Sometimes you hear a record, and all you can really say is "wow." Clearly I exaggerate since I've managed to write 286 words about Charlie Continental's new single "Snow & Rain" (out on his very own Snappy Little Numbers). But absolutely, my initial reaction was a loss for words. It was just pure feeling. Chuck wrote these songs about the journey that he has gone through since he lost his wife Febra in 2024. I admire him so much for being willing to write about something so personal and painful. He has put himself out there in front of the whole world, and that would mean something even if the songs weren't any good. But the songs are really, really good. This gritty, straight-ahead style of melodic punk lends itself so well to writing and singing with heart on sleeve. These are songs about grief and loss, of course, but also about the uncertain, bumpy road that lies ahead when you try and move forward from that kind of loss. These songs aren't sappy or morose — just honest, raw, and heartfelt. The whole reason why we have songs and movies and books and all sorts of art is because it all connects us as human beings. We share others' joy, pain, hopes, and anxieties because we're in this thing called life together. "Snow & Rain" and "Untethered" make me feel connected to Chuck and to humans in general. It's nice to be reminded that empathy and compassion still live in this world. If writing "the catchiest sad songs" is a skill set that Chuck is notorious for possessing, that's a tremendous gift to have and share. "Snow & Rain" is one of the best singles I'll hear all year.
The prolific Lanny Durbin is back with the fifth album from his (mostly) one-man band, Local Drags. Out on Stardumb Records (which has been with Local Drags from the start), Cool If We Split? finds Durbin moving from the darker energy of 2024's City In A Room to a more melody-driven pop-rock approach in line with his earlier work. He has always had quite a knack for straddling the worlds of power pop and middle-of-the-road singer-songwriter style guitar rock, and that's where he's living on this record. The pace and feel are very laidback — allowing the words and melodies to gently sink into your skull. But the guitars still pack a punch, and the hooks are undeniable. These are serious songs about heavy topics, yet they don't fancy themselves as too important to be great pop songs. This is about as "melody forward" as music gets. Lanny Durbin is really establishing himself as a master craftsman of this "power pop for grownups" genre, and Cool If We Split? captures him in fine form.
Cincinnati has been an underrated hotbed of punk rock for pretty much as long as I've been following punk rock. The latest sensations from The Queen City are called SMARM, and their debut EP is totally ripping and super-promising. While SMARM is a very new band, members Drew Decker, Liam Dolan, Sam Richardson, and Eric Stein are veteran players who really know what they're doing. Taking inspiration from classic American punk and garage rock, SMARM dishes out an attack that's a tad heavier than your typical garage punk. These songs are muscular and riff-driven while still giving a whole lot of Midwestern grit and attitude. I love that this band doesn't sound like every other garage band out there but will still appeal to anyone who digs tough and bruising punk rock 'n' roll. DMZ, Consumers, Radio Birdman, Union Carbide Productions, and Rubber City Rebels are some stated influences, and that's a nice mix to be working from. For a new-ish band, the songwriting is remarkably well-developed. SMARM has hit the ground running, and surely we will be hearing many more good things from this band!
As they near the release of their new album Closer To Death, Baltimore's Unicorn Dogs are back with another sneak preview single. And as the album title suggests, you ought not to expect light songs about frolicking in the park or basking in fairy tale happy endings. What we have here are a couple more dark songs for dark times — delivered with an energy and catchiness that make these bitter pills remarkably easy to swallow. Unicorn Dogs, simply put, are one of the greatest pop-punk bands going these days. I now cease to be surprised any time their next release is even better than their last. On this latest single, they're not trying to be overly dramatic or deliberately morose. They're just dishing out a heavy dose of real talk. "Bogus Journey" is an unflinching reflection on living in a modern world characterized by "a dearth of kindness" (an observation that's on the money, I'm sad to say). The song plays on the timeless "Life's a bitch, and then you die" theme and notes that no matter how bad things get, they can always get worse. Depending on your perspective, that truth will be either really depressing or oddly comforting. "No one gets out alive" is the song's refrain, and that's no lie.
"One Disaster Away" is more specifically in the social commentary category. At a time when one party's political power is reliant on millions of normal people believing they are just one big break away from being rich, this song goes the other way and notes that we're all just one misfortune away from losing everything. The idea that we could ever be part of the elite class is pure delusion — as is the notion that we're "better" than people who are serving time or living on the street. So yeah, this is not exactly easy listening. You're probably not going to cue up these songs at your next house party (and if you are, I probably would want to party with you!). But when it comes to making meaningful music with all the conviction in the world behind it, Unicorn Dogs are hard to beat. They play pop-punk with guts and soul. They're inching even closer to Closer to Death, and I can't wait!
Well after 20 years, we finally have new music from The Riffs, and somehow this band did not miss a beat! The Riffs, from Portland, Oregon, released three full-length albums and five 7" records from 1999 through 2006. With their '77 punk meets gritty street punk meets tough rock 'n' roll sound, they were a cornerstone band of two of the best punk rock labels of that period: Pelado Records and TKO Records. And now they're back on another iconic label, the mighty No Front Teeth Records. The new 7", "You Doin' Alright," is classic Riffs through and through. Why bother turning back the clock to 2003 when you can take it all the way back to 1977 or earlier? The sound here is anthemic, powerful, and timeless. Even if they hadn't covered "Join the Professionals," The Professionals would have been one of the most obvious references along side the Sex Pistols, Johnny Thunders & The Heartbreakers, the New York Dolls, Cock Sparrer, and The Boys. What an inspired return! The songs kick ass, and the production is massive (befitting that Jonesy-inspired wall of guitars). You could argue that this rivals the best of The Riffs' original releases, and it's a must-purchase for anyone who geeks out over '77-style punk rock the way I do. Grab your vinyl before it's gone!
