Showing posts with label Classic Indie Rock. Show all posts
Showing posts with label Classic Indie Rock. Show all posts

Saturday, October 24, 2026

Ryan Allen - "Used Copy of Monster" b/w "Always, Now"


On his latest single, Ryan Allen leans into his shoegaze side — but not to a degree that will alienate fans of his power pop side. "Used Copy of Monster" and "Always, Now" are songs Allen had been sitting on for a while. Given that his mind has been largely on what's going on in the world today, he initially wasn't sure now was the right time to release these songs that aren't specifically about the current state of affairs. But as he considered the matter further, he realized that these songs are indeed relevant in the light of this particular moment. 

The mid-tempo rocker "Used Copy of Monster" is an ode to the most sold-back album in REM's catalog. Fittingly, it's a guitar-heavy track. Monster may be a lot of people's least-favorite REM album, but it's Allen's personal favorite. And this song which reflects on a divisive release from a legendary band ultimately becomes a celebration of doing your own thing and liking what you like — no matter how uncool or unpopular it may be. "You do you" is a powerful message at a time when so many people curate carefully calculated and ultimately disingenuous versions of themselves in search of likes and affirmation. I have to admit I've always had a soft spot for Monster. It seemed like everyone had been begging REM to make another guitar-driven record. And then when they finally did, people were like, "Why did you have to change your sound?" They never understood the frequency. Kudos to REM for making their rock record when they felt like making their rock record. And those of you who do take a chance on a used copy of Monster will probably discover that it's a lot better than you remembered! 

On the digital B-side, "Always, Now" is a softer, more melancholy track that again highlights Allen's talent for writing songs that are about one thing specifically but something else more broadly. On a personal level, Allen wrote this song for his ex-wife. It's about the relationship the two of them have as co-parents who, in spite of their differences, will always be bonded because they're "sharing the same person." That's a powerfully relatable sentiment in a world where co-parenting is a very common thing. And this song is not about two people merely being "civil" for the sake of their child. It's about seeking a friendship based on kindness, respect, and a shared history  — even if you're seemingly from "different planets." On a more universal level, Allen wrote this song about the idea of having someone's back no matter what. It's easy to say you're in a person's corner, but being willing to remain committed to that even when circumstances change is the mark of laudable human. Allen considers "Always, Now" one of his songs that he's the most proud of, and I can understand why. This must have been a difficult subject to put into words — especially given that he had previously aired his grievances over this very divorce on record and held nothing back. So for him to be in this head space today is a remarkable progression. The world is full of happy love songs, sad love songs, and angry love songs. But there are not many songs quite like this that explore rebuilding care and connection in the aftermath of a split. 

With "Used Copy of Monster" and "Always, Now," Ryan Allen has given us two songs with messages that resonate deeply in 2026. It's more important than ever to embrace your identity. And it's more important than ever for people to support each other. For musical inspiration, Allen drew specifically from 1990s shoegaze. He dug into his love for Swervedriver, Hum, Slowdive, and early Smashing Pumpkins as he wrote these songs. But like any other time when he's acknowledging a particular sub-set of his influences, it still just comes out sounding like Ryan Allen. From the first time I heard him on record, I was enamored because I instantly knew who he was. Over the years, he has further cultivated his own style and voice. If you didn't know these songs were supposed to be shoegazey, you could still appreciate them as splendid modern-day indie pop-rock songs. 

There's an obvious joke here about how it seems like a major crisis in the world if Ryan Allen goes seven months without releasing music. But perhaps the timing of this single turned out to be fortuitous. Now, as pre-election hysteria amps up all that is ugly, divisive, and awful in America, the positive energy of these two songs is exactly the antidote we need. If you're a Ryan Allen fan, you will not be disappointed.

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Friday, October 16, 2026

Wisconsin Anger Team - True Spleen


Bands like Wisconsin Anger Team are the reason why I never lose the fire for writing about music. In a world where (perhaps by necessity) many bands have to put as much effort into self-promotion and a social media presence as they put into their music, Wisconsin Anger Team lets its music speak for itself. It doesn't do social media. It's not all over the streaming sites. In very old school fashion, the band communicates with fans and friends via email. The focus is on making really great albums and releasing them without fanfare via Bandcamp. 

True Spleen is the band's sixth full-length album in six years. Like the previous five, it's extraordinary. It contains 14 powerful tracks in a style reminiscent of the melodic punk, pop-punk, and louder indie rock of the '80s and '90s. Yet this is not just punk rock — this is art. Every song is essentially a poem, short story, or the first page of a novel you'd never want to put down. I'm blown away by the amount of time and effort that must have been invested into bringing every one of these songs to life. And the fact that the band includes the lyrics on Bandcamp tells you how much they mean. Every word was carefully considered. Every song title was an artistic decision. But those lyrics aren't there to overshadow the music. They're part of the music. You push play, and you can feel the energy, heart, and guts of what Wisconsin Anger Team has captured on tape. And then you start reading the lyrics and get the deeper meaning of each song. At a time in which so much music being released into the ether is just "content" meant to go in one ear and out the other, this band is making records that demand your time and attention. This is music, visual art, and literature all in one package. This is an album that you ought to experience the way you'd experience a movie or a book. How can you not appreciate a band that oil-paints a digital album cover on a canvas board? Yet there's nothing even slightly pretentious about this album. As smart and literate as it is, above all else, this is music full of feeling and life. 

