It seems odd to say that I'm floored by a band I've been fervently touting for over a decade. But Los Pepes have done something that very few bands have ever done: deliver a sixth album that blows away anything they have ever released before.
From the beginning, Los Pepes were a band that could not have been more up my alley. Their mission was to play power pop as powerfully as any other band on Earth, and none of their records have failed to deliver on that promise. Over time, the band has managed to stay true to that identity while also broadening its musical approach and honing its craft in terms of songwriting. So without hesitation, I can say that the band's new album Out of the Void (out on Wanda Records, Spaghetty Town, Beluga, and Ghost Highway Recordings) is its best to date. If you've never heard Los Pepes before, this is the album to start with. And if you're a longtime fan, I implore you not to sleep on this record. The album kicks off in a way that's very reminiscent of the band's debut album Los Pepes for Everyone — sounding like the Buzzcocks on amphetamines. The first third of the album mostly lives in that '77 punk-pop space, and it's thrilling to hear a band that can sound so aggressively energetic and so addictively tuneful. But in its middle and closing sections, Out of the Void really shows off the range in Los Pepes' repertoire. "Sweet Appeasement" sounds like something from the golden age of power pop. "Above and Beyond" is raucous rock 'n' roll with hooks for days. "Short Term Solutions" is pure blistering punk rock. "All I Got Is Time" is a perfect pop song. "Tomorrow and Today" is quintessential modern garage rock and a stone cold banger.
For the past decade, Los Pepes have been one of the definitive bands living at the intersection of power pop and punk rock. Bands of that sort are not usually known for their longevity, and more often than not their first couple of albums are considered their crowning achievements. But on album number six, Los Pepes seem to be just hitting their stride. They're at this point not just an exciting band but genuinely a great one. In terms of songwriting, they've found a way to remain "on brand" while digging deeper for musical influences. They've proven that they don't always have to put the pedal to the metal — but when they still choose to do so, they're not going to be outdone by anyone. And it doesn't hurt to have the world's best power pop drummer in the driver's seat. With touchpoints ranging from first wave punk to '70s power pop to '60s pop to garage rock, Out Of The Void manages to be both a classic Los Pepes album and a completely unprecedented Los Pepes album. These guys still possess every bit of the fervor and raw power they did a decade ago, but now all that sonic fury is accompanied by songwriting and instrumental chops that have been refined and perfected beyond what anyone could have foreseen in back in the 2010s. As much as my musical tastes have evolved and continue to evolve, one listen to Out of the Void made it perfectly clear: I started this blog to review albums like this!
Any regular reader of this blog knows that The Speedways are one of my favorite bands. It's rare for me to ever do interviews, yet this is now my second interview with The Speedways. But there's a lot to talk about as the band finds itself in the midst of a very significant year. The group recently parted ways with guitar player Mauro Venegas and released a fantastic new single called "Visiting Hours" earlier this year. The band is planning to finish recording a new album (its third as a full band) this year and has some really big gigs coming up. I spoke to Matt Julian and Adrian Alfonso about all these things and more!
Rutledge: Let's start by talking about your new single "Visiting Hours." The A-side was the first new song you had released in a couple years. It's a brilliant song and definitely one of your very best to date. Most people would say it's "classic" Speedways. How did "Visiting Hours" come to be, and where there any particular musical influences that helped bring it to life?
Matt: Cheers! Yeah, it's one we all really liked and knew could be a potential single. I wanted to have something with a prominent piano because we haven't really done that yet. It's got a nice hook.
Elvis Costello regularly comes up when people talk about our sound — and of course I'm a big fan and have a ton of his records. But I think Squeeze and Joe Jackson were just as strong an influence when I wrote "Visiting Hours."
Adrian: Matt mentioned he had this song for a while but hadn't gotten 'round to recording one of his usual demos. After a festival gig in Kortrijk, we were at the house of the person who was putting us up that night. He was a classically trained violinist and played clarinet, and his house wasn't the usual English terrace we're used to. Our driver Bernd packed some acoustic guitars, and there was another around the house. We had a bottle of whiskey, which was flowing liberally, so we all were having a bit of a laugh playing stuff. Then Matt mentioned "Visiting Hours" and teased us with a bit of the song, and we all asked for more. Then I found myself singing along the chorus for days after. I knew it had to be a single.
Rutledge: Without giving away everything, can you tell us a little about what "Visiting Hours" is about lyrically?
Matt: It's about waiting for forgiveness after a falling out. "We don't talk, we sleepwalk into each other. God it's boring" — having the exact same arguments over & over again. "I loved you when the screws were on tight, I loved you when you found your appetite — I loved you when things were more secure in the beginning. When we were hungry. "She won't bring me flowers on visiting hours'' — when the apology lacks any feeling after being left to stew in the doghouse for ages. My usual metaphor stuff!
Rutledge: On the B-side, "Now That I Know How" is a nice complement to "Visiting Hours." This is another great pop song, but it has a slightly different vibe musically. What would you like your fans to know about this song?
Matt: It's a three-chord rock n roll song built around a Tom Petty & The Heartbreakers groove. The song's about learning to stand up for yourself. We opened the shows with it on our recent tour of Spain. We're gonna leave it exclusive to this release. It won't be on the next LP or CD. If you want it, then you have to buy this record!
Rutledge: You are now a trio. How, if at all, has this changed the dynamics of the band? Does it feel different to now be a lean "power trio"?
