CIVIC, arguably one of the two or three greatest punk rock bands of this decade, has now staked its claim as one of the best bands out there, period. Following the blistering brilliance of 2021's Future Forecast and 2023's Taken By Force, CIVIC's new album Chrome Dipped finds the band turning away from its signature '70s Aussie punk style and forging a bold new sound. Of course there were hints of a musical progression on those previous albums. But as the title implies, Chrome Dipped finds CIVIC completely breaking the mold. Call it post-punk, modern rock, modern punk, or whatever you like. This band and this album cannot be tied to any specific genre.
A lot of folks may find the musical growth between Taken By Force and Chrome Dipped almost shocking. But certainly CIVIC is far from the first punk band to evolve into something very different. Whether or not that transition is successful is almost always dependent on the talent and artistic vision of the band. In the case of CIVIC, it's clear that these guys have what it takes to be something far more than a sonic bulldozer. The songwriting and playing on Chrome Dipped are formidable. While still holding on to the spirit of punk rock, the band really pushes itself on this record to sound not only like it has never sounded before but also like no other band has sounded before. And even though '80s post-punk is a clear point of reference, few specific influences are palpable. If this is a "post-punk" record, it's the 21st century version of such. By turns, this album is hard & soft, beautiful & gloomy, and fierce & elegant. It was always the nuances of its songwriting that set CIVIC apart from all the other Saints/Birdman disciples. So while Chrome Dipped is indeed a giant step forward, it's not an illogical progression. Even with a drastically modernized sound, CIVIC is still an incredible band. Will this album alienate a small percentage of fans? Perhaps. Will it garner the band a whole lot of new fans? Of course! Chrome Dipped will not be for everyone, and of course it's closer to say, The Damned, than it is to The Saints. But it's a monster of a record that will really sink its hooks into you after a few spins.
My initial reaction to Don't Let Go, the new album from The Airport 77s (out today on Jem Records), was that it was very surprising. But the more I think about, the more I realize I shouldn't be surprised about being surprised by this band.
When I first heard The Airport 77s four and-a-half years ago, they were a very good power pop band. And certainly they could have just continued to be a very good power pop band for years without any complaints on my end. But instead they spread their wings (pun probably intended) and became something far more complex and far greater. While still broadly a power pop/guitar pop/pop-rock/whatever you wanna call it record, 2022's We Realize You Have a Choice was also heavily inspired by new wave, arena rock, '80s indie/alternative, and even a little hair metal. And what had become obvious was that no two Airport 77s songs were ever going to sound alike. This was no longer a band that I liked because they liked bands that I liked. This was now a band I liked because they were talented, original, and absolutely terrific songwriters. Not so long ago, I officially proclaimed We Realize You Have a Choice my sixth-favorite album of this decade. I've been looking forward to a follow-up for a long time, and I can tell you that Don't Let Go is a considerable departure (pun definitely intended) from its predecessor. I can also tell you that that's very much a good thing.
Don't worry: there are still pop hooks a plenty on Don't Let Go. And several of its songs fit nicely into the power pop lane. But this record shows The Airport 77s to be capable of far more than even I thought. While the album has its playful moments (lead single "If It's On, I'm In" may inspire an entire nation to sign up to clown), it also includes several songs that are serious and thoughtful without a hint of silliness. If I were writing script for a '70s-style TV ad for this album, I might come up with a tagline like, "The Airport 77s show their sensitive sides!" Even with its retro appeal, "1999 (Take Me Back)" is a sincere ode to loss and longing. The title track is a haunting tone poem that leaves much open to interpretation but definitely feels darker than anything this band has ever done. "Anyone But You" is about the millionth pop song to lament unrequited love, but there's something about this one that really tugs at the old heartstrings. "Satellite" is a beautiful reflection on having to let go of someone very special. I can't figure out which specific illicit substance "Like Falling in Love" is a paean to, but the analogy is spot-on. "The Hands of Time," drummer John Kelly's debut as a lead singer and songwriter, is a heartfelt Beatlesque number that might leave you a little misty-eyed.
