I love the band name Piss Poor since that was one of my dad's favorite adjectives when I was a child in the '70s and '80s. And based on the name, you can probably surmise that this Connecticut-based band (another Jeffrey Thunders jawn!) doesn't fall into the easy listening category. Out on cassette tape on Big Neck Records, Piss Poor's new EP is as old school as it gets. Think OG hardcore a la early Black Flag and Void with a touch of Germs reckless danger and Samoans get-bent attitude. The band tears through 6 tracks in 7-and-a-half minutes in a bruising style that very much lives up to a title like Under Attack. You know what to expect: guitars that go through your bones, stabbing bass lines, and a singer who really knows how to holler. This is relentless, real deal stuff from a band that's poised to make some serious noise. Fucking excellent, pure and simple!
After recording eight albums with Beach Patrol over the past two decades, Domenic Marcantonio has finally released a proper solo album. His foray into the solo realm has long seemed inevitable given Beach Patrol's slow and steady progression beyond its roots in straight-forward power pop. In particular, 2020's Making Waves and 2022's Festivus really highlighted Domenic's widening array of influences, growing comfort with lo-fi home recording, and fully developed artistic voice. He's too gifted to limit himself to writing only a certain kind of song. Although my Beach Patrol fandom dates back to 2006, those last two albums are the ones I go back to the most. So for me, the folk/roots/blues/acoustic direction of Earthbound Spaceman is not a departure that's tough to swallow. The album title is a little bit of a vibe clue. If Domenic Marcantonio really is an Earthbound spaceman, that suggests an alienation from the contemporary world that a lot of us have been feeling to varying degrees. Who wants to be normal in 2026?
So no, this is not a Beach Patrol album, and it doesn't try to be. This is just a talented artist writing the songs he was inspired to write, and none of this needs to conform to any clear-cut musical genre. Domenic's flair for melody and hooks remains very much in tact, and his distinctive style of guitar playing is no less appealing in this looser, more laidback sonic space. From the opening strains of "Two Signs," you immediately know who you're listening to. Even as it meanders along without the tight economy of a three-minute pop song, "Better Luck Next Time!" is certainly as catchy and memorable as any song Domenic has ever written. "Strange Transformation" is nothing short of a masterpiece — a song that's practically a guide to spiritual contentment in these ugly, divisive times. "Clear As a Bell," one of two tracks in which Domenic duets with his wife Mirra Laes, brings a warm '70s soft rock energy, and it's absolutely beautiful. "Dominic Kinnicinnick," a peppy, country-fied adaptation of The Singing Nun's 1963 hit "Dominique," is pure joy without pretension. "Tabula Rasa" would not have sounded out of place of any recent Beach Patrol album.
I'm certainly not the most objective reviewer since writing about Domenic Marcantonio at this point feels like writing about my brother. So I was thrilled to see a writer I immensely respect, Dennis from Add To Wantlist, beautifully articulate the appeal of this record. As Dennis points out, the album feels unassuming at first but has a way of gradually pulling you into a state of intoxication. Sometimes the phrase "rewards repeated listens" is reviewer-speak for "There are no hooks." But in this case, it means the hooks are more subtle and sophisticated. Given that it has been more than four years since Festivus came out, it's a great pleasure to again encounter new music from one of my favorite songwriters. Songs like "Battlestar Galactica," "Don't Panic," and "Thanks Coach" have profoundly impacted me in recent years, and now "Strange Transformation" and "Clear As a Bell" are sure to follow in their footsteps. There is no doubt in my mind that any fan of Beach Patrol will be delighted with Earthbound Spaceman.
Well, this is a somewhat significant anniversary. On this day 15 years ago, I launched this blog. I figured it was something I'd do for a little while. And now "a little while" has turned into a decade-and-a-half and over 2,700 reviews. On day one, I stated that I'd only be reviewing "old school punk rock and its immediate variants." Clearly, my mission has evolved. I doubt I'll still be doing Faster and Louder in five more years, so this is most likely its last big milestone anniversary. Much about music has changed in the last 15 years. Much about the world has changed in the last 15 years. But I've managed to remain enthusiastic and consistent in maintaining this blog, which is somewhat surprising given that I tried to "retire" from writing about music numerous times in the past.
My longest "retirement" was the three-and-a-half years that preceded me starting F & L. When I came back into this world, I did it on my terms. I vowed only to write about music I liked. I wasn't going to be a "critic," nor was I going to review stuff just because someone asked me to. I was just going to be a fan and spread the gospel about bands I was into. I envisioned myself as an evangelist for independent music.
I am so against self-promotion that I don't even feel particularly comfortable writing this post. But there's a reason why I'm still here 15 years later: I really love this music I write about! So I thought a fun thing to do for today would be for me to compile a list of my favorite albums from these past 15 years. More or less, these are the 15 albums I've listened to the most since 2011 — the ones I keep going back to and the ones I'll want to own on vinyl if I ever have the space for a record room. On that note, let's go!
20. The Exbats - Song Machine (2023)
On Song Machine, the greatest '60s pop band of the 21st century set the Wayback Machine for 1971 and released one of the most perfectly-titled albums in the history of recorded music. Song Machine finds daughter/dad duo Inez and Kenny McLain delivering one could-have-been '70s AM radio hit after another — with timeless melodies and majestic harmonies reigning supreme as always. How do soft rock, bubblegum, and sunshine pop vibes fit in with The Exbats' signature pop classicism and punk spirit? Gloriously, it turns out. We have not heard any new music from this band since Song Machine, and that bums me out.