Matt: We're only a trio temporarily! We will find a permanent guitar player at some stage, but for now, we'll make the next album as a trio and have Conor Lumsden on guitar for our 2025 gigs. Conor is perfect for the band, but of course he has Music City & The Number Ones on his plate. He's a good pal and a brilliant artist. It's great to have him on board for the live shows.
Lineup changes aren't easy, and it has changed the dynamic, but I think anybody who's in a band understands how it goes sometimes. Musical differences, a change of heart and a fresh start etc.
In terms of what we're looking for, it's more important that you can sing than play guitar to any spectacular level. If you've got a good voice and understand harmonies but are just a decent guitar player, you've got the gig — as long as you're cool too, obviously!
Adrian: Of course with one less person in the band, it has meant that the three of us have had to step up and try and share the workload as best we can.
We're still very independent. Matt runs the social media and web store. I do the graphics and admin. And of course Kris deals with booking tours.
As far as it goes, a good song can get away with the basic elements. However, a big part of Matt's songwriting is putting in loads of mini hooks, be them vocals, guitar, synth, or otherwise. So in a live setting, we do still much prefer to have a four-piece band, and we have been lucky to have Conor as he lives in London now.
When it comes down to decision-making as a three-piece, it's gotten a bit simpler. It's an easy majority vote on stuff. That being said. we've not hit any disagreements yet. *touch wood*
Rutledge: What can you tell us about your next album and how it might different (or similar) in comparison to the last one?
Matt: It's partly written and partly recorded, but because of the changes in the band, we decided to re-think things a little and go somewhat back to the drawing board. I reckon just over half of the album is written, and there are a few new ideas floating around.
My hunch is it might be a bit more "pop" than the last LP, but let's see how it goes over the next few months!
Adrian: We recorded half of it; we are finishing up writing the other half.
We aren't trying to give too much away, but we aren't shying away from anything influence wise.
Rutledge: I suppose for a band like The Speedways, it can be a challenge when you're writing new music. You don't want to make the same record over and over, but I would imagine you want to still sound like The Speedways. How do you navigate that dilemma from a creative standpoint? Is there still room for this band to continually evolve without people thinking, "Man, they sure went to shit"?
Matt: I think getting the balance right comes fairly easy, mainly because 100% of my songs are written on an unplugged guitar sitting on my bed. Whatever comes out comes out. "Visiting Hours" is something a bit though different, I suppose.
I think bands at our level can maybe outstay their welcome; the novelty wears off whatever you write. I enjoy the challenge of trying to write songs that all different kinds of people will like.
Adrian: I honestly don't know; I think we aren't trying to force something that isn't there.
I think personally we've all been through a lot of different things, which will alter the themes of the songwriting. But we always just write about what we know or see, or things we've heard at the pub.
Rutledge: Can you tell us about some of the live shows you have coming up this summer and what your fans have to look forward to?
Matt: Yes! We play the Stardumb Festival (Stardumb 25) in Rotterdam on June 6th. Stefan contacted us and said he'd love us to play but that he only intended to have bands who had released records on the Stardumb label. So we said, "Well, we're putting a new single out soon if you'd like to be part of the release," and he was up for it. It's a really cool lineup and great to be involved!
We also play the CalaPop Fest in Spain on September 19th. We were due to play in 2020 until everything went to shit, but five years later we can finally make it happen! Antonio is a friend of the band and has supported us a lot.
There are a couple more confirmed dates too but we haven't announced them yet, so I'll keep that under my hat for now. Keep your eyes on our social media for when & where!
The set lists will be similar to what we played in Spain back in February/March: a mixture of songs we hadn't played in a while with all the "hits" and a few off-the-cuff covers!
Rutledge: You will be playing with Exploding Hearts in October. I would imagine you are excited about that. How did you get involved in that tour, and what does it mean to be playing with Terry?
Adrian: It's a pretty big deal. In terms of power pop, their importance and influence in the genre is undeniable. A lot of us assumed we would just never see them live. Then back when Terry and Louie dropped their first single, through a mutual friend Terry got in contact with me about doing the art for their second single, and we ended up becoming friends.
I'd asked him over the years if he had any plans to come to Europe for a gig, and it didn't seem likely. I let him know we'd be in California in September last year, and he mentioned he was living out in Joshua Tree. And we were already thinking of heading out there to see a friend in Palm Springs and also do a bit of Gram Parsons–themed sightseeing. So we went over to the bar Terry was managing to grab some dinner and hang out a little. As we were leaving, he said, "Hey, so next summer, you guys with us." Then true to his word, he got in contact asking if we were free and put our names forward with the booker.
We're all really excited to be playing with them. Just in a personal level, we all already get along with Terry and his band. But as fans, we are also really thrilled to be able to hear those songs live in the UK.
Matt: Yeah, it's an honour for us to be asked by Terry to do this. We're all huge Guitar Romantic fans. Terry's put together a great band (we're friends with those guys too). It will be a special tribute and very special to hear those songs played live. I definitely feel we're the right band to be part of the night.
As Adrian says, we met up with Terry during our West Coast U.S. tour last year. He made us the best cocktails ever and was great company. We sat and talked about music for a couple of hours.
He told us that he planned to bring the Exploding Hearts shows to Europe, and would we want to be part of any UK dates — of course we said yes! Looking forward to that one a lot.
Anyone looking to purchase the "Visiting Hours" 7" can follow one of the links below. And be sure to follow The Speedways on social media for updates on more shows and the new album!
