THE DARTS U.S. – Halloween Love Songs (Adrenalin Fix Music, thedartsus.bandcamp.com)

It’s only March and The Darts U.S. are releasing a Halloween album?? Well, yeah. For some people, Halloween is a year-round celebration! And, as the band described in an interview in 2024, “The world needed some new Halloween songs,” adding, “the holiday deserved so much more than just ‘Monster Mash,’ and no one seemed serious about filling that void.” So they set to work, writing songs worthy of the spooky celebration and worthy of their garage vibe, a perfect match if ever there was one. The Darts, for those of you living under a rock, are an all-woman gritty garage rock band that have been playing for the better part of a decade now. Originally out of LA and Phoenix, the band is now based in Seattle, and have put out records with garage specialists Dirty Water Records and punk provocateurs Alternative Tentacles. If you’ve read my columns over the years, you’ll know they put out consistently excellent records with a solid 60's garage sound. The band purposely designed the album to have two sounds to go with the two sides. The A-side, they say, is meant to be “spooky fun Halloween kitsch for trick-or-treating as the sun sets,” while the B-side has a “darker sound” for “the after midnight bonfire with the leftover candy.”

And it’s true, the songs on Side A are bright and fun in their dark kitsch, perfect for doing spooky dances in your cheap dime store costumes as you beg for candy and scheme to play tricks. “Midnight Creep” starts things out with an upbeat dance tune with eerie organ and rockin’guitars, as the drums pound out the back beat. Songs like “Zombies on the Metro,” “Vampires in Love,” and “Every Night is Halloween” show why 60's garage rock is the perfect match for Halloween songs. One of my favorites is “Blood Runs Cold,” a hopping tune with a dark Eastern European folk feel to it. “Vampires in Love” sounds less like a romance and more like gleeful evil.And “Apocalypse” was written after seeing the medieval Apocalypse Tapestry, with the thought that at least the apocalypse would bring an end to the suffering of oppression. The lyrics “No future, no kings,” predate the “No Kings” protests against the Trump regime by a year. It’s perhaps the hardest rocking and angriest song of the album, and a great way to end the party side.

The post-midnight side is darker, sultrier, and more sinister. Songs like “Devil Made Me Do It,” “Haunt Me,” and “Up In My Soul” reveal the seamierside of Halloween, where real evil lurks. The songs are a little slower, a little more subtle. “Darkness” is a favorite of the B-side, with its chilling organ, alluring melody, and seductive vocals. “Haunt Me” sounds like it came from a 1960s spy movie, with an unholy pleading quality.And “Late Drive” sounds like music for a David Lynch movie montage, deeply disturbing. Some people think Halloween should be celebrated every day, and now it can be. Good, spooky fun.

GREEN CIRCLES (Kool Kat Musik, greencircles.bandcamp.com)

Kool Kat has a solid winner here! The label that’s best known for keeping the power pop and AM bubblegum flames alive has teamed up with Australian rockers Green Circles and this, the band’s fifth LP, is loaded with variety, but based in excellent garage rock. It opens with a huge bang with “Said It Would.” It’s a tune filled with R&B inspiration, with horns filling out the arrangement. What a tone it sets for the album, full of fun, sure to get you moving on the dance floor! It’s followed right away by “Days of Blue and Green,” a great retro garage tune with a solid danceable rhythm. “Move on Down the Lane” gets even grittier, and the horns return on “Undecided,” a song that blends retro garage pop with R&B and even a hint of downhome twang. And I love the blend of garage and Social Distortion brand punk in “Dirty Taste.”

I mentioned variety. Not everything is various shades of garage rock. “Too Bright for a Monday” has a mix of power pop, R&B, and punk vibes that reminds me of some of the great music Stiff Records was putting out in the late 70's. “She Walked Along Here” is has the feel of an 80's smokey rock classic, smooth and sultry. “I Watch the Line” is a cool psyche-pop tune punctuated with those horns, making for a fun sound. “Ladder in her Stocking” is lighter fare, with some nice jangly 60s mod pop, a harpsichord in the arrangement being a really nice authentic touch.And “Yesterday’s Glass” closes the LP with gorgeous acoustic guitars in a lovely song based in the sounds of folk music. It’s completely different from anything else on the album. Variety is, indeed, the spice of life, and Green Circles have it on this self-titled LP.

MEGA INFINITY – Harmonic Convergence (Say-10 Records, megainfinity.bandcamp.com)

Mega Infinity has been around for over a decade, so why am I just hearing about them? They’re a New York band that’s dreamy. No, wait, they’re a gritty indie rock band. Oops, they’re ska punk, er, wait, they’re epic. They’re all that and more. The ten songs on their latest LP run the gamut of influences, and it’s truly a glorious thing to behold. Michi DiGiulio’s vocals are strong and powerful, and husband Mike DiGiulio has some great technical guitar licks. The melodies and arrangements are almost universally soaring and sweeping in scale, as is exemplified in “In Bocca Al Lupo,” featuring Bondbreakr. The song is tough and crunchy, yet the arrangement has some ska elements to it, as well as metal, and the melody has a real story- telling quality to it. Lead vocals alternate between sweet and smooth and growled evil. The ska and metal meld together with Euro-folk on “Temperance,” while “Distracted” is relaxed breezy indie, smooth and easy. The band even brings in some hip-hop beat poetry with guest MC Lars on “And the Crowd Goes Mild.” If you want straight-up ska punk, check out the excellent “Fancul!” a song that’s loaded with ska rhythms and horns, but also has a dark horrorsoundtrack vibe.

Another favorite is “When You Get Home,” which immediately took up residence in my brain after one listen, so much so that upon later listening I wondered if it’s a cover (it’s not). The song is truly soulful, with R&B undertones.And it’s hard to think of a recent song as huge and grand as “The Magician,” which closes the album. Mega Infinity brings the variety, with lots of interesting sonic textures, expert musicianship, and solid songwriting.

SNOWCUFFS – Sweet Gravity (snowcuffs.bandcamp.com)

Chicago band Snowcuffs has been around for just a short time, having formed in 2022. Their music is best described as shoegazy dream pop. The music is both sensuous and chaotic, with thick arrangements layered with trebly tone and loaded with reverb. The band’s output to date has been a couple of singles and a four-song EP, with this new EP being their sophomore effort. “Burst” is bright and upbeat, with an optimistic vibe to the melody, but the sharp penetrating guitar tone also gives the band an icy quality, as cold as the Chicago winter. The synths used on “In Blue” give a cinematic feel, sort of like those sensuous soundtrack numbers from Bond films, very mysterious. “Sunless,” ironically, sounds sunny, but still cold and crystalline, like those Chicago winter days when the sun shines in a sapphire blue sky, though the temperature is sub-zero. And “Cold Memories” swirls incessantly with a sense of melancholy. That mix of dreaminess and chaos in the production is unique, but may be polarizing.

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AMERICAN STEEL – Rotting (Red Scare Industries, redscare.net)

Way back in 1998, American Steel released their self-titled debut LP, in a limited vinyl edition of 500 – 200 of which were mysteriously destroyed by the record label, leaving only 300 in circulation. In preparation for a very long-awaited remastered reissue later this spring, Red Scare cajoled the band into the studio to record an acoustic version of one of the songs, and are releasing this “digital single” to whet our appetites. The “A-side,” if you will, is “Rotting,” a raucous poppy street punk tune that brings back strong memories of the early East Bay/Gilman Street tradition of bands like Operation Ivy. It’s raucous chaotic fun with gritty vocals, hints of ska punk in the strong back beat, and a nice speedy loping feel. It’s a reminder of how good American Steel is, and how influential they’ve been. The “B-side” features a brand new acoustic recording of “Long Day,” a song which appeared on that debut LP. Here, in place of the full-band experience we get acoustic guitars and electric organ, but still present is the strong ska vibe of the original, but the vocals are cleaner and clearer, and the electric organ gives the song a warmer feel than the original, and an almost spiritual quality. Whetting our appetites? More like making us drool in anticipation.

BIRDCOP – Class Warfare (birdcopband.bandcamp.com)

Minnesota’s BirdCop is a hardcore band, but a hardcore band with a difference. Sure, they’ve got some fast’n’loud songs, like the chaotic “Let It Be.” But they also inject a bunch of heavy fuzzed guitars and bass, showing their love of grunge, doom, and desert rock. It makes for a more interesting texture, with a sound that’s unique and different from generic hardcore and thrash bands. Most of the songs lope at something a bit more than mid-tempo, like “Human Toilet,” which opens the album. The tone sometimes reminds me of Motörhead, particularly on the closing track, “Awful Things.” Listen to it and think of “Ace of Spades,” and see if you agree. The ire is palpable, particularly in the screaming and guttural lead vocals. I like “Sugar,” a song that has a mix of gruff hardcore and grunge, bouncy pop sensibilities, and hip-hop spoken/shouted delivery of the lyrics. “Put Me Down” has a similar vibe, but less pop and more hard rock, with the same bouncing lope and the same vocal style. BirdCop has a unique style and energetic delivery. I bet they’re fantastic live, too.

DUANE REGRETSKY – Duane Regretsky’s Mind Palace (High End Denim Records, highenddenimrecords.com)

What happens when you mix punk rock, comedy, vaudeville show tunes, acoustic and electric guitars, and synths? You get the weirdness that is Duane Regretzgy, hailing from our frozen neighbors to the north. The tongue in cheek humor, along with the seriously well-executed music, brings to mind the great Bobby Joe Enola and the Children MacNuggits. To give you an idea, the first track is the “Theme from a Duane Show,” a song with acoustic guitar and keyboards, welcoming attendees to the theater for the show. It informs audience members that the doors will be locked so no one can leave and for the next 40 minutes; they’re going to listen to him. “Into the Red” is a solid modern pop punk full band song, and you can hear the sarcasm in the vocal delivery. “Cannibal Integrity,” too, features full-band goodness, with the synth taking center stage in a song about the death of artistic integrity, especially with the rise of AI. I love “Sucks to Be Cool,” which takes influences from various rock and roll genres. And “Berserker” is powerful 90s melodic punk rock, with all the aggression of a berserker.

But most of the songs aren’t full band affairs, focusing more on acoustic guitar and some other instruments, like “Revolution State of Mind,” a hysterical revolutionary anthem with folk protest song roots. Or the ode to Taco Tuesday in a Mexican food desert like Canada, “White Person Tacos,” with lyrics like “It’s Cinco de Mayo without the pico de gallo.” Or the hilarious “GFAHITG,” which stands for “Go fuck a hole in the ground.” The song is an upbeat happy sounding folk song that’s just one slam after another, and at 59 seconds it’s the shortest song, but maybe the most effective of the LP. We get a clever musical TV ad in “Attorney at Law,” with lines like “when you break your arm on a rented jet ski, just pick up your phone and call Duane Regretzky!” Duane Regretsky’s Mind Palace is pure entertainment. Give it a listen and you won’t Regretzky it.

THE LEGAL MATTERS – Lost at Sea (Big Stir Records, bigstirrecords.com)

The Legal Matters have been a force in Midwest music for over a decade, transcending their power pop roots and injecting an indie aesthetic to their music. Yet they never stray too far from the classic AM radio sounds of the late 70s and early 80s that are at the heart of their sound. Rich multipart harmonies, bubblegum pop hooks, and thoughtful retro arrangements fill the ten songs on this, the band’s fourth full-length LP. One song that illustrates the blend of power pop and indie is “The Message,” the second song of the album. It’s a song that starts out modestly, with just acoustic guitar, and slowly builds over its three and a half plus minutes. Those big vocal harmonies are a real throwback, sometimes evoking memories of The Beach Boys, while some of the choices of guitar tone are thoroughly modern indie. One of my favorite tracks is “It Doesn’t Matter,” which the band says is their “rockiest” tune and “one of the most anthemic tracks” they’ve ever done. To me it just has a solid modern indie sound, but with some retro psych touches. Another is the gorgeous XTC-inspired “Stuck With Me,” with a great chugging rhythm, acoustic guitar, and wall-to-wall harmonized vocals. It perfectly blends retro and modern indie pop sounds. Sometimes the band makes other choices, like on “Shake This Feeling,” which has lush strings and deep guitar tone, along with ringing keyboards, giving the song a mix of lounge and cinematic vibes. And “Slow Down” is a ballad that could have been an AM radio his in the 70s. Overall, the record is pleasant enough, especially if you’re a fan of old school AM radio. I wish it would get a little more raucous, sometimes, but it’s a nice listen.

MELONBALL – Take Care (Thousand Islands Records, thousandislandsrecords.com / rookierecords.de)

German skatepunks, Melonball, are fairly new (Take Care is their sophomore LP), but they sound like experienced veterans. They play crunchy, hard-driving 90s punk rock, with plenty of melodic content and an aura of dark foreboding. The lead vocals, sung by Olivia Barth-Jurca, are commanding, a match for the powerful instrumentals. In this respect, they remind me of the great Bad Cop / Bad Cop. And like Bad Cop, their songs don’t shy away from political topics. Like on the opening track, “Silence = Compliance.” It’s the perfect anthem for these times, in which western governments, especially in the US, have grown more and more authoritarian and fascist. The people who say nothing and do nothing but watch are just as guilty as the perpetrators, for letting it happen. “Ally vs. Alibi” is a standout track, with some great melodic lines, a great bouncy pop-filled chorus, and angry lyrics. Arranging seems to be a strong suit for Melonball, because many of the tracks have thoughtful arrangements, including “The Static Master,” with lead and backing vocals echoing each other and melodic lines moving between vocals and guitars. If you’re looking for hardcore, they have that too. “Garbage Day” is hard-edged, fast’n’loud stuff. And the harmonized lead vocals on “Exist,” “Bullshit Revolution,” and other tracks are just perfect, and another reason for the comparison to Bad Cop/Bad Cop. Melonball’s instrumentals are tight and pack a wallop, but they’re not overly technical. They’re crunchy, but they never veer too metallic. This is speedy strong punk fucking rock. Solid!

MENTAL GYMNAST (Say-10 Records, www.say-10.com)

Say-10 Records and Skateboards boss, Adam Gecking, hasn’t played in a band in about a quarter century, and now he’s back, with Mental Gymnast. It’s five songs in six minutes. It’s crunchy old school hardcore. And it’s…synth rock? Yes, it’s the classic 80s hardcore sound, but with synths! Dark angular lines, angry lead vocals, big gang vocal shouts, and political and social commentary abound. “One Big Dark Room,” the opening track, is the perfect introduction to this new band. You can hear the rage in this pit-ready track. “Fuck This Forever,” reminds me, in some ways, of Mykel Board’s 80s hardcore band, Artless. And “Beat It” and “Lucy” are all in a similar vein. “Two Legs Bad” is a bit different, though, with more of a post-punk vibe and less hardcore crunch. The title, of course, comes from the propaganda slogan “Two legs bad, four legs good,” from the political novel, “Animal Farm.” Mental Gymnast’s debut EP may be short, but it’s powerful.

NIGHT PUNCH – Godisnowhere (It’s Eleven Records, itselevenrecords.bandcamp.com)

Night Punch is another synth-hardcore band, this time from Hamburg, Germany. They’ve only been together a short time, and Godisnowhere is their sophomore LP. Though LP is stretching things, as the eight tracks only clock in at about 14 minutes. For the most part, the music is aggressive lo-fi hardcore, brutal and powerful, yet with melodic vocals. Dark apocalyptic sounds mix with the brutality, and the synths offer a cold vision of the future. One favorite track is “Ash Williams,” not just because it shares its title with the name of a former local band where I live, both having been taken from a character from the Evil Dead franchise. No, it’s because of the emphatic, broad singing, the raw power of the instrumentals, the angry gang vocals, and the eerie outro. “Noble Rot” has a cool garage-core vibe to it, with a more loping rhythm. Sietra Rivera opens with eerie synths and guitar effects before blasting off, and has some excellent rumbling bass work and crunchy surf-core guitars. One thing that’s extremely effective, too, is the use of samples and effects, and the use of dark samples and classical music on some tracks. The first track, “Intro,” sounds like it’s right out of the soundtrack of an apocalyptic science fiction film; “Black Art and Alchemy” ends with a snippet from Vivaldi’s “The Four Seasons,” with the sounds of someone struggling to breathe; and “Oh Dae-Su” ends with more science-fiction sounds. The closing track, “The Endless Longing of a Guillotine,” is a solemn piano piece filled with reverb. The combination of primal noisy hardcore, lo-fi recording, and melodic vocals is pretty potent. And even better, all those samples and extra bits make this extra special.