In some better, alternate version of the universe, True Spleen would be a vinyl release and be selling like hotcakes. It almost seems too good to be true: How is music this good available for a free download? But if you feel that guilty about getting it for free, you can pay whatever you like. Most importantly, Wisconsin Anger Team has puts its heart and soul into making a record, and it deserves to be heard. We live in an odd time where the "cost" of listening to new music is often just the opportunity cost of not doing something else. You have podcasts to listen to and Reels to watch and reality shows to stream. I get it. So here I am, week after week, year after year, pounding the table for bands I think are more than worth your time. If you are a regular viewer of this blog, you most likely gravitate to a certain type of music. Wisconsin Anger Team plays that certain type of music at an exceptionally high level of quality. Again I pound the table. One of these days I might make my knuckles bleed. It will be a reasonable sacrifice for the cause.

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Friday, May 22, 2026

Civic Mimic - self-titled


How about I throw a little more love to that state next door? New Jersey–based Civic Mimic, formerly Jeff Hersch's rather prolific pandemic solo project, has made its full-band debut on an excellent new self-titled EP. Hersch (whom you might recognize from Casual & Glazer) is joined by Josh Stavola, Jeff Schroeck, and Phil Connor in this new iteration of Civic Mimic. Style-wise, it's what you might expect: poppy, punky indie rock with just the right amount of noise and hooks a plenty. This EP is short and sweet with three songs clocking in at a total of six-and-a-half minutes. If you grew up on early '90s college radio, this band will be speaking your language. I appreciate that the lyrics are clever and interesting in a way that's very open to interpretation but not at all pretentious. If there's really such a thing as a "New Jersey indie rock" sound (and I think there surely is), this record hits it bang-on. As a singer and songwriter, Hersch is likeable and endearingly offbeat. And Schroeck is such a unique and inventive player — an asset to any band he's in. I'm going back to all the earlier EPs and really liking what I'm hearing, but I'm definitely pleased that Civic Mimic has morphed a proper band. More please!

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Wednesday, February 18, 2026

Ridel High - B-Sides + Demos

When it comes to favorite eras of mine for music, the '90s were hard to beat. Sure, the majority of my all-time favorite music was probably released in the late '70s and early '80s. But the '90s were truly formidable. You had the glory days of pop-punk, the '70s punk revival, early '90s college radio, the new wave of new wave, and the prime years of lo-fi garage punk all thriving. One particularly underrated musical movement was one I still can't quite put a name to. You had a bunch of alternative rock bands with loud guitars and massive hooks. They didn't necessarily identify as power pop, but that's fundamentally what they were. Major labels were quick to snatch them up and even quicker to drop them when they didn't become overnight sensations. Their CDs were fixtures of cut-out bins for a few years and then more or less disappeared from the face of the Earth. And a lot of those releases that fell into the dustbin of history were really damn good. Emotional Rollercoaster by Los Angeles-based trio Ridel High was one of them. If you happen to come across it at a yard sale, in a thrift store, or in the attic of your childhood home, it's worth snagging. Even better, you can head on over to Bandcamp and purchase a brand-new Ridel High release comprised of B-sides and demos. Conveniently, it's called B-Sides + Demos! 

The thing that struck me about B-Sides + Demos is that it's all killer, no filler. This is not one of those cases where an old band is dusting off a bunch of tracks "just because." These songs are hits. Listening to this EP, I can say with complete confidence that out of all those almost famous later '90s alt-rock power pop bands, Ridel High was one of the very best. The band consisted of Kevin Ridel (vocals/bass), Steve LeRoy (guitar/backing vocals) and Steve Coulter (drums/backing vocals). Ridel High signed to Joey Cape's My Records and released its debut long player Hi Scores in 1997. A&M Records later signed the band and re-issued Hi Scores under the title Emotional Rollercoaster (that should have been the first sign that A&M didn't know what the hell it was doing — why change a perfect title?). Once A&M dropped the band, that was pretty much all she wrote. Ridel and LeRoy went on to form Peel, and later Ridel formed AM Radio. Coulter joined Tsar and now runs one of the best music sites on the internet. 

B-Sides + Demos consists of tracks recorded in 1995, 1997, and 1998. Opening tracks "Facelift" and "Mindblower" sound so much like the '90s with their cranked-up distorted guitars and melody-forward approach. It becomes obvious that bands like this (that had mostly contemporary influences) were an important link between "classic" power pop and modern-day power pop. If we didn't necessarily call this power pop in 1997, we certainly do now. "Motorboat" was one of the first songs the band wrote but one of the last it recorded. It's quintessential '90s SoCal geek rock, and it holds up fantastically well. There was a time when I would have wanted to fight anyone who put "Weezer" and "power pop" in the same sentence. Clearly things have changed. "Winona Ryder," which the band demoed in 1995, was later used as the B-side to its first 7", "A Mouthful Of You." In contrast to the more power poppy material on the EP, this is vintage buzzing slacker rock and a forgotten classic of its time. Although with its re-release, maybe we won't be able to call it "forgotten" anymore! If you forgot what it felt like to be twentysomething in the early-to-mid '90s, this song will take you back! The lyrics are hilariously on-point in reflecting on a very specific cultural moment. Given what culture is today, I find myself missing those days. 

Whether you fondly recall, barely remember, or never heard of Ridel High, B-Sides + Demos is sure to be up your alley if you dig quality power pop that will give you all those '90s feels without sounding like it should have been left in the past. The band was wise to focus on quality over quantity, and this is a blast from the past that ought to be fully welcomed.