Back with his first new solo album since January 2021, rock and roller, writer, pop culture obsessive, and superlegend in his own time Frankie Delmane has delivered something expectedly extraordinary in After All Of This We Must Fall In Love. If you know him from the Teenage Frames, The Crazy Squeeze, or his Substack but have never looked into his solo music, this is certainly a fine place to start. Freed from whatever genre limitations that may exist when he's writing for his other bands, Delmane's solo records find him doing what he does best: being himself. You're still getting those undeniable hooks and hearing many of the same influences, but there's something beautiful about Frankie Delmane being turned loose to write whatever type of song he feels like writing without any question of how and where it all fits. At times, he doesn't stray too far from the hooky rock 'n' roll he's known for. "It's Rock n' Roll," "I Cannot Wait Up," and "Don't Cry for Me" are guaranteed to please longtime fans. Elsewhere, Delmane explores less typical territory. The title track and the excellent album closer "It Doesn't Matter Where We Go (as long as we get there)" have the feel of '80s synth-pop while exuding a mix of beauty and other-worldliness. "Cock the Rock" is absolutely the sleaze-tastic hard rocker anthem the title promises. "Demons in Your Head" sounds like it belongs on the soundtrack of some unnerving apocalyptic movie. "Night Into Day" is a simple, stunning ballad made all the more powerful by its deliberate lack of polish. Perhaps I first became a fan of Frankie Delmane because of the kind of songs he was writing. But at this point, he can write any kind of song, and I'm going to want to hear it. He's a genuine original and a formidable talent, and After All Of This We Must Fall In Love ought to be prescribed to anyone thirsting for a reprieve from mediocrity.
On the second single from their forthcoming LP, DC–area power pop sensations The Airport 77s treat us to a straight-forward ode to lost love. And it'll tear your heart out in exactly the way a song like this ought to. Knowing the band's penchant for clever wordplay and seeing the song title, you might have expected "1999 (Take Me Back)" to be some sort of humorous retro homage. But there's not a whiff of winking irony to be had. This is a textbook tale of regret and longing — and a reminder that there's no statue of limitations on heartbreak. All I remember of the last night of the '90s was getting so inebriated that I didn't care if the world ended. But this song's protagonist, who is not so lucky, would do anything do go back to a time before it all slipped away. Imagine the torture of being reminded of what you lost every time you heard "...Baby One More Time" for the rest of your life. And yet like most great downer love songs, "1999 (Take Me Back)" is more anthemic and cathartic than it is depressing. Andy Sullivan's talent for crafting a perfect pop hook is exceeded by very few people in this world. And his lyrics paint such a vivid picture that I can literally feel myself back in 1999. When that chorus hits, you'll find yourself asking why they don't play songs like this on the radio anymore. And to call that guitar solo "epic" almost undersells it. Even if you were not born until after 1999, this is probably a song you can deeply relate to. Don't Let Go, the full album, will be out in less than four weeks on JEM Records. I can't wait!
Bart and the Brats have been a model of consistency since 2021 — releasing six 7" singles, a 10" EP, and now three proper LPs. You always know what you're getting from Bart: smashing '77-style punk rock with a '90s garage punk feel. Anything this one-man-band releases is an essential purchase. But I must concur with King Ralph, who maintains that Bart's new album Missed Hits is even better than we could have expected. Out on the illustrious Sweet Time Records, Missed Hits is everything you've ever loved about Bart and the Brats taken to the next level. This is Bart's best batch of tunes to date, and the energy level is off the charts. Again recording with producer extraordinaire Lo'Spider, Bart attains the perfect sound for a punk rock record: raw & lo-fi but most definitely not low quality. And when it comes to Bart and the Brats, variety is always the spice of life. This album dishes out a perfect mix of Ramones-style thumpers, old school three-chord snot-rockets, mid-paced punk tunes, and fast & furious rippers along with a few nods to more modern garage punk and a scorching, chillingly relevant cover of The Kids' classic "Fascist Cops." If Bart and the Brats always sounded like a '77 UK punk band releasing music on Rip Off Records, Missed Hits leans into that vibe (Jim Kuczkowski mastered the album!) while also bringing more 21st century garage punk influences into the mix. The album as a whole reflects on the struggle to stay sane in these very insane times, and the urgency of this theme is palpable in the music. Crank up these tunes, jump around, shout along, and rage against all that ails this messed-up world!
The Unknowns, in my book, are the most underrated punk rock band out there. It's not that they are completely overlooked, severely unappreciated, or completely, uh, unknown. But whatever love they've been getting is not nearly enough. Any time I listen to their last album East Coast Low, I swear I'm hearing a modern classic of punk music. Based on that record alone, The Unknowns ought to be massive. And who knows? Maybe their next album, Looking From The Outside, will be the one to launch them into the stratosphere. The album releases this summer on Bargain Bin Records and Drunken Sailor Records. In advance of the album, the single "Thunder in My Head" is now available for your streaming pleasure. And it's classic Unknowns — pairing old school Aussie punk ferocity with irresistible pop hooks. And then before you even know what hit you, the song is done, and you're left wanting more. This song was made to be played in your car with the windows down as you scream along and pump your fist in the air, aweing passerby and your fellow motorists with your triumphant air of indestructibility. Man, Looking From The Outside is gonna be one of THE albums of 2025! For now, crank up "Thunder in My Head" and be prepared to build your summer (or winter, if you're a local) playlist around it!