Part of the different dynamic for The Airport 77s on this record is the one-off addition of the legendary Cal Everett on bass and vocals. Well-known in power pop circles for his time in 4 Out of 5 Doctors, Everett sings harmony vocals with Andy Sullivan on a couple tracks and takes the lead on his songs "Anyone But You" and "She's Everything" (which is truly a perfect power pop song). His bass work throughout the album is brilliant and perfectly complementary to Sullivan's guitars and Kelly's drums. So much of what makes this album great is the band's willingness (and ability) to stray from the conventions of straight power pop. Sullivan's epic guitar solo on "1999 (Take Me Back)" is a nod to Prince's obvious influence on the song. "Girl On Fire" is certainly the first song in the history of time to reimagine Charles Ives' "Circus Band" with a rhumba beat and hair metal guitar break and come out sounding like it could have been a Knack tune. The gorgeously haunting "Don't Let Go," perhaps the album's most unexpected track, brings to mind moody '80s post-punk. The way Sullivan and Everett build atmosphere on this song with their instrumental work is remarkable. "Make 'Em Pay (Don't Make it Easy)" is the outlaw road ballad meets power pop sing-along I never realized I needed in my life. "Satellite" is another incredible surprise: a tender, lush ballad that sounds like it ought to be playing over the closing credits of a movie. Sullivan's vocal is extraordinary: you can feel his heart and soul in every word he sings. If you're a parent, this song will give you all the feels. Who knew The Airport 77s could give us this kind of Kenny Loggins energy, and who knew I would love it so much?
What I like about Don't Let Go is that it's an album built the right way: it has some pop hits; it has some top-notch deep cuts; and it doesn't mess around with filler. It offers plenty for fans of power pop, but it also takes a number of chances which pay off handsomely. I knew Andy Sullivan could write a great pop song, but on this album he also gets to play guitar hero and really challenge himself as a songwriter and vocalist. I'm not usually one to talk about technical playing, but the musicianship on this record is crazy good in a way truly serves the material. Hearing this album and what the band has achieved on it has been like showing up to graduation and finding that the class clown is also the valedictorian. If this is indeed The Airport 77s' "emo" album, you can't deny that they've nailed it.
Beebe Gallini is a band I've been writing about since 2016, so I was kind of amazed when I realized that the newly released Begged, Borrowed and Stealed is its very first studio album. Of course there was a pandemic that had a lot to do with that, but the point is that this is a very exciting release for fans of the American Midwest's #1 frat rock garage band. It's out on the iconic Soundflat Records, and it was recorded at the legendary Kay Bank Studio in Minneapolis with sound engineer Tom Herbers.
The original concept for this project was for Beebe Gallini to record new versions of some Minnesota garage rock standards in the very same studio where these classic tracks were originally laid down back in the '60s. The band chose to record The Gestures' 1964 single "Run, Run, Run," The Accents' 1964 cover of Lonnie Mack's "Why," The High Spirits' 1966 single "I Believe," and The Kan Dells' 1965 single "Cry Girl." Some of the band's famous garage rocker friends joined in the fun, and if it had stopped there, the world would have been treated to a killer EP. But then Soundflat Records had the good sense to request a full album. The project was expanded to include some of the band's favorite covers and one of its original songs, and now here we are. Begged, Borrowed and Stealed is the frat rock/garage/soul blockbuster we've long been expecting from the one-and-only Beebe Gallini.