-L.R.   
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Sunday, October 12, 2025

Ryan Allen - One Week Off

Ryan Allen has given us his own version of one of those "How I spent my summer vacation" essays. One Week Off, his second album of 2025, is the the fruit of an August staycation. In that one week, he literally made a record all by himself. He sat down with some songs he'd demoed in the past, found a whole bunch of them that worked as a single album, and created this gem of a power pop record. These songs are mostly from 2021-22. A few are from 2024, and one is brand new. But One Week Off doesn't come off like a collection of leftovers. This is genuinely one of Allen's best albums, and it's definitely the hardest he has ever rocked as a solo artist. 

What kind of talent do you have to have the luxury to write songs this good and then put them on the shelf? But it's not just about talent — it's also about work ethic. Ryan Allen writes a lot of songs. And when you're that prolific, you're bound to have some gems that you can save for a rainy day (or a week off from work). He intended this to be an "upbeat, no-frills, punch-you-in-the-face rock record," and that's precisely what it is. His last album, Livin’ On The Prayer On The Edge, was all over the place by design. One Week Off is a little more focused on that power pop by way of '90s indie rock with a touch melodic punk style that is Allen's forte. If you enjoyed his 2016 album Basement Punk, you're gonna be into this one as well. Allen played everything on this record and produced it at home on a Digital Audio Workstation. Then he had Paul Miner work his mixing and mastering magic and make it sound like a million bucks. It's crazy to think that songs like "Bloody Gums" and "Simple Pleasures" went unrecorded and unreleased for so long. If "Sick of Content," "Do It All Again," and "When Is Everybody Gonna Step?" aren't anthems for these times, I don't know what is. 

When I hear about an artist putting out two albums in a year, that means one of two things to me. Either you're contracted to a soulless major label in the late '70s, or you're making music for the sheer love of it. In the case of One Week Off, we know which one it is. Be sure not to miss Allen's recent contribution to the Is It Power Pop?! series over at Remember the Lightning! 

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Sunday, August 17, 2025

Melvic Centre - Trawler


Some of my influential friends have been touting Melvic Centre's new album Trawler. Having given the album a few listens, I feel compelled to do some touting of my own. Seconds after pushing play, I found myself instantly transported back to the '90s in a way that practically gave me chills. Remember all those old college radio favorites who walked the fine lines between fuzzy alternative rock, emo-ish melodic punk, and noisy power pop? Well that's where Melvic Centre lives, and this Aussie foursome pulls off this sound to perfection. With Melvic Centre, it's not just the vibe. It's also the quality of the songwriting, which is first rate all the way through the album. The brainchild of vocalist, songwriter, and multi-instrumentalist Will Mitchell, Trawler delivers the perfect blend of punchy energy, mellow grooves, and infectious hooks. If you had told me this album was recorded 30 years ago, I would have had no reason to doubt you. Yet I wouldn't describe Trawler as a copy of past sounds as much as I would call it a reinvigoration. Sometimes these younger bands have a way of injecting something genuinely fresh into seemingly tried-and-true musical styles. Coming up with a filler-free 14-track album is a high bar to clear, but I can find no fault with any of these songs. This is that rare modern album that not only reminds you of classics from decades past but can also stand toe-to-toe with them. Hands down, this is one of the year's best long players.

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Sunday, October 29, 2023

Stars Like Ours - Better Every Day


One of my musical "Wow!" moments of last year was hearing the Stars Like Ours CD released by Rum Bar Records. Essentially a compilation of singles and EPs released between 2015 and 2018, this album was such an on-the-nose throwback to early '90s left of the dial alternative rock that it gave me chills. And of course the players involved (Michelle Paulhus, Kristin Holliday, and Rice Edmonston) are all fixtures of Boston's world class indie/punk scene. Back with a new EP on Rum Bar, Stars Like Ours sound like even better version of their 2010s selves. Better Every Day again kicks up those throwback vibes, but the band sounds tighter and more powerful than ever and benefits from big-time production. When you think of a power trio, this is what it ought to sound like. The guitars, drums, and bass all shine, and these songs truly put the rock in indie rock. The band's '90s inspirations have always been obvious, but it has never been fully about that. First and foremost, this band is about killer tunes. And Better Every Day is full of 'em — always leaving me wanting more no matter how many times I spin the disc. "What's Going Wrong" is the band's best song to date, and there's little drop-off from there. Somehow this band manages to transport me back to 1993 while still adding a contemporary twist to their classic alt-pop sound. On a Rum Bar roster loaded with incredible talent, Stars Like Ours have cemented their place on the top shelf.

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Friday, March 03, 2023

Ryan Allen - The Last Rock Band


Out today, Ryan Allen's new solo album The Last Rock Band was originally conceived as the third Extra Arms album. The concept for The Last Rock Band was inspired by one simple question: "What if there were only one rock band left on Earth?" It was the middle of February 2020. There was not a trace of real rock and roll anywhere near the pop charts. As Allen pondered the long-debated "Is rock dead?" question, he began crafting a narrative of a fictional rock and roll band — literally the last one in existence. And then you-know-what happened. There were no more band practices, live shows, or recording sessions. A song cycle pondering the death of rock and roll may have suddenly felt way too real. The project was shelved. When it became possible for Extra Arms to make music again, there were more pressing issues to write about. New songs were written, and they became the excellent album What Is Even Happening Right Now?. Yet it always bothered Allen that The Last Rock Band remained unfinished. So he went into Big Sky Recording with producer Geoff Michael and recorded the album one-man-band style. And now here it is. 

