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.
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!
It's not often that I review an album more than once. However, the vinyl release of Hormones' 2025 debut album Hot For Hormones is an occasion that has surely called for some fresh ink. When it comes to me and Melbourne's mighty Hormones, it was love at first listen (the date was June 1st of last year). I can say without any intent of exaggeration that Hot For Hormones is one of the best Ramones-inspired albums I've heard this decade. And to have a label like Stardumb Records that I hold in the highest possible esteem be the one to put it into the world as a vinyl record is something really special for me.
Although the basic musical formula is five decades old, this is truly an album for these times — as these songs tell Betty Hormone's personal story of what it's like to live as trans woman in a transphobic world. The thing that gets me about Hormones is that this band is all about putting more love into the universe. And in telling her story, Betty is telling everyone's story. Don't we all want to be loved and accepted for exactly who we are? Don't we all want to live our best lives with as much joy as possible? Don't we all despise the idea of having to pretend to be the person society wants us to be? While these songs are full of humor & charm and are incredibly fun to sing along with, there's a profound seriousness residing past the surface. Betty's approach to Ramones-ish punk rock wasn't to write dumb, simple songs — it was to write smart, simple songs. She put her soul into these tunes. I've found it interesting yet understandable that Betty is an excellent singer but chose to have someone else sing lead in this band. Joseph Ling does such an amazing job as the vocal embodiment of Betty's lyrics. He's likeable and charismatic yet very down-to-Earth — the perfect person to sing these songs where the vibe runs the gamut from playful to sweet to sexy to sincere. He also has a little bit of a young Robin Gibb thing going vocally, which is 100% unique in the pop-punk genre. It takes complete trust to let another person sing the words that came from your heart, and here that trust has been fully rewarded.
There's a really big distinction between a Ramones inspiration and a Ramones imitation. Hormones don't claim to be the world's most original band, but they aren't trying to be anyone but themselves: the hottest band in the world and fervent supporters of trans rights and trans wrongs. No track exceeds three minutes in length, yet each tells a complete story. In the leadup to this album release, Betty wrote at length on what some of these songs are about. "Out of the House, Out of the Closet" is about being outed against your will before you're truly ready but still moving forward on the path you know you're destined to walk. What might have started as a setback ended up thrusting Beth Seymour into the world — her true self no longer locked away. "I Wanna Be Your Herfriend" is about that fear of what your partner is going to think or say when they see you presenting as your true self for the first time. Luckily for Betty, that situation turned out well. "Hayley Smith" is a loving thank-you note to a high school friend whose fashion sense inspired Betty to eventually become the person she is today. "Transgender Menace" responds to the widespread vilification and demonization of trans people with fearlessness and defiance. "Got My Head Straight (The Rest of Me Got Gay)" tells Betty's personal story of mental health struggles and how addressing those problems empowered her to accept her queerness. "You Don't Have a Son" is the album's most powerful track. Betty lays it all on the line here: the only two outcomes for a trans person are to transition or to eventually end up "six feet underground." I can't imagine being such a monstrous human that you'd rather see a loved one dead than transgender. God, this song tears my heart out. And I don't see how you can listen to a song like "When I Was A Boy (I Was Really A Girl)" and feel anything but love and empathy for the trans people in your life.
There will be different categories of people who will purchase Hot for Hormones. Perhaps you've heard of Hormones but only buy music on vinyl. Perhaps this is your first exposure to the band. Perhaps you bought the digital album or CD last year but are super stoked to own this title on gorgeous pink, white, or turquoise vinyl released by one of the greatest indie labels that has ever existed. Any way you shake it, this LP coming out on Stardumb Records is an event worth fervently celebrating. For those of you outside the EU, this modern pop-punk masterpiece is also available from The Machine Shop in the U.S., Brassneck! Records in the UK, and Endless Detention Records in Australia!
Back with its fourth album, the Rotterdam-based foursome Lone Wolf is doing its thing like only it can. Out on Stardumb Records, Dark Thoughts is an album that lives up to its title. It explores themes of depression and anxiety along with the unrelenting pressures and distractions that define modern life. But the album is by no means a downer — it's more a reminder that if you deal with this heavy stuff in your life, you're not alone. Ox, Merel, Damien, and Ivo deliver their usual mix of indie rock and poppy punk rock, and as always they bring a sound that's anthemic and infectious. "We wanted to make an album that captures the way our darkest thoughts seem to consume us, but with an energy that makes you want to move and let it all out," says Ox. So if you're looking for songs that are real and relatable but also uplifting and fun to listen to, Lone Wolf has got you covered. This is a fantastic album. It comes out swinging with "High All the Time" and closes with "Take Me Outta Here," perhaps THE anthem for life in 2025. In between are one killer tune after another. Dark thoughts? We all have 'em, and that's why we need to lean on each other. Without needing to reinvent itself as a band, Lone Wolf has managed to up its game and produce a new album that almost no human will be able to resist.
