The Dogmatics - "Library Girl"

Well here was a really nice surprise: a new single from one of my favorite bands of all-time that appeared on Rum Bar Records' Bandcamp the other day without my prior knowledge! "Library Girl" is The Dogmatics' first new music in nearly a year. If it hadn't been for the Infinite Jest reference, I might have thought this track was recorded in the '80s! It's 100% vintage Dogmatics and vintage Jerry Lehane — a mid-tempo punk-pop banger straight out of the Boston garage rock textbook. A song exploring one of the most timeless fantasies in the history of the male psyche is something you'd definitely expect from The Dogmatics, and "Library Girl" does not disappoint. It's definitely a song made for repeat spins. And some of those lyrics made me laugh out loud! More new music from The Dogmatics (perhaps even a full-length album!) is coming in 2025. Those of you who are big Dogmatics fans will also be stoked about Rum Bar releasing an album from Hotbox (Jerry Lehane's early '90s band with Pete Mulford from Last Stand) next month. Stay tuned! 

-L.R.

https://rumbarrecords.bandcamp.com/track/library-girl
https://open.spotify.com/album/4lgZfEEZPYxaIQaoIrQmDM
https://dogmatics.bandcamp.com/
https://thedogmatics.com/
https://www.instagram.com/thedogmatics/
https://www.facebook.com/thedogmatics/
https://www.facebook.com/RumBarRecords
https://www.instagram.com/rumbarrecords/

Vista Blue - Vista Blue Are the Pop Punk Preservation Society

"Dr. Frank said it, and it's our manifesto: 'The Ramones are gods; we're the only ones who know.'"

It has been a minute since I last reviewed Vista Blue. And I mean literally a minute. Of course Vista Blue Are the Pop Punk Preservation Society gets the award for the cleverest title for a single in 2024. As a huge Kinks fan and a huge pop-punk fan, I was bound to give this record a big thumbs-up before I even heard it. As you would expect, this single finds VB leaning into the punkier side of its sound. And while there's an obvious sense of humor to "The Pop Punk Preservation Society," the song is anything but snarky. It's essentially a tribute to all the bands and individuals who've kept pop-punk alive and going strong for decades out of sheer love for the music — in spite of all the criticism and negativity and self-righteous dismissiveness that often gets heaped upon this genre. I love how this song allows Mike to poke a little fun at himself and other songwriters in this community but to do so in a way that ultimately celebrates this style of music that so many of us love without irony. Fittingly, this a ten out of ten pop-punk tune that any Ramonescore executive would gladly download to their personal listening device. On the virtual B-side, "Nobody Told Me It Was Bandcamp Friday" is a sequel to VB's 2023 smash "Bandcamp Friday Is Here." Like any good sequel, it introduces an unforeseen and somewhat dramatic plot complication. Perhaps you yourself lived this very nightmare last week. Wouldn't it be hilarious if the band someday pressed "Bandcamp Friday Is Here," "Bandcamp Friday the 13th," and "Nobody Told Me It Was Bandcamp Friday" onto a 7-inch record that was not available digitally? Somebody make that happen! 

-L.R.

https://wearevistablue.bandcamp.com/album/vista-blue-are-the-pop-punk-preservation-society

https://www.facebook.com/wearevistablue/
https://open.spotify.com/artist/6wtk5nIPa1lkJ2kksHc1zk

Vista Blue - Be Good

One thing I've found that I really enjoy in music lately is when bands I like do covers records. Now I wouldn't necessarily want to hear a band I've never heard before doing a covers record. But if I like a band and am deeply familiar with its catalog, I think it's kind of neat to sometimes hear it recording other bands' material. It gives me insight into influences I might never have suspected. If I like a songwriter, my inquiring mind wants to know what songwriters that songwriter likes. I always enjoy hearing a favorite band putting its signature on songs I'm familiar with, and sometimes these covers introduce me to songs I wasn't familiar with. I've listened to The Speedways' Borrowed and Blue, MOM's Pulls a Fast One, and Vista Blue's Runaway countless times and love those titles as much as those bands' original music. While I eagerly wait for sequels from The Speedways and MOM, I am thrilled by the arrival of another covers EP from Vista Blue. 