An important aspect of The Last Rock Band as a concept album is that even if you removed the concept, it would still be a terrific pop rock and roll record. These are really good songs. I also appreciate that the album ties a fictional tale together with Allen's personal story of coming to love music. While the narrative traces the rise, fall, and re-birth of an imagined band, one gets the sense that a lot of these songs are very personal to Allen. "Discovery" describes some musical discoveries of his youth (Public Enemy and Nirvana are directly referenced) that were literally life-changing. It may be coincidence, but the turn of events that take place between "Bought a Computer" and "Second Act" parallel Bob Mould's retirement from rock and eventual triumphant return. The whole album is essentially a love letter to critical bands in Allen's musical universe, and thus it jumps around quite a bit stylistically. Allen conceived the album as something akin to a mixed tape, and that really comes through in the songs. I'm hearing echoes of everyone from The Who ("Start a Band") to the Ramones ("Like the Ramones") to the Replacements ("Wrong Place Wrong Time") to AC/DC ("Second Act") to David Bowie ("We Have Returned") along side power ballads ("Stop the Train"), synth-pop numbers ("Bought a Computer"), and arena rock anthems ("Because I Have To"). In a way, this album is a logical successor to Allen's 2021 release What A Rip. Allen as a solo artist has never rocked harder; one can easily imagine this being an Extra Arms album. So if the loud pop side of Ryan Allen is your thing, this release ought to be up your alley. 

I don't think I'm spoiling anything by saying The Last Rock Band ends on a positive note. "Because I Have To" is another song where the real Ryan Allen weaves his way into this mostly imaginary rock opera. Here he finally answers the "Is rock dead?" question definitely. Of course rock is alive. The very existence of this album (and many more like it releasing every year) proves it. As I listen to this album, I envision a kid in his bedroom recording songs off the radio and listening to mixed tapes. I don't know if I'm seeing myself or Ryan Allen. Perhaps that's the point. In 2023, we have digital playlists instead of mixed tapes, and there's not much on commercial radio worth recording. But modern technology has given us an access to new and exciting sounds that the young Ryan Allen or Josh Rutledge could have only dreamed of. Pop charts be damned — all those people discovering life-changing music at this very moment are the living heartbeat of rock and roll.  

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Thursday, December 15, 2022

Sal Cannestra's Department of Amusement with Pete Donnelly and Mike Yannich


Three Mid-Atlantic indie/punk lifers walk into a recording studio. No, this is not a setup for a joke. It's the basis for Sal Cannestra's Department of Amusement, a splendid new project/album showcasing one of the most underrated songwriters of recent times and a dream team rhythm section. On vocals and guitar is Sal Cannestra (Sleeper/Serpico, The Gerunds, The Thirteeen). On bass and keyboards is Pete Donnelly of the legendary Figgs. On drums is Mike Yannich of The Ergs! and (literally) countless other bands. With this lineup, you're talking about 90+ years of combined experience in the underground music scene with connections to New York, Philadelphia, and New Jersey. This album may be the most "East Coast" thing ever, and I am here for it! In my mind, I picture these songs playing in every sandwich shop from Delaware County to New Haven. 

Like The Thirteen's excellent album LIFT-OFF and the outstanding 2020 solo effort Plenty of Music, Department of Amusement finds Cannestra excelling at his usual stock in trade: rocking melodic tunes with thoughtful and exceptionally clever lyrics. But with the formidable backing of Donnelly and Yannich (who are such powerhouse songwriters themselves that their instrumental prowess is often overlooked), he stretches himself considerably on this somewhat epic long player. The album weighs in at 16 tracks and over an hour of music. Cannestra humorously concedes that this quantity of music is "a LOT to deal with." But as a music lover, I could never understand why anyone would complain about getting more value for their money. It's not like Cannestra is inundating us with filler. I would consider the likes of "Drug Store Readers", "The Easiest Thing," and "Love is Never Lost and Nothing Ever Dies" some of his strongest songs to date. The power ballad "Call It Sleep" will totally break your heart, while "Give the Drummer Some ($$)" is the best Replacements song that anyone has written in a while. When these three veer off from the indie power pop thing, they are more than up to the task. Forays into funky pop ("Blue Heron Drive") and full-blown yacht rock ("Hired Hand") are pleasant surprises. A cover of "Some of Shelly's Blues" is a wonderful tribute to Mike Nesmith, recorded just days after his passing. Album closer "Nothing Is Free" is an old school SST Records style noisy rocker that carries on for over nine minutes — miraculously never wearing out its welcome.  

If your commitment issues are making you hesitant to pull the trigger on Sal Cannestra's Department of Amusement, I recommend checking out the music videos for the album's first two singles (I'll even embed them below for your convenience). The clip for "Drug Store Readers" is a lyric video. And I'll just say that lyrics as good as these merit a close inspection! If the song title of "Give the Drummer Some ($$)" doesn't already make the point of the song abundantly clear, the video will erase any doubts. "You're only as good as the one on the throne" are some of the truest words ever sung. If you like what you hear from the singles, I can assure you that the full album is worth both hours of your time and eight dollars of your hard-earned cash. If you had told me some time ago that Sal Cannestra was going to make an album with Pete Donnelly and Mikey Erg, I would have said that was going to be something spectacular. I wouldn't have been wrong! 

