joy and knack for instantly addictive hooks. 2026 is quickly shaping up to be The Year of Power Pop. The selection of stellar releases in that universe is mounting and mounting, and Log Flume has delivered an album that is up there with the best of that stuff. A physical release on cassette is out on Philly's home of the hits, Dummest Records!