A decade has passed since I first became aware of Ryan Allen's music. That sure was a quick ten years! Today, I review him as a lead artist for the 13th time. His new album, cleverly titled Livin' On A Prayer On The Edge, is almost definitely his magnum opus so far. At the very least, this is the most of himself that he has ever put into one of his releases. The album essentially combines all the musical influences that have ever shaped his songwriting, and yet every track sounds distinctly like him. I have to admit that when it came to Ryan Allen, I loved him from the moment I first heard his voice. And over the past decade, I've had the pleasure of hearing him grow as an artist and embrace a wider array of influences while still rooting his musical approach in timeless melody.
At one point, there seemed to be two sides to Ryan Allen: the experimental indie rock side and the melodic power pop side. Slowly but sure, those two sides melded into one. Livin' On A Prayer On The Edge is the work of an artist who loves everything from '90s alt-rock to classic power pop to left of the dial indie rock to shoegaze to The Beatles to punk rock and has absorbed all those influences in a way that's fully cohesive and reflective of his unique point of view. I feel like all of us, when we get to a certain age, grow out of particular phases and simply embrace everything we've ever loved. That's where Allen is in his musical journey. And having spent so much time (especially post 2020) working on home recording, Allen has really figured out who he is an artist and how to achieve the sound he's going for. I have a strong attachment to 2015's Heart String Soul for sentimental reasons. But when you compare Livin' On A Prayer On The Edge to Heart String Soul, it's striking how far Allen has come as a songwriter, musician, and producer of his own work. As I listen to this record over and over, I find myself feeling like it goes by too quickly. Yet at nearly a half hour, this is not a particularly short album. It just seems that way because it's so good that I'm ultimately left wanting more.
Livin' On A Prayer On The Edge is an album inspired by memories of being a kid and discovering a whole new world of music that you never knew existed — and of being an adult who never lost that enthusiasm and wonderment. I would imagine that almost anyone reading this now will be able relate to that. You could be listening to any one of millions of podcasts or reading any one of millions of online publications right now, but you're here looking at some small-time music blog because you're still super-passionate and genuinely excited about new music. As he revisits the music that was life-changing in his teenage years, Allen is not afraid to sometimes wear his influences on his sleeve. "I Should (But I Don't Really Wanna)" literally recreates Teenage Fanclub's guitar tone. The hilariously on-point "Conspiracy Theory" would not sound out of place between Swervedriver and My Bloody Valentine on a mixed tape. "After I'm Dead" unabashedly worships at the altar of Big Star. "So What Who Cares" doesn't care if you think it sounds like Stereolab. But for the most part, the influences on this album are more suggested than obvious — the result of them co-mingling in Allen's brain for thirty plus years and ultimately getting filtered through his own personal style. Without sounding like any band in particular, "Lost in a Daze" captures the spirit of fuzzy early '90s college radio power pop. I can't decide if "Devil's Juice" is trying to be action rock or garage punk, but I know that I love it. If Devo, Sonic Youth, and Guided by Voices had been one band, they might have written "The Construction Man." "Company's Eyes" is the sort of classic jangly pop that I hope Allen never stops writing. "In the Next Life," Allen's poignant tribute to a recently passed friend, is beautiful and silky-smooth — an unironic nod to the soft rock that ruled the airwaves in the '70s and early '80s.
Of course there's an undeniable '90s nostalgia underpinning Livin' On A Prayer On The Edge. When Allen was a teen discovering much of the music that influenced this record, I was a twenty-something discovering many of those same bands myself. So of course I'm going to have a soft spot for these songs. But those fond memories are just a starting point — not the ultimate destination. This is by no means a "retro" album. It asks you not to turn back the clock a few decades but rather to appreciate the timelessness of the music that inspired it. Allen's lyrics run the gamut from personal reflections to social commentary to deeper ruminations on life in these times. Altogether, this is a record that feels very relatable and very now. Songs about coping with anxiety, enjoying domestic bliss, and wanting to create something meaningful to be remembered by absolutely speak to me, and they likely will to you as well. Far more than just the product of his influences, Ryan Allen is a songwriter of extraordinary talents. I will always think of him when I'm asked why the 2010s were such a rad time for indie pop. But in the 2020s, he has only gotten better. I imagine he's extremely proud with what he has created in Livin' On A Prayer On The Edge. And let me tell you: he should be.
Two years ago, Wilmington, North Carolina's Kicking Bird released Original Motion Picture Soundtrack, a remarkable debut album which quickly became one of my favorite indie rock releases of recent memory. 11 Short Fictions, the band's highly anticipated second album on Fort Lowell Records, finds Kicking Bird in no way succumbing to the sophomore jinx. Matching or even surpassing a great debut is a tall order for any band, but 11 Short Fictions is an absolute triumph. One of my favorite things about being into music is discovering new bands and following them as they grow. I was a fan of Kicking Bird's first album, but now I can officially call myself a fan of the band.