STIFF MIDDLE FINGERS – Like Eroding Stone (Dumb Ghost Records, dumbghost.bandcamp.com)

Besides having a great name and album title, Stiff Middle Fingers are a fucking great band! What started out as some friends getting together to play classic old school covers quickly turned into a real band with their own music. The Lawrence, Kansas band’s sense of humor is clearly on display in every single record they’ve released, with satirical takes on other bands’ LPs, such as Songs About Sucking (parodying Big Black’s classic LP, Songs About Fucking), or Lawrence-Kansas (with an album cover designed to echo The Adolescents’ debut LP). But, more importantly, these guys are excellent musicians and songwriters. The album opens with “Redacted,” an intense song that immediately brings to mind the great NOMEANSNO. And “Extra Quarters,” too, features intense, off-kilter music and extremely anxious vocals. The drums pound furiously, and you’re left feeling incredibly uneasy. The only thing missing is the delirious bass playing a la Rob Wright. The closing track, “Mad Cow Disease,” too, has elements of this sound, with repetitive rhythmic lines, and it’s one of my favorites of the LP. The band’s songs are crunchy and powerful, the lyrics are biting, and the vocals are delivered with more snot than a kid’s nose when they have a bad cold. For the most part, though, these songs have the vibe of old school funny punk, with loads of snot and sass, but played with expert musicianship instead of sloppily. “Ugh” is a perfect example of this sort of song, or “Hole. ”There are even big vocal harmonies on some of these songs, like “Al-Gore-0-Phobia” and “Hole.” And “Munky and Head’s Day Out” reminds me of some of the fun music that came out of the Bay Area Gilman scene in the 90s. The name may make you pass, thinking they’re a cover band or a joke band, but Stiff Middle Fingers is a top-notch band and this is an excellent LP.

VOXTROT – Dreamers in Exile (Cult Hero Records, shop.voxtrot.net)

Voxtrot were apparently a darling of critics a couple of decades ago. After a twelve year hiatus, they reunited a few years ago, reissued their first couple of EPs, and then decided to write new music. And now here we are, sixteen years since their breakup, and nineteen years since their debut LP, and Voxtrot’s sophomore full-lengther is finally here. They’ve got that sort of sound that’s on the razor’s edge between commercial and alternative pop rock, with lush arrangements, jangly melodies, a big sweeping sound, and sincere heartfelt vocals. When the band keeps things restrained, simple and honest, that’s when they’re at their best. When they overthink arrangements and get too big and slick, they start the lose me. They get one thing right, immediately: their best song comes first on the album, which is a great way to pull people in. “Another Fire” is a song that starts simply, with throbbing post punk bass and shimmering ambient synths. The vocals come in with just that background, singing urgent sounding lyrics about the growing division in the world. The song gets a bit bigger as it goes, adding piano and subtle trumpet, but never feels overblown. I get a real 80s post-new wave vibe from “Fighting Back,” especially in the production aesthetic, loaded with reverb to make it sound big and airy, and the massive dependence on synths. “Dreamers in Exile” has hints of power pop and glam, giving it a nice bright sound, and is one of the better tracks of the album. “The Times” is a unique song on this album, reminding me of some of the 50s-influenced pop music coming out of the UK and Stiff Records back in the late 70s. It’s got lush strings, classical guitar, and 50’s ballad melody.

But there are songs that just don’t do it for me. “New World Romance” introduces strings and horns into the arrangement, and just sounds way too overproduced, way too slick. Many of the songs veer too much onto the commercial sounding side of things. The ballad, “Quiet Noise,” for example, sounds like something any number of bands vying for commercial radio slots and big arena shows would have released a number of decades ago. “My Peace” has a lovely folk-pop sound, with subtle mandolin and accordion in the arrangement, wonderful electric guitar jangle, and smooth lead vocals. It would have been perfect if it was left at that, but then the organ and horns were brought into the mix, trumpets and trombones. It’s too much. It’s overproduced.

The penultimate track, “Rock & Roll Jesus,” is the grittiest, most honest sounding song of the album. But even with this, once we get to the bridge and the big keyboard solo, it comes across as less than honest. Bottom line” the vibe I get from Voxtrot is that of 80s post-new wave/pre-alternative put out by a major label for a band that’s too big to play your local dive bar, but not big enough for the arena circuit.

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THE DUMPIES – Lub Dub (dirtcultrecords.bandcamp.com)

Astoria, Oregon’s favorite punks, The Dumpies, are back with a new mini-LP. Thirteen short, angry snotty tracks in under eighteen minutes? Check! Fun pop-punk? Check. Brutal hardcore? Check and double check! A common theme is medical situations, with sound clips in some tracks of doctors speaking to patients or the beeping sounds of medical monitors. One of my favorites of these comes in the intro of “Today is a Car Door,” in which we hear the beeps and boops, with a PA announcement, “Paging Doctor Jaycar, your patient is prepped and lubed.” Another is the intro to “Absorb You,” one of the raucous hardcore tracks. We hear a girl reading instructions for first aid techniques to treat severe injuries, set to happy sounding elevator music. Some songs are gritty, scratchy poppy punk, like “My Own Gross Anatomy,” “Stunty,” and “Work Song,” the first three tracks of the album. They’re in an FYP sort of vein, to give a comparison. One of my favorites in this category is “Alpha Rats Nest,” a song that feels like a speedy lope. It has a solidly catchy melody, and the band has just the right amount of looseness to feel sincere without feeling sloppy. I really like “Witch Love,” too, which mixes scratchy pop punk with power pop jangle and a bit of Clash influence. Other songs are pure old school early 80s hardcore, like “Thought We Ate,” “Gooch Flowers,” or “Human Carnage.” That last is so authentic it sounds like an original recording from back in the early days of hardcore, and is one of my favorites in this category of songs. One thing is certain; this record is too short! It leaves me wanting more. Which is always the mark of an excellent record.

THE JUNIOR LEAGUE – Moon Neither Noticed nor Ignored (Kool Kat Musik, www.koolkatmusik.com)

The Junior League, brainchild of drummer/vocalist Joe Adragna, has been an ongoing concern for a decade or so, and now is releasing their tenth full-length LP. The Junior League has always been hard to pigeonhole, as they play around in a variety of musical genres, from power-pop to folk-rock and even a bit of Americana. Bright guitar-fueled pop is always at the center of the songs, though the sentiments are often more introspective, with thoughts about aging, and death. The opening track, “Sunset Park,” is a solid start, with great jangly pop hooks and a garage-rock aesthetic. There are some wistful ballads on this album, including “Just As Long As I Have You,” about how, no matter how bad things are in the world are or how fast time seems to be slipping away, everything will be OK “just as long as I have you around.” And “Never Quite the Same” has a very nostalgic sound, both musically and lyrically. Songs that don’t quite get there for me include “A Matter of Time,” which reminds me of a softer, countrified Rolling Stones. Similarly, “I Hate to Break It to You” sounds like a slowed down and more experimental version of a Rolling Stones tune, bluesy and a bit funky and psychedelic. Overall, though the album starts out strongly, in the end, it’s a little too soft for my tastes. I like some edginess in my rock and roll.

MYLO BYBEE – Revisions (Gold Ship Records, www.goldshiprecords.com)

Mylo Bybee is a new one on me. According to Google, they took their name from a real person, Milo Bybee, who invented the popular Idaho food, the finger steak (breaded and deep fried strips of beef, like chicken fingers but with beef). They’re a four-piece band from Idaho that plays big expansive and emotive music. It’s rock-based, with guitar, bass, and drums, but it sounds more ethereal and airier than a lot of rock music. Much of this may be from the production, which injects large amounts of reverb, creating that big open sound. But it’s also from the fury that Tyler Schlangenhauf (lead vocals, guitar), Tim Fahlen (guitar, backing vocals), Tony Caruso (bass) and Jason Guadalupe (drums) bring to their playing. Schlangenhauf’s vocals are clear and resonant, a nice change of pace from the gruff and raspy singers in a lot of indie bands these days. And the songs feel somewhat introspective, like you’re alone with your thoughts in the huge outdoors. The mini-LP’s (there are six tracks in 25 minutes) opening salvo, “I Wish You Well,” is a favorite, with soaring melodic lines and big hopeful sounds. “Surrendered Notions” is a tougher sounding track, with driving instrumentals and mysterious vocals. I really like the breezy feel of “Time Machine,” which, despite being recorded with the same size-increasing reverb, still feels intimate. The quiet opening feels almost like a spiritual, but then as the song gets started it feels almost like singer-songwriter fare, very personal. And “Misinformed” is the bounciest poppiest track, but here the guitars are alternately jangly and dirtied up, noisy and snarling. Mylo Bybee may be oddly named and they may be lesser known, but they’re worthy of your attention.

SEMI-FAMOUS – Not Sorry (Sounds Radical Records, www.soundsradical.com)

Semi-Famous’ sophomore album comes after the death of band member Billy Brown (also a member of bands Crash and Burn and Deadly Sins). The band began as a creative partnership between Brown, along with John “Jughead” Pierson, most famously of Screeching Weasel, and Ryan Rockwell of Mixtapes. They recruited other musicians to help them realize their vision of the fictional band from Pierson’s book, “Weasels in a Box.” And then everything took on a life of its own, the band growing beyond its initial vision. Semi-Famous isn’t just a band. It’s a collective, a family. And even more than with their debut LP, Destroy Ourselves, you can hear the contributions of each member in the various songs. There’s a wide variety of styles here, from straight-up pop punk to folk punk, from show tunes to street punk, and more. You can hear distinctions between the songs written by Pierson, Ryan Rockwell, or Poli Van Dam and her husband, Mike Kinshella.

Some of the songs speak to things that affect a family, like the death of a loved one, or when someone hurts another, whether meaning to or not. Yet, through it all, the family remains strong and unphased. Which is the title of the opening song, “Unphased.” It’s short and simple, snotty sounding pop punk, but the lyrics, about “getting lost along the way” but realizing “we got a long drive,” lots of life and miles ahead of us, together, so we “let the radio play,” we just keep moving forward. Together, as a family. In a similar vein is “Theatrical!” which is not a theatrical song, but has a very wistful quality to it. Jangly guitar opens the song with Van Dam’s gorgeous vocals, singing about how we wallow in our own shit, initially blaming our problems on others, but eventually realizing we have only ourselves to blame. We work to fix things and “find my way back home,” as we receive forgiveness from those we hurt, and learning how to forgive allows us all to grow as people and keep moving forward together in life.

The record also speaks to how a family sometimes has to have an intervention when someone is straying too far off the right path. “Phase” is a great loping street punk tune about this, telling the person in question that “We can see that you’re off your path.” “Drop the bullshit, alright,” is the demand. “I love the upbeat “Run Away,” a song about the difficulties of making a relationship work when one person feels responsible for the happiness of the other. The music is bright and shiny, but the lyrics reveal the desperation. “I’m running out of breath chasing your blues away / And I’ll be right behind you / When you’re home to stay / I’ll never let you out again I swear.” But at the end of the day, happiness is something we each have to create for ourselves, and such relationships can never work out. “Now I sit here and sing, but there’s no one to hear / This stupid song ‘cause you’re long gone,” the song ends.

“Orange Grove Insert” is another stand-out track, a song that goes through metamorphoses, changing form from a punk tune (influenced equally by grunge and 60s pop) to a 1920s Tin Pan Alley song, complete with muted trumpet (and, as the insert states, a “music breakdown that sounds like the inside of Ryan’s head”). The song morphs again into an indie rock tune and then back to grungy poppy punk. The lyrics seem to speak about how we lose our youthful enthusiasm as we age, cynicism growing inside us, and how we put up walls, even with people we call friends, until we’re alone, without friends or even enemies.

“Blame Takes Two” opens with snippets of Charlie Chaplin’s famous speech that closes his film, “The Great Dictator.” “We all want to help one another, human beings are like that,” the speech begins. “We want to live by each other’s happiness, not by each other’s misery.” It’s a very optimistic view of humanity, one that is proven wrong in these times when retribution against perceived enemies seems to be holding sway among the ruling class. The explanation comes from Chaplin: “Greed has poisoned men’s souls. Our knowledge has made us cynical, our cleverness hard and unkind. We think too much and feel too little.” The song takes this concept and applies it to our more personal relationships. When we get too much into our minds, when we overthink things too much, when we don’t take the time to just be and feel, we ruin good things. The song has the quality of a big stage number, complete with piano (courtesy of Pierson’s wife, Nanako), the song growing at the end, like the big finale of the musical.

There’s even a snotty punk rock ode to Billy Brown in “Billy the Fucker.” “Billy had a way of making it right / Even though you wanted to punch him in the face,” the song says, reminding us that life isn’t always skittles and beer, that the people we love are also the people we sometimes hate. The song describes Billy as the person who go things done that no one else would deal with, as having an “unquenchable thirst for life” and “an old man’s soul inside.” The song admonishes the rest of us, telling us “What’s wrong with you? Get off your punk rock ass, dig yourself out of that shallow grave and dance.” Stop fucking going through the motions and live life to its fullest!

Other sounds on this record include “The Devil Does Dope,” which sounds like a song from a punk rock stage show. “The Betrayal” is a short acoustic song, with frantic angry guitars strumming as we hear “Betrayal” sung over and over, subtly buried in the mix. “Little Lemonade” mixes some Americana with 70s soul, and lyrics about not living in the past and learning to live in the moment, making lemonade when life gives you lemons, if you will. And “All Dried Up No. 10,” a song written by Pierson, sounds like something he could have written for his acoustic project, Even In Blackouts.”

The closing track is another ode to Billy Brown, this time from Van Dam, and it’s a side of her I’ve never heard before. The tune, with just piano and percussion, is a wonderful showtune, about “what goes through your mind when you know you’re going to die.” It’s about not giving a fuck, wanting to live life as long as we have it, and it’s about the people left behind, about the things we forget to tell those we love before they’re gone. It leaves a tear in the eye. The whole album does, in a way. Semi-Famous is no longer just a fictional band from a book. Semi-Famous is a family, with everything that means, the good and the bad, the happy and the sad.

SLIP~ONS – Overtime (slip-ons.bandcamp.com)

After years of only playing live shows, Vancouver’s Slip~ons finally released a singe in 2019, but then didn’t follow that up until 2023’s "Heavy Machinery" EP, reviewed in this column back then. Three years on, they’re finally back with a mini-LP of seven new songs. If you read my review of the previous EP, you’ll know a couple things: first that the band features members of Doughboys and Sarah MacLachland, and second that I likened the band’s sound to that classic late 80's Minneapolis bands Hüsker Dü and The Replacements, or bands like The Lemonheads and Dinosaur Jr. They’ve got a solid indie rock sound, like the one that evolved out of punk and power-pop and informed a whole era of alternative rock. This new mini-LP is a little different than that, mixing things up more, with some songs with that sound, and others that hew closer to classic power-pop or classic rock. The title track, which opens the record, is one of the highlights, and sticks pretty closely to the formula that worked well in the past, with solid indie sounds and a rousing chorus. But that’s where similarities to Heavy Machinery end. This mini-LP focuses more on songs with other leanings. “Waiting for Johnny Marr,” for example, despite being named for the guitarist and co-writer for The Smiths, focuses more on power pop than indie, particularly on the bubblegum-adjacent chorus. “New Answers” is a harder rocking track, mixing Black Sabbath influenced sounds with more modern hard rock. “Graystone” reminds me of an odd mix between Jawbox and 80s hair bands. And “Nerve Damage” almost sounds like something Journey would have released. I prefer the previous EP over this.

SQUIRTGUN – Ghostly Sunflowers (Pirates Press Records, piratespressrecords.com)

Squirtgun was one of the foundational pop-punk bands of the 1990's, in more ways than one. In addition to their many LP's, EP's, and singles, Mass Giorgini, the sole constant member of the band, operated Sonic Iguana, a recording studio that produced many of the best known bands and albums of the day. Squirtgun was mainly active from 1993 to 1998, and had multiple periods of hiatus and regrouping over the subsequent years. And now they’re releasing their first studio recording in over 20 years, in the form of a two-song 12” single. The songs find the band, in its latest incarnation, in top form. The first song of the pair, “I’m the Ghost,” is dark and urgent, with a solid 90s melodic punk vibe and raspy lead vocals. The melody is catchy and the production is top notch: not too slick, but not sloppy or raw. “Sunflowers” stays closer to classic Squirtgun material, with plenty of pop punk goodness. The song has a story-telling feeling to it, too. It’s hard to decide which song is “better,” because they’re so different and both solidly good. Let’s hope this new record is a sign of more to come, including maybe some touring.