Begged, Borrowed and Stealed features a lineup of Miss Georgia Peach on lead vocals and guitar, Amy Larson Pearson on bass, and Travis Ramin (who also produced the album) on drums. On top of that, Keith Patterson (The Funseekers, The Spectors, The Conquerors) plays lead guitar on "Run, Run, Run" and "Why." Melanie Vammen (The Pandoras, The Muffs) plays keyboards on "I Believe." Russell Quan (The Bobbyteens, The Dukes Of Hamburg, The Countbackwurds, The Mummies, etc.) sings lead on "Cry Girl." That's an impressive cast, and the resulting album does not disappoint. I hate to sound like the cranky old man running some punk kids off his lawn, but there is something to be said for recording rock 'n' roll music in a real recording studio — in particular one with a rich history like Kay Bank Studio. Especially since a lot of people are going to be listening to this album on a vinyl record, it's fitting that it sounds like it could have been produced in the 1960s. It sounds warm and clean, but there's no unnecessary polish. This is just the sound of a great band doing great versions of great songs — with styles ranging from upbeat party rockers to garage/soul stompers to aching ballads. Highlights include Dave Dee, Dozy, Beaky, Mick & Tich's 1966 single "Hold Tight!," the Wilson Pickett/Chris Kenner number "Something You Got," The Ohio Express's "Beg, Borrow and Steal," Otis Redding's "That's How Strong My Love Is," Amy Larson Pearson's original "Hey Honey," and "Kvar I Min Bil," an obscure Swedish song written by Per Gessle of Roxette. Some of these songs have been Beebe Gallini favorites since the very beginning. It goes without saying that Miss Georgia Peach kills it on lead vocals, and the musical performances on this record are nothing short of first rate. Although this is not a live album, it does bring a live band energy. I can easily imagine the impassioned "Why" bringing down the house in a live setting. The upbeat "Hold Tight!" is a sure-fire cure for whatever might ail you. "Beg, Borrow & Steal," which the band rearranged, just feels like a party. If you didn't know "Hey Honey" was an original, you might assume it was a cover of some obscure garage rock nugget.
Fans of the music Miss Georgia Peach and Travis Ramin make together have been happy campers this year. Three months after the release of MGP's Class Out the Ass, we get this absolute gem of a record from Beebe Gallini. Begged, Borrowed and Stealed is to garage rock what Class Out the Ass is to country. It's celebrates the Twin Cities' rock 'n' roll legacy and also re-asserts the timeless appeal of high energy, soulful garage rock. Even if you live far, far away from Minnesota, you can listen to this album and truly understand what Beebe Gallini is all about. If you feel compelled to dance around the house in your underwear or start air drumming with kitchen utensils, no one will judge you. I also love that the band went all-out with the packaging. The Cliff Mott front cover art is just so awesome, and the back cover looks so authentically like an actual record from the '60s that some people might be fooled! Whatever you have to pay for this LP is 100% worth it!
On his latest single, the ever-reliable Dave Strong is giving us some good, old-fashioned punk rock. "Fight Back" is a fast, blistering tune and a veritable rallying cry. Hitting that melodic side of early '80s hardcore punk, this song gives off more than a little early Descendents energy. And I'm not complaining. Clocking in at just one minute and 56 seconds, the song doesn't mess around. It gets in and gets out with fury and ferocity. It's the kind of song you blast in your car at maximum volume when you're fed up with the world or just need a jolt of energy to get through the day. Another solid outing from New England's most underrated rocker!
WYLDLIFE is a band that needs no introduction in this particular corner of the internet. Since 2011, this New York–based foursome has been one of the very best bands in present-day rock 'n' roll. With its mix of punk rock attitude, infectious pop hooks, and pure rock 'n' roll energy, WYLDLIFE is one of those bands that represents just about everything I love in music. Its new album sorted. (out on Wicked Cool Records) is its fifth and first in five years. It continues the progression that was evident on 2020's Year of the Snake — further broadening and updating the band's musical style but never straying far from its longstanding mission to craft catchy, kick-ass tunes that would be all over the radio in a just world. Longtime fans will go wild for the likes of "Bystander," "Generate 2 Terminate," "Terminal Blue," and "MIA M.I.A." — which are vintage WYLDLIFE glam-punk rock 'n' roll scorchers with hooks for days. Elsewhere, "Little Headcase," "Dizzy," and "Goes Without Saying" find this very American band embracing '90s Brit-pop in an extremely satisfying way. "Fast Dreams" is the ultra-rocking power pop smash hit that the world ought to be begging for. "Shadows" blends old school NYC punk snarl with modern garage rock sensibilities and that distinctive WYLDLIFE flair. "Shotgun" delivers anthemic album-closer energy.
While sorted. is the fruit of numerous studio sessions over several years, it doesn't feel disjointed or lack an identity. It manages to sound like a WYLDLIFE album without being a retread of previous WYLDLIFE albums. If anything, this band doesn't get nearly enough credit for turning out such consistently good records that celebrate rock 'n' roll's past while also leading the way for its present. Arriving just in time for summer, sorted. needs to be cranked loudly and thoroughly enjoyed while you live life to its fullest. This album scratches an itch that only real rock 'n' roll can reach.