Any regular reader of this blog knows that The Speedways are one of my favorite bands. It's rare for me to ever do interviews, yet this is now my second interview with The Speedways. But there's a lot to talk about as the band finds itself in the midst of a very significant year. The group recently parted ways with guitar player Mauro Venegas and released a fantastic new single called "Visiting Hours" earlier this year. The band is planning to finish recording a new album (its third as a full band) this year and has some really big gigs coming up. I spoke to Matt Julian and Adrian Alfonso about all these things and more!
Rutledge: Let's start by talking about your new single "Visiting Hours." The A-side was the first new song you had released in a couple years. It's a brilliant song and definitely one of your very best to date. Most people would say it's "classic" Speedways. How did "Visiting Hours" come to be, and where there any particular musical influences that helped bring it to life?
Matt: Cheers! Yeah, it's one we all really liked and knew could be a potential single. I wanted to have something with a prominent piano because we haven't really done that yet. It's got a nice hook.
Elvis Costello regularly comes up when people talk about our sound — and of course I'm a big fan and have a ton of his records. But I think Squeeze and Joe Jackson were just as strong an influence when I wrote "Visiting Hours."
Adrian: Matt mentioned he had this song for a while but hadn't gotten 'round to recording one of his usual demos. After a festival gig in Kortrijk, we were at the house of the person who was putting us up that night. He was a classically trained violinist and played clarinet, and his house wasn't the usual English terrace we're used to. Our driver Bernd packed some acoustic guitars, and there was another around the house. We had a bottle of whiskey, which was flowing liberally, so we all were having a bit of a laugh playing stuff. Then Matt mentioned "Visiting Hours" and teased us with a bit of the song, and we all asked for more. Then I found myself singing along the chorus for days after. I knew it had to be a single.
Rutledge: Without giving away everything, can you tell us a little about what "Visiting Hours" is about lyrically?
Matt: It's about waiting for forgiveness after a falling out. "We don't talk, we sleepwalk into each other. God it's boring" — having the exact same arguments over & over again. "I loved you when the screws were on tight, I loved you when you found your appetite — I loved you when things were more secure in the beginning. When we were hungry. "She won't bring me flowers on visiting hours'' — when the apology lacks any feeling after being left to stew in the doghouse for ages. My usual metaphor stuff!
Rutledge: On the B-side, "Now That I Know How" is a nice complement to "Visiting Hours." This is another great pop song, but it has a slightly different vibe musically. What would you like your fans to know about this song?
Matt: It's a three-chord rock n roll song built around a Tom Petty & The Heartbreakers groove. The song's about learning to stand up for yourself. We opened the shows with it on our recent tour of Spain. We're gonna leave it exclusive to this release. It won't be on the next LP or CD. If you want it, then you have to buy this record!
Rutledge: You are now a trio. How, if at all, has this changed the dynamics of the band? Does it feel different to now be a lean "power trio"?
Matt: We're only a trio temporarily! We will find a permanent guitar player at some stage, but for now, we'll make the next album as a trio and have Conor Lumsden on guitar for our 2025 gigs. Conor is perfect for the band, but of course he has Music City & The Number Ones on his plate. He's a good pal and a brilliant artist. It's great to have him on board for the live shows.
Lineup changes aren't easy, and it has changed the dynamic, but I think anybody who's in a band understands how it goes sometimes. Musical differences, a change of heart and a fresh start etc.
In terms of what we're looking for, it's more important that you can sing than play guitar to any spectacular level. If you've got a good voice and understand harmonies but are just a decent guitar player, you've got the gig — as long as you're cool too, obviously!
Adrian: Of course with one less person in the band, it has meant that the three of us have had to step up and try and share the workload as best we can.
We're still very independent. Matt runs the social media and web store. I do the graphics and admin. And of course Kris deals with booking tours.
As far as it goes, a good song can get away with the basic elements. However, a big part of Matt's songwriting is putting in loads of mini hooks, be them vocals, guitar, synth, or otherwise. So in a live setting, we do still much prefer to have a four-piece band, and we have been lucky to have Conor as he lives in London now.
When it comes down to decision-making as a three-piece, it's gotten a bit simpler. It's an easy majority vote on stuff. That being said. we've not hit any disagreements yet. *touch wood*
Rutledge: What can you tell us about your next album and how it might different (or similar) in comparison to the last one?
Matt: It's partly written and partly recorded, but because of the changes in the band, we decided to re-think things a little and go somewhat back to the drawing board. I reckon just over half of the album is written, and there are a few new ideas floating around.
My hunch is it might be a bit more "pop" than the last LP, but let's see how it goes over the next few months!
Adrian: We recorded half of it; we are finishing up writing the other half.
We aren't trying to give too much away, but we aren't shying away from anything influence wise.
Rutledge: I suppose for a band like The Speedways, it can be a challenge when you're writing new music. You don't want to make the same record over and over, but I would imagine you want to still sound like The Speedways. How do you navigate that dilemma from a creative standpoint? Is there still room for this band to continually evolve without people thinking, "Man, they sure went to shit"?
Matt: I think getting the balance right comes fairly easy, mainly because 100% of my songs are written on an unplugged guitar sitting on my bed. Whatever comes out comes out. "Visiting Hours" is something a bit though different, I suppose.