19. The Gaggers - Gag on This (2018)
Is it cheating to include a singles collection? Who cares? When it comes to snotty old school punk rock, this album earns a seat at the table with the all-time greats.
18. The Yum Yums - For Those About To Pop! (2020)
The title says it all. This is the magnum opus from Morten Henriksen and his merry band of power pop/bubblegum punk enthusiasts: 14 tracks of pure sonic sugar for the eternal teenager in all of us.
17. Pale Lips - Wanna Be Bad (2016)
This is the only band to appear twice on this list. Everyone talks about "Mary-Lou Sniffin' Glue," but how great are "Jangaroo" and "Rock 'N' Roll Dipshit"?
16. Night Birds - Mutiny at Muscle Beach (2015)
The entire Night Birds catalog is not to be fucked with, but they were at the peak of their powers on this particular record, a genuine classic of modern-day American hardcore punk. "Left in the Middle" was so prophetic that it still gives me chills.
15. honeychain - Crushed (2017)
I can't believe this album isn't talked about more often. It's one of the best punk-inspired power pop records ever made, and Hillary Burton's songwriting is extraordinary. Kim Shattuck produced this album, so those '90s punky alt-rock vibes are no accident. A perfect record!
14. Natalie Sweet - Oh, By The Way... (2019)
Since a debut Shanghais album and a sophomore Tina and the Total Babes album never got made, Natalie Sweet and Travis Ramin got together and collaborated on this gem. Textbook power pop with a punk rock attitude and hit songs for days.
13. The Dahlmanns - All Dahled Up (2011)
When it comes to defining power pop bands of the past 15 years, The Dahlmanns take a back seat to no one. Their new album is incredible as well.
12. Rich Ragany - You Can Get Dark with Me (2024)
I've been championing Rich Ragany for years. I have raved about albums he has done with Role Models, The Digressions, and now The Sideshows. But on this intimate solo album, Rags crafted his masterpiece. These are songs that hit me deep in my soul. When I call Rags one of our greatest living songwriters, I can point to You Can Get Dark with Me as Exhibit A.
11. The Melmacs - Good Advice (2022)
True to its title, this debut from Germany's most lovable power pop/punk band is full of indispensable life advice....and amazing tunes.
10. Hayley and the Crushers - Modern Adult Kicks (2022)
2020's Vintage Millennial was the record that made me notice that Hayley and the Crushers had become something special, but Modern Adult Kicks took it to another level. All those punk, pop, surf, and new wave influences come together here to form a truly great modern & mature rock album that has surely gone platinum in some alternate universe I wish I could be living in.
9. The Cheap Cassettes - They'll Never Forgive You for Pop (2024)
There are few precedents in music history for what happened here. A great band with one vocalist/songwriter brings in a second vocalist/songwriter and turns into an even greater band. Charles Matthews and Scott Sutherland went together like peanut butter and jelly, and I'm pretty sure everyone has forgiven them for pop.
8. Phone Jerks - self-titled (2018)
In just a couple years, Phone Jerks went from being a band I probably liked mainly because they were one of the few bands out there doing real-deal '90s-style garage punk to a band I liked because they were genuinely great. Much has been made of Phone Jerks knowing how to rip off all the right bands, but when I listen to this record now, I'm struck by how killer these tunes are. Sure, they were not adverse to lifting directly from the Rip Off Records catalog, but they also brought those early American and Aussie punk influences that are often missing from budget rock. This may very well be the best album Alien Snatch Records has ever released.
7. Nato Coles and the Blue Diamond Band - Promises to Deliver (2013)
I didn't get fully into this album until Rum Bar Records reissued it, but once I did, I played it to death and still do. Heartland rock meets Midwestern punk done to perfection. Rock 'n' roll with soul. If I ever have a baseball career, the title track will be my walk-up song.
6. Something Fierce - Don't Be So Cruel (2011)
I reviewed this album 15 years ago today — meaning this was one of the records that made me want to write about music again. And it still holds up. This was classic punk rock with progressive intentions. Imagine The Clash in 1982 if they'd been more into power pop and Wire's Pink Flag. It was a shame that they never followed this album. But what a way to go out!
5. Midnite Snaxxx - Chew on This (2017)
When it comes to straight-forward old school punk with pop hooks, this album is worthy of modern classic status. Dulcinea Gonzalez is an all-time great in the punk world.
4. The Cry! - self-titled (2011)
I can still remember how floored I was when Greg Mongroll turned me on to this record. This debut from Portland, Oregon's The Cry! is the embodiment of perfect power pop with just the right amount of '50s/'60s rock 'n' roll flavor and modern punk influence in the mix.
3. Kurt Baker - Brand New Beat (2012)
This album practically launched a new genre of music: power pop played by '90s pop-punk kids. Its influence is undeniable, and this set of songs (co-written by Wyatt Funderburk) perfectly defines Kurt Baker and his "Have a good time all the time!" persona in the 2010s. You could argue that the Baker/Funderburk collaborations only got better over the years, but this one is special to me because it came first!