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Sunday, December 11, 2022

Self-Cut Bangs - Circle Around The Free


One of the most pleasant surprises of the unpleasantly surprising year of 2020 was the debut of Calgary duo Self-Cut Bangs. No doubt, "Self-Cut Bangs" is the greatest-ever name for a pandemic inspired band. But the music has proven to be even better than the name. To recap: Self-Cut Bangs began as one couple's home recording project during COVID lockdown. That spring/summer, Cayley O'Neill (Dark Time) and Shawn Petsche (Napalmpom) wrote and recorded one new song every Saturday. They kept up this ritual long enough to make an album, which was released in September 2020 to great acclaim (including mine). The album was such a success that Self-Cut Bangs became a permanent entity (and now a full-fledged live-ready band!). A couple years later, we now get Circle Around The Free, the sophomore release from Self-Cut Bangs. And oddly enough, I'd call this the band's "COVID" album. That first album was conceived as an escapist project. It was the feelgood indie power pop album we all needed at the time. Circle Around The Free, on the other hand, is inspired by the couple's actual voice memos from 2020. Across these 12 tracks, Cayley and Shawn dig deep into their own reflections on a time of sudden change and unprecedented strangeness. And as the world slowly returns to as close to "normal" as we'll likely ever get, these songs prove to be relatable and comforting. 

I'll say first off that Circle Around The Free is a little more expansive in approach compared to its predecessor. The vibe that Cayley and Shawn went for this time is "retro futuristic," and that's something I can totally get into. This album seems far more in line with modern-day indie rock, yet it's also decidedly more '80s new wave sounding than the last one. I don't know how that's even possible, but these two totally pulled it off. And if you listened to the first album and were surprised that it was co-crafted by the guitarist from Napalmpom, you will definitely hear a few tracks this time out where the classic rock comes out to play. Circle Around The Free does what few albums manage to do: bring together the best parts of new wave/post-punk, classic alternative rock, and contemporary indie rock in a completely satisfying way. This is a record that sounds cool and current without sacrificing big hooks and a rockin' edge. It looks to the future while offering numerous nods to the past. Tracks like "Shivers" and "In Colour" are so redolent of peak '90s indie rock that they practically make me feel twentysomething again. "Stargazer" and "Wake" give the synth-pop of yore a modern makeover. If there's already such a thing as a "vintage" Self-Cut Bangs song, "Never Say Never" is it. Elsewhere, Circle Around The Free stretches the band's sound in cool ways. There are pure indie rock tunes ("Make Believe"), high-energy rockers ("Abraham"), and even successful forays into post-punk ("Gibberish"). If I described a song as being half Black Sabbath and half indie pop, you'd never in a million years expect that to work. But somehow, someway, closing track "Head Start" is an absolute triumph. 

Like Self-Cut Bangs' debut, Circle Around The Free was home recorded and then turned over to Lorrie Matheson, who works his usual mixing and mastering magic. What results is a very warm-sounding modern rock record that seems tailor-made for long walks in the cold spent pondering the events of recent years (we are getting to the time of the year for such a thing!). Since the album's completion, the addition of drummer Joel Nye (Hot Little Rocket), guitarist Dillon Whitfield (Astral Swans, Reuben & The Dark), and bassist Nicola Cavanagh (Cardiograms, Night Committee) has expanded Self-Cut Bangs from a one couple home-recording project to a full band featuring two couples! One can only hope that any potential Fleetwood Mac/ABBA level of fame to come is not accompanied by the epic drama that plagued those bands. Another cool thing this band is working on is making music videos for all the songs on Circle Around The Free. I've embedded a couple of the clips below, but there are several more worth checking out on the band's YouTube page. Circle Around The Free, like its predecessor, is a free download from Bandcamp. Music this good for the price of free is a rare treat. Jump on it! 

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Saturday, November 26, 2022

Sino Hearts - Lightening the Darkness


One thing that frustrates me about doing this blog is that there's so much great music coming out that I just don't have the time to properly keep up with. For example, I've been sleeping for months on the latest album from Sino Hearts, which is by far the band's best release yet. So in the way of taking care of some unfinished business on this holiday weekend, I must offer a few words on Lightening the Darkness. I suppose you could call this Sino Hearts' "COVID" album. It was recorded during lockdowns in Beijing from 2020-21. And while the songs aren't necessarily about the pandemic, you can sense the darker feel in the lyrics and even some of the music. Like all of us, songwriter/lead singer Zhong lived through this time when isolation, fear, and an overwhelming sense of restriction took hold. Consequently, Lightening the Darkness is reflective of the times in which it was created. It cuts deeper than previous releases without losing the catchy hooks. 

As the title suggests, this is far from a gloomy album. There's light and dark in these songs, and ultimately Zhong and his band mates don't stray that far from their signature power pop punk style. But on this album, you can hear Sino Hearts broadening their sound and pulling in influences ranging from classic post-punk to modern indie rock. This gives the album a mellower feel at times, yet Zhong's flair for tuneful melodies has never been stronger. This is by far Zhong's best batch of songs. And the production (the album was mixed and mastered in Bergamo, Italy by Bruno Barcella and Riccardo Zamboni) is absolutely spectacular. You could view Lightening the Darkness as a departure from its predecessors, but I prefer to think of it as the album where Sino Hearts fully come into their own. From the modern, melodious strains of "Passing Shades" to the warm power pop of "Stranglehold on My Heart" to the straight-up power pop rock and roll of "Falling Out of Love" to the snappy pop of "Commotion of Love" to the vaguely Weezer-ish "2020," this release is packed with top-notch tunes. I know I'm several months late to the party on this one, but I knew I couldn't start drafting my top albums of 2022 list without placing Lightening the Darkness into consideration. It's still available in the U.S. from Otitis Media Records and in Europe from Topsy Turvy/Soundflat Records.

