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!
The Speedways promised us a pair of singles in advance of their forthcoming album, and boy, they sure have not disappointed! "I Shouldn't Have Tried To Leave Without You" follows up last month's wonderful "Luna." If "Luna" was surprisingly upbeat for a Speedways song, "I Shouldn't Have Tried To Leave Without You" is a definitive Matt Julian composition: a melancholy, achingly beautiful pop song exploring regret and longing in unflinching terms. How gorgeous are those guitars? A big selling point is that the great Mary Blount turns up on guest vocals, and she and Julian sound fantastic together. It's easy to understand why these two songs had to each be singles in their own right. "I Shouldn't Have Tried To Leave Without You" is technically the flip side of the vinyl release, but this is that rare case where the phrase "double A-side" isn't a massive hunk of bullshit. The music video for the new song is much more DIY than the video for "Luna," but it has plenty of charm and allows the band members (as well as Blount) to appear on screen. Now let the debate rage about which song is "the hit"! I'm too torn to cast a vote at the moment. If you're after the 7", Beluga Records, FOLC Records, and Stardumb Records can hook you up.
So there we have it: the first Speedways vinyl record in over a year, and it's nothing short of a gem. The new album The Magic Comes & The Magic Goes is due out by the end of the year, and the single tracks give me no reason not to have high hopes. This will be the band's first release with Dan Spagnolo on lead guitar. As a lifelong Pennsylvanian, I'm thrilled to have one of our own (a yinzer, in fact!) playing in The Speedways! You can tell from all the interviews that the vibes are good and the new lineup is clicking. Could we be in store for the best Speedways album yet? I would not bet against it!
Back with his third single of 2026, Ricky Rochelle is in full pop-punk form on "Sad Girl Energy," which features Billy Pfister playing guitar and bass as well as producing. These two have collaborated a couple times before, and again what's so striking is how massive the production sounds. This is not your ordinary simply-recorded mid-fi pop-punk. This is some arena-sized sonic thunder, and it really works with Ricky's heart-on-sleeve vocal style and big, booming hooks. The lyrics are fairly clear but also open to interpretation. Is the song about one particular sad girl or any sad girl? Ricky is feeling that energy, and he's looking to respond with encouragement but also acceptance. I kind of like that his recent run of singles has continued to keep us guessing. You never know quite where he's going to go with each new track, but his personal charm is the glue that holds it all together. "Sad Girl Energy" is well-timed for a summer release and ought to appeal to pop-punk fans of all stripes.
You may be wondering why I reviewed only Canadian artists today. Is it coincidence, or is there conspiracy afoot? Am I so salty that two Southern teams are playing in the Stanley Cup final that I had to resort to passive-aggressive protest? Is it perhaps some kind of holiday you didn't know about? Did I finally forgive Joe Carter for all those years of emotional anguish? If a few cases of beer and a secret poutine recipe happened to cross the border and wind up in my possession, would that be a national scandal? My lips are sealed. I can tell you that it has been a few years (three, to be exact) since TJ Cabot has released an EP's worth of home-recorded tracks, so the arrival of Palm Stings is highly welcomed in my world.
These four demos are likely not destined for further refinement and eventual inclusion on the next Real Rejects album, so we can enjoy them strictly as TJ Cabot solo tracks in all their poorly recorded but expertly mastered glory. Anyway, this is pretty much what everyone has been longing for since the spring of 2023: blown-out smart-aleck garage punk that reeks of dingy basements and room temperature leftover pizza. If you're going to release home-recorded solo demos, they ought to be as raw and primitive as these. You can totally visualize TJ blasting out the drums, guitar, and bass like some mad scientist of budget rock. These are all really good tunes, but I'm especially partial to the garage rock-inspired "Firm Back Hand" and the punk-as-frick "Artificial All Along." Five Canadian dollars for this thing is a good value. That won't even buy you a gallon of gas these days. Stay home today and support the arts!
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