I think bands at our level can maybe outstay their welcome; the novelty wears off whatever you write. I enjoy the challenge of trying to write songs that all different kinds of people will like.
Adrian: I honestly don't know; I think we aren't trying to force something that isn't there.
I think personally we've all been through a lot of different things, which will alter the themes of the songwriting. But we always just write about what we know or see, or things we've heard at the pub.
Rutledge: Can you tell us about some of the live shows you have coming up this summer and what your fans have to look forward to?
Matt: Yes! We play the Stardumb Festival (Stardumb 25) in Rotterdam on June 6th. Stefan contacted us and said he'd love us to play but that he only intended to have bands who had released records on the Stardumb label. So we said, "Well, we're putting a new single out soon if you'd like to be part of the release," and he was up for it. It's a really cool lineup and great to be involved!
We also play the CalaPop Fest in Spain on September 19th. We were due to play in 2020 until everything went to shit, but five years later we can finally make it happen! Antonio is a friend of the band and has supported us a lot.
There are a couple more confirmed dates too but we haven't announced them yet, so I'll keep that under my hat for now. Keep your eyes on our social media for when & where!
The set lists will be similar to what we played in Spain back in February/March: a mixture of songs we hadn't played in a while with all the "hits" and a few off-the-cuff covers!
Rutledge: You will be playing with Exploding Hearts in October. I would imagine you are excited about that. How did you get involved in that tour, and what does it mean to be playing with Terry?
Adrian: It's a pretty big deal. In terms of power pop, their importance and influence in the genre is undeniable. A lot of us assumed we would just never see them live. Then back when Terry and Louie dropped their first single, through a mutual friend Terry got in contact with me about doing the art for their second single, and we ended up becoming friends.
I'd asked him over the years if he had any plans to come to Europe for a gig, and it didn't seem likely. I let him know we'd be in California in September last year, and he mentioned he was living out in Joshua Tree. And we were already thinking of heading out there to see a friend in Palm Springs and also do a bit of Gram Parsons–themed sightseeing. So we went over to the bar Terry was managing to grab some dinner and hang out a little. As we were leaving, he said, "Hey, so next summer, you guys with us." Then true to his word, he got in contact asking if we were free and put our names forward with the booker.
We're all really excited to be playing with them. Just in a personal level, we all already get along with Terry and his band. But as fans, we are also really thrilled to be able to hear those songs live in the UK.
Matt: Yeah, it's an honour for us to be asked by Terry to do this. We're all huge Guitar Romantic fans. Terry's put together a great band (we're friends with those guys too). It will be a special tribute and very special to hear those songs played live. I definitely feel we're the right band to be part of the night.
As Adrian says, we met up with Terry during our West Coast U.S. tour last year. He made us the best cocktails ever and was great company. We sat and talked about music for a couple of hours.
He told us that he planned to bring the Exploding Hearts shows to Europe, and would we want to be part of any UK dates — of course we said yes! Looking forward to that one a lot.
Anyone looking to purchase the "Visiting Hours" 7" can follow one of the links below. And be sure to follow The Speedways on social media for updates on more shows and the new album!
I was absolutely floored when The Speedways dropped the new track "Visiting Hours" back in February. It was the band's first new song in nearly two years, and it did not disappoint. If you have been waiting patiently for "Visiting Hours" to come out on record, now is a fine time to make your move. The single (co-released by Stardumb, Beluga, and FOLC Records) has been pressed and will be shipping very soon. The A-side instantly rocketed to the top tier of my list of all-time favorite Speedways songs — and that puts in it some very good company. The track that's new to me here is the B-side, "Now That I Know How." This song channels Tom Petty via The Beatles, and who in the world wouldn't be into that? Lyrically, this is a vintage Matt Julian dissection of a doomed relationship. That guitar riff will really grab you, and Julian's vocal delivery is spot-on as per usual. In some alternate universe where 1979 never ended, this 45 has already gone gold! This is a very strong return for The Speedways, and that bodes well as we await the band's fourth LP due out later this year. Now go order the vinyl while you still can!
I've been a big Geoff Palmer fan since the early days of this blog. I'm a fan of everything he does, but I have to admit I have an especially soft spot for his pop-punk stuff. So of course I'm on board with him doing a whole EP of pop-punk tunes. On Kodak Flash, he is supported by one heck of a band: Tyler Spatz on bass, Paul Kennedy on drums, Zack Sprague on guitar, and F & L favorite Daniel James on lead guitar. These four tracks (two of which have already been smash hits on the Underground Garage) are everything that pop-punk music ought to be: exceptionally well-crafted, catchy as hell, relatable to life, and simply fun to listen to. Palmer is talented enough to play any kind of music, but he keeps going back to this kind of stuff because he truly loves it. And given that my tastes lean more to the pop side of the pop-punk equation, these songs could not be any more up my alley. Even when these folks put the pedal to the metal on a song like "Rubberneck," those melodies and hooks are undeniable. "Bye Bye Baby" hearkens back to Road to Ruin/End of the Century–era Ramones, and I could not be more stoked. "Teenage Memories," with its wistful lyrics and exquisite harmonies, hits that sweet spot where pop-punk and power pop become one. By its very nature, this EP is bound to leave you wanting more. Delivering four songs in less than eight minutes, this is an all killer, no filler experience. Kodak Flash is a first class effort all the way and yet another must-buy from the red-hot Stardumb Records. The vinyl release is on a one-sided 12", and I'd recommend moving quickly if you want one of those beauties!