TOYS THAT KILL – Triple Sabotage (Recess Records)

A quarter century on, Toys That Kill are still killing it. The quartet of Todd Congelliere, Sean Cole, Chachy Ferrara, and Jimmy Felix have been playing together in various combinations and with others rotating in and out since FYP formed in 1989. TTK formed right after FYP “ended” (though they still play shows now and again), and various members also play in Underground Railroad to Candyland and Clown Sounds. TTK has always been a more melodic, more mature outlet, especially when compared to FYP, which features rawer punk, sometimes bordering on hardcore. Or URTC, which is garage glam surf punk. I’ve always viewed TTK as more of an indie rock band, sometimes with hints of pop punk, other times edging along the grunge sound. But over time, it seems to me that the various projects have been blending together. On this new TTK LP, I hear some of the good-time garage-like pop punk more associated with URTC, and I hear thicker garage punk similar to Marked Men, as well as the more familiar TTK indie rock sounds.

The album’s opener, “My Kinda Rockstar,” falls into the good time pop punk category, with a great head-bobbing song ready made for big crowd sing-alongs. So is “Dumb and Elated,” with its rumbling bass lines and simple, big chorus. I really like some of the guitar riffs in this one. In the thicker garage group is “Inside the Residue,” a song that feels like Marked Men, but slowed down a little bit. In the indie rock group, “Fighter Dater” is a darker track, strong garage punk with undertones of grunge power. “We Didn’t See Nothin’,” too, is a harder rocking tune in the vein of earlier TTK songs. And “Trip on your Hands,” too, is quality indie grunge rock. Some tracks blend sounds. “The Cutting Board” is kind of in-between the pop punk and garage sounds, with a poppier melody, kind of a bright garage surf punk vibe going on. “Into the Rumble” mixes poppy and indie rock sounds. An “Hero’s Ashtray” blends indie riffs and the simplicity of crowd-pleasing pop punk sing-alongs. Despite the varied sounds throughout the album, the constants are tight performances, Todd C’s unique higher register snot-filled vocals (recorded to be somewhat lo-fi), and lots of fun.

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CONGRATULATIONS – Join Hands (Bella Union, congratulations2u.bandcamp.com)

The PR materials call this indie dance-rock, and it’s a perfect description for this debut LP. Take indie-pop melodies, give them a strong dance beat, and add in a bunch of synths and fuzzy guitars, and you’ve got the good-time music that congratulations (small "c," please) specializes in. I can hear strong New Wave influences, like the Human League sounds that seep into the opening track, “Nevagonna,” once we get past the dreamy intro. Similar dance sounds dominate many of the tracks, like “Fought 4 Love,” which has 80's R&B in its DNA, even more than modern indie. The tracks on this LP are loaded with buzzy synths, rhythms that are made for dancing, and bright excitable vocals. “This Life” sounds a bit like it came from Funkytown, too. In the middle of the LP are some tracks that are a little heavier on experimental sounds, but still very danceable. “Dr. Doctor” is full of droning and buzzing, beeps and boops, with sultry vocals and the ever present heavy beats on one, two, three, and four. And I love the exotic ethnic and experimental sounds of “Johnny Hands.” Vocals are heavily processed, the rhythms are presented with a lighter tough than most of the other tracks, distortion is used as musical instrument, and it has the feel of “beats and pieces,” as Coldcut called it – the assembly of a new song from the beats and pieces of other recordings. I think it’s my favorite of the album. “Bubbles,” too, has an exotic and experimental feel, sensuous vocals mixing with sultry string samples and a tribal beat. I generally don’t go for heavy dance music, but some of these more interestingly textured songs in the second half of the album are certainly attractive.

DEATH OF YOUTH – Nothing Is the Same Anymore (Sell the Heart Records, selltheheartrecords.bandcamp.com / Engineer Records, www.engineerrecords.com)

Death of Youth is a newer UK band, playing 2000's post-hardcore and emo on this debut LP. Instrumentals are big melodic walls of sound, while the vocals are even bigger, shouted with fire and fury. Songs are often introspective, about the effects of living in the world today. Like the opening track, “Desensitised,” which refers to how the slow changes in the world, slowly increasing levels of oppression, the growing violence visited on people by their own governments, has desensitized us to injustice. The music is dark and the vocals angsty. “Rumination” is brisk, the power never letting up, and the gang vocals matching the leads in intensity. “Fix Your Heart or Die” even has a danceable rhythm, with breezy instrumentals, though those lead vocals are incredibly intense and ireful. These songs, taken individually, are incredibly powerful and moving. My one complaint, though, is there isn’t enough dynamic contrast; everything is pretty much full-blast all the time, and it can get tiresome. The one exception is “Castle Rock,” which is a slower song, with more relaxed instrumentals, but the vocals are shouted with the same intensity as all the others. With a little more variety in tone and texture, Death of Youth could be unstoppable.

THE FAKE FRIENDS – Let’s Not Overthink This (Stomp Records, thefakefriends.bandcamp.com)

The Fake Friends are a real band, from Montreal, and this is their debut LP. They’ve got a big sound that blends 80's post-punk with '00's alternative rock and sprinkles in some New Wave quirkiness. Guitars, bass, drums, and big gang vocals are supplemented with massive synths, giving these songs an energetic feel, bold and confident. The best way to describe the massive sound is that it’s indie music that’s suitable for arenas. That’s how big it is. And there’s a strong rhythm to these songs, such that they’re ready made for jumping around and even dancing to. But it’s not “dance music,” in the traditional sense. The album opens with the anthemic “Ministry of Peace,” while “Sucker Born Every Minute” is a catchy power pop tune about people who are gullible, who buy lies that are sold to them, but who end up getting screwed in the end. Sort of like half of the United States population right now. In a similar vein, “The Way She Goes” is a swaggering track with sections that remind me of 80's new wave and other sections that sound more like 90s and 2000s noise rock, with a throbbing bass and lyrics about people who seem to sabotage themselves all the time. And “Hyperconnection” is another strong track, with a stronger, darker new wave sound. It’s a song about selfishness, a person who believes creating a connection with someone involves the other person changing to meet their needs, rather than finding common ground. Another favorite is “Dance On My Grave,” which reminds me of middle-era Talking Heads, to an extent. Then there are the softer songs, songs like “Control,” that are smooth and atmospheric, filled with reverb, more like The Cure. Or the moody and mysterious, “If It Happens,” and the sentimental “Good Friends,” which closes the album. “I forgot how happy I can be / When you’re not around,” the song begins. “Because if nothing keeps you here / Then why are you still around?” it asks. The arrangement includes only piano and group vocals, singing about the end of friendship. There aren’t many bands playing music like this, these days. Hold your friends close. Hold your Fake Friends closer.

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ABRICHTEN – Aufheben (It’s Eleven Records, www.itseleven-records.de)

What happens when you mix heavy doom sludge with no-wave, and then give it a German aesthetic? You get Abrichten’s sophomore full-length LP, Aufheben. Their debut LP, “—,” was solidly good edgy noise rock, with prominent Steve Albini-inspired bass lines. And, although irefulness comes across in that LP, it’s also played briskly and brightly, for the most part. Aufheben, by contrast, is the soundtrack for a world gone mad. The doom element is heavy, with slower plodding tracks and thinner, more direful arrangements. The torment of the world is reflected in the pained and angry vocals. “Wasser” opens the LP with a funeral dirge worthy of Black Sabbath’s early period, while “Seele” is similar but more sparsely arranged and with hypnotically repeated riffs. “Chef” is the sparsest of all the tracks. The drums play a simple rhythm with the snare and high hat, the bass plays a simple riff over and over, and the guitar plays a melodic line, a note at a time without chords, as the vocals decry the current conditions of the world. “Liegestu¨tze” is an outlier on this album, with more of a driving beat, the bass thrumming and buzzing, vocals frantically shouting, and guitars jabbing with angularity and swirling noisily. The energy present makes it my favorite track of the album. “Ko¨rper,” too, is less sludgy, but still super heavy. Guitars repeat powerful riffs and inject feedback while the vocals are frantically shouted, as if in a plea for help. The LP closes with “Klappern,” Another slower sludgy track filled with angst, with Sturm und Drang. All lyrics are in German on this LP, so I’m not sure exactly what the songs are about. I’m going more off feeling than understanding. And the feelings are very clear on this album. If you’re into sludgy post-hardcore, give this a spin.

ROBERT DEEBLE – The Space Between Us (Mind Bomb Publishing, robertdeeble.com)

Robert Deeble’s seventh full-length album is filled with quiet, pensive songs. Based in acoustic music (guitar and strings), there are also ethereal, ambient synths creating an atmospheric backdrop. The songs are lovely enough, but the arrangements really take things up a notch, the cellos and violins adding as much ambience as the synths. The opening track, “The Forest from the Tree,” is a real standout, with delicately plucked acoustic guitar, a hopeful sound, and tender vocals. Of the track, Deeble says, “I was inspired by the book, ‘The Hidden Life of Trees,’ by Peter Wholleben. I used the image of a forest as a metaphor for the relational strength of a community, contrasting it with the image of a tree as the façade of power within an individual.” Another favorite is “Not on Your Team,” a song about the political divide in the country. It’s an indie pop song, but with a quiet relaxed vibe, the ambient electronics and strings creating a wonderfully orchestral sound. Another on a similar topic is “Pleasure to Burn,” a tune that leans more into the acoustic folk sound, and about the growing authoritarianism here in the US and around the world. According to Deeble, the song was inspired by Ray Bradbury’s “Fahrenheit 451,” a novel in which an authoritarian government controls all media and keeps the population ignorant, and about the resistance that grows in a segment of the population. There are some lovely instrumentals on this record, too. “Prelude” is a short piece, just over a minute, that’s mostly ambience with strings. And “Covid Moon” demonstrates Deeble’s mastery of his acoustic guitar. The mixing of singer-songwriter folk-based music with ambient electronics and indie aesthetics is very beautiful, and those strings really make this record.

JAGUAR 777 (Eleventh Hour Recording Company, www.2300records.com)

After last year’s debut single, Jaguar 777 comes crawling out from the seedy underbelly of Cleveland rock 'n' roll to present their debut full-length LP. Jaguar 777 is the duo of Kacie Marie and Emmett O’Connor, with Marie an accomplished artist working in both music and film, while Emmet has been in the Cleveland music scene since his teenage days. Their music is mostly dark and sultry, consisting of drum machine, electric organ, guitar, and vocals. In many ways, it reminds me very much of the kind of music David Lynch might have used in his films, with an almost dream-like quality. “Introduction,” the opening track, is a perfect introduction, with mysterious-sounding electric organ and spoken word vocals. It sounds troubling and ominous. Another good example of the duo’s sound is “’68 Bullet,” a hazy, bluesy song that feels dangerous, like there are sinister things lurking below the surface. The two songs from last year’s debut single are here: “Danger At My Heels” uses dark synths and drum machine, along with Lynchian surf-psyche guitar, and vocals that suggest a slow burning thirst. It’s smooth, suave, and subdued, simmering under the surface. “Death Rise,” on the other hand, is grittier, more of a dark garage-rock tune full of menace. I like the urgent sound of “Upstairs In My Mound,” its backing vocals giving me goosebumps. It’s like the soundtrack to dark dreams of 1950's exploitation movies. One of the darkest, grittiest tracks is the menacing “Falling,” the bass notes from the synths snarling at us along with the vocals. A couple of the songs are outliers, with lighter, more hopeful sounds. “Leave You Blue,” rather than sounding dark, has a sentimental sound, reminding me of 70's love songs, kind of like a mix of R&B and Burt Bacharach songs. And “Gates” feels like an ethereal version of 50s doo-wop. If you like the music of dreams and nightmares, if you like David Lynch soundtracks, give Jaguar 777 a spin.

LAPÊCHE – Autotelic (Tiny Engines, www.tinyengines.net)

I last reviewed LAPêCHE nearly five years ago, when they released their sophomore LP, Blood in the Water. Since that time, they’ve released various singles, but now their third LP is here! One thing I noted about the band’s sound on Blood in the Water is that they mixed grunge, indie pop, and dream pop. They had a heavy gritty sound that was also poppy and, at times, ethereal. On Autotelic, they’ve moved away from the grunge influence and moved further into the dream and indie pop genres. The guitars, bass, and drums are bubbly indie pop, but the synths and production values give some of these songs a heavenly quality. Right from the opening track, “Autotelic Nosebleed,” you can hear this album is different, that LAPêCHE isn’t standing still. It’s got such a bouncy pop sound to it that it’s hard not to smile and dance when listening to it. With “Double Knotted,” synths are introduced in a big way, the song having a ghostly dark feel. And “Heart NY” is a great 90s indie rock track with hints of dreaminess in the guitar tones and the use of reverb. We get back to pure sugary pop music on “Happy 4 U,” with sweeping dreamy sections. Probably the most raucous track of the album is “Parallel Park,” but even then it’s more indie rock with dreamy parts. It’s got a nice driving rhythm, plenty of forward motion to the music, certain to get your head bobbing. And “Monsoon” mixes indie and power pop effectively. The closest the band ever gets to grunge is on “First Time Caller,” mainly because of the bold bass tone resemblance to that used by Nirvana on several tracks. The track has more edge than the others, but even then, there’s a softness in the gorgeous vocal harmonies. I liked LAPêCHE’s previous LP, and this one sounds very different, yet it’s still recognizably the same band. Nicely done.

STOREY LITTLETON – At a Diner (Don Giovanni Records, dongiovannirecords.com)

Debut LPs can be hit or miss. Because it’s a brand new artist, you never know if it’s going to be great or crap. In the case of Storey Littleton, her debut LP, At a Diner, is just lovely. Her voice is light and lithe, airy and delicate, yet with an inner strength. The arrangements are thoughtful and unexpected, with plenty of acoustic and electric instruments intermingling, with piano, violins, and clarinets making appearances on some songs. I love the album’s opening track, “To Answer,” with its hazy, lazy melancholy feel and stage-worthy scoring. In my mind, it conjures images of being outdoors on a crisp autumn day, the sunlight rippling through the many-colored leaves on the trees. One of my favorite tracks is “No Way.” I adore the arrangement, with a quietly strummed acoustic guitar, a subtle bass and drum beat, and those meandering clarinets. Littleton’s vocals shine gloriously. The burbly outro is just extra nice. Some songs have s bit of twang, like the Americana-laced “In the Morning.” And “You Tried” twangs with steel pedal guitar and folksy guitars. The title track doesn’t quite twang, but features a mix of Americana and American Songbook pop, with a distinct story-telling vibe. And “January” brings up mental images of 70's soft pop. I guess it makes sense that Littleton is so adept at creating and performing these wonderful songs; her parents are Elizabeth Mitchell and Dan Littleton, members of the long-running indie band, Ida. Storey grew up touring with her parents and listening to music, and when she was old enough she began making music of her own. And her debut LP is, as I said, just lovely.

SKYTIGERS - …Injustice for All (Sound Investment Records, www.soundinvestmentrecords.com)

I normally don’t go in for thrashy metallic hardcore. Most of it, to me, is just noise. Lots of shrieking guitars, pounding drums, and atonal screamed vocals. But SkyTigers, hailing from Lowell, Massachusetts, is not your typical metal-thrash band. Yes, there’s some speedy thrashing and metallic guitar work. But this leans more toward melodic hardcore than thrash. It’s nicer when you can discern elements of a song that you can sing or shout along to. Vocals share more in common with the NYHC scene of the late 80's and early 90's than anything, and the overall effect is sort of Metallica meets Gorilla Biscuits Meets Motörhead. And it’s also nice when there’s meaning to the songs, as the lyrics contain razor-sharp social and political commentary. “Apex Creditor,” for example, is a gut-punch of a song about how the powers that be suck out every dime they can from us. Huge gang vocals echo the leads, as the guitars provide a powerfully crunchy accompaniment. “Greenbark” is a song that longs for better times, with a chorus that shouts “We had it all and they took it away.” The melodic lines are almost garage-like, but the driving bass, pounding drums, and the intensity of the guitars let you know this is not garage rock. Song titles are clever, such as the aforementioned “Apex Creditor,” a well as “Back Stabbeth,” a song about betrayal, or “Coma Chameleon,” which closes the album and leaves me wanting more. SkyTigers may be one of the best thrashy metallic hardcore bands I’ve listened to.