Kicking Bird, while very hard to pigeonhole stylistically, is a band with tremendous musical and songwriting talent. 11 Short Fictions is more ambitious than Original Motion Picture Soundtrack, but it never loses sight of what makes this band so appealing: the contrasting and complementary charms of husband-and-wife vocalists Shaun and Shaylah Paul and a melody-driven approach to songwriting which takes inspiration from everything from '70s arena rock and glam to '80s/'90s alternative rock to contemporary indie rock. As the album title suggests, each track is essentially a short story — with literary genres running the gamut from science fiction to horror to fantasy to erotica to historical romance to comics. I love that the band went in that direction yet still embraced its flair for quirky indie rock with pop sensibilities and classic rock roots. Of course the provocative dreamy pop of "What Did You Expect (with Such A Beautiful Wife)" bowled me over from the start, but there are several standout tracks on what proves to be deep and satisfying collection of songs. "Verdun," the "love story of two privileged social elites torn apart by the mis-perceived glory of war and the social constraints of Victorian England," has all the charm of later '90s indie rock and all the grandeur of classic rock. "Pardon Me (What Did He Say)" resurrects Marc Bolan to splendid effect. "Good Lighting" and the hard-rocking "Cinnamon" recall the '90s heyday of guitar heavy alternative rock. "Too Much Talking" is the sort of simple yet instantly memorable ballad that every great album ought to have.
In a world where tens if not hundreds of thousands of albums are released every year, it can be hard to get people to pay attention even if you've made something pretty special. So much great music gets lost in the shuffle. Kicking Bird, now with two exceptional albums to its name, deserves to be heard and to be recognized as one of the finest up-and-coming bands in underground music. 11 Short Fictions, which marries music to literature in a way that celebrates both, is more than worth your time and hard-earned cash.
Well here we've got ourselves another must-have split! Out on the legendary Goodbye Boozy, the "Good Cop/Bad Cop" 7" finds France's Bart and the Brats and New Mexico's Jacket Burner teaming up for some first-rate budget punk action. Bart and the Brats, as always, thump it out in the '77 punk style with force and fury. "Pigeonholed" is a fast-paced smasher that brings to mind the Ramones at their most aggressive. "Good Cop, Bad Cop" dials back the tempo a tad but still punches you in the mouth. This is how you do it: two tracks in under four minutes, and everyone is left wanting more. On its half of the split, Jacket Burner tears through two tracks of trashy, ripping garage punk that will have you feeling like 2005 never ended. How can you not love a song called "Born Fucked"? What I love about this release is that it contains top quality material from both bands. There's no filler here, folks: simply killer punk rock just the way you like it! And be ready: a brand-new Bart and the Brats full-length is dropping in just a few days!
Now this is how you do a return! The Number Ones had not released new music since their 2018 EP Another Side Of The Number Ones. If you had assumed that this Dublin-based foursome was broken up, surely you were not alone. But here we are in 2025, and The Number Ones are back sounding as much like The Number Ones as ever! New single "Sorry" falls halfway between The Undertones and Buzzcocks, and I have zero complaints about that! When we talk about powerpop/punk as a genre of music, this track pretty much sets the standard. It's a massive burst of melody and catchiness with all the youthful energy and guitar crunch you could ever hope for. It's amazing how this band has picked up right where it left off after seven years of inactivity. On the B-side, "Blind Spot" is another perfect slice of power pop — owing much to early Beatles but still packing plenty of punch. When it comes to power pop with a punk edge, it's hard to beat the single format. And this single is worthy of a spot in your collection alongside the classics.
20th Century Boys from Fullerton, California are a newer band with an old school pedigree. Singer and guitarist Jeff Moses (The Flamethrowers, The Cornfed Project), bassist Mike "Rocko" Occhiato (The Flamethrowers, The Joneses, The Vice Principals), and drummer Jason Hubbard (Penal Colony) are all longtime fixtures of the L.A. rock 'n' roll scene. Unsurprisingly, their debut album (out on Rum Bar Records) reeks of the '70s and early-to-mid '80s in the most wonderful way. These 11 tracks take elements of sleazy glam rock, '70s punk, power pop, and dive bar rock 'n' roll and mash it all into a timeless and irresistible concoction. "Suzy" is a stone cold smash, and it's by no means the only banger in the bunch. There's nothing tricky or grandiose going on here: just good, solid rock 'n' roll with a beat you can dance to and hooks for days. Some tracks live at the intersection of dirty glam and power pop. Others bring to mind Johnny Thunders–inspired punk rock 'n' roll or the Stones at their booziest. I love hearing little nods to the classics (like the "Teenage Kicks" inspired riff on "Tricky Situation" or the "baaaaaby!" refrain on "Rumble at the Dance Hall" that tips its cap to The Dictators' "Stay With Me"). There's even a cool cover of a golden oldie by U.K. glamsters The Gunslingers. I can't imagine any fan of Rum Bar Records not digging this album, and it's exciting to hear music like this still being made and made well. Moses proves himself to be a fine songwriter and one hell of a guitar player. Since the recording of this album, Claude Guecia has taken over bass duties, but 20th Century Boys are going as strong as ever. When I was a young pup coming up in the music-reviewing world, it seemed like there were bands like this everywhere you turned. But now this sort of real-deal, tried-and-true glam-punk rock 'n' roll is not nearly as ubiquitous. Kudos to labels like Rum Bar for endeavoring to keep it alive!
Now this is exactly what I needed: a new full-length album from New York's Strange Neighbors! The band is made up of Aidan Strange on vocals, Beau Valentine on drums, Dana Bennewitz on bass, and Zach Schweiker on guitar. People Pleasers Pleasing People is the group's second long player and first since 2019. Following some excellent singles and EPs released over the last few years, this is a wonderfully satisfying album that will surely lift the spirits of a world in dire need of some joy. The things that make Strange Neighbors so hard to classify are the very things that make them such a treat. Calling them power pop or indie pop or alternative rock just feels insufficient. They are all of those things but perhaps none of those things. So I'll just put it this way: if smart, fun, and super-charming pop songs which bring to mind '80s/early '90s college radio via Gen Z sound like something you'd be into, People Pleasers Pleasing People is an album you absolutely need to hear (now imagine me proofreading this review out loud and tripping all over that album title!).