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Friday, October 28, 2022

Stars Like Ours - self titled


Out now on Rum Bar Records is the self-titled debut album from Stars Like Ours  — a CD compilation of three digital EPs released from 2015 to 2018. Hearing this release, I'm a little sad that I'm so late in discovering Stars Like Ours. But I've definitely been making up for lost time; this CD has been living in my car player for the past month! This album and this band take me back to those days in the early '90s when indie/alternative rock ruled. Remember a time when you could tune into a college radio station and hear Sugar, Superchunk, The Breeders, and Dinosaur Jr. in the same block? You could seamlessly slot any of these nine tracks into the same block. 

When the Stars Like Ours disc first arrived on my doorstep, I was excited by the band personnel. Michelle Paulhus (The Decals, The Dents, etc.) is on bass and lead vocals. Kristin Holliday (DRAGO, The Downhauls, etc.) is on guitar. Eric "Rice" Edmonston (Darkbuster, Abbie Barrett Band, etc.) is on drums. That's a powerhouse lineup, and I would have been happy to hear this trio tackle any genre of music. But Stars Like Ours really hits a sweet spot for me with its loud, hooky old school indie rock sound. They are doing their own version of a musical aesthetic that was my gateway to the underground three decades ago. Although the influences are obvious, the band manages to update them for modern times. In a completely unpretentious way, this band simply oozes cool. Holliday nails that crunching guitar sound, and Edmonston is an absolute monster on drums. There's also a rule in music that if Michelle Paulhus is writing and singing songs, those are tunes you need to own. In fact, this is as good of an album as she's ever put her name on. And, yes, I know that's saying something. Given that this disc was culled from three separate releases, it's not surprising that the song quality is so exceptional. I keep listening through to try and identify individual tracks that stand out, but every song sounds like a hit to my ears! And yet when you put all this material together, it still flows like a singular album (I didn't even realize it was a compilation until I'd heard it several times!). Without trying to relive the '90s, Stars Like Ours remind us why we loved that music so much. The songs, playing, production, and (of course) vocals are absolutely top-shelf.  

Stars Like Ours — a contemporary band reminiscent of a moment when Boston was the center of the indie rock universe — is the perfect addition to Rum Bar Records' growing stable of extraordinary hometown talent. If you like buzzing indie rock with a strong pop sensibility, you too may find yourself wondering where this band has been all your life!  

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Thursday, May 05, 2022

Extra Arms - "Big Dogs"


One of my most eagerly-anticipated albums of 2022 is set to release June 3 on Forge Again Records. What Is Even Happening Right Now? will be the third full-band album from Detroit-based loud power pop foursome Extra Arms. It's hard for me to believe it was seven years ago already that I fell in love with Ryan Allen's solo album Heart String Soul. Back then, "Extra Arms" was just a funny way to convey that Allen could play a whole lot of instruments. Eventually he found some permanent bandmates and made Extra Arms a bona fide rock band. I've never been disappointed with any release that Allen has been involved with. Extra Arms in particular hit a sweet spot for me because they recall a time when indie/alternative rock truly rocked! In advance of What Is Even Happening Right Now? (a perfect album title for this moment in time!), the band has released the single and video "Big Dogs." In typical Extra Arms style, this song is a killer slice of powerful pop. "Big Dogs," it turns out, is a love song to man's best friend. It was inspired by Allen's special relationship with Willie Nelson, his partner's dog. Yet the song is more universal than that, exploring the powerful connection we can have with another living being in spite of not being able to fully converse with them. If you, as I, have ever longed to know the inner thoughts of your four-legged soulmate, you will understand what a profound song "Big Dogs" is. And the video is an absolute delight! With less than a month to go until the new record releases, I am getting majorly pumped for more new tunes from Extra Arms. This just might be the album of the summer! Hit up Forge Again's Bandcamp to pre-order the vinyl. 

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Saturday, February 05, 2022

Ryan Allen - I'm Not Mean


While we eagerly await a new Extra Arms album (which is coming this summer!), Ryan Allen has continued to treat fans to some truly excellent home-recorded solo releases. What I've enjoyed about these releases is that they have allowed Allen to dive deep into his multitude of musical influences. Song Snacks Vol. 1 was a nod to some of the sprawling indie rock epics of the 1990s. What A Rip was a love letter to 1960s pop and rock and roll. Digital Hiss celebrated the loud/fuzzed out side of indie rock. And now on his latest release I'm Not Mean, Allen finds himself inspired by the heyday of jangly indie pop. Without copying any artists in particular, he taps into the general vibe of The Smiths, early R.E.M., and the collective output of Sarah and Slumberland Records. It has been well-established that Ryan Allen can rock with the best of 'em, but these four tracks are all about finesse. From the guitar tone to the harmonies to the general fidelity of these recordings, the devil is in the details. "Count With Me" is as warm and bright as spring sunshine. Simply put, it's perfect pop. "To Be A Journalist" doubles down on the jangle but still sounds like a vintage Ryan Allen song with amazing lyrics and indelible melodies working hand-in-hand. Allen goes full twee on the title track, melding simplicity and sheer beauty like he's the second coming of Bobby Wratten. 