2. The Speedways - Radio Sounds (2020)
I'll put this record up against almost any power pop album ever made. Matt Julian isn't just a great power pop songwriter. He's a great songwriter, period.
1. Pale Lips - After Dark (2019)
This holds the top spot because numbers don't lie. I've listened to this record more times than I've listened to any record on this list. This is everything rock 'n' roll music ought to be. These songs are fun and full of energy, and they're also smart and full of substance. Toss '70s punk, power pop, girl groups, garage punk, and straight-up rock 'n' roll in a blender, mix thoroughly, add oodles of charm, gusto, and effortless cool, and you've got yourself a classic record. It's no shocker that members of this band have gone on to do more amazing things.
Honorable Mentions
Los Pepes - For Everyone (2014) Brad Marino - Extra Credit (2019) Fashionism - Smash Singles (2018)
The Sleeveens - self-titled (2024)
So there you have it: a little look back at my favorite records since 2011. Now I can return to looking straight ahead and forward. When I launched this blog, I had just turned 40. Now I'm 55. I've gone from a young man to an entry-level senior citizen. Back then, I never could have envisioned a time when literally hundreds of thousands of songs would be getting released daily and even little-known music bloggers like me would have their inboxes inundated with communication from professional publicists. In theory, the move away from traditional media controlling the music scene should have led to the music mattering more than marketing and promotion. But the opposite has happened. There's so much competition out there for people's time and attention that you have to hustle just to get anyone to give a damn about this music that you're putting your heart and soul into. And that's what inspires me to keep doing what I'm doing. I'm not trying to make anyone rich or famous. But if I can write about a band I love and turn one or two people into fans as well, then I've made some sort of small difference.
Whether you've been along for the ride from the start or are tuning in for the very first time, thanks for taking the time to check out the music I feature here. And of course, thanks to all of you who make this amazing music and give me a reason to keep spreading the gospel!
The only thing cooler than being pleasantly surprised by a new band's debut album is being pleasantly surprised when its second album turns out to be even better. 2024's Splash Hit was a seemingly out-of-nowhere hit for Philadelphia-based foursome Log Flume. It had scrappy indie charm in spades, but it built its foundation on the timeless art of melody-driven guitar pop. And there was something immediately likeable about the band that was hard to put into words (beyond the band name bringing up cherished childhood memories!). Had Log Flume gone back to the same script on its sophomore release, I would have been perfectly happy. But Go Where The Money Goes finds the band taking a big leap forward, and it does so without losing the qualities that made its predecessor so great. That likability is still undeniable, and again the songwriting is super-lean (with not a single track reaching three minutes). But the band has come into its own in ways that were only hinted at last time. If well-crafted guitar pop is something you live for, this album needs to be on your must-hear list.
While Log Flume is still working that indie power pop territory on album #2, its influences run deeper and its sound is more elegant and refined. From the jump, "Dynamic" makes it clear that infectious pop hooks remain this band's calling card. But it's on track two, "Far from You," that the progression really becomes evident. At this point Log Flume sound less like promising up-and-comers and more like established masters of their craft. It's evident that they've become more accomplished songwriters and musicians and have have fully blossomed as a band. "Necessary Evil" is a gorgeous, sophisticated slice of mature power pop. "Got This Feeling" brings a more delicate, laidback touch yet still sounds fully realized in only two minutes. "Up By 9 O'Clock" is full-on psychedelic pop that channels the '60s by way of '80s indie rock. "Misery" is jangly indie pop done to perfection. It wakes up echoes of the '80s and '90s yet still sounds like music of now. Elsewhere, "Anything" finds the band exploring its punkier side with full energy and exuberance. "Every Single Day" brings back some of that early Weezer energy from the last album but doesn't seem like a rehash. Album closer "Follow You Around" is a particular highlight, and it encapsulates everything I love about this record. It's at once a progression from the band's earlier work and a reminder of why I came to love this group in the first place. It's two minutes of pure, perfect pop.
When I heard that Log Flume had a new album coming out, I was excited to hear it. I knew it would be good. But did I expect it to be this good? Probably not. It's impressive that the band has figured out how to give its songs more room to breathe without making them longer. Compared to Splash Hit, Go Where The Money Goes comes off more as more painstakingly crafted and certainly more meticulously produced (kudos to Mike Bardzik), but it retains the first album's whimsical joy and knack for instantly addictive hooks. 2026 is quickly shaping up to be The Year of Power Pop. The selection of stellar releases in that universe is mounting and mounting, and Log Flume has delivered an album that is up there with the best of that stuff. A physical release on cassette is out on Philly's home of the hits, Dummest Records!
The Speedways promised us a pair of singles in advance of their forthcoming album, and boy, they sure have not disappointed! "I Shouldn't Have Tried To Leave Without You" follows up last month's wonderful "Luna." If "Luna" was surprisingly upbeat for a Speedways song, "I Shouldn't Have Tried To Leave Without You" is a definitive Matt Julian composition: a melancholy, achingly beautiful pop song exploring regret and longing in unflinching terms. How gorgeous are those guitars? A big selling point is that the great Mary Blount turns up on guest vocals, and she and Julian sound fantastic together. It's easy to understand why these two songs had to each be singles in their own right. "I Shouldn't Have Tried To Leave Without You" is technically the flip side of the vinyl release, but this is that rare case where the phrase "double A-side" isn't a massive hunk of bullshit. The music video for the new song is much more DIY than the video for "Luna," but it has plenty of charm and allows the band members (as well as Blount) to appear on screen. Now let the debate rage about which song is "the hit"! I'm too torn to cast a vote at the moment. If you're after the 7", Beluga Records, FOLC Records, and Stardumb Records can hook you up.