Coming in at ten tracks, People Pleasers Pleasing People is exactly what you want a full-length album to be: hit-laden and filler-free yet still packing plenty of variety. At their core, Strange Neighbors are all about perfect pop melodies and well-crafted hooks. But their influences are so all over the place in terms of style and era that you could never write them off as a run-of-the-mill power pop band. Elements of everything from '90s alt-rock to the Beatles to country music to musical theater to The Replacements & REM to millennial emo-core to John Prine to Chappell Roan can be felt in these songs, and this blending of the old and new is seamless. Just as importantly, this band has a real flair for writing relatable songs that will hit you like a ton of bricks. Songs like "You've Got Love" and "Hate Me Less" are break-up (or perhaps post-breakup) songs which trade bitterness for meaningful refection. "Retrograde" and "Wherever We Fall" are reminders that we're all works in progress struggling to figure our shit out. "Influencer" is social commentary that could not be more on-point. "Silk and Cyanide" is certainly the best pop song I've ever heard about enemy spies falling in love. And then there's "Beer at the Bar," which is nothing short of an anthem. On a daily basis, I find myself feeling heartbroken over a society that promotes the hatred of human beings based on whom they love and how they present themselves — and a regime that seems intent on legislating these people out of existence. "Beer at the Bar," a song of unity for the queer and trans community, is powerful in both its acknowledgment of its despair and its message of hope.
Many a band has followed a run of terrific singles with an underwhelming album, but Strange Neighbors have delivered the goods with People Pleasers Pleasing People. Wonderfully produced by Mike Dwyer, this album sounds magnificent while still retaining an unassuming indie charm. It is certainly one of my favorite albums of the year and a lock for a prime spot on my year-end list. It's streaming now in all the usual places!
Unicorn Dogs are having quite the year! Their brilliant debut album Age Typical Junk Behavior will soon be getting a vinyl release in collaboration with a couple of titans in the pop-punk label world: Jolly Ronnie Records and Mom's Basement Records. In conjunction with this LP release, they've put out a music video for their should-have-been smash hit "Dumb Stuff." Meanwhile, the band has a brand-new digital EP out today titled Inauguration. After taking a quick peak at song titles like "Snake Oil Salesman," "Executive Order," and "Chief Executives," you will have no trouble discerning the concept of this EP. Let's just say that when it comes to opining on the state of America post January 20, 2025, Unicorn Dogs are not afraid to tell you how they really feel. This is a band that's good enough to write about any topic under the sun and make it feel urgent and anthemic. So you can imagine that Unicorn Dogs raging against America's descent into authoritarianism is going to be powerful stuff.
When it comes to protest music of any kind, I'm always looking for one main thing: the music has to be on par with the message. And that is certainly the case here. I will paraphrase my brother from across the pond and say that Unicorn Dogs are the epitome of pop-punk with balls. I've heard very few bands capable of writing songs that sound this raw and this catchy. Of course you can feel the passion and indignation in these songs, and that all comes through more forcefully due to the quality of the melodies and the cleverness of the lyrics. The band has turned Inauguration into a choose your own adventure experience: you can listen to the entire EP in one single shot (with some added snippets) or enjoy it one track at a time. Covers of "Boys Who Rape (Should All Be Destroyed)" by Raveonettes and "Serendipity" by Trusty are Bandcamp exclusive bonus tracks that fit in quite nicely with the rest of the EP. All this for $2 is a deal and a steal for fans of pop-punk and opposers of fascism!
You've got to love Daniel at Alien Snatch Records, who frequently releases 10-inch vinyl records simply because they are freaking cool. For a label owner, there is no real financial incentive to put out a 10-inch EP. You just have to love the aesthetics of it. And for a record collector, this is a fun format — a veritable mini-album! Alien Snatch's latest 10-incher is a split which finds Berlin's mighty S.U.G.A.R. paired with Australia's Blowers. So we've got two of the top bands in today's garage/punk scene represented here. The S.U.G.A.R. side contains the roaring, straight-forward punk rock 'n' roll of "Electric Chair" plus a great cover of God's classic "My Pal." Blowers' side features four tracks of raw & super lo-fi garage punk. Blowers have a new album coming out at the end of the month that's gonna blow your ears right off your head. In the meantime, these tracks will whet your appetite. This was a well-conceived split. If you like one of these bands, you are almost certain to like the other. In fact, the two bands will be touring Europe together next month. Follow them on social media for more info!
Is it possible that even the great J. Waylon had room to step up his game? His long-running solo project Friends of Cesar Romero has released some of the modern-day garage/punk/power pop scene's finest music over the last several years, and his Doomed Babe Series has become the stuff of legend. But with installment number 44 in the series, J. Waylon has done something I wasn't quite expecting: not just meet my expectations but rather exceed them. While the majority of FOCR's releases are EPs or singles, Spider Dreamer Sweet Tooth is a proper full-length album. And without question, I'd say it's the band's best release yet.