I'm not sure there are adequate words in the English language to properly articulate the joy that Whimsyland's new EP has put into the universe. Suffice it to say that there's no better time than the present to fill this universe with joy. Chadd Derkins, the visionary behind Whimsyland, is a titan in the pop-punk world and all-around great dude. And with this band/project/whatever you wanna call it, he has created something absolutely unique and original that still has the fundamental appeal of pop-punk. The concept of Whimsyland is that it's an imaginary theme park. As a childless cat person, I don't often have the opportunity to go to theme parks. But I've always loved them and what they represent: wonderment, whimsy, escape from reality, the belief in magic, and the limitlessness of the human imagination. The idea that a songwriter could invent an entire theme park in thorough and fantastic detail fills me with awe. I would recommend Whimsyland's 2022 album not just to fans of pop-punk but to any little kid or any adult with a little kid's heart. But check it out: it seems the park has expanded!
Bounty Bay is Whimsyland's newest section — a land of swashbuckling pirates, singing birds, and tropical treats. Man, where do I get my ticket? Once again, Derkins has assembled The Whimsyland Band (Andy Conway, Mikey Erg, Chris Grivet, Grath Madden, and Charles Vorkas) to bring his musical vision to life. And on lead vocals, you will find enough special guest stars to put an episode of The Love Boat to shame. Seeing names like Danny Bailey (Jabber), Rachel Feldmann (Lipstick Homicide), Jason Shevchuk (Kid Dynamite, No More Black), PJ Sloan (Ruth's Hat, if you don't know, one of the best bands ever!), and Julian Warmland (Avem) on the list of vocalists might have you thinking of Whimsyland as a fantasy team assembled by a 21st century pop-punk nerd with impeccable taste. And maybe that's exactly what it is! Close your eyes and let these five songs take you to Bounty Bay. Hop on to Blurpy the Bumpy Barge, and soon you'll find yourself encountering some rough n tumble buccaneers, tasting the delectable Pineapple Dream (with a splash of rum if you're over 21!), and experiencing the thrilling spectacle of the Feathered Follies Bird Show. Musically, this EP combines everything's that's great about pop-punk, kids' music, and tropical pop. The wild creativity involved in the conception of these songs is matched only by the exceptional musical and vocal performances that have been captured on these recordings. Listening to this EP may have you wishing Bounty Bay were a real place. Well if you believe, it is real.
If you have already visited Whimsyland, you will certainly want to come back and check out Bounty Bay. First-time guests will want to start with the main park and the countless delights it holds in store. Bloated Kat Records, Stardumb Records, and Waterlslide Records have joined forces to release Bounty Bay on 7", so be sure to follow the links below to secure your copy. Better yet, secure multiple copies. It would be bad form to buy this for your kid and then end up stealing it from them.
Wait! What? The Speedways have a brand-new single out? How was I not aware that such a thing was in the works? I must be losing my touch! This is, as they say, kind of a big deal. It's the first new Speedways song since "Tell Me I'm Wrong" was released nearly two years ago. And I'll be damned if they didn't just turn out the best song Elvis Costello never wrote! Matt's in rare form here — writing about matters of the heart (specifically forgiveness) with great eloquence and an insight into such matters that can only be attained through personal experience. There are so many quotable lyrics in this song, so I'll just let you listen and read along rather than singling any out. The band, now a trio, hits that power pop sweet spot just right. And of course that chorus is absolute perfection. Given the long wait for new Speedways material, my expectations were sky-high. But "Visiting Hours" is everything I wanted a new Speedways song to be and then some. It manages to be classic Speedways without succumbing to the sort of self-imitation that can sink a band like this after a few albums. Stardumb, FOLC, and Beluga Records are teaming up to release it on vinyl in April, and then a new album is due out later this year. My god, I can't wait!
Heck yeah: we've got new music from Geoff Palmer to start the new year! "Exit Wounds" is Palmer's brand-new single, and it will be the opening track on his forthcoming EP Kodak Flash. This is the first new material Palmer has released since October of 2023, and it sounds awesome! The bonus for me is that my favorite lead guitar player, Daniel James, plays on this record along with Tyler Spatz, Paul Kennedy, and Zack Sprague. "Exit Wounds" is a vintage Palmer tune — an upbeat, catchy-as-hell pop-punk rocker that will stick to your skull like bubblegum. Coming in at just one minute, 49 seconds, this song definitely fits into the category of leaving us wanting more. But isn't that the whole point? Now we have something to look forward to as we await the full EP, which is coming out April 1st on Stardumb Records. Now this is the way to kick off the new music of 2025!