So there we have it: the first Speedways vinyl record in over a year, and it's nothing short of a gem. The new album The Magic Comes & The Magic Goes is due out by the end of the year, and the single tracks give me no reason not to have high hopes. This will be the band's first release with Dan Spagnolo on lead guitar. As a lifelong Pennsylvanian, I'm thrilled to have one of our own (a yinzer, in fact!) playing in The Speedways! You can tell from all the interviews that the vibes are good and the new lineup is clicking. Could we be in store for the best Speedways album yet? I would not bet against it!
Back with his third single of 2026, Ricky Rochelle is in full pop-punk form on "Sad Girl Energy," which features Billy Pfister playing guitar and bass as well as producing. These two have collaborated a couple times before, and again what's so striking is how massive the production sounds. This is not your ordinary simply-recorded mid-fi pop-punk. This is some arena-sized sonic thunder, and it really works with Ricky's heart-on-sleeve vocal style and big, booming hooks. The lyrics are fairly clear but also open to interpretation. Is the song about one particular sad girl or any sad girl? Ricky is feeling that energy, and he's looking to respond with encouragement but also acceptance. I kind of like that his recent run of singles has continued to keep us guessing. You never know quite where he's going to go with each new track, but his personal charm is the glue that holds it all together. "Sad Girl Energy" is well-timed for a summer release and ought to appeal to pop-punk fans of all stripes.
You may be wondering why I reviewed only Canadian artists today. Is it coincidence, or is there conspiracy afoot? Am I so salty that two Southern teams are playing in the Stanley Cup final that I had to resort to passive-aggressive protest? Is it perhaps some kind of holiday you didn't know about? Did I finally forgive Joe Carter for all those years of emotional anguish? If a few cases of beer and a secret poutine recipe happened to cross the border and wind up in my possession, would that be a national scandal? My lips are sealed. I can tell you that it has been a few years (three, to be exact) since TJ Cabot has released an EP's worth of home-recorded tracks, so the arrival of Palm Stings is highly welcomed in my world.
These four demos are likely not destined for further refinement and eventual inclusion on the next Real Rejects album, so we can enjoy them strictly as TJ Cabot solo tracks in all their poorly recorded but expertly mastered glory. Anyway, this is pretty much what everyone has been longing for since the spring of 2023: blown-out smart-aleck garage punk that reeks of dingy basements and room temperature leftover pizza. If you're going to release home-recorded solo demos, they ought to be as raw and primitive as these. You can totally visualize TJ blasting out the drums, guitar, and bass like some mad scientist of budget rock. These are all really good tunes, but I'm especially partial to the garage rock-inspired "Firm Back Hand" and the punk-as-frick "Artificial All Along." Five Canadian dollars for this thing is a good value. That won't even buy you a gallon of gas these days. Stay home today and support the arts!
At the end of this month, Taxi Girls are going to drop an album that will have people going absolutely bonkers. I'm talking about a record that will legitimately put these tremendously talented women in the thick of the "best band in the world" conversation (in my orbit, at least). You should clear your schedule for June 26th and prepare to rock out until you have to do something essential like eat or sleep. While we wait, the band has dropped another stone cold banger of a single.
Compared to the edgy rocker "Say It!" (I can't even write the title without wanting to scream it), "Secret Handshake" brings quite a different vibe. It's still very much a summertime jam, but it does show a slightly softer side of Taxi Girls. In style, this is the sort of stuff I live for: classic poppy punk rock with an upbeat spirit that hits you with a massive chorus. That intro is pure gold, and then this snappy earworm will send you straight into head-bobbing, toe-tapping mode. Lyrically, you could probably call this a love song, but it manages to evoke something deeper and more universal than that. It's a song not just about the private language you might share with someone special but also about wanting that connection to never end. There's a sweetness and vulnerability to this song that Jamie's lead vocal fully captures, and every repeat listen makes me smile a little bigger. If this song were any catchier, we'd all have to be walking around in masks again. I always love tunes that are super-fun on the surface but something much more beyond it.
Static, Taxi Girls' debut album, will be coming out on Wild Honey Records in Europe and Stomp Records in Canada. My math tells me that that's in three weeks, so you won't have to wait much longer! For now, I advise playing "Secret Handshake" on repeat and getting properly pumped. Get your pre-orders in while the colored vinyl is still up for grabs!
I'm always stoked for new music from Dany Laj and The Looks — especially when it turns up without advance notice and totally makes my day. "We're The Freaks" is the first single from the band's new album If Looks Could Kill, which is due out in September. There aren't any bad Dany Laj and The Looks songs, but "We're The Freaks" is a particularly inspired number. This one is right there in that Dany Laj power pop rock 'n' roll wheelhouse, and I have to say that it's one of the best songs he has ever written. Joined here by Jeanette Dowling and David Laplante, he's in vintage form. I love the guitar tone on this number! The song is about the importance of artists and independent spaces in revitalizing urban communities. They build something beautiful and exciting, and then in come stuffy new neighbors complaining about "the freaks making all the noise." And just like that, all that creativity and culture is at risk of disappearing.