SLD – Look Back (Kool Kat Musik, www.koolkatmusik.com)

SLD began a decade or so ago, as an experiment in email collaboration by long-lost cousins Paul Costanza and Tom Parisi. But after a couple of LPs and a pandemic that made work on the third LP difficult, Parisi sadly passed away. After the third LP was finally released, it was questionable whether the band would be able to survive, but Costanza now has put together Look Back, featuring a dozen tracks of melodic pop rock. The songs are a look back, if you will, at the heyday of the genre; the late 70's and early 80's were the glory days of power pop and AM radio, and SLD unabashedly embraces this period in time. The album opener begins with classic guitar riffs and a chord progression that reminds me of music from The Paul Collins Beat. “Nothing Can Stop Me Now” is a bouncy, hopeful power pop tune, with multi-tracked harmonized vocals, one the best tracks of the album. I hear influences from The Beatles in “I Believe,” and I hear influence from 60's spy films in parts of “Come Back,” with a mysterious sound and a jangly James Bond like guitar riff. I hear the sparkle of 70s pop like ABBA in “Everywhere She Goes,” and I hear lovely delicate folk rock in “Out of Nowhere, complete with accordion and mandolin. “38 Days” has the feeling of a lost Burt Bacharach song written for The Carpenters. “Look Back” is a perfect title for this exploration of pop rock genres of the past.

STRESS SPELLS – Hearts Never Tire (Fuzz Records, fuzzrecs.com)

Stress Spells is a newer band, hailing from Jersey Beat’s home state of New Jersey. Initially started in 2021 by Jack Carino (vocals/guitar) and Jilliean Keats (vocals/bass), the band added to the lineup over time, releasing a two-song demo in 2022 and contributing a track to a four-way split in 2024. Now, with the addition of Adam Kaniper (vocals/guitar) and Kevin Henson (vocals/drums), the band is releasing their debut full-length LP. The band’s music is a blend of hardcore, screamo, and math, with heavy, punchy chaotic instrumentals, intense emotionally charged vocals, and rapidly shifting rhythms. It’s an energetic album with everything delivered emphatically, no holds barred. The dissonant melodic riffs on “Too Little Too Late” shift between the guitars and bass, leaving the listener feel uneasy. “Familiar Shapes” is nearly total chaos for part of the track, and strong post hardcore for the other part. The totality is incredibly intense. The mix of emo, screamo, and post hardcore on “The Sand that Smooths the Glass” is pretty incredible, along with the swirly mathy guitar lines. And “Calloused” is one of my favorites, a speedy mix of emo and post hardcore, with intensely technical guitar riffs and urgent sounding vocals. Throughout the chaos and noise, there’s always an emphasis, too, on melody, something I can appreciate a lot. One of the better noisy screamo hardcore releases I’ve heard in a while.

ULRIKA SPACEK – Expo (Full Time Hobby, fulltimehobby.co.uk)

Ulrika Spacek, hailing from the UK, specialize in a fairly unique sound that blends jazz, hip hop, electronica, dreamy pop, post rock, and minimalist Krautrock influences into a coherent whole. The music is breezy, with a big airy sound, courtesy of the reverb injected into the production. The drum-and-bass-style rhythms are complex and rapid, sometimes using drum machine and sometimes synths, while the vocals range from solemn chorales to a straightforward indie rock style. Sound swirls around you, constantly shifting and morphing, busting every genre expectation. The opening track is an introduction, aptly titled “Intro,” that’s a collage of found sounds, almost like the samplers are “tuning up” like an orchestra does. It immediately launches into “Picto,” a smooth jazzy track with those hip hop beats, and a melody that alternately sounds like 1930's pop and East Asian music. The synth sounds are pretty cool, sometimes gloriously spiritual, sometimes clanging and clanking, giving the band an almost experimental edge. “Build a Box Then Break It” has some nice contrasts, with hollow-sounding percussion mated with lush synths that fill all the empty spaces. There’s a hazy lazy pace to the song, and the vocals are sung with the passion of a torch song. Some songs tend more toward the indie pop side of things, like “This Time I’m Present.” It’s got a more traditional sound, though the instrument tones are purposely off-kilter to maintain an experimental edge. I love “Weights & Measures,” which is very jazzy and very cinematic. There are big string samples in what I guess could be called the chorus that give it that theatrical quality. With their blend of genres, Ulrika is the ultimate musical melting pot.

BELONGING / INNY – "The Dog" Split EP (Dipterid Records, dipteridrecords.bandcamp.com)

The PR materials call these two bands “post-metal,” but that doesn’t mean a whole lot to me. Metal is still a thing, and “post” implies what comes after. Belonging and Inny are from Portland, Oregon, in the Pacific Northwest, home of heavy music, and both offer up three songs on this split EP. And it’s called “The Dog” because each band has a song with that title on the EP.

Belonging gets the A-side, and their songs definitely have a grunge-like sensibility, powerful and heavy, with huge walls of guitar and room-shaking bass. There’s a mix of grunge, metal, and emo in the first track, “Hellkite,” though the band shows pretty strong dynamic control, with quieter sections, too. “The Dog,” the middle track of the trio, has some goth-like guitar tones going on in this slower, almost ballad-like song. Again, there’s contrasting dynamics between chorus and verse, too. And “Dead Reckoning” has some cool post-emo stuff going on, and is probably my favorite of their three songs. It’s got a strong bass line in the first part of the song, and I love how it soars in the back half.

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AWFUL DIN – Anti Body (We’re Trying Records, www.weretryingrecords.com)>

After a handful of EP's and a 2022 debut LP, Brooklyn’s Awful Din are releasing their sophomore LP. The band combines catchy, poppy melodies with emotionally driven punk-rock and passionate vocals. I hate to use the term “emo,” because that label has meant so many different things over the past few decades, but the songs, while catchy and hook-filled, are also introspective and thoughtful. Some have called their songs “beer-soaked confessionals,” and it’s an apt description. I hear influences from Off With Their Heads in this respect, as well as Canadian band The Penske File and California’s Spanish Love Songs. Like that last band, the lead vocals are very distinctive and very passionate, and though the lyrics are often downbeat, the songs still seem to have a hopeful sound. An example is the lead single and album opener, “Get the Fuck Out of My Basement.” It has a nice poppy jangly sound, but the lyrics are about a holiday party gone wrong that resulted in a fight that got so loud that they began to worry neighbors would call police, and it ended in ejection of friends from the home. Apparently it’s based on actual events. The song flows directly into "Goodbye Delaware,” a song that really brings home the band comparisons I mentioned. I can hear all three of those bands in this song about leaving a place filled with bad memories. I love the poppy jangle of “I Will Break You,” a song that sounds so happy but is anything but. I really like the bright, hopping “Vietnam,” a strong anti-war song that ends with the line, “No war but class war.” But it may be the urgent guttural sounds and storytelling vibe of “15 Minutes of Shame” that’s my favorite of the album. Anti Body has all the right ingredients and solid execution to create a worthwhile listen.

GALECSTACY & MIKE WATT TRIO – Wattzotica (Mystery Circles, mysterycircles.com)

Galecstacy is an experimental music duo from Los Angeles, featuring Raquel Bell and Jared Marshall. Mike Watt is the renowned bassist and veteran of the punk rock world, best known for the seminal Minutemen. Together, they form Galecstacy and Mike Watt Trio. Do you remember the “post-rock” movement of the 1990's? Post-rock is the subgenre of rock music that’s more adventurous and experimental. It emphasizes texture and atmosphere over traditional song structures and melodic riffs. It uses traditional rock instruments, like guitar, bass, drums, and keyboards, but sometimes seems more like cool jazz than pop or rock music. Vocals and lyrics are less frequent than in traditional rock subgenres, too, and when vocals are used, it’s often more as another instrument than for the specific lyrical content. Galecstacy & Mike Watt Trio might fit into the post rock category. But they’re even more adventurous than classic bands of the genre, like Tortoise, The Sea and Cake, Gastr del Sol, and U.S. Maple. Watt has been really branching out a lot over the last several years. Besides playing in his bands Mike Watt and the Missingmen, Mike Watt and the Secondmen, and Jumpstarted Plowhards, he’s been exploring more avant-garde sounds with MSSV and now Galecstacy & Mike Watt Trio.

The opening track, “Wattzotica,” reminds me a lot of the classic Tortoise track, “Ry Cooder,” from their debut self-titled LP. It’s a hypnotic jazzy track, with some great throbbing bass, luscious vibraphone, and ride cymbal-heavy drumming. The song certainly has an exotic sound, as do many of the album’s tracks. For example, “Neon Mermaid,” is an extended track that has some cool keyboards that are very out of the ordinary, almost spacey. I like the driving feel of “Imitation Squad,” with insistent bass and drums, while the keyboards wobble like someone under the influence. And speaking of wobbly keyboards, “Swirl Pools” sounds like it’s swirling around you, the keyboards warbling like water in a burbling brook. The lone track with vocals is “Wander In,” and the vocals are decidedly…odd. They’re somewhat processed, and sing an alien melody with drum and bass accompaniment. It’s also the shortest track of the LP, clocking in under two minutes. All in all, there are nine compositions here, over about 40 minutes of quality music to expand your mind.

JOYCE MANOR – I Used to Go to This Bar (Epitaph Records, joycemanor.bandcamp.com)

It’s been quite a ride watching Joyce Manor grow from a little local band that played shows at our local DIY warehouse and the annual Awesome Fest in San Diego to recording for a major punk label and playing sold-out shows at larger venues. Their sound may have gotten more polished over the years, and they may have softened their sound a bit from raucous pop-punk to indie-rock, but the songwriting is still honest, top-notch stuff, and Barry Johnson’s vocals still have the same emotional punch - particularly when the songs are more on the raucous side, like the opener, “I Know Where Mark Chen Lives.” But the band has expanded their repertoire beyond raucous pop-punk, and there are bubbly indie pop-tunes like “Falling Into It,” with synths and smoother, more tuneful singing. And “All My Friends Are So Depressed” has the feeling of a Smiths song, bright poppy music with bleak lyrics. Songs like “Well, Whatever It Was” are very different from what I was used to from Joyce Manor, with a danceable beat and big slick sound, including massive backing vocals on the chorus. I really like the wistful, nostalgic sound of the title track, not only about remembering a favorite bar near the apartment, but also remembering a close friend who has passed away. And while none of the songs get as rowdy as early songs (like “Leather Jacket”), “Well, Don’t It Seem Like You’ve Been Here Before” comes closest, with a huge gang vocals on the chorus and anxious, urgent lead vocals on the verses. Joyce Manor may have matured and are no longer those kids at the warehouse venue, but they still know how to craft a fine record.

AILBHE REDDY – Kiss Big (Don Giovanni Records, dongiovannirecords.com)

Irish performer Ailbhe Reddy didn’t begin performing until 2013, when she was 22 years old, out of shyness. Her first EP was released in 2016, but it wasn’t until 2020 when she released her debut full-length LP to critical acclaim. Now, in 2026, she’s releasing her third LP, Kiss Big. Though she seems to have gotten past the shyness, you can still hear it in her music. It’s lovely, dreamy stuff, and her vocals are airy and delicate. Reddy says the album is a breakup record, about how your life collapses and you struggle to figure out who you are on your own. It certainly has big emotional swings, from quiet and thoughtful to big laments to fluttery excitement, and everything in-between. The music is subtle, supporting the lyrics, more than taking center stage. I love the arrangements that feature synths and acoustic guitars, and Reddy’s ethereal vocals are perfect. You can hear the yearning on “Align,” which opens the LP. There’s a quiet throbbing arpeggio in the synths, and multitracked harmonized vocals sing airy lyrics. If you’re a fan of pop music, you’re going to love the bright bubbly nostalgic pop feel of “That Girl,” a song that evokes good feelings about past memories. “Graceful Swimmer” has a wonderfully vulnerable quality in the vocals, with phrasing and timing that’s very expressive. And the stream of consciousness spoken word opening of “Crave,” with ambient keyboards providing the background, is amazing. It reflects a consuming obsession. When the music comes in, it’s a gorgeous string chorale, the spoken word continuing, changing the mood from eerie obsession to romantic obsession. I think my favorite track, though, is the title track, with its plucked acoustic guitar and wistful vocals. Ailbhe Reddy deserves a big kiss for delivering such a pretty record.

SMUG LLC – Paid for Pain (Anxious and Angry, anxiousandangry.com)

Last year, Drew Thomson released his debut EP for his new project, Smug LLC, called “New Exciting Doom.” And it was truly exciting, so much so that it made my Best of 2025 list. For 2026, Smug LLC wants us to get paid for our pain, with a new four-song EP. And while “New Exciting Doom” featured Thomson’s “laptop band,” with samples, synths, and drum machines, “Paid for Pain” sounds more like a traditional band, with bass, guitar, and drum machine (though it all could still be samples and synths, too). What remains the same is Smug LLC’s powerful mix of punk, hip hop, and beat poetry, with dance-rhythm driven songs and spoken word lyrics. I really like “Empty Malls, a hard rocking track with lyrics about the decay of life, particularly in smaller towns, with no money, no future, and a lot of boredom and anger. The chorus, “This whole town ain’t nothing more than a bunch of fucking cars and a couple empty malls. It’s built for getting high in parking lots,” sums up the sort of life that’s turned a lot of rural American toward a populist authoritarian who gives them empty promises of a return to a better life that was never real to begin with. The verses feature just a rumbling bass line and spare drumming, while the chorus explodes with shrieking guitars. “Job Market” has a little more garage swagger to it, and burbling synths, and lyrics about the two-edged sword of AI; on the one hand it’s enticing us with “fake shit,” filling our minds with what’s not real, and at the same time it’s eliminating job opportunities, creating a future where “Nothing seems to need us now.” “Common Era” has some bright fluttering flute samples and shiny guitar riffs, making the song sound more hopeful than the others. But lyrically, it seems to be somewhat self-deprecating, about putting one’s self out there, writing and performing, and negative reactions like, “She said your voice sounds better in your head / Don’t know who you’re trying to impress / She said I like you better with your friends / Why you always stressed?” This may be a reference to feedback from some that they like Thomson better in his band, Single Mothers, than his solo work. I disagree! But that’s just three songs, what of the fourth? The title track is actually the first of the EP, and it’s very different from the others. The song, seemingly about the touring life, features the same hard-driving guitars, bass, drums, and synths, but features actual melodic singing vocals, sorta. I’d like to tell Thomson that his pain is worth it, because Smug LLC has another winner here.

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HE’S DEAD, JIM – These Men, These Monsters (Kool Kat Musik, hesdeadjim1.bandcamp.com)

After reforming and releasing their first new music in decades, Scotland’s He’s Dead, Jim, are back with another new LP. The band, originally formed in the 1980's, was inspired by the punk sounds of bands like The Buzzcocks, The Clash, The Fall, and Gang of Four. But time mellowed the members, and their first effort, post reunion, sounded a bit too light and fluffy for my tastes. I’m happy to say, though, that These Men, These Monsters is vastly superior to their previous LP. On this outing they focus a lot on classic post-punk sounds, mixing in power-pop hooks, a mod vibe and glam tones. “Dragonsfield,” the opening track, is an instant winner, with a bold, bright sounds The trumpets and trombones really add a sparkly sheen to the arrangement. Right after, “Anything Can Happen Day” is a solid power-pop tune with lyrics about weird things that could never happen. But on the titular day, when anything can happen, maybe love can bloom where it seems impossible. “Everybody’s Little Sister” has a nice R&B feeling going on, and “Living in Harmony” combines R&B and post punk. I especially like the use of strings (violin and cello) in “The Process.” The closing track, “Negative Vibes,” almost has a garage vibe to it, a little more chaotic and edgy than most of the tracks, yet still solidly based in a pop aesthetic. Not every track is a winner. I’m not enthralled by “Art for Art’s Sake,” which has too much classic rock for my taste. But over all, this album is tighter, edgier, more raucous, and more enjoyable than last year’s Head Like a Toy Shop .