So much has been made (rightfully) of J. Waylon's knack for crafting top quality pop hooks and writing relatable, often brilliant lyrics about doomed romance. But with Spider Dreamer Sweet Tooth, I find myself struck by how much he has continued to grow as an artist and musician. This album incorporates a wide range of musical influences, yet it all sounds distinctively and emphatically like Friends of Cesar Romero. Kicking off with the infectious garage rock stomp of "October Eve," the album seamlessly swings from the textbook power pop of "My Motel Mermaid" to the classic SoCal punk stylings of "Quality Inn Cambodia" to the pristine psychedelic pop of "To Quell Your Starlite Mist" to the vintage FOCR charms of "Jennifer Ann" to the '60s pop glory of the title track. And that's just the first half of the album! The virtual B-side is just as hit-packed and stylistically varied. "Throwing Deadly Nightshade" is not just a great song title. It's the epitome of a garage rock banger that will have you dancing wildly in your bedroom. And I'm not sure if I can name another artist capable of going back-to-back with a '60s-style country rocker ("Gasoline on the Trampoline") and a 72-second blast of dawn-of-the-'80s hardcore punk ("Sundowner Uppercut") and legitimately pulling if off.
None of these songs are throwaways. This is 12 songs in 23 minutes, and not a single moment falls short. J. Waylon, who can write some of the best pop-punk tunes you could ever hope to hear, here proves that he's just as adept at pure punk and perfect pop. And when this album aims to rock, it really rocks. J. Waylon is not just a terrific songwriter and vocalist but also an accomplished multi-instrumentalist who has really learned how to make great-sounding solo recordings. If you've been ignoring my pleas to check out the best-kept secret in the punky pop/garage underground, this album would the perfect place to get on the train.
I was absolutely floored when The Speedways dropped the new track "Visiting Hours" back in February. It was the band's first new song in nearly two years, and it did not disappoint. If you have been waiting patiently for "Visiting Hours" to come out on record, now is a fine time to make your move. The single (co-released by Stardumb, Beluga, and FOLC Records) has been pressed and will be shipping very soon. The A-side instantly rocketed to the top tier of my list of all-time favorite Speedways songs — and that puts in it some very good company. The track that's new to me here is the B-side, "Now That I Know How." This song channels Tom Petty via The Beatles, and who in the world wouldn't be into that? Lyrically, this is a vintage Matt Julian dissection of a doomed relationship. That guitar riff will really grab you, and Julian's vocal delivery is spot-on as per usual. In some alternate universe where 1979 never ended, this 45 has already gone gold! This is a very strong return for The Speedways, and that bodes well as we await the band's fourth LP due out later this year. Now go order the vinyl while you still can!
It has been over two years since The New Brutarians last released new music. But America's favorite pop art glam-protopunk rock 'n' roll band is about to treat us to a summer of hits! After the gonzo lo-fi stylings of the excellent Don't Want To Know Your Secrets EP, Adam, Christina, and friends figured it was time to treat us to some more polished, sub–three-minute pop gems. Our first taste of this is the new single "Born Out of Time," which has been released to coincide with tonight's special event at the Redwood Bar in Los Angeles: an Adam T. art show and glam punk gig extraordinaire featuring The New Brutarians (acoustic), The Juvenile Wrecks, Richard Duguay and The Beautiful Decline, Monodelux, and Bill DeGidio of The Pagans. Produced by Robbie Rist (yes, THE Robbie Rist!), "Born Out of Time" is a perfect little shot of glitzy, melody-driven rock 'n' roll. The lyrics are amazing, and Adam's voice sounds so freaking cool on this track. And those backing vocals are absolute majesty. If glam punk with a power pop heart is your thing, this song will be right up your alley. "Born Out of Time" has left me wanting more, and thankfully more is very soon to come!
Dauber, a trio from Hudson, New York, features Mike Abbate (Screaming Females) on guitar and vocals alongside Jenna Fairey on drums and Quinn Murphy on bass. Falling Down, the band's debut album, is out now on Dromedary Records, Recess Records, and State Champion Records. This is the kind of record that we need more of these days. The band bangs out one track after another of raw & energetic melodic punk. There's nothing fancy going on here — just honest, hard-hitting punk rock with thoughtful (and sometimes very bleak) lyrics and hooks for days. Vibe-wise, I'm reminded of '80s and '90s melodic punk, but Dauber is no retro act. The songwriting is solid as hell, and the playing is tight and punchy. This, my friends, is the sound of a band playing its guts out. And from start to finish, the songs deliver the goods. If you dig old school melodic punk or rough-around-the-edges modern pop-punk, you need some Dauber in your life.
I've been a big Geoff Palmer fan since the early days of this blog. I'm a fan of everything he does, but I have to admit I have an especially soft spot for his pop-punk stuff. So of course I'm on board with him doing a whole EP of pop-punk tunes. On Kodak Flash, he is supported by one heck of a band: Tyler Spatz on bass, Paul Kennedy on drums, Zack Sprague on guitar, and F & L favorite Daniel James on lead guitar. These four tracks (two of which have already been smash hits on the Underground Garage) are everything that pop-punk music ought to be: exceptionally well-crafted, catchy as hell, relatable to life, and simply fun to listen to. Palmer is talented enough to play any kind of music, but he keeps going back to this kind of stuff because he truly loves it. And given that my tastes lean more to the pop side of the pop-punk equation, these songs could not be any more up my alley. Even when these folks put the pedal to the metal on a song like "Rubberneck," those melodies and hooks are undeniable. "Bye Bye Baby" hearkens back to Road to Ruin/End of the Century–era Ramones, and I could not be more stoked. "Teenage Memories," with its wistful lyrics and exquisite harmonies, hits that sweet spot where pop-punk and power pop become one. By its very nature, this EP is bound to leave you wanting more. Delivering four songs in less than eight minutes, this is an all killer, no filler experience. Kodak Flash is a first class effort all the way and yet another must-buy from the red-hot Stardumb Records. The vinyl release is on a one-sided 12", and I'd recommend moving quickly if you want one of those beauties!