Leave it to Dany Laj to write a song this angry and still have it sound like a good time. But perhaps that is the whole point. He doesn't want to go to war with anyone. He just wants to spread joy and make friends. "Why you gotta be angry?" sings Laj. "Come join the party; it will set you free." More than anything else, this song is celebration of the musicians and artists who transform and positively impact cities everywhere. It has something important to say, and it sounds great cranked loud. The song clocks in at two-and-a-half minutes and leaves me wanting more. But that's okay since more is soon forthcoming! Habs and the Flyers in the conference finals next year? Let's bet on it!
While most people would consider it an EP, Hard Luck by Austin-based pop-punk standouts Hoaxxers could easily qualify as an album. Out on Mom's Basement Records, it backs six new songs with the three tracks the band previously released as singles and comes on nifty 12" vinyl. Call it what you want, but I'm just going to call it first class pop-punk.
It blows my mind when I note that my history of writing about Charlie, Kye, and Tron as a musical trio dates back more than 20 years to the first Joe Jitsu EP. Yes, that was before YouTube and smartphones existed. Only the most cutting edge of folks had ventured into this new thing called social media. Now it's 2026, and these guys are still doing their thing — and unlike me, they've only improved with age. Hard Luck delivers six (or nine) tracks of tight, melody-driven pop-punk that perfectly balances smooth vocals with punchy guitars. Hoaxxers are part of this whole wave of Xennial pop-punk bands (and most of them are on the Mom's Basement roster!) that have managed to transform the genre into proper music for grown-ups. The songs on this record are largely reflections on living life and navigating the complicated world we live in. The cited influences (Dan Vapid, Smoking Popes, Green Day, Big In Japan) certainly give you an idea where Hoaxxers are coming from. But after all these years, Charlie has carved himself his own niche as a vocalist and a songwriter. You pretty much know what to expect, but all these guys are older and wiser now. They haven't reinvented the formula; however, they've certainly refined and perfected it.
Hard Luck is noteworthy because it includes a couple of very political songs. "Straight Down the Shitter" and "Make Your Bed" both explore similar themes about how to cope with day-to-day life when the world is burning, and they both opine on the folly of being apathetic or in denial that anything is wrong. "Sidetracked" is officially/unofficially the first "slow song" Hoaxxers have done, and it's quite a successful change of pace (literally). "Against the Odds" is the first Hoaxxers song to feature Tron on lead vocals, and it really fits his vocal tone and style.
There are countless bands out there emulating the "snottier" side of '90s pop-punk, so it's nice to have bands like Hoaxxers working in very different territory. Produced by Matt Morris with some assistance from Steven Jolly, Deedle Lacour, and Zephyr Huffman and mixed and mastered by Davi Pacote, this is an incredible-sounding recording that really accentuates the quality of the songwriting, vocals, and musicianship. This is pop-punk of the highest quality, and little else needs to be said. For decades, I've pushed back on the notion that pop-punk as a musical genre has to live in a world of eternal adolescence. And bands like Hoaxxers are either proving me right or serving as exceptions to the rule. For me, listening to Hard Luck is like reconnecting with old friends and appreciating that they haven't turned into assholes. Get your copy on colored vinyl while supplies last!
As a great-grandchild of Slovakian immigrants, I'm always pleased to encounter bands from the mother country. While the band name Nazi Tampons might have you thinking, "What the fuck?", the band itself has absolutely floored me with its raw and hyper-spirited brand of old school garage punk. The group's new EP, Moon Invasion, powers through six tracks of blistering ferocity that falls somewhere between '90s budget trash and late '70s/early '80s fast-and-furious punk rock. This is music that will have you jumping around and shouting along like a maniac even as it kicks you straight in the teeth. You certainly can't question the enthusiasm and pure power that these individuals put into these songs. And every single one of these tunes absolutely rips. I'm reminded of bands like The No-Talents and The Loudmouths from back in the day — and who can deny that we need more of that kind of energy in today's punk rock? The Nashville-based tape label Knuckles on Stun has given Moon Invasion a limited-edition cassette release. And when I say "limited," I mean you better move fast! If you long for the good old days when punk music was dangerous and disreputable, you've just met your new favorite band!
Did I really get out of bed at 5:00 am just so I could listen to the new Hayley and the Crushers' single and perhaps write a little something about it before heading off to work? That's the level of geekery I have reached! I did not know that "Cringeworthy" was coming out until yesterday afternoon, so I approached this song with zero idea of what to expect beyond knowing it would be super-awesome because, well, it's Hayley and the freaking Crushers! So you're getting my fresh, off-the-cuff take with no time for polishing or overthinking. Bathing and breakfasting await, so I have to hurry.