In advance of its forthcoming album Born To Break Even (due out July 31st on Stomp Records), Toronto's Doghouse Rose has released the title track as a teaser single. "Born To Break Even" is definitely giving me all the '90s melodic punk feels with a touch of the more polished side of pop-punk. This style and sound are a hit-or-miss thing with me, but man, this song really hits. Sarah Beth on lead vocals has the perfect mix of guts and charm with likeability that's off the charts. And I love that this is a terrific melodic pop song above all else. You can hear other influences at play beyond '90s punk. The lyrics are incredibly relatable. The song is about the futility of trying to get ahead in life when setbacks seem to be unavoidable and constant. Just when you think you're standing tall, something comes along and knocks you down again. "Push and pull till my poor back is breaking/While pretending everything is fine" is a lyric that will resonate with most people. And ultimately, the message of the song is that we have to keep grinding even if break-even is the best-case scenario. What other choice do we have? Born To Break Even will be this veteran band's first release since 2023's Unlearn. The vinyl is already up for pre-order on Bandcamp with eco-cherry and eco-lavender color options!
From Nuremberg, Germany, The Lovebites are Barbara Paul, Bettina Friedmann, Caroline Hausen and Daniela Eichhorn. They have just released Tear Up Tear Down, their debut full-length album, on the iconic label Monster Zero. As you would expect from a Monster Zero release, this is really excellent pop-punk. Kevin sure does have an ear for the good stuff! What I appreciate about this band is that it crafts a classic pop-punk sound without necessarily sounding like a million other bands you've already heard. The guitars punch hard, the songs are tuneful and catchy, and those four-part harmonies are super-tight. But there are some somewhat non-typical influences (e.g. indie pop and old school punk/new wave) in the mix that separate The Lovebites from a lot of bands who are just recycling the '90s (not that there's anything wrong with that — ha!). There's a dark undercurrent to some of these songs that I find very appealing, and I love how the band channels the frustrations of everyday life into these energetic songs that are made for you to sing along with. How many people are going to hear "No Time" and immediately adopt it as their new personal anthem? I could ask the same of "To Do List." Pop-punk as a style can be hard to master because a lot of bands might come up a little short on the pop or the punk end. But The Lovebites balance those contrasting sides perfectly, and Tear Up Tear Down is one of the albums that everyone ought to be cranking loudly this summer.
Back with its first new music in nearly two years, Bandung, Indonesia–based Saturday Night Karaoke has delivered a couple of songs for the times on the new single "Escalation"/"Doomsday." I was really impressed with Prabu Pramayougha's recent solo project Barpinson, and this new SNK single is in similar territory in terms of having something very meaningful to say. While this band is generally categorized as pop-punk, the speed and energy of these two songs practically border on thrash-punk. These tunes are fast and furious here, and that's befitting the urgency of the lyrics, which the band describes as "a snapshot of the bleak urban reality we're all dealing with right now." "Escalation" is about the way everything in your life keeps escalating and escalating, and it just keeps on going until you die. We never really escape the compounding anxiety, do we? The spastic punk rock of "Escalation" practically bottles that feeling. "Doomsday" is a little more in the traditional pop-punk lane but still kicks at a racing pace that will quickly leave you breathless. And if there ever were an anthem for Planet Earth 2026 and the role of music in our lives, I'd say these lyrics are spot-on:
We're all fucking doomed in this shit life Nuclear bombs and wars everywhere Don't say we don't care Here's to make it hurt less Anytime you're overwhelmed So let's just sing along
That kind of hits the nail on the head, doesn't it? These tracks were just recorded last month, so the social commentary here is very current and very relevant. I love the passion and conviction, and these songs do indeed lend themselves to singing along. If you still believe in the power of punk rock to make a difference, you need to be blasting this single and blasting it loudly.
Andresa One Man Band is the new band from Andresa Nugraha, formerly of The Battlebeats. How does a one-man band break up? Well, it was simply time to move on to a new project with a slightly different musical direction. Nothing But R'N'R is the debut release from Andresa One Man Band and the inaugural release on his new label, Junglestomp Records. The progression from The Battlebeats to Andresa One Man Band is not exactly a radical shift. Andresa is still in that stripped-down, blown-out garage punk lane. But in terms of style, the title of the EP says it all. This is more straight-forward, down-and-dirty rock 'n' roll inspired largely by bands from the American South like Oblivians, Reatards, and The Persuaders (who are covered twice on this release). The title track is a song about having nothing in life going for you except for rock 'n' roll. A lot of you can relate to that! "Let's Rock & Roll With My One Man Band" is essentially Andresa's new theme song, and it's glorious. "Can't Stop Thinking About You" is something you rarely if ever heard from The Battlebeats: an honest-to-goodness love song! This is a different kind of energy compared to The Battlebeats, but it's safe to say that anyone who loved The Battlebeats will be on board with this stuff. These tracks totally rip! This guy never disappoints, and I'm excited to follow Junglestomp Records as it grows into a go-to label for Indonesian rock 'n' roll!
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!
.webp)