On their fourth LP and first in over a decade, London's Zatopeks have unleashed an anthemic punk rock album that would sound great in any era. No less of an authority than Mick Fletcher has identifiedLoitering and Sauntering as his favorite album of the year so far, and you know that got my attention! I do recall positively reviewing this band many years ago, but I don't remember Zatopeks blowing me away like they have on this new record.
Loitering and Sauntering is that rarest of things: a passionately politically-minded punk rock LP that will inspire you to go out and fight the powers that be but also make you want to jump up down, dance like a fiend, sing along loudly, and joyfully hoist a pint of beer skyward. If melodic '77-style punk with a poet's eloquence and the soul of folk and protest music sounds like something you'd be into, you should proceed directly to the Stardumb Records web site and get your order in! This album is fantastic from start to finish. I love how it's rooted in a classic punk style but stretches out from there in a totally natural way. Songs like "Kings of the Hotel Mile," "Stranded in the City," and "The Hairstyles of Mieczysław Rakowski" are pure punk rock bangers that could not be any more up my alley. I'm equally fond of songs like the folk ballad "Blueprints for an Unlived Life," "Jarama Valley" (an adaptation of the traditional number "Red River Valley"), and epic album closer "Angel of the Old Town." If you looked up "anthem" in the dictionary, you ought to be directed to listen to "Ghosts in the System." Much has been made of the thoughtfulness, humanity, and sheer brilliance of Will DeNiro's lyrics, and I concur wholeheartedly. Beyond that, this band's flair for timeless melodies and memorable choruses ensures that its music is never secondary to the message.
Zatopeks have been a band since 2001 and have been releasing music since 2003. Now in 2024, they've absolutely shattered the myth that punk rock bands go sour after their first couple of albums. I know it's an over-the-top thing for me to throw out a phrase like "instant classic," but I just can't help myself. I knew from my first listen that this album was something special. Either Zatopeks have become a far greater band over the last couple decades, or I've just gotten smarter. Either way, Loitering and Sauntering is one of the best punk albums of this year or any other.
On his latest full-length album, Geoff Palmer works in his familiar territory of pop-punk leaning power pop. Or is it the other way around? Following up 2021's Charts & Graphs and 2019's Pulling Out All the Stops, An Otherwise Negative Situation completes a formidable trilogy of fun, hit-laden punky pop albums. Palmer is such a dependable and consistent songwriter that it would be easy to take him for granted. But no one should make that mistake. There's nothing easy about writing memorable and catchy pop songs — Palmer only makes it seem that way. Out on Stardumb Records, An Otherwise Negative Situation is another lean affair at just ten tracks. It's similar to Charts & Graphs in the respect that it mixes up musical styles, and it's similar to Pulling Out All the Stops in the respect that every song sounds like a single. Palmer has cultivated a musical style that transcends genre, and you could land on any of these tracks and immediately know exactly whom you're listening to. I remember hearing "Give It Up" for the first time and thinking it was "too short." Dozens of spins later, I recognize it as one of Palmer's best songs and a master work of efficient songwriting. If you Googled "anthem," a link to "We Run" ought to turn up. "Surfin' Nebraska" is ten-out-of-ten pop-punk. "Dark Thoughts," which reminds me a little of The Replacements but mostly just sounds like vintage Geoff Palmer, is truly a perfect pop song. If it's not the best song on the album, it's only because "FOMO" is. "Stuck With You" is earworm pop-punk on the Beach Boys' end of town — always a sweet spot for Palmer. "Backseat Driver" is a stone cold gem of traditional jangly power pop. Sometimes ballads to close albums feel like unnecessary tack-ons, but this album would not be the same without the powerful and poignant "Like a Dove."
An Otherwise Negative Situation finds Palmer forming a top-notch power trio with his pals Kurt Baker and Zack Sprague. Baker and Sprague also contribute as songwriters on several tracks. Is this Palmer's best album yet? I'd say there's no question about it. Geoff Palmer will always sound like Geoff Palmer, but the growth (especially lyrically) from Pulling Out All the Stops to An Otherwise Negative Situation has been truly remarkable. I know I'm a little late to the party on this one. But holy cow — what a great freaking record!
Having previously reviewed the first two albums by Local Drags, I would be remiss in not showing some love to the third as well. Stardumb Records commander-in-chief Stefan calls Mess of Everything an all-time top five Stardumb release. You're talking about a label with over 100 releases that was the preeminent post Y2K pop-punk label and currently features some of the finest bands and artists in all of underground music on its roster. So that's some seriously high praise. And with Mess of Everything getting rave write-ups from twoof the music reviewers I respect the most, I knew I had to check it out.