On that note, I must say "Cringeworthy" is, as I presumed, super-awesome! In fact, it might extra-super-awesome. It's honestly one of my favorite songs this band has ever done, and the vibe reminds me of those great singles the band put out when it first signed to Kitten Robot Records. I love that this song lives in the world of pure pop goodness with punk and new wave influences — always a sweet spot in the Crusherverse. This song is classic Crushers without necessarily trying to be classic Crushers. It's got a serious, somewhat heavy theme, but it's still wonderfully intoxicating in a way all great pop ought to be. The music video is an absolute hoot. Overall, this song and video seem to be going the opposite direction from the popular sentiment that all those millions of people out there doing their thing online are so very cringeworthy. Perhaps, you know, we ought not to be so quick to judge people for what they're putting into the universe — especially if they're doing what they love. How does all that judging and shaming serve us? Perhaps my interpretation is self-serving since what I do is certainly cringeworthy in the eyes of many, but I'm taking something very positive from this song. My first few spins with "Cringeworthy" were more than worth the lost sleep. I can't wait for the album!
Back with his first new solo tracks in a couple years, Gene Champagne hits the mark with a new digital single (arriving in advance of a vinyl release) in his signature punky power pop style. This ace drummer (Brad Marino, Teenage Head, The Killjoys) is also a formidable singer and songwriter, and he's really speaking my language on this crackling summertime two-fer. "Gimme Ammunition" is snappy power pop that will have you tapping your toes and humming along in no time flat. When that hook hits, it hits big! In just a few ticks over two minutes, the song is over and done and leaving you wanting more. That, my friends, is pop songwriting 101. On the virtual flip side, "She's An Atom Bomb" is a little faster and punkier — yet every bit as sunny and catchy. This song is a total earworm, and the lyrics are hilarious! This is a perfect little punk-pop single for warm weather season, and it's sure to go over well with just about anyone who regularly visits this site. You can always count on Canada to come through!
A good, old-fashioned best-of compilation album is something you rarely see in the indie music world. But that's exactly what we have here from Bart and the Brats, France's #1 '77-style garage punk (one-man) band. Out on London's Dirty Water Records, the new LP Pushin' Your Luck features 15 selections from Bart's existing discography (consisting of four-and-a-half albums and six EPs) and one previously unreleased track called "Pissin' in the Wind." Putting out this album was either a terrible idea or a stroke of genius. A good chunk of these songs have never been available on an LP. And if you've been aware of Bart and the Brats but have never pulled the trigger on buying a record, Pushin' Your Luck is a fine sampling of the band's body of work. It includes a whole slew of fan favorites such as "Can't Stand the Beatles," "Masochistic Pigs," "Constant Nonsense," "Good Cop, Bad Cop," and "Sick, Sick, Sick."
Recorded by Lo'Spider at Swampland, Toulouse and remastered for this release, these 16 tracks blast out raw, primitive three-chord punk that thumps you in the head with one hand and gives you the finger with the other. The joke about Bart and the Brats might be something along the lines of "If you've heard one of their records, you've heard them all." But that's a good thing, right? We don't want things like progress, artistic ambition, or proper musicianship ruining this band. Just look at some of the labels that have jumped on the Bart train: No Front Teeth, Sweet Time, Big Neck, Take the City....man, that's the best of the best in the punk rock world! This band embodies just about everything that makes punk music so great. I don't want to tell you to not buy all Bart's stuff. But since we're living in times of economic distress, you might need to be stingy with your cash. On that note, Pushin' Your Luck is a lot of value for the money and an excellent representation of a truly killer band.
Back with its first full-length album since 2020, long-running Minneapolis alt-rock outfit High On Stress delivers an absolute winner on the 12-song Still Here. This is the band's first album on Rum Bar Records, and it slots perfectly between Tom Baker and Mono In Stereo on the label's roster. What we've got here is good, solid Midwestern heart-on-sleeve rock 'n roll branching from the Replacements/Bash & Pop family tree. The album successfully combines a singer/songwriter's soul with the no-nonsense punch of a heartland bar band. Nick Leet knows how to craft a song with a killer hook that will also move you on a deeper level. I hear these songs and imagine myself sitting in some dimly-lit dive while I drink a pint of cheap beer and ponder my personal wins and losses and the general sadness of the human condition.
I always have a soft spot for this sort of rootsy, power pop–tinged honest everyman rock, and High On Stress pulls it off as well as any band on the scene these days. The songwriting, musicianship, and production all hit the mark. The fantastic single "Over/Thru" (which Leet co-wrote with Kevin Salem) reappears here, but it's certainly not the only standout. Opening cut "House of Cards" is a knockout mid-tempo rocker that brings to mind the heyday of American alternative rock. "Plans Have Plans" is such a relatable gem of a song that it sounds instantly familiar, as if you've known it all your life. The title track is nothing short of an anthem — a proper album closer if I ever heard one. For a band to be sounding this good after more than two decades in the game is a pretty remarkable thing. It's not every day that you come across music with this much soul. Pop open a cold one and get High on Stress.
Alright! Here we go! When it comes to straight-up killer punk rock that rips hard and fast, MK Ultras are one of the best new bands representing for the old school. Goodbye Boozy Records has just unleashed the Cleveland-based foursome's third release, a 4-song 7" that will smash anything that dares to get in its way. This, my friends, is quintessential Rust Belt punk rock. It's not quite '77 punk and not quite hardcore punk but rather something perfectly in between. These are tough, hard hitting tunes that kick you straight in the ass yet will still get your toes tapping. The Clevo-punk in this band's musical DNA is undeniable, but they aren't ripping anyone off. They're doing their own thing, and it's real deal punk rock like you rarely hear these days. Great freaking stuff from dead end America!