The Snags, who hail from Berlin, are the kind of band I'll never tire of writing about. They play high-energy '77-style punk rock that will have you bouncing off the walls in no time flat. White Russians In Kreuzberg is their debut EP on Take the City Records, and it's a snotty, manic good time. Clearly these guys are into all the OG U.K. punk stuff, but the influence of the classic era of Dirtnap Records is palpable as well. All three tracks are fast and snappy with catchy hooks and attitude for days. This is an exciting debut, and I'm pumped to hear more from these guys!
Wow: this is how you do a singles collection! The Trouble Seekers (Kevin McGovern and Hillary Burton) have just released EP#2 — which is largely made up of new versions of songs they previously released as digital singles. The idea was to use alternate arrangements and different takes that would give these songs less of a noisy/experimental feel and more of a punk/new wave feel. Thankfully, the experiment to sound less experimental has turned out amazing well. Without losing the electronic/futuristic vibe that is so essential to The Trouble Seekers' sound, these re-done tracks really do rip hard. I've always thought of The Trouble Seekers as the epitome of retro-futurism. They have the appeal of all that early '80s music that walked a fine line between punk and new wave, but at the same time, they sound like what I always imagined punk rock from centuries ahead would sound like. Even with the rawer production on this EP, the band's appeal is undeniable. There's no other band out there that sounds quite like this, and it's just thrilling to hear Kevin and Hillary sound like they're harmonizing from a different dimension. Signature Trouble Seekers tracks like "Crazy" and "Scream" hit differently this time out. And if you share in my enthusiasm for 1980s visions of the future, the electronic instrumental "Digital Decay" will be much to your liking. Ralph Rivera was spot-on in suggesting that hearing this song will make you feel like you're living in movies like Blade Runner and The Terminator! You can look forward to some new songs from The Trouble Seekers in the near-future. But for now, you can grab a free download of EP#2 and enjoy one of our most original and progressive punk groups in top form.
So Split System released one of the best punk rock singles of this year, and for whatever reason, I never got around to writing anything about it. So perhaps I should weigh in on the band's split single with France's Les Lullies before I blink and it's suddenly December. There are so many great punk bands in Australia right now, but I wouldn't fight you if you said Split System was the best of them all. This band just kills it time and time again, and its contribution to this split is no throwaway. "Chemicals" is another essential shot of ferocious, hard-hitting punk rock 'n' roll that socks you in the mouth. "A L'Etroit," Les Lullies' contribution to this split, is a ripper in its own right — bringing that catchy '77-style punk rock energy with speed and vigor. If this is your first time hearing Les Lullies, I highly recommended a deeper dive into the band's catalog. This is a nice pairing of bands who have musical styles that are somewhat different but also somewhat similar. They'll be out on the road together in Europe next month, so be sure to check their social media for more info. Their split is available on vinyl from Legless in Australia and Drunken Sailor Records in the UK.!
When I go on a posting spree like the one I've been on the last couple days, one of my goals is to ask myself if there's something out there that I absolutely have to review. I like to think of this blog as a continuation of when I used to make mixed tapes for friends. So what urgently needs to be on the mixed tape that a few hundred friends ought to hear? Well, the latest album from Wisconsin Anger Team has been on my mind for a while. Perhaps I hesitated because Niek from Add To Wantlist had already written the only review that ever needs to be written about this album. But the music gods are compelling me to say my piece. It's not that I don't think people are aware of this release. It's just that whatever acclaim this band gets is never enough in my book. If WAT were on some bigtime label, they'd be absolutely massive. Whether you call it poppy punk, pop-punk, melodic punk, punk-pop, indie punk, dirt pop, or something else, this band does it as well as anyone. And you'll never see another band that puts more thought and care into its lyrics and song titles. As the title suggests, Beyond The Everest Crater III is the third installment in a trilogy. It's excellent from start to finish — pairing the ambition and substance of its lyrical content with music that is a rush of adrenaline and intoxicating melody. Seriously: how great is that drumming?! It's impressive that a band could release five albums in five years without a whiff of diminishing returns. Wisconsin Anger Team is a special band because it appeals to my middle-aged educator brain while also thrilling that part of me that will eternally be a '90s pop-punk kid. If you're a fan of this blog and not yet intimately familiar with this band, do yourself a favor and download its entire discography from Bandcamp.