THE JACK RUBIES – Visions in the Bowling Alley (Big Stir Records, bigstirrecords.bandcamp.com)

UK post-punk outfit The Jack Rubies was active from the mid 1980's, but apparently were a little bit too late for the shifting listener tastes in their home country. They, nevertheless, found a home on US college radio, thriving for a time, until in the 1990's they called it quits. However, in just the past couple of years, the original lineup reunited and began anew, releasing new music. Visions in the Bowling Alley is their second new LP since reforming. They’ve got a lot of disparate influences, but I do hear plenty of classic post-punk sounds through many of the tracks. There are also some “eerie” sounds, but not “Goth.” The opening track, “Greedy,” is a good example of this, with solid retro post-punk sounds mixed with some darkness. So is “Flying Machine,” and “This Is Not a Joke” has a solid retro post-punk sound, as well. There are often unexpectedly delightful arrangements, using violin on several tracks. “Phantom” and “Dead Man” are good examples of this, the latter with a hazy psychedelic blues vibe and a nice storytelling feel. And I really like the retro Mod sounds of “Asteroid.” It’s pretty different from most of the tracks, with a mix of 60's and modern sounds. Not all of the songs are to my taste, though. “My Perceptron” (a perceptron, apparently, is an artificial neural network) and “Primordial Sludge” drag, feeling too slow and lazy. And “Swampsnake” tries to have a “down home” feel, but sounds a bit cheesy to my ears. Most of the album, though, is pretty enjoyable. And at nearly an hour long, there’s plenty to enjoy.

PLACE POSITION – Went Silent (Sweet Cheetah Records/Poptek/Blind Rage Records, placeposition.bandcamp.com)

“Place Position is a musical group.” That’s the extent of their bio. They admit that you’ve likely never heard of them before. Apparently they get together on rare occasions when it’s time to make music. Their discography consists of a 2014 LP, It’s Not There, and a 2020 EP, “Vigil Loop.” And now, this new LP, Went Silent. Here’s more info they don’t include in their bio: The band is a trio, consisting of Josh Osinkowsky (guitar, vocals), Chip Heck (bass), and Hesse Mays (drums). Another factoid missing from their bio: They’re from Dayton, Ohio. They may be one of the best bands you’ve never heard of. “They write as needed and play when necessary.” Well, to my ears, there is a constant necessity for them to play, because this is compelling music. Their genre is kind of hard to describe, but I can best sum it up as a mix of post hardcore, post rock, and math. Not as intense or rage-filled as post hardcore, their songs, nevertheless, have a strong edge to them. Not as smooth or relaxed as post rock, their songs, nevertheless, have an easy calm about them. And not as quirky and off-kilter as math, there are, nevertheless, shifts in musical rhythm and tone here and there. I can tell that this trio are fans of 90's music. There are minimalist repeated melodic lines, sometimes played in both the bass and guitar together, like on “Trigger Feature,” a song that evokes memories of early Midwest emo from bands like Gauge, Cap’n Jazz, or Braid. The band has great dynamic control, as evidences on “Camber,” with wide range of intensity. And I can hear the influence of Steve Albini bands here, especially Shellac. It’s hard to pick out standout tracks on this album, because they’re all standout tracks. My one complaint is that the sound quality of “Martel #1” is poor, sounding like a tinny live recording that’s got the snare mic’ed too hot. But it’s an outstanding LP and highly recommended.

TINY CITIES - "Beginning of the End" EP (Hidden Tracks Records, tinycitiesmusic.com/)

Tiny Cities is the New Jersey duo of Melissa Anthony and Dennis King. This new four-song EP has a folksy feel with tinges of country, but also with plenty of indie influence. The deeper you go into the EP, the more 50's and 60's pop-music influence seeps into the songs. This is especially true on the back half of the EP, with “Greens and Blues” having a distinct retro 50's pop feel; “The End of the World” (which is only available on the vinyl version of the release) is a cover of the 1960's Skeeter Davis hit. Melissa Anthony’s vocals are gorgeous, her tone perfect for this song of lost love. The sparser arrangement of acoustic guitar and harmonium and Anthony’s gorgeous melancholy vocals make this cover superior to the original. A lovely EP.

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CALLING ALL CAPTAINS – The Things That I’ve Lost (New Damage Records, newdamagerecords.com)

Longstanding Canadian emo punks, Calling All Captains, return with a new mini-LP for the new year. The Edmonton band offers up seven new tunes that blend crunchy 90s emo-punk with modern pop aesthetics. The music ranges from huge heavy riffs to lofty airiness. Big tight harmonies are featured through many of the backing vocals, and the dynamic range is massive, adding to the intense emotional load. Lead vocals drip with passion and pain, and the lyrics can sometimes be intense. The opening track, “Stay Away,” is about someone who has changed for the worse and warns others to stay away. After two forceful tracks, “A New Type of Gray” is a respite, a song of self-reflection, with a lot more quiet sections and some lovely plucked guitar work. The lead single (the band released a video for it ahead of the record’s release) goes a little too slick and overproduced for my tastes. They seem to try and hit multiple popular genres to attract a wide crossover audience: pop, broad emo-pop-punk, and crunchy rap-rock. It’s a very 90s mix that leaves me a bit cold, if I’m honest. “Say That You Hate Me” suffers from the same overly slick sound, and makes me think the first half of the record is superior to the back half. While “Dark Clouds” lives up to the first half’s promise, with a great frantic vibe, the closing track, “Salt Lines,” returns to a more commercial formula. Keep it raw, guys. It’s more honest and authentic.

DANIEL DANGER – The Casper Mask (Landland Colportage, danieldanger.bandcamp.com)

Daniel Danger is an award-winning acclaimed artist, whose works are displayed in galleries around the world. He’s created graphics and artwork for innumerable bands and record labels, and has worked in film, as well. He’s also a musician who has played in various bands, including spending years as a member of The Saddest Landscape. And has released his own home recordings. In 1921 he collected together some of those recordings and created a private release, a lathe cut record gifted only to close personal friends and collaborators. “The Casper Mask” was created out of the fears and anxiety of dealing with a neurodevelopmental disorder and the news that he was becoming a father, and is about learning to ask for and accept help from others. Now remastered and repackaged with new artwork, “The Casper Mask” is available to the public at large.
The songs have a pensive quality, thoughtful and emotionally present. “Overpass” opens the album with a mournful sound. Fuzzed out guitars thicken the chorus of an otherwise sparse arrangement, the song played at an almost dirge-like pace. That noisy chorus comes across as a plea: “I don’t wanna die,” is repeated several times. Sound manipulation is used toward the end of the track, giving it an eerie dreamy feel. There’s an upbeat driving sound to “How Deep It Goes,” even as the song still feels like there’s a layer of melancholy laid across it. If you’re looking for some down-home Americana, the hilariously titled “Some Conway Twitty Bullshit” is for you. There’s a mix of indie and subtle country, and a martial rhythm in the snare drum. “Sitting In Your Car” has the most urgent sound of the album, with garage rock that has an almost cinematic quality. And the mix of noisy distortion and relaxed cowpoke guitar tone makes “Gold Ancbor,” the ending song, a fascinating listen. It’s got very different musical textures going on in it, as the lyrics plead for someone to “please stick around.” But my favorite song of the album has to be “I Can See the Smoke.” It’s very moody, with noisy synths, a slow steady rhythm, yet a hopeful feeling, especially the way the arrangement swells toward the end of the track; it’s truly glorious. “The Casper Mask” is a wonderfully thoughtful album.

WINGED WHEEL – Desert So Green (12XU, 12xurecs.bandcamp.com)

Winged Wheel are a group that shouldn’t exist. It’s made up of creatively disparate musicians from different backgrounds who all live in different cities. That they would ever come together to create music is improbable. Yet, somehow, early experiments in file sharing began to take place, resulting in the band’s debut LP in 2022. That led to an actual tour and a sophomore LP, this time recorded in a studio. And now, after multiple tours, the band assembled in a studio at the edges of Chicago and recorded “Desert So Green,” their third LP. The band’s solidified lineup includes Whtiney Johnson (Matchess, Circuit des Yeux), Cory Plump (Spray Paint), Matthew J. Rolin (Powers/Rolin Duo), Steve Shelley (Sonic Youth), Lonnie Slack, and Fred Thomas (Idle Ray, Tuvek). Winged Wheel plays music that’s best described as atmospheric. The album is mostly instrumental, with vocals used sparingly as another instrument. The nine songs on this album thrum and pulse with a chill energy. There’s an experimental vibe, with subtle jams, The PR materials liken the rhythms to those of the band Can, and it’s an apt description. There’s a similar otherworldly quality, as well as a smoothed out Kraut-rock sensibility. The only way to describe the opening track, “Canvas 11,” is hypnotic. But “Canvas 2,” which follows, is entirely different. Harsh vocals and heavily processed viola create a very different feeling, one that’s as unsettling as a nightmare. The martial rhythms and syncopated guitars of “Speed Table” remind me a bit of early Mission of Burma, or perhaps Roger Miller’s more experimental band, Birdsongs of the Mesozoic. Or a cross between the two. “Canvas 8” features some lovely experimental drone melded with pseudo ancient folk music, the song getting bigger and richer as it evolves. And “I See Poseurs Every Day” reminds me of a mix of 70s and 80s music, with Dire Straits sounds mixing with spacier sounds There’s something very cinematic about Winged Wheel’s new album.

TSUNAMI BOMB / HAMMERBOMBS – Bombs Away! (radgirlfriendrecords.bandcamp.com)

Bay Area bomb bands unite! You’ve got nothing to lose but…well, I’m sure I messed that up, but this is a union of two Bay Area bands: The East Bay’s Tsunami Bomb and Oakland’s Hammerbombs, on a new split EP that came out right at the end of 2025. Each band offers up three tracks, with 90s/2000s punk heroes Tsunami bomb getting the A-side, and DIY stalwarts The Hammerbombs on the B-side. And the kicker? They cover each other for two of their three songs each!
Tsunami Bomb kicks things off with “Things Aren’t Going Well,” which The Hammerbombs released on their debut LP, “Goodbye Dreamboat.” While the original is gritty and ominous, Tsunami Bomb’s version is more polished, taking on a horror punk vibe, with smoother vocals, less chaotic guitars, and eerie electric organ. And their last song is a Hammerbombs favorite, “I Hate Cars,” a song about that’s about the sadness of lovers parting. Tsunami Bombs’ version has even more melancholy than the original, sounding more like a sad indie rock track that the original raucous pop punk version. The middle track is new, and it’s a hilarious one that pokes fun at The Hammerbombs. “If I Were a Hammerbomb” puts together all of the caricatures that we all have of the band, and strings them together into a great pop punk song. “If I were a Hammerbomb,” the song begins, “I’d write a song for you. I’d tell you that you’re full of shit and call you fuckin’ liar, too. I’d crack a beer in the shower just to start my day, and then I’d drink a whole lot more just in time to play.” They take lines from multiple Hammerbombs songs and put them together in a hilarious parody that’s a real highlight of this split.
Flip this sucker over and The Hammerbombs start with “Invasion From Within,” from one of Tsunami Bomb’s earliest (and out of print) EPs. I have a feeling that the organ on the original track was recorded at a cathedral, because it sounds like a genuine pipe organ, while the electric organ on the cover just can’t live up to that glory. But The Hammerbombs replace the massive intensity of the original with their brand of controlled chaos. And they give the song even more of a “horror punk” feel than the original, particular with the scream and the heavy breakdown mid-song. “Sinkhole” was chosen to close the EP, and the cover hews pretty close to the melancholy pop punk sound of the original. It’s probably the most controlled I’ve ever heard The Hammerbombs play. In between these two covers, “Phases” is a song that sounds very much like a Tsunami bomb track.
There’s no bombing from either band here. This is a great record to start 2026 with (or end 2025, for that matter).

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ATR!UM – Watery Grave (Microcultures Records, microcultures-records.fr/)

ATR!UM is a newer band that features the voices of five women: Sabh (lead vocals), Jean (lead vocals), Alexis (drums, backing vocals), Elle (bass, backing vocals), and Marie (acoustic guitar, backing vocals). ATR!UM built its foundations on a refusal to conform to patriarchal and systemic norms. Central to their mission are the lyrics of Irish poet and activist Bríd Ní Chongjaile. The songs take on the sounds of ancient Celtic folk and spiritual music, melding folk and progressive influences, while the lyrics summon suppression of women’s rights, religious wars, the oppression and genocides of minorities, and life-threatening effects of climate change.

The album opens with “My Prayer,” a solemn invocation of the Celtic Goddess of war, Morrígan. Just vocals with some subtle ambience makes up this gorgeous track, first with the two lead vocalists and then filling out with all five voices. It’s a simple prayer to be kept safe in a dangerous world. “Hail the Black Wings / Hail the Raging Sea / I pray to thee / Keep me safe / Under feather and wave / My Prayer.” Following is the funky indie rock tune, “Cargo,” which recounts the violence visited on minorities by white authorities under color of law. Called out by name are Michael Brown (murdered in Ferguson, Missouri by white police officer Darren Wilson,) and Breonna Taylor, killed by police officers who forced their way into her apartment unannounced and shot her.

I enjoy the mix of folk and progressive rock of “Iodine,” especially the way the multiple voices intertwine with each other. The mix of ancient folk and modern rock is fascinating. Andrew Mountbatten-Windsor, formerly Prince Andrew, is skewered in “Operation Scumbag,” a very current song that calls out Andrew’s friendship with Jeffrey Epstein, and how his wealth and royal connections have protected him from consequences for his participation in a child sex abuse ring. The song starts with a gorgeous vocal chorale, then explodes with hip-hop energy, the ire dripping from every verse. The song then morphs into cool indie with subtle funk bass, the vocal chorale ever present.

The rise of fascism in the Western world is the topic of “I Can See the Stars,” a song that sings about the privilege of the wealthy, the abuses of the political class, and the suffering of the masses at their hands. There’s a reference to “The Orange Man” who rattles on, and a reference to the COVID disaster in which even doctors and nurses, who didn’t have enough masks to protect themselves as they treated the sick and dying, died themselves. “Broken Dolls” has an incredibly urgent feel, folk rock melded with gargantuan vocals, sometimes working together and sometimes dueling each other. Lyrics are a decrying of how society raises sons to be killers and predators, daughters to be victims and prey. The album closes with “My Prayer II,” a bookend to the record, another plea for protection. “Keep demons in the dark / My foes blind and weak / Kep the dead sitting at my feet watching me as I sleep.” The mix of folk and progressive rock, with funk and hip-hop, is very compelling. Acoustic guitar is used throughout, and there’s an interesting mix of acoustic and electric on this album. The sound is fairly unique, and the topics are current and urgent.

THE GUNSHY – Hurricane Umbrellas (Sleep Recordings, thegunshy.bandcamp.com)

Matt Arbogast’s project The Gunshy has been kicking around for quite a long time, and Arbogast has a habit of attracting talented musicians from a variety of bands to play with him, including people from the punk world (and this album is the furthest thing from punk). Max Stern, from Signals Midwest, is here on guitar, and so is Mark Glick, from AJJ (playing cello). Also included are Mike Brenner of Magnolia Electric Company, playing lap steel guitar and dobro, as well as Kara Eubanks (violin), and Ben Grigg of Babe Report (horns and keyboards.) The music on this album is Americana and folk, all with an indie sensibility. Arbogast says he can’t play guitar well, can barely sing, and doesn’t have a gift for songwriting. But some of that is what makes the album so compelling. It’s a guy giving us his thoughts and his heart. And the musicians he surrounds himself with more than make up for any technical shortcomings he may have.

I liken Arbogast’s approach to that of the late, great Steve Goodman, a legendary Chicago folk singer-songwriter. His songs have the same casual relaxed vibe, some twangier than others. But they all sound like a guy just playing his guitar, trying to get his thoughts across. Songs like “Tree-Lines” have a grand feel, and there are songs that are a lovely mix of indie and Americana, like the title track, with its lovely harpsichord and violins, or the adventurous “Copycats,” with horns and electric organ in the arrangement. There are songs that are a 50-50 mix of indie and Americana twang, like lead single “Buzzer Beater,” a song about getting caught up in the daily grind and the worries of daily life, not taking the time to appreciate what we have. Then there are the songs that are outright country tunes, like the super-twang filled “Future Cars on Former Roads.” It’s a nostalgic song about changes in one’s hometown, with references to a pharmacy where Blockbuster used to be, to “the only bar that ever threw me out,” and the fact that the old shoe store isn’t there anymore. And “The Day I Met You” is a lovely country folk ballad, the violin really adding a nice emotional element. I really like the ultra-relaxed vibe of “Listen to the Rain,” a song about daydreaming that your books, songs, and jokes will make you rich and famous, and then you give all the money away and just sing the songs you want to play. And “The Black Tie Dinners and the War Machines” is a big Springsteen style song with political overtones. As Arbogast says, these songs may not demand your attention, but they do welcome your company. It’s that kind of record.