Springfield, Illinois–based Local Drags are essentially a one-man-band. Lanny Durbin writes and sings the songs and plays most of the instruments. For this release, he enlisted the help of Neal Klein (lead guitar), Alyssa Currie (harmony vocals), and Schy Willmore (pedal steel). Luke McNeill, Durbin's Starter Jackets bandmate, produced the album at Capitol City Recording in Springfield. On 2021's Keep Me Glued, you could sense that Durbin was beginning to step outside the boundaries of basic power pop/punk and move towards becoming a more broadly-appealing, less genre-specific singer/songwriter. Mess of Everything completes this transition. Broadly, it's still a power pop album. Yet in some funny way, it lives up to its title. On these ten tracks, Durbin's melody-driven pop-rock approach owes more than a little to the influence of alt-country, '80s/'90s indie rock, and great American heartland rock. And that is no way a bad thing. Much has been made of this being a "different" sort of Local Drags record. But even with its wider stylistic range and more matured artistry, Mess of Everything still plays to what Lanny Durbin does best: writing tuneful, well-crafted songs with honest, relatable lyrics. No doubt, this is Durbin's strongest collection of songs to date. While the country-ish "Call You a Baby" and elegant "Good For Nothin" stand out for being atypical Local Drags tunes, they stand out more for their heart-on-sleeve lyrics and memorable melodies. Unquestionably, they are two of the best songs Durbin has ever written. The tracks that are typical Local Drugs songs, such as "Heard About It" and "Totally Down," remind us what an underrated figure Durbin is in the power pop world. Falling somewhere in between, the likes of "On the Slide" and brilliant closer "Better Now" demonstrate that songwriting maturity doesn't have to come at the expense of strong melodies or good, old-fashioned loud guitars.
Even as it finds it author mostly leaving his punk rock roots behind, Mess of Everything is a perfectly logical (and superior) next step from its two predecessors. Durbin reaffirms his status as a rock-solid and deeply likable songwriter. Still a quintessentially Midwestern rock and roll band, Local Drags remain worthy of recommendation to anyone who subsists on a steady diet of The Replacements, Tom Petty, and cheap American lager.
The second album from More Kicks arrives nearly three years after the first, yet somehow it seems like it's been longer that. That's easily explained. More Kicks came out in November 2019 — just a few months before the shit hit the fan for the entire world. In "pandemic time," it's as if we haven't heard from More Kicks in half a decade. So what a wonderful return Punch Drunk is. It's being said that this album (out now on Stardumb and Dirtnap Records) is a significant departure from the more straight-forward power pop of the band's debut. In many ways, that's very true. It would be an injustice to try to nail this record down to any specific genre. Yet if you think of "power pop" as a broad, non-restrictive concept, Punch Drunk just might be the ultimate power pop record. It sure is pop, and good lord is it ever powerful!
I've had the pleasure to follow the career of James "Sulli" Sullivan over a number of years now, and I consider him to be one of the finest songwriters going these days. He was on a bit of a hot streak at the time COVID hit, and there's no denying that he took it hard when he suddenly found himself unable to play shows or even properly rehearse with his band-mates. He ended up making the brilliant solo album Light Years, but you knew he was itching to finally get the band back together. The title Punch Drunk refers to Sulli's state of mind as he was putting this new record together in what he calls a "horrible moment" for himself and the world. And yet the feel of this album is triumphant and energized. You can sense the excitement Sulli, bassist Paolo Mantovani, and drummer Kris Hood had in finally being able to (in the near words of Ray Davies) rock out and have fun again. This album hits harder than any More Kicks recording ever has — when it wants to. And sometimes it goes softer than the band has ever gone before. Palpable influences range from Brit-pop to noisy indie rock to first wave punk to the Replacements/Paul Westerberg. Yet it all sounds familiarly like More Kicks.
Sulli as a songwriter and singer has an immediately recognizable style. With this album, he's added a pinch of what worked so well on Light Years to More Kicks' established power trio sound. Nobody is going to hear this album and protest about it being too different. All the different is good different. It's like the band thought, "Let's make an album that rocks harder but is also more pop...and noisier and punkier." Somehow Punch Drunk manages to be all those things and more. Tracks like "Hurts Like Hell" and "Come Home" are on the punk side of power pop, which is always a sweet spot for me. "Color Me Stupefied" is quintessential Brit-pop and magnificent at that. "Seven Ways," which is rough and raw yet still fundamentally pop, brings to mind the golden age of college radio. If you looked up "perfect pop song" on a search engine, new single "Terminal Love" ought to show up. I heard "Rest of Our Lives" and immediately jotted down the words "vintage Sulli." But when this album veers from the hard pop style, it veers significantly. The recent single "Animal" sounds like a post-punk band did a mash-up of "My Sharona" and Pete Shelley's "Homosapien." It's quite possibly the best song More Kicks have ever done. With its loose charm and brilliantly self-effacing lyrics, "Phoney Middle Aged Art" is wonderfully Westerbergian. "Got Lucky" is intimate and reflective — just a guy pouring his heart out over sparse keyboards and a drum machine. "Goodnight Goodnight" is literally and figuratively a marriage of solo Sulli and the full band rock and roll of More Kicks. I hate to keep making Replacements references since I find the influence to be more spiritual than stylistic. But there's definitely that similarity here where the ballads/slow songs end up being high points of an album.
This was supposed to be the part where I assured you all that you will love Punch Drunk. But because I'm a terrible slacker and now a couple weeks late on this review, I might as well just say that I already know you love it! I've seen the rave reviews, and I concur with them fully. This is the work of not just an exceptional songwriter but also a truly fantastic band clicking on all cylinders. The pandemic had More Kicks down but never out. They've come roaring back with the album of their lives. I suppose we can say this for COVID and More Kicks: it took the sophomore slump off the table! If you follow this blog, you need to own Punch Drunk.