Since releasing its fantastic album YEAH!!! in December of 2023, Buffalo, New York's Perilous has been busy rocking out live (including appearances last year at Fear City Fun Fest and the International Power Pop Festival). But the now the band is ready to unleash a series of summer singles for 2025! Up first is "Dear Heart," which infuses some serious power pop vibes into the band's high energy garage/punk/rock 'n' roll attack. Produced by the legendary Kurt Reil, this track is a kick-ass rocker with soaring harmonies and a huge, hooky chorus. It really is the perfect summertime radio hit. And even if it isn't quite summertime yet, there's no harm in getting a head start (it's 84 degrees as I type this). Perilous will release a new single on every first Friday of the month all summer long, so get ready for some more killer rock 'n' roll that you can blast in the car with the windows down!
Intrusive Thoughts are back with single #4, and of course it's a ripper! Greg Lonesome, Oli W., and Zack again deliver rockin' old school punk with power and passion. If you enjoyed the band's single "Daytime Drama," "Trauma Therapy" ought to be right up your alley as well. Lonesome's lyrics are real and raw, exploring what it's like to go through life when all you know is pain. The Freiburg/Harrisburg connection really hits the mark. Hearing the way Oli's guitars and songwriting complement Lonesome's lyrics and vocals, I'm often astounded that these two guys are on two different continents! The music and the message are perfectly in sync, and you can feel the intensity coming through every note of the song. This is a free download from Bandcamp, and it's well worth checking out!
On their third LP, Melbourne, Australia–based Blowers deliver an instant classic of trashy garage punk. Raw, primitive, and catchy as hell, the 11 songs that comprise Blowmania are everything that punk music ought to be. Many bands would be exhibiting palpable maturation by the time they got to their third album, but thankfully Blowers are doubling (or perhaps tripling) down on the thumping, rambunctious, and wonderfully stupid approach to rock 'n' roll that made them such sensations in the first place. Blowmania is pure fun, and it's packed with songs that beg to be cranked at maximum volume while you scream along and raise a middle finger to the entire world. Of course the band is largely defined by its buzzsaw musical approach and relentless attitude, but its secret weapon is a flair for writing songs that are both astoundingly simple and legitimately great. There's not a single misstep on this record, and songs like "Everybody in This Room Hates Me," "I Hate You All the Time," "Civic Duty," and "Teeth" find Blowers reaching new heights (or perhaps depths — ha!). Get the LP from Chaputa Records in Europe and Trash Cult Records in Australia!
It has been two years since I last had the pleasure of writing about The Chelsea Curve. The Boston-based mod-pop trio faced some major setbacks following the release of its last single in May 2023. The band's dear friend and label boss Justine Covault passed away suddenly. Bassist and vocalist Linda Pardee was diagnosed with breast cancer. Drummer Ron Belanger moved to North Carolina. All that adversity would be the ruin of a lot of bands, but The Chelsea Curve was always destined to come back stronger than ever. Pardee is now in good health. The band found a new drummer in Boston music veteran Bruce Caporal (Boy Wonder, Auto Interiors, The Burrs). And here we are welcoming a new Chelsea Curve single on the illustrious Rum Bar Records! While we will still have to wait a while for new original songs from the band, this new single will be an absolute treat for fans since it finds the trio embracing its mod influences more directly than it ever has before. One track is a Northern soul style dance remix of All the Things album-opener "Jamie C'Mon." The other is a cover of an old Northern soul classic. Ace Face would wholeheartedly approve!