TELEMAC (Cooldrive Records, tadamrecords.odoo.com/shop)

This is the debut EP from French quartet, Telemac. It’s five songs that mix garage, psyche, and dreamy indie. There’s a retro 70s psych sound here, with hints of 60s mod, reminiscent of The Velvet Underground – but the music here is thicker, lusher, with a garage and power pop jangle. Loads of reverb overlay the songs, giving them a dose of dreaminess, too. The EP opens with a dark ode to freedom, “Firefly,” with a mix of garage and new wave sounds, and progresses to “A Bit of Blue Sky,” probably the jangliest track of the record. It’s got an easy loping pulse, and plenty of mod and psych sounds. There’s a confrontational garage sound to “Through My Love,” and “Follow the Sun” has an almost space-rock sound. The EP closes with the dreamy “Two for the Best.” This isn’t breaking new musical ground, but it’s solid retro stuff.

WILL ROMEO / THE 1984 DRAFT – “Plowed” b/w “Jet Black” (Sweet Cheetah Records, www.sweet-cheetah-records.com / Poptek Records, www.poptek.com)

Two labels team up to present two bands presenting covers from two 90's bands. Will Romeo, known for his work with punk bands Neckscars, American Thrills, and Gameday, offers up his rendition of Sponge’s “Plowed.” The original is a driving alt-rock tune, with grunge and Americana influences. Romeo’s version relaxes the feel, taking out the grunge and alt-rock, leaving just the Americana. Jangly acoustic guitar and steel pedal guitar blend with Romeo’s raspy vocals to turn the rocking song into a much more emotionally present one. Flip the limited-edition lathe-cut record over, and The 1984 Draft covers Jawbreaker’s “Jet Black,” from the Dear You” LP. The band that’s known for 90's-style indie-rock are right at home with the track, and they change it up with a bigger, grittier sound and dual lead vocals. Both bands do a great job at making these songs their own while honoring the source material.

WON’T STAY DEAD – Vindication (Red Scare Industries, redscare.net)

After running across the band members passing out flyers for an upcoming show, the Red Scare Commissar decided to check them out. After seeing their show and hearing their music, Red Scare was all in. “The band ripped,” comrade Jeg said. After deciding to give the band a track on the Red Scare 20th Anniversary compilation last year and having them play on some Red Scare shows, it was a natural decision to put out an LP. “They go all out for the live show: blood, goth-punk gear, the make-up, and a spooky merch table.” This is all to say the band represent themselves as horror punk, which you might not get if you listen to this LP but don’t see their live show.

The music is strong pop-punk with a hard edge, which is a Chicago punk tradition. Bands from Chicago play punk rock that’s both melodic and muscular, and Won’t Stay Dead are no exception. But there’s more pop in their punk than most Chicago bands, and with their speedy tempos and some great harmonized lead vocals, listeners will be reminded of bands like Bad Cop/Bad Cop or Not On Tour.

Songs are short and to the point, with a baker’s dozen flying by in under 30 minutes. If you pay attention to the lyrics, you get the horror-punk thing, with songs like “Wicked Plans,” “Inferno,” or Hack to the Bone.” It’s the sound and energy that get me, though, more than the shtick. The band is talented.

“River’s Edge” is a perfect way to open an album and reel listeners in; it’s tight, powerful, and loaded with poppy punk goodness. The song is named for the 1986 film, and it ends with a clip of Crispin Glover telling his friends to “bury her so she’s never found.” I do hear some goth-like influence on “Wicked Plans,” and it’s got a bit of grunge in it, but it still has a pop punk vibe. Another favorite is “Boys Will Be Boys,” with a more relaxed sound, a more casual vocals style, and a more moderate tempo. It’s got more of a power pop sound, but with a hint of darkness. “You Don’t Exist,” too, has a more pronounced darkness, and it has lyrics about and ending relationship when one person realizes the other has been taking advantage of her and doesn’t deserve her attention, let alone her love. But it’s “Let it Go” that stands out the most to me. It’s very different from the rest of the songs, with gorgeous harmonies sung over a simple acoustic guitar. It’s absolutely beautiful, and flows seamlessly into the ending track, “Drag.” “Drag” is a great track to end with, because it has a big epic sound. The vocals have a wistful melancholy to them, even as the instrumentals are big and bold. I don’t know about horror punk gimmicks, but I do know that Won’t Stay Dead play some solid punk rock.

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BENEATH YOU – General Hermitude (selltheheartrecords.bandcamp.com)

Beneath You is a new Bay area band that (mostly) features old hands. Brothers Gavin (drums) and Jason (guitar) Hammon, of Dance Hall Crashers, teamed up with Serge Verhovsky (bass), of Limp and Year of the Fist. They recruited newcomer Mary Diridon to sing. And now here they are with their debut LP. And, as you might expect from this lineup, the songs they play are mainly energetic pop-punk, sometimes with little hints of ska-punk, sometimes leaning a bit toward alternative/indie rock. The pop-punk parts remind me a lot of the mighty Bad Cop/Bad Cop, minus the great multipart harmonies. There’s a solid 90's Fat Wreck sort of sound to many of the songs, with plenty of power in the guitars, backing vocals singing “whoa-oh,” and lots of pop melody. The opening song, “Carousel,” could even have come from a Bad Cop LP, with the melodic lines and riffs they use. “Summer Days” is a favorite, with a wistful nostalgic sound, yet still packing plenty of punch. Some songs have more of an alternative or indie rock feel. “Information” alternates between a light, sparse sound and one that’s big and gritty, almost grunge-like. And “Bitter End,” too, borders between Epitaph 90s punk and indie rock sounds. And though the PR materials talk about ska-punk influence (and, hey, two of the members are from Dance Hall Crashers, after all,) there’s very little ska-punk here. “Paranoid” has a little hint of it in the song’s verses, mainly in the syncopated rhythms. But the chorus is great big pop-punk, like most of the album. “Lizzie” also has undertones of ska-punk in the guitar riffs and rhythms, but like “Paranoid,” it’s a passing thing, and most of the song has a thicker alt-punk vibe. The closing track, “Underestimated,” is an outlier, different from everything else on the album. It has a bit of Americana twang to it. Overall, if you’re a fan of the Fat Wreck and Epitaph sounds, this is something you’re going to enjoy. It’s not breaking any new ground, but Beneath You have a solid sound.

THE BROKEDOWNS – Let’s Tip the Landlord (Red Scare Industries, thebrokedowns.bandcamp.com)

Chicago’s punk rock scene has long been associated with a particular sound, one of big, burly, muscular guitars, with a tough, thick, punk-rock sound, but also eminently melodic, poppy, and fun. Bands like Naked Raygun, The Effigies, and Pegboy epitomize this sound and for the past couple of decades, The Brokedowns, from far suburban Elgin, have continued the tradition. Their last LP, which came out nearly three years ago at the dawn of 2023, made my "Best of the Year" list, and now the band are back with their eighth full-length LP, Let’s Tip the Landlord. Well, more precisely, the album also has a subtitle: “A step-by-step approach to achieving financial dominance and physical perfection while optimizing your ancestral wolf potential and maximizing your primal equity and muscular exceptionalism om order to translate the comprehensive guide to regaining your grind excellence and lycanthropic birthright to navigate the global marketplace of alpha economics by translating time into tangible tradable assets and supplemental nutrients which will guide you and future generations to a failproof method to catapult your debt into the fiery pit of the earth’s core where the living god you were born to be laughs in the face of crypto denialism and beta chimp worshippers who will never touch the chalice or sip from the sacred vessel of raw vibrations and virile magnetism that will train you to harness your inner beast and turn your enemies into clouds of vermillion most who once stood honorably at the base of mount flex where the obstacles between you and the celestial anabolic lords who hold the keys to the manual of infinite gains instruct you to regain your animal power and prestigious serpent mysticism that will obliterate any impediment that stands in the way of the decree of the sweat elders that connect you to the edict of the ancient directive of the red blood guzzlers and snake marauders that have bestowed upon the goat elders and jizz savages who hold the handbook to the step-by-step guide to achieving financial dominance and physical perfection while optimizing your ancestral wolf potential and…”

WHEW! The album artwork features a muscular wolf in a tank top, flexing while curling a massive free weight. A bright sports car sits in the background. And all of this to say that the topic of the album is the current cult of conservative young men who focus on materialism and working out, who idolize the likes of Andrew Tate, a kickboxer and online personality who fled rape charges in Europe and is currently living free in the US, thanks to Donald Trump. These are the “alpha males” that MAGA praises, who believe women should be their servants. It’s toxic masculinity literally on steroids. We get songs about “austerity moms” who go to school board meetings to demand that the school stop teaching empathy and who claim that health class is a gate to Hell (“Vanity Plates,”) songs about threats and “might makes right” as foreign policy (“Date Night in the Hague,”) and songs about tipping culture getting out of hand, how we’re expected to tip just about everyone these days through payment apps (“Let’s Tip the Landlord,”) and how our news media hides atrocities happening around the world that we’re funding (“Live Laugh Love Death Cult.”) Throughout are references to becoming a wolf (one of the dominant elites) through use of the miracle supplement, Alpha Dog Serum X, consumerism, crypto bros. and our increasing willingness to look the other way when evil lurks in society. The music is just what you would expect: every song is crunchy, angry, powerful punk rock performed with solid melodic intent. Vocals are delivered with appropriately high levels of rage, each of the thirteen tracks ready to knock you for a loop. And though the overall sound is the usual bright one we expect from The Brokedowns, this may be their darkest album yet, delivered with all the irony you expect. Excellent and highly recommended!

ALEX LITTLE – Spider in the Sink (Light Organ Records, lightorganrecords.com)

Vancouver’s Alex Little teams up with guitarist and partner Adam Sabla on this new five-song EP. It features what I’ll call “garage soul.” These songs have a garage grit and rawness, but there’s also plenty of funky soul going on. The opening track, “Finally Safe in the World,” may actually be the weakest of the EP. It’s got a dark funky vibe, especially in the bass. I like the production here, with the guitar punctuating the song, and in places it’s pulled back in the mix playing some deeply bluesy licks, giving the song a bit of an eerie feel. I’m not sure how I feel about the lyrics, though, about a woman who was feeling unworthy until someone came along and “saved” her with love. I mean, it’s great to find your other half in the big world, but idea that you need someone to complete you bothers me. And don’t get me wrong, I say it’s the weakest track, but it’s a good song, it’s just that they get better. “Forever” is a favorite, with a cool garage-indie-sound. There’s plenty of pop melody, and plenty of garage grit. Again, the guitar work is stellar, with bending notes and cool use of harmonics on the verses and a deep growling sound on the chorus and bridge. “Kid” has a cool retro 60s or 70s soul-pop vibe mixed with 50s girl group sounds. “Sounds Like a Deal” has a great garage pop sound, but it’s the title track that closes the EP that really best encapsulates Alex Little’s sound. It’s a great mix of funky soul and garage indie pop, and again the guitar and production really make the song. I hear a little bit of Bill Nelson influence in the guitar on this one. Cool new EP!

REBECCA SYKES – "Face to Face" EP (rebeccasykes.bandcamp.com)

It’s always exciting when a new artist debuts. Rebecca Sykes is a young singer/songwriter from San Diego whose music is part acoustic, part ambient, and all dreamy. This debut EP features four songs with flowing instrumentals and ethereal vocals, creating a very hazy feel. This is music for when you’re between sleep and wakefulness, music that will entrance. The opening track, “i am (not),” grows in intensity over its nearly five minutes. At the opening it’s very tentative. “When you need me / I won’t be here / If you want me / I won’t be near,” sings Sykes. It’s someone whose life experiences have made them emotionally unavailable. “I am cold / And I am brittle / I am less than / I used to feel,” Sykes continues, her clear, breathy voice intoning. The music and vocals both get more emphatic as we near the end of the song. “So please / Don’t come to me / Don’t ask for me / Don’t come for me / Don’t walk om me / Stomp over me.” The song then gets quiet again, with just the acoustic guitar, Sykes simply singing, “I am not, I am not.” It’s a gorgeous song and tough emotions. “When I Leave” is next, and it’s dark and smoky. I can imagine sitting in a dark smoky nightclub, Sykes sitting alone on the stage with a single spotlight on her, singing this sultry song. The song seems to be about loneliness and lack of human connection. “To feel, to feel alone / To feel, it feels like there’s nothing more.” “Your Mind” is the lightest feeling song of the EP, with an almost breezy pop feel, but that’s relative. It’s still got a very dreamy feel to it and Sykes’ vocals are still unbelievably airy. The EP is over way too soon with “Dysmorphia,” a darkly touching song about feeling like your body is not your home, not your true self. The arrangement with subtle acoustic guitar, quiet bass drum, and cymbal rolls swelling, is very effective. Sykes is an exciting new voice in the San Diego music scene. If you enjoy creative, dreamy, simple singer/songwriter material, check this out and you won’t be disappointed.

TEEN DAZE – "Splashes of Colour" EP (teendaze.bandcamp.com)

The last time I reviewed something from Teen Daze was way back in 2017! Teen Daze is the electronic music project from Jamison Jon Baerg, who hails from British Columbia in Canada. This new EP features four tracks of lovely electronic music, that’s both ambient and dancey/poppy. Lush synths ebb and flow, as the insistent drum machine beats propel the pieces forward. The quartet of tracks are all instrumentals, and there are no vocals to distract from the music (something that bothered me with the “Themes for Dying Earth” LP I reviewed several years ago). I like the hazy lonely sounds of “Shoreline,” and the grand sweeping epic feel of “Don’t Think About It.” This is ambient chill-out music with a dance beat. It’s not breaking new musical ground, but it’s pleasant to listen to. It’s more accessible than most ambient electronic music.

THE THINGS OF YOUTH – "People Like Us" EP (ParksandRecords.com)

The force behind The Things of Youth, Jon Fee, has been active in the San Francisco Bay Area indie music scene for over twenty years, playing bass and fronting The Rum Diary and Shuteye Unison. Over the past decade, he’s also put his energy into The Things of Youth, a project that defies categorization. He’s collaborated with a plethora of musicians over that time, and on this latest EP, he has his 15-year-old son Charlie join the fun on drums. The Things of Youth features plenty of electronics, but this isn’t electronic music or EDM. It is, but it’s also indie, hip-hop, and pop, all with a DIY ethic. The EP’s six songs are all over the place, creating a wide variety of sounds, yet the EP never feels disjointed. It starts with “Wabi Sabi,” with ominous sounding electronics and someone ranting at kids who were fighting, telling them they aren’t so tough because he saw them eating ice cream cones. “Get Down” has a cool breezy indie pop feel, with rapid-fire drumming and synths, but dreamy breathy vocals. The bass line at points sounds like something sampled from a Fugazi song, so the song veers between post-emo and dream pop, in a very cool way. “Pixel Face” is a quiet electronic-focused piece that was inspired by urbex rooftoppers, people who illegally access the rooftops of buildings and take videos. They pixelate their own faces in these videos to avoid getting caught, thus “Pixel Face.” The song sometimes has a bright electronica feel, sometimes a minimalist Kraut-rock sound that reminds me of Stereolab. I love the folksy feel of “Whitney Notes,” with acoustic guitar and fluttering electronics, and the way the song grows in intensity, the drums joining in with a martial rhythm and the synths swelling with the sounds of strings soaring. The song with the most cryptic title has to be “Ultracrepidarians,” a word which represents a person who expresses opinion on matters outside the scope of their knowledge or expertise. In other words, it’s about nearly everyone in the United States today and the culture in which people feel their uninformed opinions about something are as valid as facts from subject matter experts. The EP closes with a song I take exception with. “Go Be Young” is a dreamy indie song with synths and drums, but the lyrics try to tell us that “money is wasted on the old, youth is wasted on you.” Us “old” people don’t think so! Bands that defy genre pigeonholing and create new sounds that others aren’t making always get kudos from me, and The Things of Youth certainly are that. Well done.