Ricky Rochelle's third single of the year finds him back in the pop-punk lane, and it's a song that really speaks to my heart (and probably yours as well). It's almost impossible to believe that Joey Ramone has now been gone for 24 years. For a lot of us who were fans, it still seems like just yesterday that we lost him. "I Miss Joey" is Ricky Rochelle's tribute to Joey Ramone. It's a simple, heartfelt song about how deeply missed the king of punk still is after all these years. The line "He never knew the legacy he'd leave" really hits me hard when I think about how profoundly influential the Ramones were on almost every band or artist I write about today. Ricky Rochelle has a way of writing and singing songs that is so genuine and heart-on-sleeve. Here he celebrates Joey Ramone not just as a musical influence but also as a person he deeply admired. You can feel the love in this song. What more could you ask for from a tribute?
French power pop band Lùlù took the world by storm last year with its self-titled debut single. And now, in advance of its full-length debut, it has unveiled its second single, "Sur la Corde." Lùlù (featuring members of AVIONS, Irnini Mons, Pogy et les Kéfars, and Edgar Suit) is now making it clear that that its first single was no fluke. This band is the real deal! "Sur la Corde" is a song about the trials and tribulations of being in a band: the strained relationships, the mixed emotions, and the drama that can ensue when everyone runs out of patience. Surely many of you reading this right now can relate. Sometimes your bandmates can seem like your best friends and your worst enemies at the exact same time! Lùlù's debut LP will be out soon on Howlin' Banana Records (France), Dangerhouse (France) and Taken By Surprise (Germany). For now, enjoy the anthemic power pop of "Sur la Corde"!
"Every man will lose a battle at some point, it's true/
But if he doesn't lose himself, then he can make it through"
Vista Blue is certainly one of the most prolific bands in the indie/punk universe, but it very rarely releases full-length albums. So when we do get a long-playing release from Vista Blue, that counts as a special occasion. In the case of new album Clear Eyes, Full Hearts, that occasion is the band's tenth anniversary. Indeed it was ten years ago tomorrow that VB released Good Eye, its debut EP. Since then, the band has amassed a catalog that I would rate as impressive as any in the modern-day pop-punk world. Rodney Bingenheimer (the Grady Hunt of underground music) has championed the band on his radio show, and I'm not sure I'd even be doing this blog anymore if I weren't able to look forward to reviewing these guys 5.8 times per year.
As you may have deduced from the title, Clear Eyes, Full Hearts is inspired by the acclaimed American television program Friday Night Lights (specifically the show's first season). The fact that Vista Blue wrote a full album about a TV show adapted from a movie adapted from one of the greatest non-fiction books ever written is very much on-brand. The band's last album, Stay Gold, was an homage to the novel (and movie) The Outsiders. Creating your own art about someone else's art is a very cool thing in my book. If someone asked me why I like Vista Blue so much, I'd probably say it's because they're pop culture geeks just like I am. If you're a fan of this band and have never seen Friday Night Lights, that should in no way discourage you from buying Clear Eyes, Full Hearts. Just be warned that it will make want to watch the show, so be prepared to make some time for a binge.
What I love about Vista Blue is that you never know what you're going to get even though you always know what you're going to get. The band never strays too far from its signature style of pop-punk steeped in power pop and indie pop influences, but it always offsets its fastballs with plenty of curves and change-ups (I acknowledge that mixing my sports metaphors will get me two minutes in the penalty box). Over the course of a full-length album especially, it becomes clear what a wonderfully talented (and in my estimation, criminally underrated) songwriter Mike is. The band comes out swinging with "Can't Lose," which references the inspirational words of Coach Taylor but could just as easily be applied to our own lives. Songs like "She Doesn't Wanna Be Your Rally Girl," "Everybody Loves Football," and "Alamo Freeze" find Vista Blue running plays that have been proven to work time and time again. Elsewhere, the playbook opens up with the aggressive, minimalist punk of "Texas Forever" and "Grady Hunt's List," the quasi-instrumental rally anthem "Go, Panthers!", and the anthemic power pop of "State." And of course there's a VB-style arrangement of "Devil Town" to wrap it all up.
While it thankfully lacks the lofty pretensions of a rock opera, Clear Eyes, Full Hearts definitely captures the spirit of the television series that inspired it. Whether you aspire to go to State or just need a little motivation to get through your day, this album has something to offer you. I can't listen to lyrics like "Some people wrote us off as easy to eliminate/But clear eyes and full hearts are things that they just can't evaluate" and not think that they also apply to Vista Blue on the occasion of its tenth anniversary. It would be goofy for me, in reference to a band I've reviewed 53 times, to say this album was better than I thought it would be. But it's certainly one of the best things Vista Blue has ever put out. I would highly recommend cranking it loudly in the car as you head out to grab some milkshakes or catch Crucifictorious's next gig. Clear eyes, full hearts, can't lose!
It seems odd to say that I'm floored by a band I've been fervently touting for over a decade. But Los Pepes have done something that very few bands have ever done: deliver a sixth album that blows away anything they have ever released before. 
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