As was the case with Runaway, Be Good does not go the obvious route in its track selection. As a big fan of what you might call "1980s British classic alternative rock for kids who wore black," I was excited to hear Vista Blue tackle The Cure's "In Between Days" (one of the greatest pop songs ever written) and the Lightning Seeds' "Pure." The latter retains the spirit of the original but adds some of the band's special sauce. The former gets fully transformed into a punky pop song that you could perhaps mistake for a VB original if you've been living in a cave for 40 years. If you're even going to attempt a song as untouchable as "In Between Days," you've got to make it your own. Mission accomplished, and now Mike has earned his goth card. Speaking of untouchable, Waxahatchee's "Be Good" is one of the greatest songs of this millennium, and VB wisely adapts it to its own style rather than trying to top it. If you've ever thought that "Be Good" would work really well as a pop-punk song, you will be pleased to hear what Vista Blue has done with it. I must confess knowing nothing about the band Lemon Demon*, but "As Your Father I Expressly Forbid It" made me laugh out loud more than a couple times. This is another delightful release from Vista Blue and a reminder that great bands aren't great bands just because of the songwriting. Singing, musicianship, production, and arrangement matter too, and no Vista Blue fan will be disappointed by Be Good.

*It turns out Lemon Demon is Mike's daughter's favorite band, and he recorded the song as a surprise for her. Ladies and gentlemen, meet the coolest dad in America! 

-L.R.

https://wearevistablue.bandcamp.com/album/be-good
https://www.facebook.com/wearevistablue/
https://open.spotify.com/artist/6wtk5nIPa1lkJ2kksHc1zk

Hayley and the Crushers - Unsubscribe from the Underground

Unsubscribe from the Underground, the new EP from Hayley and the Crushers, arrives two years after the band's last LP Modern Adult Kicks — which I've publicly declared to be my fourth-favorite album of this century. As much as I love Modern Adult Kicks, I've never been tempted to compare Unsubscribe from the Underground to it. Hayley and the Crushers have never been a band to stagnate or imitate themselves. They make one great record, and then they proceed to make a different kind of great record. The progress in between is always a reflection of personal and musical growth. 

In some respects, Unsubscribe from the Underground is the Crushers' punkiest record to date. But I think the whole point of this EP (and this band) is that it doesn't subscribe (no pun intended) to any single genre. Punk, pop, new wave, '60s girl groups, and country music are all in the mix, but it all just sounds like Hayley and the Crushers. They've reached that point as a band where their own style and talents define them more than any genre could. The vibe of the record, in the band's own words, is equal parts "grit and glitz." Instruments were tracked in guitarist Ryan DeLiso's basement, and the vocals were recorded at Josie Cotton's Kitten Robot Studio in Los Angeles. This gives the EP a scrappy Midwestern garage punk edge and a sunny California pop polish. That's a perfect metaphor for Hayley and Dr. Cain's personal transition from California to Detroit — which was certainly a major influence on these songs. 

With super-talented new members DeLiso and Gabe Masek on board, the Crushers sound re-energized and fully inspired on this EP. The first three songs were released as advance singles over the summer, and by now it feels like they've been in my life forever. But what's immediately obvious is that these songs were meant to be heard together. They're all very different songs, but they flow into each other seamlessly. Part of what makes the Crushers one of my favorite bands is the way they sneak genuine lyrical substance into musically intoxicating songs, and Hayley has written some of her finest material for this EP. Over the course of four original songs, she reflects on not fitting in with either the in crowd or the out crowd, reminisces on what it meant to be a teenage punk rocker in Hollywood, beautifully depicts the extraordinary love she and Dr. Cain share, and opines on the way technology has fully consumed our lives. This is an EP made by and for misfits, and that says a lot about why I feel so connected to this band. 