SETH TIMBS – Idle Hands (Kool Kat Musik, sethtimbs.bandcamp.com)

Seth Timbs’ latest LP continues his love affair with power-pop and piano-based pop music. Think back to the piano-driven pop music of the 1980's, like Joe Jackson or Billy Joel, and you’ll get an idea of the sound. But Timbs doesn’t only focus on the piano on this outing. Guitar features heavily into the mix too, especially on some of the cool old-timey pop tunes that use acoustic guitar. “Upstate Girl” is a fun one, with acoustic guitar and piano, with heavenly harmonized backing vocals. One has to wonder if the title is a reference to Billy Joel’s “Uptown Girl,” and the lyrics (about finding the right girl to love) definitely make reference to Riot Grrrl. Some songs have a theatrical sound, like the song “Half Life.” It’s got a soulful sound and sound like something from a stage production, with lyrics about reaching the midway point in life. And some songs have a jazzy feel, like “Idle Hands,” which reminds me of the standards of yore. One of my favorites is the old-timey spiritual “Signs and Omens,” which recounts heroic stories from the Bible and from mythology. It’s played on just piano, and has a cool folksy sound, but its real message is that there are no more heroes who are going to come save us, and it’s the monsters that rule the world. It’s up to all of us to fight them and drive them away. And “Everything’s a Joke to You” has hints of retro rock and roll sounds. Not all the songs are to my liking though. “Keep It To Yourself” is the sort of soft rock adult contemporary stuff that puts me to sleep. But it’s the only song out of the ten on this album like that. If you’re a fan of piano-based rock and pop, check this out.

WRECKLESS ERIC – England Screaming (Tapete Records, wrecklesseric.bandcamp.com)

Wreckless Eric (Eric Goulden) was there at the dawn of punk and new wave. And he’s been making music that melds punk, new wave, and power-pop for decades. At 71 years of age, he’s still making music! His last album, Leisureland, was reviewed in this column when it was released just over two years ago. As I said back then, the songs can best be described as power-pop melodies played in a laidback folksy style with psychedelic tendencies. It’s unmistakably Wreckless Eric. And it makes sense that these songs sound so much like his songs from back in the 1980's: They were written back then! Several of these songs were previously released by Eric’s band, Captains of Industry in 1985 on an LP titled A Roomful of Monkeys. He says that album was roundly ignored by critics and disliked by many (including himself). But because he feels the songs marked his “coming of age” as a songwriter, he’s now decided to use these songs for a new solo LP.

The opening track, “Lifeline,” has a deep growling synth standing in for bass, a hollow-toned guitar strumming in rhythm with the drums, and Goulden’s unique vocal stylings. The tempo is a steady march, and I feel the song might be improved with a bit of a brisker pace, but it’s a solid opening. Some songs have a twangy, folksy feel, like “Home & Away” or “Playtime is Over.” And some have a distinct mod-psych sound, like “The Lucky Ones.” “Lady of the Manor” starts with a funeral dirge, but quickly turns into a glorious epic of a jangly power-pop tune, and is a favorite here. “Food Factory” has a bluesy pop sound, dark and smoky. “Our Neck of the Woods” is sort of the ending track, and it’s the most emphatic and angry sounding of the album, and uses “found sound” recorded clips, including what I think it Margaret Thatcher. Plenty of angular dissonance in the guitars keeps the tension level high. I say it’s “sort of” the ending track, because it’s the last song, but there’s a final track, “Secret Coda,” which is a gorgeous short instrumental, synths creating a spacey sound of farewell. Wreckless Eric is in fine form, still giving us great songs and plenty of variety.

VARIOUS – Cult & Culture On Wax, A Planet B Podcast Compilation (threeoneg.bandcamp.com)

There’s so much more to music than what’s on the pop charts or even what Epitaph and Fat Wreck Chords put out for punk fans. I learned this during my years as a DJ at Chicago’s WZRD-FM, a freeform, non-mainstream radio station at Northeastern Illinois University. We were encouraged to explore our record library and try out records we had never heard of, and it was a requirement to mix things up. As a result, the station featured some of the most creative yet underappreciated musicians out there. Cult & Culture reminds me a lot of my days at WZRD. Cult & Culture was initially conceived by Justin Pearson as a series of short segments. Pearson, of course, is the force behind bands like The Locust, Deaf Club, Swing Kids, and more, as well as the founder of Three One G Records. Whenever he was on tour, he would record 10-20 minute programs, inviting a wide variety of musicians, producers, authors, filmmakers, and other passionate creators to join him and talk about what they do. Many guests have been friends or family members, and all of them are key figures in underground culture, with a cult following. Eventually, this idea morphed into a “proper” podcast, now recorded at Penguin Studio in Pearson’s homebase of San Diego, in collaboration with Planet B’s Luke Henshaw. This release is a compilation of many of the artists that have appeared on the podcast, with musical tracks (many previously unreleased) interspersed with snippets of conversation.

Included, of course, are two of Pearson’s bands, The Locust and Swing Kids, bookending the comp. “Cattle Mutilation” is a chaotic 31-second hardcore blast from The Locust, and at the other end of the comp, Swing Kids’ “Disease” is a great free-jazz piece that starts out with sax and drums, and then the rest of the band comes in with raging hardcore as only they can do. The juxtaposition of jazz and hardcore is one of the things that made Swing Kids unique. In between we get some of the most creative people and music in the scene today. Nicola Kuperus is heard stating that her band is not a synth pop band, it’s a synth punk band. Her band, Adult (with husband Adam Lee Miller) then provides a cover of Tuxedomoon’s “No Tears” that sounds fresher than it’s nearly 50 year age would imply, and it’s just as over the top. Legendary drummer Mario Rubalcaba teamed up with Pearson for a project called Coma, and their track “This World’s a Dahmer” appears, with appropriate levels of noise and chaos. One of the more fun tracks is “Cumbia de la Frontera,” by Sonido de la Frontera. It's a combination of Soundsystem culture, hip-hop aesthetics, and Latin American Cumbia music. It’s unique to the San Diego/Tijuana border area, and it’s a hell of a lot of fun to dance to. The Exploited are here, too, with “My Life,” a dark mid-80s post punk tune that borders on Goth. This makes sense when you realize the song was originally from their “Horror Epics” EP. Satanic Planet’s self-titled song gets a cool remix by Planet B, turning the heavy, evil-filled, post-industrial track into something lighter and quirkier, akin to an early Residents track. Satanic Planet, by the way, is an all-star effort featuring the creative input of Satanic Temple founder Lucien Greaves, Planet B’s Luke Henshaw, Dave Lombardo (Slayer, The Misfits, Mr. Bungle, Suicidal Tendencies, and more), and Justin Pearson. There’s also chaotic music from Doomsday Student, cool hip-hop from D-Styes (featuring DJ IQ, Ken One, and Pan Jeras), Year Future covering The Birthday Party’s “Blundertown,” HIRS Collective with heavy noise-core, and Jenny Piccolo (the band, not the Happy Days character) with a short manic sonic blast. But it may be Martin Atkins’ contribution that’s my favorite of the comp. Atkins, of course, is a drummer that’s known for his work in post-punk and industrial music, from Public Image, Ltd. to Ministry, Nine Inch Nails, Pigface, and Killing Joke. His rare track, “Beijing Taxi,” which has only ever appeared on his China Dub Soundsystem Made in China LP, appears here, and is a post-industrial tour de force, melding industrial, drum and bass, trip hop, and found sound collage work. If you’re ready to broaden your musical horizons beyond the big music festival acts and want to listen to some real artists, this is highly recommended.

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DELEO – "If the World Were Mine" EP (deleoofficial.com)

Deleo is an enigma. Founded by guitarist Denis Navarro, the group plays music that’s part indie rock, part experimentation, and part apocalyptic soundtrack. The French band (they’re based in Montpellier) play music very different from anyone else today. The 20-minute EP begins with an ambient introduction, “As Promised,” an ethereal track that lasts less than a minute, before launching into “Something I Will Find.” Émilie Domergue’s vocals shine, with mysterious turns and gorgeous breathy falsetto. Navarro’s guitar jabs and stabs, twists and gyrates, while Félicien Bousquet’s bass thrums in a Fugazi-like way and Benjamin Marmier’s drums pound with fury. The song blends indie and post-emo into a furious mix. “You and I” changes the tone to something that starts out smooth and sweeping, then becomes a subtle pop tune, the drums taking a prominent role, acting as the audible heartbeat of the song. The syncopated beats are a cool contrast to the flowing guitar and soaring vocals. “Assholes and Ashes” is a solid favorite, with its mix of indie and emo, throbbing instrumentals that are unsettling, and a mix of spoken and sung vocals. I love, too, how the final minute of the song dissolves into gorgeous distorted ambience, Domergue speaking conversationally. “Excuse me, you’re in my space,” she flatly declares. “Hey you, you think you can take my place?” she asks. “I’m surrounded by ashes and assholes.” It’s a statement about how our world is being reduced to ashes by the assholes around us. “Echoes” is a gigantic song that mixes dreaminess and indie. Domergue’s vocals demonstrate subtle pain and towering dominance, both in the same song. The EP ends with “Calm and Quiet,” and it’s anything but calm or quiet. It gets louder and angrier as it evolves, a song about sexual assault and the ensuing shame, the attempts to keep it inside, calm and quiet, but the growing rage is too much, as the song explodes and Domergue sings, “I’ll let this secret out!” over and over. Powerful stuff.

HAUNTU – The Unknown Reigns (hauntuhauntme.bandcamp.com; Sell the Heart Records / Engineer Records)

San Diego’s Hauntu debuted last year with their “I” single. They’ve followed that up with some compilation appearances, but now they’re here with their debut full-length LP, their first statement of substance. As I noted in my review of “I,” the band has a sound that’s dark and foreboding, angry and desperate, with hints of goth and outraged indie-rock. The songs have an urgent feel of alarm, a warning about the approaching apocalypse. The album opens with “Crooked Teeth,” the guitar’s double downstroke, sounding like a clarion call. When the full band comes in, it’s dark, with the lead guitar harmonics screaming behind the anguished vocals. The song, solidly played, perfectly executed, leaves me feeling uneasy. And that’s the point, when the world is falling apart around us. We shouldn’t feel comfortable. We should be wary. And this album aspires to be the soundtrack to our wariness about the times we live in. There’s a garage grittiness in Hauntu’s guitars, and the bass and drums are in lockstep, hammering away on every beat. This adds to the urgent feel of the songs. One song that’s a little different is ”By Design.” It still has the same general sound, and the guitar harmonics and dissonance are pretty unnerving, in a good way. But there’s also a gentler smoothness, particularly in the melody. It makes for a compelling contrast. “The Arrival” is a fascinating song about the possibility of alien life coming to earth. Would they come to save us from ourselves? Or would they come to destroy us before we destroy ourselves? That’s the question this song examines, And Rebecca’s lead vocals are gorgeous, strong, and flowing. “End of Days” has an eastern vibe about it, like a song of ancient prophecy. The tribal drumming and the modality of the instrumentals give it a mysterious sound, and the chorus is huge. This may be my favorite track of the LP. Another favorite is “Panic.” You can feel the titular emotion in the angularity of parts of the song and in the insistent rhythm. I especially like the intertwining and competing vocal melodies at the end of the track, and the rising power and tension as the song draws to a close. A solid opening salvo from Hauntu.

THE LUCKY SHOTS – Clearly Opaque (itstheluckyshots.bandcamp.com; koolkatmusik.com)

Hailing from the California musical hub of Sacramento, The Lucky Shots are a band formed in the early 2000's by Brent Seavers, primarily known for his other band, The Decibels. The Lucky Shots play music that blends 60's garage and mod sounds with 70's power pop, providing for songs that are both catchy and that rock hard. “Politics” is a good example of this, with a gritty garage sound, but it’s poppy enough to create a bit of an earworm. The lyrics are an admonishment to the people who can’t think for themselves, whose politics are to follow along with what everyone else is saying and doing. A real favorite of the album is “On the Run,” a song that’s got a breezy melody that borders on the verge of indie, but features strong power pop roots in the riffs. Another is “All Alone,” with a wonderfully light airy sound. The guitars jangle beautifully, but there’s a great 60's garage pop vibe going on. The song is about unrequited love, the pursuit of someone who always wants to be alone and unattached. I mean, it’s borderline stalking, maybe? But it’s super catchy. There are even surfy pop sounds influenced by the Beach Boys, with “I’ve Become a Spy,” about the difficulties of navigating a relationship with someone who’s less than honest about things. And I can hear both Beatles and Plimsouls influences in “Here I Go,” making for a unique sound. “Only the Night Knows” has a bluesy feel, and “Legendary” borders on pop punk. With a great mix of classic and modern sounds, The Lucky Shots don’t need luck; they’ve got talent. Solid stuff here.

NEGATIVE BLAST – Destroy Myself for Fun (negativeblast.bandcamp.com; Three One G Records / Vitriol Records)

For those not in the know, Negative Blast is a San Diego band that formed during the pandemic by friends Rainer Pesebre (vocals) and Alexander Jacobelli. (guitar) They started the same way many pandemic-era bands did, trading recordings of riffs and ideas. Jacobelli recruited another friend, Patric Callaway (bass), and shortly after, Callaway relocated from Chicago to San Diego. It was this lineup that recorded the band’s first EP, “The First Four,” and their “Demo 002.” But they needed a drummer for live shows, and brought in Sam Rich for a time, as they began work on their first LP, Echo Planet. As this went on, Mario Rubalcaba was brought in for a time, and for their split release with LA band, Sweat. But they needed someone permanent, and now, with the addition of drummer Hunter Martinez, the lineup was solidified and the band began work on this sophomore LP. The eight songs on this mini-LP blast (it clocks in at just about twenty minutes) are brutal hardcore, but many of them have actual melodies, some of which are almost poppy. But they’re all tough and powerful, just not the modern brand of screamy chaotic hardcore. This is tight furious music.

The opening track, “Fireplay,” the lyrics of which give the album its title, sounds like what would have been if Devo had been a hardcore band instead of new wave. It opens with synths, and has a cool Devo-like guitar riff. But it’s still heavy leathery stuff. “Futurerock” has a cool hard rock vibe to it, with a chugging guitar rhythm, but at the end there are some guitar licks played with a cool dreamy goth sound, giving the song an entirely different vibe for a minute. The song, according to Pesebre, is about how when he was younger, he thought that technology would help us eliminate war and poverty, but instead it has only accelerated the exploitation of poor and marginalized people by corrupt oligarchs.

Some songs remind me of early 80s hardcore, with simple chord progressions, fast and loud riffs, and furious vocals. “Missing Link” is one of these, transporting you back in time to when hardcore was powerful rock that was sped up and loaded with rage. “I’m In Love” is another. It’s got cool unexpected chord progressions, and it rages at full throttle. And “Denial” has a cool angular melodic line, and sounds like it could be a garage punk tune, but it’s played with hardcore ferocity, lyrics sung with rage.

Negative Blast may be a newer band, but they’ve got a lot to say, and they’re tight and formidable. Check this one out. I can’t wait to catch them live!

PARADE OF HORRIBLES – "NMA" EP (paradeofhorribles.bandcamp.com; Bypolar Records)

Parade of Horribles is a long-standing duo from the greater San Diego area, featuring Jason York on bass and vocals and Chris Mazzola on drums. They play a cool fusion of 90's hardcore punk, metal, and funk. The pair have been making music for several years, but even more notably, they’re key organizers of the annual Punk Rock Food Drive, an annual event in San Diego’s North County that’s raised enough money for local foodbanks since inception in 2009 to fund over 277,000 meals. Music-wise, Mazzola comes out of the 90's hardcore and punk scene, so his drumming has a powerful punch. York uses his bass in ways God never intended, playing incredible melodic lines and funky breakdowns, using unique tunings and effects to create a massive tone. The opening track, “Carriage Return,” alternates between smooth indie/alternative rock and brutal hardcore, York’s vocal range proving to be enormous. And listen to those riffs – on the bass! Lyrically, the song is about people who fail to find happiness from within, who rely on external factors, particularly alcohol, to be happy. And, as a result, they fail to ever find true happiness. “Pedestal” is a real stomper, with a powerful rhythm, and York’s vocals go into raging overdrive. I really like the melding of metal and funk on the title track, a song about the importance of being grateful for what we have, rather than resentful and angry about what we don’t. “If not grateful to be breathing / Suffocation takes its place,” the song exhorts. Listening to “Same Songs,” you would be shocked to learn this is just bass and drums, had you not already known. The song has a thick sound, with speedy sections and a slower powerful breakdown, just like the 90's hardcore it takes its cue from. And the closing track, “Past Tense,” brings funk riffs and powerful punk together to create a frantic song about moving past the mistakes of yesterday and moving forward in life without lingering on those faults. Parade of Horribles never disappoint, and this new EP is no exception.