While Ryan Allen is no stranger to home recording, I'm Not Means finds him really stepping things up in terms of production and arrangements. Listening to this EP, it's not in any way obvious that these tracks were recorded at home by one guy with two microphones. Of course it doesn't hurt to have a formidable talent like Justin Pizzoferrato on hand to mix and master the recordings! If Allen's intention was to craft an homage to jangle pop, I'd say he fully nailed it. And as he always does, he manages to fold those inspirations into his own distinctive style as an artist. Whatever the specific influences may be, a Ryan Allen record always sounds like a Ryan Allen record. Whether you're a jangle junkie or simply a fan of melodic pop music, I'm Not Mean is highly recommended!

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Thursday, February 03, 2022

The Sad Tomorrows - self titled


Now here's a true New Jersey punk rock super group! The Sad Tomorrows are Jeff Schroeck, Mike Hunchback, J Nixon, and Brian Gorsegner. That lineup encompasses membership in Night Birds, Psyched To Die, Black Wine, Hunchback, Nervous Triggers, The Ergs!, and too many other bands to mention. With this band, these Garden State scene veterans have honed in on a musical aesthetic that's near and dear to my heart: the intersection of punk-pop and late '80s/early '90s indie/alternative rock. The Sad Tomorrows are in many ways similar to Character Actor, Schroeck and Gorsegner's excellent indie-pop project from a few years back. The Sad Tomorrows refine the concept of Character Actor, introducing a new favorite band for those who can't get enough of Husker Du, the Lemonheads, Soul Asylum, ALL, early Goo Goo Dolls, etc. The band's debut EP has already sold out a full pressing of 100 cassette tapes but is still available in digital form from Don Giovanni Records. Recorded by Chris Pierce and mastered by Stephen Egerton, this EP sounds like it could have come out on cassingle on a major label 30 years ago. It recalls that brief but glorious moment of indie rock leaping into the mainstream before it all turned to shit. I especially like the crisp melodic punk of "Long Vibration" and the vintage '92 alt rock power pop of "Unsustainable Practices". Any time Jeff Schroeck is writing and singing songs, I am here for it. With this band, he and his pals are really hitting a sweet spot for me. Fingers crossed for more Sad Tomorrows!


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Sunday, January 09, 2022

The Drolls - The Puget Sound


The honor of my first 2022 album review goes to The Drolls, a Seattle-based trio with quite the pedigree. This band is comprised of Denny and Josh from the late, great Sicko and Julie from Chinchilla and Drip Tank. Holy '90s, Batman! You would expect a band featuring two-thirds of Sicko to be awesome, and The Drolls do not disappoint! The Puget Sound, the band's debut album, is a delightful long player that walks a fine line between pop-punk and later '80s/early '90s college radio. It's certainly an oversimplification to say this album sounds like a Sicko record with only Denny's songs. But if you loved Denny's Sicko songs, you are guaranteed to love The Puget Sound. The album features 12 tracks of catchy, clever, and charmingly geeky pop songs that will put a smile on your face. Tunes like "Getting Old", "Nobody Move", and "Worse Things" summon the same magic that made Sicko one of the greatest pop-punk bands of the '90s. Even the more "indie rock-ish" tracks ("Sad Little King", "Alternate Timeline") are super fun and chock full of hooks. If "Mythology" suggests that the members of this band have worn out multiple copies of The Lemonheads' It's a Shame About Ray, about 99% of us will fully relate! And you have to love the humor of The Drolls re-doing Sicko's  "Rehashed" and calling it "Rehashed Rehashed"! 

The Puget Sound is available now from Snappy Little Numbers Quality Audio Recordings -- who are graciously selling the digital version (with a bonus cover of Big Country's "In a Big Country"!) for the bargain price of free. Or if you prefer, you can purchase the Puget Sound blue galaxy vinyl while supplies last. The Puget Sound is a truly brilliant album title, and thankfully the music is just as good!

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Sunday, September 19, 2021

Blunt Bangs - Proper Smoker


Blunt Bangs manage to be a 21st Century indie rock supergroup who tap into my nostalgia for the sounds of the late 20th Century. Featuring co-songwriters Reggie Youngblood (Black Kids) and Christian DeRoeck (Woods, Deep State), this Atlanta-based trio finds the sweet spot where power pop converges with '90s indie/alternative rock. The band's debut album Proper Smoker is a satisfying collection of loud/noisy pop tunes mining the Weezer/Teenage Fanclub/Superchunk corner of the musical universe. Yet even with the obviousness of the influences, this band seems to be modernizing the sounds of '90s college radio more so than it's simply reviving them. Youngblood and DeRoeck both show a devotion to a timeless craft of pop songwriting. But as you would expect given these guys' past work, this is still very much a contemporary-sounding record. You could call Proper Smoker indie rock for people who like power pop, or maybe it's power pop for people who like indie rock. Either way, it's an excellent debut full of well-crafted earworms.

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Friday, September 10, 2021

Christopher Peifer - The Social Distance


Don't call it a sequel, but Christopher Peifer has followed his excellent debut solo album Suicide Mission with a quite similar and equally strong effort titled The Social Distance. Peifer (The Kowalskis, SiR, Frances Farmer My Hero, Blockhouses, etc.) is quickly establishing himself as a solo artist of note after decades in the New York rock and roll scene. While Suicide Mission was described as "art and love in the time of Coronavirus", The Social Distance is Peifer's definitive "COVID record". It was written and recorded entirely during pandemic times and reflects what was going through his mind as he and the rest of the world battled through a year unlike any other in our lifetimes. 