Since I've already reviewed the first three tracks as singles, I won't say too much about them again besides pointing out that "Blood and Treasure" might be my new fave Crushers song. I'm such a fan of songs that celebrate enduring adult love (and do it well). And the Crushers doing a song that sounds like End of the Century gone country is a true stroke of genius. The two new tracks bring it on home in style. "Let Go," which explores the psychological and emotional toll of technology overload, hits very close to home for me. And given that '90s pop-punk was my gateway to this whole underground punk universe, I'm stoked to hear the Crushers calling upon that specific influence and making it their own. To end the EP, the Crushers take on the 1981 Juice Newton pop-country smash "Queen of Hearts." Yeah, I know Dave Edmunds recorded the song first. But the Crushers are definitely covering the song Juice style. I've been waiting decades for a band to properly punk up this song, and the Crushers have not disappointed!

Unsubscribe from the Underground is available now from all the streaming outlets via Kitten Robot Records. A vinyl release is coming soon, so stay tuned for more details. In the meantime, I have decided to unsubscribe from the following things: checking work email outside of work hours, spending two hours writing 700-word record reviews, looking at my phone at the gym, leaving tips at Chipotle and Jersey Mike's, limiting myself to two beers, worrying about things I can't control, and refusing to turn on the heat before November 1st.

-L.R.

https://hayleyandthecrushers.bandcamp.com/album/unsubscribe-from-the-underground
https://open.spotify.com/album/2BlEo07FgcoPy341c58oRn
https://www.hayleyandthecrushers.com/
https://www.instagram.com/hayleyandthecrushers
https://www.facebook.com/hayleyandthecrushers/
https://kittenrobot.com/
https://www.facebook.com/kittenrobotrecords
https://www.instagram.com/kittenrobotrecords/

Cheap Cassettes - "Bad Xerox"

It has been two years and eight months since I last had the pleasure of writing about The Cheap Cassettes. I have missed them. January 2022 seems like a lifetime ago. Imagine a world where The Bear, "Good Luck, Babe!", and ChatGPT did not yet exist. Imagine a moment when the idea that a human could eat 83 hot dogs in ten minutes was still just a dream. Imagine a time when I could read the nutritional information on a can of prebiotic soda without putting on glasses. Human progress marches on, as do The Cheap Cassettes. Charles, Kevin, and Mike, now joined by the legendary Scott Sutherland, are about a month off from releasing a new album that's gonna make your head explode. It's called They'll Never Forgive You For Pop, and it's a freaking masterpiece that breaks the mold of what a guitar pop album is supposed to be. Out now on Rum Bar Records is the album's first single, "Bad Xerox." I can't quite say it's not indicative of the album since the album does have its more conventional power pop moments. But that's the beauty of The Cheap Cassettes. They can churn out a catchy power pop rocker like this that will have you tearing up the dance floor and feeling like the lyrics were written just for you. But they don't need to write a whole album of songs that sound just like it. "Bad Xerox" is 142 seconds of perfect pop and a fine choice for a single that will hook you onto an extraordinary album. This song is a hit on any continent, and all you kids are sure to dig it. Perhaps they'll never forgive you for pop, but they'll be still be singing along and dancing in their underwear when they think no one's watching. Alright alright! 

-L.R.

https://cheapcassettes.bandcamp.com/album/bad-xerox
https://www.facebook.com/cheapcassettes/
https://rumbarrecords.bandcamp.com/album/theyll-never-forgive-you-for-pop
https://www.instagram.com/the_cheap_cassettes/

The Dictators - self titled

What do you say about one of the greatest rock 'n' roll bands to ever walk the Earth releasing a genuinely fantastic album fifty plus years into its existence? You could say a lot of things, I suppose. I simply said, "Wow!" I would have been grateful just to have a new Dictators album at all, but the band's self-titled new long player (only its fifth studio album) has exceeded all expectations. It's way too soon for me to be saying it's as good as 2001's D.F.F.D. But if D.F.F.D was better than any record produced by a thirty-year-old band had a right to be, The Dictators is better than any record produced by a fifty-year-old band has a right to be. Quite literally, this is a new version of The Dictators. But sometimes fresh blood can pump new life into a band. Original members Andy Shernoff and Ross the Boss are joined by drummer Albert Bouchard (Blue Öyster Cult) and singer/guitarist Keith Roth (Frankenstein 3000) — forming a true powerhouse of a lineup.  