I must admit that when I first heard that Geoff Palmer was covering Dee Dee Ramone's rap album in its entirety, I thought it was a pretty insane idea. But the more I thought about it, the more I warmed up to the concept. Standing In the Spotlight, released in 1989 under the moniker Dee Dee King, is certainly one of the most polarizing albums in the punk rock canon. Not everyone likes it. A great many hate it. But those who love it really love it. Fans of this record will argue that within the Ramones universe, it's highly underrated. Palmer would go as far as to call it a classic, and his version (out now on Stardumb Records) comes from pure love. And that's what has really won me over. A lesser artist may have treated this project like a joke, but Palmer was determined to pay genuine tribute (he even released the album on Dee Dee's birthday). The vocals, arrangements, and musicianship are of the same high standard you'd expect from any Geoff Palmer album. And as a rapper, Palmer can more than hold his own. Palmer clearly has affection for these songs, yet he manages to interpret them in his own unique style. Obviously the target audience is people who are already huge fans of Standing in the Spotlight. But I'm thinking more than a few people will hear this release and give the original another chance — or maybe even listen to it for the first time.
Typically, I approach a Ramones cover album expecting to love it but ultimately just find myself wishing I were listening to the original. I've had a different experience with Geoff Palmer's Standing In the Spotlight. I kind of thought I might not like it. Then as I kept listening, I thought to myself, "This is actually really good!" Of course Palmer and friends hit "Baby Doll," "Emergency," and "The Crusher" out of the park. But I love what they do with some of the album's less-celebrated tracks. "Mash Potato Time" is tremendous fun and features special appearances by Hayley Crusher Cain on backing vocals, Reid Cain on glockenspiel, and Mass Giorgini on sax. "Poor Little Rich Girl" is a genuinely successful mashup of rap and pop-punk. "German Kid," featuring excellent vocal performances from Hallie Bulleit and Kurt Baker, is a funky and infectious delight.
I'm sure a lot of people assume that Palmer made this record for shits and giggles. Nothing could be further from the truth. He's a Standing In the Spotlight super-fan, and he took seriously the task of celebrating the album even as he made it his own. He loves this record and hopes you'll love it too. I'm not sure if Palmer will manage to bring any Standing in the Spotlight haters over to the dark side. But if you're like me and were on the fence with this album, Palmer's version just might have you reconsidering your stance. Sweet t-shirt, dude!
More Kicks are big favorites of this blog's readership, and that will certainly continue with the release of the great new 7" EP Animal on legendary labels Dirtnap and Stardumb Records. The title track, a preview of the band's forthcoming LP PunchDrunk, sounds like nothing this band has ever done before. Yet it's another reminder of why James Sullivan is one of the most highly-regarded songwriters in the punk/garage/power pop universe. "Animal" is a pop song, no doubt -- but one with a hard, angular edge and brutally self-aware lyrics. You always expect this band to deliver the goods, but this is next-level stuff. The song opens with a riff that brings to mind a post-punk band trying to play "My Sharona," and there are echoes of Pete Shelley in Sulli's phrasing. If you like catchy riffs, catchy choruses, and catchy everything, you need "Animal" on your summer playlist. I'm absolutely fascinated by these lyrics. When Sulli sings, "But the human world to me it seems too full/I'd rather jack it in to be an animal," I can't decide whether we're supposed to fear him or want to join him. Exclusive to this 7" are the two B-side tracks. "The Wind Up" is in the band's usual wheelhouse of consummate crunching power trio pop but with slightly noisier leanings. "10 Miles High" is a lovely little acoustic number that leaves a perfect melody floating in your head. If these gentlemen can leave songs this good off the album, you know the album is going to be something else! Punch Drunk releases September 16th. Click here for complete pre-ordering information!
For his third full-length release, Geoff Palmer has made the surprising and fascinating choice to cover Dee Dee King's 1989 album Standing In The Spotlight in its entirety. Of all the albums in the Ramones universe, Dee Dee Ramone's rap album is probably the most polarizing. To this day, opinions vary on whether Standing In The Spotlight is an epic fail or an overlooked gem. Geoff Palmer would take the latter position, and his version of the album (out September 18 on Stardumb Records) comes from a place of deep love. "Emergency," the first single from the album, is sure to change the minds of more than a few Dee Dee King skeptics. This track is pure gold! Palmer's signature style is present in the vocals and arrangement, but the spirit of the original version is by no means lost. If you didn't know this was a Dee Dee King song, you might think this was a just great new Geoff Palmer tune! As I listen back to the original, I can totally hear how it may have influenced multiple generations of pop-punk bands. Granted, "Emergency" is one of the best tracks on Standing In The Spotlight. I am intrigued to hear what Palmer does with the rest of these songs. But if "Emergency" is any indication, we should expect very, very good things from the full album. Click here for all of your pre-ordering options!