Written in Fort Wayne, Indiana and recorded at Todd Giudice's Roots Cellar Studio in Cold Spring, New York, The Social Distance is an album that deals with loss, change, and upheaval on both a personal and political level. Yet it's also full of optimism, hope, and a highly contagious positive energy. Musically, Peifer continues to work in the medium of two-to-three minute pop-rock songs. Most of these ten tracks meet at the intersection of timeless power pop and 1980s indie rock. Peifer excels at writing songs with simple, appealing hooks. Yet beneath the surface, these songs are heartfelt, relatable, and quite profound. Here Peifer largely responds to the trials and tribulations of a pandemic year by looking forward to better times ahead. The title track is full of hope for reuniting with loved ones in person, while the Replacements inspired rocker "Meet Me At the Bar" is just as much about the bonds of friendship as it is about the joys of drinking. Spiritually inspired by Patti Smith's "People Have the Power" and Curtis Mayfield's "Power to the People", "Something To Believe In" is Peifer's humble stab at a rallying cry for positive change. "The Infernal Racket" is kind of like Peifer's own "Left of the Dial" -- a celebration of indie radio stations and the underground rock and roll bands they so steadfastly support. A Paul Westerberg influence looms large again on album closer "Can’t Dance At All" -- a song that encourages the pursuit of joy wherever one may find it. And of course this would not be a Chris Peifer album without a little bit of storytelling. A skilled chronicler of the rock and roll life, Peifer crafts real-life tales that are both heartbreaking ("The Ride") and highly amusing ("Let's Get the Band Back Together").   

Like its predecessor, The Social Distance hooked me with well-crafted pop songs, but it has the staying power to keep me coming back for more. A good solo album should make you feel like you know the artist, and that is definitely the case with The Social Distance. On the excellent track "Midnight Radio", Peifer romanticizes long distance driving with music as a sole source of companionship. He has, no doubt, crafted an entire album that will enhance your enjoyment of any solitary pursuit. In a year full of excellent LPs, this is one of the very best.

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Sunday, April 18, 2021

The Chelsea Curve - "Girl Cavedog"


Wow, has Justine Covault ever hit the ground running with her label Red on Records! Since its launch five months ago, Red On Red has already released or reissued music from 13 different bands/artists -- all of them Boston based. I haven't even come close to keeping up (shamefully I even missed a new Justine and the Unclean single in February!). But it's not about quantity -- it's about the quality. No city on the planet has a stronger music scene than Boston, and the Red On Red roster is perfectly representative of that. If you dig power pop, punk, garage, indie rock, Americana, etc., this label is a must-follow even if you have no particular connection to Boston. A case in point is the debut single from The Chelsea Curve -- a mod-pop/indie rock trio made up of Linda Pardee (formerly of Boston legends Miles Dethmuffen) on vocals and bass, Tim Gillis on guitars and vocals, and Ron Belanger on drums. This band has been ripping up the Boston live scene for a while, and now it finally presents its first studio release. The track is called "Girl Cavedog", and it's a stone-cold hit. It's essentially a love song, but it's a very original and fascinating love song in the respect that it was inspired by time travel.  Pardee says it's about "a person whose life is repeatedly sidetracked by the comings and goings of a significant other who is a step out of time". What a wonderfully creative idea! Fortunately, the lyrics are included on the Bandcamp page -- and they read like a miniature short story! Musically, the song exemplifies mod-influenced power pop. Clocking in at two-and-a-half minutes, it features tight musicianship and irresistible hooks. And Pardee's voice will totally knock you out. I'm left wanting more -- which is the whole point of a single! Thankfully, this is just the first in a series of singles that will all lead up to a full album in the fall. Check out the brand-new video for "Girl Cavedog" embedded below!

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Sunday, April 04, 2021

Ryan Allen - Digital Hiss


It's almost guaranteed to be a good sign when an email from a musician begins with "I know I'm a complete nutcase and can't stop releasing stuff!" Well, Ryan Allen is no nutcase. But it's true that he can't stop releasing music. And if I were as talented as Ryan Allen, I too would release music as frequently as possible! Digital Hiss is Allen's ninth release in the last ten months (yeah, really!), and the concept is based on a 4-track recorder he received for Christmas one year as a teenager. He never actually recorded songs on that 4-track (it got loaned to a friend and eventually went missing). But if he had, they likely would have sounded quite a bit like the songs on Digital Hiss. Allen mentions Eric's Trip and Sebadoh as specific influences on this release. More broadly, I'd describe this album as loud, fuzzy, lo-fi indie rock. Unbelievably, the entire EP was written, recorded, and mixed in a single day. Now that's what I call DIY! But just because it's DIY and lo-fi doesn't mean that it's just noise. Allen's knack for loud, simple pop songs of the highest quality is on full display here. I'm reminded of my own roots in underground music -- which was listening to college radio in the early '90s. Honestly, most of these tracks sound like they could be Extra Arms songs if they were worked out with a full band and more fully produced. But the whole point of this project was to replicate the ear-battering majesty of the fuzzed-out indie rock of yore. Mission accomplished! It blows my mind that Allen was inspired enough to write and record all of this material in a single day. This is really great stuff. I'm all for crafting a song over weeks or months if that's what it takes. But there's also something super cool about having that wild burst of creativity and getting everything down on tape while the inspiration is fresh in your mind. It's clear that Ryan Allen has been a remarkably prolific recording artist over the past year. But he's not just been putting out a ton of music --- he's been putting out a ton of really good music! Digital Hiss is very much up to his usual standards and highly recommended to any fan of noisy pop!

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