I always love a good sequel. My friend Jay Castro and I tandem-posted a while back on the ten punk bands from the 1990s that are most essential to us. So we decided the obvious next step was to write up similar lists for the 2000s. If we were trying to explain to an extraterrestrial or someone who wasn't yet born in the 2000s why we love the punk music of that decade so much, which bands would we mention?
This was an interesting project for me to work on. For me, the '90s were my "heyday" for punk rock. That was when I discovered punk music, started doing zines, and was going to shows all the time. I have a certain romantic attachment to the punk music of the '90s that I don't quite have with later time periods. That said, I was still writing about punk music with great enthusiasm for most of the 2000s. I think what defined 2000s punk for me were the changes in the way I followed it. In the '90s, it was all about Maximumrocknroll and other print publications, record stores, mail order catalogs, tape trading with pen pals, and seeing bands at live shows. In the 2000s, the internet took over. Webzines and message boards were all the rage, and it became quicker and easier to interact with more people who liked the same stuff as me. By the end of the decade, YouTube, social media, and downloading & streaming were coming on strong. I had become more reclusive in my personal life but was more connected than ever to a worldwide community of punk rock fandom.
I shock myself sometimes when I do the math and realize that the music of the 2000s is now anywhere from 17 to 26 years old. That was how old '60s music (which seemed ancient) was when I was first getting into punk! So as I look back on the punk music of the 2000s, I can't assume that all of you remember this stuff or are even aware of it. But I imagine a lot you will be very familiar with all these bands.
I reiterate: this is not my list of the "greatest" or "top" punk bands of the 2000s. It's just the ten bands that are most essential to me on a personal level — the ones I keep going back to, year after year, decade after decade. This was a difficult list to limit to ten bands. I left off plenty of bands that I acknowledge were massively influential (Marked Men, The Briefs, Jay Reatard, The Spits, just to name a few). I decided not to recycle any bands from my '90s list, so that excluded the likes of the Dimestore Haloes and The Prostitutes. I left off a few really great one-album-and-done bands like The Busy Signals, The Lids, and The Minds. So this easily could have been a top 25. I wanted to select a list that would reflect all the different kinds of punk music I was listening to in the 2000s, and that's exactly what I ended up doing.
Here we go, then: in no particular order, the ten 2000s punk bands that are the most essential to me!
The Ergs!
If you've been following me for the past 25 years, you are probably tired of me talking about The Ergs! But that's one hill I'm willing to die on. In the 2000s, The Ergs! were more than just a great pop-punk band. Their genius was being the embodiment of music geekdom and geekdom in general. If Egghead. were their big brothers and Boris the Sprinkler their uncles, The Ergs! took that whole dork punk thing and ran with it. They never got proper credit for the variety and depth of their influences. You could write a 600-page book just on the cultural references in their lyrics. dorkrockcorkrod was a genre-defining album of its time, and it has only gotten better with age. And why does nobody ever talk about Upstairs Downstairs? Somehow this band amassed enough non-album tracks to fill not one but two odds and sods compilations! The Ergs! were the kind of band that would do fantastically ridiculous things like back their song "Blue" with a cover of Nirvana's "Blew" and turn a Pennsylvania geography joke into a love song. How could I not love a band like that?
The Exploding Hearts
The presence of The Exploding Hearts on this list will surprise no one. This is the first band that a lot of people would think of when the topic of 2000s punk came up. The mere fact that we now talk of "punk powerpop" or "powerpop punk" as a genre onto itself tells you what a game changer this band was. Guitar Romantic arrived with considerable buzz behind it and lived up to all of it — it was an instant classic on arrival, and it still shapes the musical universe that you and I now inhabit. It's record I'll never tire of. And The "(Making) Teenage Faces" 7" was a classic in its own right. RIP Adam, Matt, Jeremy, and Louie.
The Bobbyteens
I've been waiting a long time for someone to bring The Bobbyteens' catalog into the digital realm. This is a band that needs to be heard. The best we can do now are a few tracks on YouTube. The Bobbyteens came out of the Bay Area garage punk/budget trash scene in the later '90s but added their own secret sauce: a little power pop, a dash of '70s punk, a splash of early rock 'n' roll, and a big heap of '60s girl group energy. Tina Lucchesi owned the 2000s. Tina and the Total Babes, Deadly Weapons, and Top Ten were all absolutely awesome. But The Bobbyteens will always have a special place in my heart. Not So Sweet from 2000 is well worth tracking down if you can find it. The world barely seems to remember 2004's Cruisin' For A Bruisin', and that's a crying shame. Somebody please reissue this stuff!
Tranzmitors
In the 2000s, I was thrilled to see many bands blur the lines between power pop and punk rock. Few did that better than Vancouver's Tranzmitors, whose run of greatness throughout the latter years of the 2000s is still not talked about nearly enough. Their self-titled album was the best 1979 punk-pop album to come out in the 2000s. If I can convince Jay that a sequel to this sequel is in order, Jeffrey McCloy will get his flowers a second time!