When I heard that James Sullivan was releasing a home-recorded solo album, I was excited. When I heard that it would be a major departure from his work with More Kicks and Suspect Parts, I was at least slightly concerned. I had visions of Sulli trying his hand at screamo or making his own version of Metal Machine Music. I am happy to report that Light Years (out now on Stardumb Records) is "different" in a totally good way. If you are a fan of Sulli's singing and songwriting, you are guaranteed to enjoy this album.
Light Years is Sulli's "pandemic album". Almost all of us had our particular moment when 2020 hit us the hardest. For Sulli, that moment was November 2020. Months of canceled gigs and forced isolation finally got to him. He channeled his frustration and despair into a creative endeavor -- challenging himself to write ten songs in ten days. He then recorded the album at home in North London on a "half-broken" Tascam 38. For Sulli, this project was the "antithesis of overthinking". Since the songs were not being written for a live band, he was free to experiment with styles and go wherever his inspiration took him. He recorded the album entirely in live takes and chose to not edit out any of the "mistakes". Although several friends make guest appearances, Light Years is about as DIY as it gets. This is the sound of one man making music in his room -- playing (almost) all of the instruments himself and doing his best to capture it all on tape. And yet these songs don't sound half-assed or "crappy" in the slightest. The homemade feel gives this album tremendous charm. Light Years affirms that James Sullivan is an exceptionally talented songwriter capable of crafting marvelous tunes in a variety of styles.
Touching on everything from Brit-pop to folk rock to new wave to indie rock, Light Years finds Sulli breaking out of the power pop box but still embracing catchy, melodic tunes. Album opener "Lea Bridge" lays a stream of conscious spoken word narrative over a Brit-pop background, and it's absolutely captivating. "Getaway" is excellent DIY post-punk rivaling Andrew Anderson's recent solo work. "It Won't Do You Harm" is a simple but gorgeous acoustic number. "Totally Bored" brings to mind the noisier, fuzzed-out side of early '90s indie rock. "You Kept My Heart Alive" could almost be a More Kicks song. "In the End" is a good melodic track with a '70s light rock vibe to it. "Up To My Neck Again" reminds me of something Billy Joel might have written decades ago. And to cap it all off, Sulli covers The Proclaimers' deep cut "Then I Met You" and makes it his own in the most wonderful way.
I've read the promotional materials for Light Years and seen the comparisons being made. They're all quite valid. But I'm going to keep it simple and recommend James Sullivan's debut album to fans of...James Sullivan! Even as Sulli branches out stylistically, his phrasing and melodic songwriting style remain familiar and comforting. Listening to Light Years is like spending a delightful half hour with an old friend. It's a fine solo debut from one of the best songwriters out there. Unfortunate circumstances may have compelled its creation, but here's hoping that we have not heard the last of James Sullivan as a solo artist!
Geoff Palmer has been a favorite of mine since the earliest days of F & L. With The Connection, The New Trocaderos, and Kurt Baker Band, he's been a huge part of several albums that have influenced the musical direction of this blog. As a a solo artist, he's been one of the brightest stars of contemporary pop-punk and power pop. Last year, he and Lucy Ellis almost managed to redeem 2020 with a delightful collection of duets titled Your Face Is Weird. So when I heard that Palmer was releasing a new LP this year, it immediately became one of my most looked-forward-to albums of 2021. Out today on Stardumb Records, Rum Bar Records, and Memorable But Not Honorable, Charts & Graphs is Palmer's second solo LP. And it does not disappoint!
Like 2019's Pulling Out All The Stops, Charts & Graphs rolls together power pop and pop-punk in a way that's pleasing to fans of either genre. And much like Your Face Is Weird, this album finds Palmer expanding his core sound with songs in a variety of musical styles. If you're craving "vintage" Geoff Palmer punky pop tunes, songs like "Many More Drugs", "Don't Be", and "Tomorrow" are guaranteed to satisfy. But some of the true gems of this album are more unexpected. The title track, written by Emma Tobin, is a poignant breakup song that's both clever and devastating. The country rocker "Count Me In" pairs an upbeat, hard-driving energy with highly philosophical lyrics about the nature of the afterlife. "What Would Paul Westerberg Do" has a lot to live up to based on its title, but it proves to be a satisfying homage in every respect. And I'm totally obsessed with "This Monkey", a song Palmer co-wrote with Zack Sprague. It's unlike any song Palmer has ever recorded before. It's kind of poppy, kind of modern rock-ish, and so sneaky catchy that it'll be stuck in your head before you even know what hit you. The vocal exchanges between Palmer and Sprague on this track are pure gold!
Charts & Graphs is everything I wanted it to be and more. It shows the many sides of Geoff Palmer while still embracing his roots in pop-punk. In a modern-day power pop punk scene that can sometimes get a little "samey", Palmer is one of the true originals. When you hear one of his songs, you know it's him. His personality comes shining through on Charts & Graphs. Whether he's recounting amusing tales of misheard song lyrics, reflecting on the importance of not being an asshole, lamenting love gone wrong, or pondering the upside of eternal damnation, he's super likeable and always great fun to listen to. For my money, he's one of the best songwriters in rock and roll today. I highly recommend Charts & Graphs to all fans of good music!
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