While The Dictators is a rock 'n' roll record made by senior citizens, it sure doesn't sound like it. Just about any band coming up in today's punk/rock 'n' roll scene would wish to make records this good. Andy Shernoff still writes the smartest, funniest, and most anthemic songs you could ever hope to hear. Ross the Boss is still an absolute monster on guitar. Bouchard is a legend in his own right. Roth (the "kid" of the band) is a glam punk lifer who was practically born to be a Dictator. I'd put the gleefully sardonic "Thank You and Have a Nice Day" up there with any of the band's classic songs. "My Imaginary Friend," which satirizes "cults, conspiracy theories and wacky religions," demonstrates that Shernoff's songwriting is as topical and spot-on as ever. Ditto for the hard-rocking "Sacred Cow." "God Damn New York" is both a love letter to The Dictators' home town and a scathing indictment of corporate interests that suck the soul out of everything they touch. "All About You" is vintage Dictators, and that can only be a good thing. On the other hand, the '60s-inspired garage rocker "Really Good" shows that The Dictators have some new tricks in their bag. "Sweet Joey," a loving tribute to Joey Ramone, is a powerful album closer and formidable addition to The Dictators' body of anthems. It cannot be denied, my friends: this band still has it!   

I chose to name this blog after a Dictators song not just because "Faster and Louder" sounded cool but more so because The Dictators have always represented to me what I love best in music: catchy three-chord rock 'n' roll that's highly intelligent without ever taking itself too seriously. Without trying to turn back the clock or copy past glories, The Dictators finds this band still embodying everything that's great about rock 'n' roll. If you're expecting this to be Bloodbrothers or D.F.F.D., you're barking up the wrong tree. But if you were just hoping that The Dictators had (at least!) another great album left in them, you will not be disappointed. Vinyl and CD are coming soon!

-L.R.

https://valleyentertainment.bandcamp.com/album/the-dictators
https://open.spotify.com/album/1gx7VDiylufkKOloLEpmNF
https://www.youtube.com/watch?v=XAqVXinS0W8&list=OLAK5uy_mZa0V9_Al-vNw6SwmYcc12tq-pPd-YQAI
https://www.thedictators.com/
https://www.facebook.com/thedictators
https://www.instagram.com/thedictatorsofficial

Love Collector - First Night/Last Night of Leather

Boom! Austin-based band Love Collector hits me just where I like it on its new EP First Night/Last Night of Leather. Out on the ever-dependable Sweet Time Records, this blistering four-songer brings four tracks of snotty, shout-along '77-style punk rock 'n' roll straight out of the garage. If my math is correct, this is Love Collector's first release in 12 years, but thankfully the band has no use for maturity or artistic progression. These songs freaking rip! If you love pure punk rock with energy, guts, and hooks all day long, this EP is a must-buy. Another smash hit from Sweet Time!

-L.R.

https://sweettime.bandcamp.com/album/first-night-last-night-of-leather
https://www.facebook.com/LoveCollectorATX/
https://www.sweettimerecords.com/products/818638-love-collector-first-night-last-night-of-leather-7
https://www.facebook.com/sweettimebooking/
https://www.instagram.com/sweettimebooking/

Rad Max - Party McFly

Rad Max is a band I really love and find to be somewhat misunderstood. Any Gen Xer like me will have a tremendous appreciation for the band's love of 1980s culture and aesthetic. But the mistake some people might make with this band is to dismiss it as some sort of one trick pony novelty act. All novelty acts lose their appeal sooner rather than later. Rad Max, on the other hand, just keeps getting better. Surely this band wants to write songs you can dance to, and those songs are more likely than not to make reference to '80s popular culture. But if you think Rad Max are just about nostalgia, you're not fully getting them. Their new album Party McFly isn't just a record you listen to once and chuckle at. It's a really excellent new wave pop-rock record which arrives at a time when most really excellent new wave pop-rock records are decades old. The band's songwriting is legit good, and there's just as much contemporary social commentary and reflection in these songs as there is '80s homage. 