The Dents
I am still baffled as to why The Dents weren't more acclaimed and recognized outside of their native Boston. Co-fronted by Michelle Paulhus and Jen D'Angora, The Dents were pretty much the quintessential Boston punk rock band. They had it all: hooky tunes, killer harmonies, amazing lyrics, and boundless rock 'n' roll energy. 2005's Time for Biting is an album I'd put up against almost any 2000s punk rock album. Fun fact: The Dents were on Abbey Lounge Records, a label co-run by the man himself, Malibu Lou Mansdorf!
The Kidnappers
Formed from the ashes of the Highschool Rockers, Germany's The Kidnappers were one of the bands leading a youthful new wave of garage punk in the early 2000s. Ransom Notes & Telephone Calls infused a '70s punk influence into the band's lo-fi rock 'n' roll approach, and it was one of the albums that put Alien Snatch Records on the map. And by the time 2006's Neon Signs came out, the twins Chris and Philipp had seamlessly integrated a '70s power pop influence into their sound. "Spanish Girls" was one of the best singles released by anyone in the 2000s. Another change in style led to another new band name, so now these guys are going strong as the punk rock band Küken.
Spazzys
When it comes to truly perfect pop-punk albums, Aloha! Go BananasbyMelbourne's Spazzys is in that category. Of course everyone knows the greatest Ramones knock-off ever recorded, "Paco Doesn't Love Me." But how about "The Sunshine Drive"? "Action City"? "Hey Hey Baby"? "Steal a Kiss"? I could go on and on! It was remarkable for a band this young to arrive so fully formed with a bag of influences that included not just the Ramones but also '60s pop and girl groups, power pop, and '90s pop-punk. This is probably an all-time top 20 favorite album for me. Their later releases (some stretching into the 2010s) were awesome as well.
The Unlovables
When I first heard The Unlovables' demo (on a comp tape Lew Houston made for me), I was so floored that I almost drove my car off the road. It was an instant "Where has this band been all my life?" moment, and I was excited when The Punk Rock Club EP was released shortly thereafter. By the time Crush*Boyfriend*Heartbreak came out in 2005, Hallie Bulleit and company had refined their craft to the point where they were able to deliver one of the greatest pop-punk albums ever made. 2007's Heartsickle was pretty great in its own right. If the secret recipe for pop-punk is to be ability to write fun, upbeat-sounding songs about devastating emotional experiences, no band embodied that more than The Unlovables.
Zodiac Killers
Sometimes the Zodiac Killers get overlooked when people talk about Greg Lowery's musical legacy. Everyone brings up Supercharger, The Rip Offs, and The Infections. The Control Freaks get plenty of love. But the Zodiac Killers rivaled all those bands — especially on their 2000s LPs. When it comes to (as Lowery calls it) "fast, catchy, stupid punk rock," albums like Society's Offenders and Radiation Beach are as good as it gets. Those final years of Rip Off Records are very underrated.
Smogtown
Having first emerged in the late '90s with some face-melting singles on Hostage Records, Orange County's Smogtown really hit its stride in the 2000s with the dark vision and blistering melodic beach punk sound of albums like Führers Of The New Wave and Domesticviolenceland. When you talk about definitive, legendary Southern California punk bands, Smogtown takes a back seat to no one.
And that's that! 10 punk bands from the 2000s barely scratch the surface of what was going on in those days, so I encourage you to drop your own lists in the comments. Be sure to check out Jay's list over at Shock Treatment!
Given the world domination recently achieved by The Peppermint Kicks, I got distracted from the fact that Sal Baglio hadn't released any new songs from The Amplifier Heads since Rectifier came out at the end of 2022. Well, that situation has been, uh, rectified! "A Song Called Sha La La" is the brand-new single from The Amplifier Heads, and it's a red-hot, super-duper, intergalactic smash! Writing a great rock 'n' roll song about the dearth of great rock 'n' roll songs now being written is just about the most meta thing ever. But if you're going to do a song like this, this is how you do it! "A Song Called Sha La La" might be the best Amplifier Heads song ever, so you know that Sal is bringing it with all he's got. The whole spirit of the song is nicely summed up by lyrics like these:
Somebody write a song that we can sing Get up and shout and not worry ‘bout who’s listening Somebody write a few bars That we can turn up loud in our cars Somebody write a song that goes
Sha La La
Amen! With this song, The Amplifier Heads are fully in 1960s classic radio hit form. Just press play, and you've got pure pop majesty for three-and-a-half glorious minutes. For sure, this is a song you can sing, and it will quickly have you up and shouting. And of course you will want to turn it up loud in your car as you rock out with full vigor and care not what a fool you look like to all those smug observers who live sad lives devoid of the joy that rock 'n' roll brings. Also on board are rhythm players Kevin "King" Rapillo and Brad Hallen along with some special guest stars: Jeff "G-Man" Giacomelli on tenor sax and Carlos Menenzes Jr, Matthew Naeger, and Henley Douglas Jr from the mighty Jambalaya Horns!
What do you do when you long for someone to write a song called "Sha La La"? You write a song called "A Song Called Sha La La," and it becomes a self-fulfilling prophecy! Glenn Robinson's cover art is so on-point that I briefly thought it was a photo of an actual 45 record! And that gives you the vibe this song is going for. If you grew up plugging coins into jukeboxes and amassing stacks of vinyl singles in your bedroom, this will be your jam. Look for Super 8, the new Amplifier Heads album, on Rum Bar Records this summer!
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