I'll be honest: I am usually the world's most skeptical person about remixing tracks. To me, remixed tracks are either barely distinguishable from the original version, or they ruin the song. But holy cow: this remix of "Jamie C'Mon" by English producer/DJ Andy Lewis is absolutely insane! It completely transforms the song — but not in a way that does a disservice to the original. Lewis has turned the song into a full-on dance rager, and there's something about this particular production that highlights how incredible Pardee's vocal is. Sometimes I'm so focused on Pardee's talents as a songwriter and musician that I don't fully appreciate how great of a singer she is. But man, her vocal on "Jamie C'Mon" is pure fire! What a glorious thing it is to realize that (some) people still dance to real music! Speaking of songs you can dance to, "Hey Sah-Lo-Ney" is a red-hot rendition of Mickey Lee Lane's 1965 rock 'n' roll/soul stomper (already a staple of the band's live set). Of course it retains those gritty R & B grooves, but it definitely has a lot of The Chelsea Curve's signature stylings. The band's musical chops are undeniable, and Pardee knocked that lead vocal out of the park. Man, this track is one big ball of energy!
A 7" record of "Jamie C'Mon"/"Hey Sah-Lo-Ney" (The Chelsea Curve's first-ever vinyl release!) will be out on July 11th. For now, you can grab the digital single and be prepared for your next dance party. These are exciting times for this band and its fans. If you didn't know it, now you do: The Chelsea Curve is back!
Rum Bar Records' West Coast expansion continues in impressive fashion with the release of a fantastic new album from veteran Orange County punk rock band Foxy. Foxy was first active in the late '90s and early 2000s. After a long hiatus, the band returned in 2017 and released an EP called Can't Stop Us a year later. Today, Tonight Tonight releases on Rum Bar — Foxy's first full-length album in 24 years! The lineup on this release consists of original members LP (4 Gazm), Greg Antista (Greg Antista & The Lonely Streets, Joyride, The Flock of Goo Goo), Richie Mendez (The Pushers/Hostage Records, The Hellflowers, The Glimmer Stars, The Legendary Swagger) and Stu West (The Damned, The English Dogs).
Tonight Tonight builds on the classic So-Cal punk sound of Foxy's previous releases. You can still expect hard-hitting melodic punk with LP's dynamic vocals, but on this release the band isn't afraid to embrace a more overtly pop approach with a tough rock 'n' roll edge. The band took its time writing this record over the pandemic years, and you can hear the amount of effort that went into the production. Dave Irish recorded, mixed, and mastered the album, and it sounds polished and powerful. Little touches like keyboards and bells add a whole new dimension to Foxy's sound. Mendez and LP are the primary songwriters with some contributions from Antista, and it's not hard to imagine some of these songs being legit hits. At just ten tracks, this is the quintessential all-killer, no-filler affair. If you love kick-ass old school punk rock that's got a pop sensibility without necessarily being "pop-punk," you're gonna want to check out this record. The massive backing vocals and melodic lead guitar are signatures of SoCal punk, but the overall vibe of this record is just great, high energy punk rock 'n' roll. You can tell that this band is an absolute ball of fire when it plays live! When you invest years of blood, sweat, and tears into making a record, you want to make sure you totally crush it. And Foxy has done just that. If Tonight Tonight is your very first exposure to this band, you will definitely be left wanting more.
It's hard to put into words what an absolute delight the new Coolies single is. As dark, terrifying, and hopeless as the world sometimes seems, one listen to "Bad Bad Boy" puts me in a happy place that cannot be touched for two minutes and 42 seconds. When Palmyra Delran, Kim Shattuck, and Melanie Vammen joined forces to form The Coolies a number of years ago, I was over the moon that such a star-studded power pop group could exist. And the band's debut EP lived up to every expectation. And now The Coolies are back with a single that will be hard for anyone to top in 2025. It's the perfect tribute to Kim Shattuck, who co-wrote the A-side with Palmyra Delran. You really can hear Kim's style and personality in every note of the song — a testament to both her uniqueness as a songwriter and Delran's ability to channel some of her dear friend's vocal mannerisms. This, my friends, is the epitome of a perfect pop song. That melody is gorgeous, and that chorus will have you hooked from the first time you hear it. And with Kathy Valentine on bass and the late Clem Burke (who recorded his tracks while undergoing cancer treatment) on drums, this just might be the greatest garage pop super-group ever assembled. The B-side is a cover of another perfect pop song: Squire's "Over You." It's no surprise that a band made up of some of the coolest humans in the world would be hip to this song, and of course The Coolies do an amazing rendition. A vinyl release of "Bad Bad Boy" on Wicked Cool Records is coming soon. For now, it's streaming in all the usual places!
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!