Of course Party McFly is a fun album first and foremost. It will get you and your friends dancing at parties just as it will get you dancing while you're home alone. But there's a serious undercurrent to these songs that I really appreciate. "Extraterrestrial Radio" rails against corporate control of commercial radio — something that has made the world a far suckier place. "Dystopian World Tour" could not be any more on-point in its depiction of modern society. "We Used to Never Say Die" is inspired by The Goonies yet also reflects on how a once-hopeful generation has been beaten down by reality. "Shutter Shades" changes the style of sunglasses but reaffirms a central message of the movie They Live: that we need to see through the villains hiding in plain sight. "Outrunning the Nothing" somehow explores existential angst while referencing a character from Domino's Pizza ads in the '80s. The album opens by introducing a metaphor that just about anyone will be able to relate to: we're still battling demons from high school. There's a lot of substance hidden within this throwback party record, and that is the real genius of Rad Max. Music can be fun and serious at the same time — just as music can be nostalgic and forward-looking at the same time. Party McFly is essential listening for anyone who aspires to be rad.

-L.R.

https://radmaxrocks.bandcamp.com/album/party-mcfly
https://open.spotify.com/album/2Or6eaDgfx1JYeZzCtHq2O
https://www.instagram.com/radmaxrocks/
https://www.facebook.com/radmaxrocks/
http://radmax.rocks/

Hedge - Better Days

Was Husker Du pop-punk? If you correctly answered yes, then Worcester, Massachusetts–based trio Hedge is definitely a band for you. On their debut album Better Days, Christopher, Pete, and Julian hearken back to a time when the lines between indie rock and pop-punk were blurred — if they existed at all. These guys fly the flag for New Day Rising/Flip Your Wig era Huskers, early Lemonheads, and the punkier side of Superchunk — and I've got no complaints whatsoever! If you time traveled back to 1992 and slipped any of these tracks into a block of college radio programming, they would not sound out of place. Better Days delivers a satisfying mix of fast-paced, energetic numbers and more mellow slacker pop gems. The key is that Hedge not only crafts an identifiable sound but also executes it so splendidly. These guys have solid tunes in their bag, and they've made a great-sounding record that ought to appeal to any fan of old school poppy punk. Highly recommended. 

-L.R.

https://bloatedkatrecords.bandcamp.com/album/better-days
https://hedgebandma.bandcamp.com/album/better-days
https://open.spotify.com/album/34ziW4INPlXj4e3vyLCjBF
https://www.instagram.com/hedgebandma/

The Trouble Seekers - "Hypnotic"​/"​Rebel Rouser"

I always love it when a band can stay on brand yet totally surprise you. You probably didn't have The Trouble Seekers releasing two instrumentals for their latest single on your bingo card. It almost seems counterintuitive. Why would a unique and extraordinary vocalist like Kevin McGovern put out a release and not sing on it? Yet after hearing "Hypnotic" and "​Rebel Rouser," I can't imagine these songs not being instrumentals. "Hypnotic" lives up to its title. It's a post-modern take on the surf rock instrumental. It still transports you to a beach, but this is a beach that has been decimated by climate change and placed under the control of AI robots with nefarious intentions. "Rebel Rouser," of course, is the iconic Duane Eddy instrumental given a modern makeover with dark wave keyboards and synthesized effects. Clocking in at a total of two minutes, 37 seconds, this latest entry to The Trouble Seekers catalog is a triumph of musical economy. You don't need a whole lot of time to create a mood and a feel. While not nearly as raging as the band's other releases, "Hypnotic"​/"​Rebel Rouser" lives in the same retro-futuristic universe.

-L.R.

https://thetroubleseekers.bandcamp.com/album/hypnotic-rebel-rouser
https://open.spotify.com/album/4wHnDYl5Btt7GBuHTFU7GA
https://www.instagram.com/thetroubleseekers
https://www.facebook.com/TheTroubleSeekers/