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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