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BASHFORD – Wannabe (Big Neck Records, bigneckrecords.com)

The '90's are making a big comeback these days. Kids are wearing baggy jeans and oversized shirts. Shoes are getting chunky again. And grunge is making a comeback. Bashford, hailing from Mad City (Madison, Wisconsin,) are hanging their star on the grunge resurgence, and play noisy, heavy rock 'n' roll. There’s overdriven bass, plenty of fuzz, and pleading, gravely vocals on the 11 tracks on this LP, their sixth over the past decade (if you include their debut live demo). They’ve got a huge dynamic range, and go from subtle and quiet to loud and enormous at the drop of a hat. Most of the songs have the typical grunge-dirge pace, slow and steady, allowing room for loads of emotion in the lead vocals. And the title track verges on ballad-like, demonstrating those big dynamic changes, Luke Peltonen’s lead vocals dripping with feeling. I like the use of violin on “Lady in Black,” paired with jangling electric guitar, giving the song the feel of an old folk tune. “Calloused” and “Odyssey” are a bit more energetic, pace-wise, than other tracks, and their minimalist riffs give the songs a sense of urgency. The closing track, “Powerful Auras,” is as powerful as the title suggests, with an almost punk energy to it. If you missed real grunge, check this out. Grunge is back!

THE MENDOZAZ – The Completely Fictional History of This Great Nation of Canada (themendozaz.bandcamp.com)

This is just what we needed right now, what with the Orange Ogre making threats against our neighbor to the north. And amidst the deluge of lies and fake news, it’s only appropriate that our frigid friends enlighten us with a completely fictional history of their great nation! The Mendozaz hail from the thriving metropolis of Toronto, and they remind me a bit of Bobby Joe Ebola and the Children McNuggets. They’ve got a power-punk sound, yet they’ve also got a very big theatrical vibe about them. It makes for a fun listen. The songs are powerful and hilarious, sometimes poppy, sometimes dark. The record begins with “Fuck You: The Musical!” It’s a wonderful overture to set the stage for what’s to come. It’s got a much bigger sound than a trio has any business having, and the lead vocals are spot on for this style. The key message here is that we are all bit players in one great big musical, and that musical is called, “Fuck You!” It sure feels like that most days. Next up is a dark song, “A Piercing Shriek of Death,” about hapless ice fishermen who get attacked – by a shark! When the temperature is 30 below! I guess it’s a common occurrence in the frozen wasteland that is Canada. If you’re a pop punk fan, “An American Werewolf in London, Ontario” is for you. It’s about a Lycanthrope who wants to be a Loventhrope. The poor guy just wants to get close to his love, but his problem creates distance between them. Add to that the worry that if he gets reported he may be deported (something that seems to be more and more of a problem everywhere these days), and you can see he’s got issues. At least he has this excellent song. We get the tale of “Kokanee Joe,” a fisherman who takes people out to who knows where. The song is alternately bright and dark, representing the light-hearted adventure and Joe’s dark intent. Jealousy getting out of hand is the topic of “Late Stage 12 Gauge,” in which a husband misunderstands the platonic relationship between his wife and another guy – and all they ever do is play video games and watch TV! I love the breezy sound of “Inverted,” but beware! “The Bell Tower Killer” is after you! “Crack! Ding-dong! You’re dead!” It’s an eerie warning of a song, so be careful going up bell towers! Our history lesson concludes with “The Unlikely Legend of Captain Fuchs.” It’s a punk rock folk tale, a sea shanty for the punks who can’t pronounce the Captain’s name, so they just call him “Captain Fucks.” Listen to this record and you’ll know everything you need to about Canada. I strongly urge you to do so, because this is a hell of a fun record! And, hey, if the Orange Ogre has his way, they’ll be family soon!

MOMMYHEADS – No Quietus (www.mommyheads.com)

Mommyheads, the prolific indie band that have been around since the late 1980s (except for a decade off) return with their seventeenth album in 38 years. And they continue to push the boundaries of what indie rock is. They blend indie with elements of prog rock, pop music, chamber pop, and even hints of jazz, funk, R&B, and blues. Non-traditional arrangements, shifting rhythms, and a smoothness define the common threads throughout this new LP. It makes for an album that has plenty of sonic variety while remaining eminently cohesive and purely Mommyheads. The album begins with a ten-second synth track – I don’t know why they included that – but it really gets started with “Black Veins.” The soft indie rock sound, blending subtle guitar and luscious keyboards, makes for a lovely song, Adam Elk’s passionate vocals blending in quite well. The song features an arena-like guitar solo toward the end, as the song builds in volume and richness over time. The unison of guitar and vocal lines reminds me somewhat of Queen, too. The title track is a dark waltz with an orchestral feel. "Quietus" is defined as “death, or something that causes death, regarded as a release from life.” No Quietus is the opposite of this – it’s life, no release. There’s a jazzy feel to the song, mixing acoustic guitar and electric piano. It’s got a dark circus vibe, with lyrics about fear of slipping away – from each other and from the world, but finding a way to hold on and keep going. I love the audacious choice of 7/8 time for “I’m Your Apocalypse,” with fractured guitars swirling around dark buzzing synths. It’s got a cool jazz-rock feel to it, especially with the horns on the instrumental bridges (or maybe they’re synths, but they sound like trombones and flutes). The song alternates between a smooth flowing chorus and darker, disjointed verses. “Always Reaching” features a disco dance beat and bass line, an unusual choice for an indie-prog LP, but the arrangement works, featuring interestingly processed synths and horns. I think my favorite track of the album may be “Race Car Brain.” Maybe it’s because I’ve got one (I love sports cars and driving fast on twisty roads). But maybe it’s also because it’s got a delicate folksy sound, plucked acoustic guitar and keyboards blending on what sounds like an old melody. It, too, explodes later in the song with a big arena guitar solo. Another strong favorite is the ending song, “It’s Only Life.” Harpsichord and horns fill out a complex arrangement in a song that seems to tell us that the real meaning of life is in all the small things we experience, and the love we find. The riffs are cool, and the song becomes somewhat epic. “No Quietus” is an album full of rich musical detail. The arrangements are intricate and very purposeful. This is an album that demands intentional listening. Casual listeners may be disappointed, but that’s because they’re missing all the fine details. This is a lush album, lovely in its varied influences and how they’re seamlessly blended together.

N.E. VAINS – Running Down Pylons (Big Neck Records, bigneckrecords.com)

N.E. Vains started life as just Vains in 2022, when a pair of musicians met on Facebook and began sending tapes back and forth to collaborate. Jeffrey Thunders and TJ Cabot first called their project Vains, but that caused confusion with other existing groups. So, when they recruited Shandy Lawn to play lead guitar, Bill Bates on bass, and Elvis Belushi for drums, they changed the name to N.E. Vains (N.E. meaning New England, where all but one member were based, the other being in Canada, or North East). The band released some tracks on a split EP with Chinese Junk in 2023, which was dedicated to Bates, who sadly passed away that year. He’s since been replaced by Scot Fitch, and that brings us to this new record, eleven tracks of garage punk in under eighteen minutes. I guess the penchant for garage punk is why Jeffrey Thunders chose his moniker? The music is raucous and raw, and songs are short and to the point. The technological origins of the band are on display in the opening track, “Kicked Off the VPN,” a song filled with old school rock and roll snot. “The Grounds” has vocals that are actually sung instead of spit out, with a cool twangy melody. And the twang carries through on “Through With It,” a song that brings memories of 80s cow-punk. The song is frantic garage punk, but slide guitar changes the character of the song completely. “My Ammunition” is a short blast of early 80s hardcore sounds in under a minute, and “Worn Out On You” sounds like what The Rolling Stones might have been like, had they come of age in the late 70s punk era. I think “Pinched Nerve” may be my favorite of the record, though, with a strong Angry Samoans sort of garage punk sound. The title track features heavy metallic rock and roll sounds, sort of like what Boston’s The Freeze was doing in the mid-80s. The closing track, “Wrong Step,” is a slower chaotic rock and roll number, and it doesn’t seem to fit well with the rest of the tracks. It’s also an odd way to end the album, because it doesn’t have the sense of finality to it. The record just…stops. But this is an otherwise solid record for fans of the early garage punk sound.

OUR SOULS – DIY Misery (Socks On Records, socksonrecords.bandcamp.com / Indolent Records, indolentrecords.bandcamp.com)

Our Souls is a punk rock band from Leicester, in the UK. They call themselves a “melodic punk” band, but that label has specific implications of 90s overblown alternative “punk” music, and that’s not what Our Souls is. Yes, their music is melodic, but not quite pop punk. It’s definitely punk rock. Think Lawrence Arms or Leatherface. The broad melodic sounds also make me think a bit of Iron Chic or RVIVR. And some strong emotional aspects make ne think of Banner Pilot. Over the past several years the band has released several EPs, a couple of singles, and one full-length LP. This latest record is a six-song EP spanning seventeen minutes. The band is tight, but some songs feature big gang vocals, giving them a looser sound. I love the striding sound of “Them Old Haunts (The Earworm),” with some cool guitar and bass riffs alternating with big crunchy sections. The song seems to be about being happy with your life, as it is, rather than becoming bitter at not having what you don’t have or spending all your time and effort chasing it. A couple of the songs have found sound samples that are fun: “Last Life” opens with what sounds like something from an old film, with a man saying, “If you’re going to smoke, you need to learn to carry matches.” And “Glaswegian Blood, Yorkshire Heart, Leicester Lad (Chin Up, Mate)” opens with a woman asking, “What does granddad call you?” “Pain in the ass!” comes to reply from a small child. “Last Life” is a great song, again with sections that have very different tones and textures. Big noisy walls of guitar are interspersed with quiet jangle that sounds like something out of the 60s mod era. The vocals are enormous, eventually turning to shouting. The passion in this song is palpable. And, really, it is through all six songs on the EP. And that’s an important ingredient in any good band. You can have technically proficient musicians who play songs with precision, but if they don’t put their hearts into it, it’s going to be boring. Our Souls is not boring. Take the song, “Bands Are Stupid (The Shredder).” It's aggressive, tough, and it’s an energetic powerful ode to doing things the DIY way instead of selling out. The one thing about the band is that the lead vocals are less than perfect. But it hardly matters. There’s more heart in these songs than in a million overproduced major label records.

TEETH MARKS – Raise/Wreck/Rebuild/Raze (Better Days Will Haunt You Records, betterdayswillhauntyou.com)

Teeth Marks, out of Columbus, Ohio, are a newer band that features members of Yellow Paper Planes. Their debut LP features a sound that’s big and moody, with plenty of air to breathe. It’s sometimes crunchy, but always dreamy. Dreamy post-hardcore? Dream-core? Whatever, it has an epic sound, but with a quiet dignity, emotional, but with a gentle nobility. Joshua James’ lead vocals range from a quiet deep baritone to a plaintive tuneful moan. In that way he reminds me a little bit of Eddie Vedder, with the strong emotional content and wide range in his vocals. Likewise, the whole band has a big dynamic range, going from simple vocals and subtle guitar to huge full band rage. And the band has a fantastic unique sound, courtesy of Chris Heidel’s steel pedal guitar. No, there’s no country twang here, at all. Instead, the steel pedal, played at a pitch above the other guitars, gives the otherwise heavy instrumentals a celestial sound, like you’re alone out in space far from anyone else. Jeremey Ebert and Joshua James’ guitar interplay is fascinating, and the rhythm section of Petey Mendenhall and Brandon Woods are clear winners, with melodic lines in Mendenhall’s bass and mathish rhythms banging out from Woods’ drums. The songs definitely have a 90s influence to them, from grunge to indie, from emo, to math rock. But the distillation of these sounds into a single sound is unique. I like the broad epic sound of “Black Whale,” while the short instrumental, “Wendingo On Skates,” has both an innocent hopefulness in its opening and an evil grinding guilt in its ending. One favorite is “Nothing Lasts,” with its eerie scratchy steel pedal opening. I like the use of 8/8 time in the verses, switching to standard 4/4 time in the chorus. The song has a quiet tentative sound to it, unresolved nervousness. And while the bulks of the album’s songs have a very brooding, pensive sound, the closing track, “Neon Blackout,” was automatically recognizable as the ending song; it has that sort of feel. It sounds gentler and purer than the other tracks. More hopeful, not quite so solemn. After four minutes of this understated sound, the song explodes with ecstasy for its final minute. Dream-core: let’s make it a thing.

THE WELLINGTONS – Baby Moon (Kool Kat Musik, www.koolkatmusik.com)

Australia’s The Wellington’s last released an LP way back in 2017, and this new album was released in their native country in September. But it’s now available in the US from the kind folks at Kool Kat Musik, so you can avoid tariffs. The Wellingtons play a mix of power pop and indie, with driving pop melodies, tempered with modern indie arrangements. Occasionally the multipart harmony of the backing vocals gives it the feeling of AM pop music of yore, too. Right from the opening track, “Always Gonna Be That Girl,” the catchy earworms work their way into your brain. The loping song takes Beatles-esque chord progressions, mixes it with solid power pop, and puts it into an indie arrangement, and it’s just…right. It’s kind of an anti-love song about a guy who’s with a girl who’s smarter and stronger than him, and never lets him forget it. I really love and relate to “The Things I Did Before,” a song about aging and dreaming about the days when you would go out dancing and drinking until they kicked you out, but now all you do is stay home and watch streaming apps on TV. It’s about how you used to be carefree and spent your free time idling, but now, in the post-COVID world, “work’s just feet away.” It’s got a bouncy Bangles sort of sound, especially with the strong female lead vocals on this song from bassist Kate Goldby. “Deadbeat Dad,” a song about a man who tries his best to be a responsible parent, is especially notable for rhyming “Don’t wanna be the reason she’s not great” with “Will I be held responsible for a reprobate?” The song has an easy lope and tentatively hopeful sound, ending with the sounds of a little girl talking and laughing. And another song, apparently about being a new parent, is the wistful power pop ballad, “Sound Asleep.” It’s about feeling helpless, not understanding the thoughts of a baby, not knowing why she’s crying or how to stop her bad thoughts. But even though a parent isn’t a mind reader, the song sings of the truth of love” “But I think I saw her smile in the park when we went walking / When she squeezed my finger I knew I was in love.” “End of the World” is a timely song, about how “I was looking forward to retirement,” but now corporate greed and the pursuit of profit at any cost is accelerating the end of everything. “Looks like we’re winning the race to the end of the world,” sings lead guitarist/keyboard player Zac Anthony. This mix of power pop and indie brings together the best of the past and present. And it’s good to hear from The Wellingtons again after so long.

WESTBOUND TRAIN – Sing the Ghost Away (ORG Music, orgmusic.com)

Based in Boston, Westbound Train were formed at the Berklee College of Music back in 2001. So you know, right off the bat, that they’re going to be top-notch musicians. And their love of classic ska, reggae, rocksteady, and soul music are clear when you listen to their music. The group had fallen silent back in 2009, but came back together a couple of years ago, releasing their LP, “Dedication.” Now they’re back with “Sing the Ghost Away,” ten songs that are an amazing mix of island rhythms and smooth soul. Sometimes I feel transported physically to Jamaica, like with “Slippery Slope,” a great rock steady tune. Guitar, bass, drums, keyboards, sax, and trumpet blend together in a song of wrong choices and regrets. Other songs make me feel I’ve traveled through time, back to the 70s, with lush soul-disco tunes with full string section, like “Gasoline (Don’t Say Your Goodbyes).” I really like “Meet Me at the Metro,” which has that rocksteady beat, with a smokey soulful sound right out of the 60s. There’s even a hint of mod influence in there. Similarly, “L.M.A.” blends rocksteady with 70s R&B/soul for a very unique sound. And “We All Need Rescue (Relic Room Version)” melds rocksteady with a cool retro lounge vibe. “Keeper from the Start” adds a mix of reggae and funk to the mix, and there’s a solid jazz vibe going on in the trumpet solo in “Like a Sunset Over Water.” If your playlist includes artists like The Slackers, The Skatalites, and Otis Redding,” check out this new LP from Westbound Train.

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AMERICAN LIPS – On Strike! (Ancient Fashion Records, americanlips.bandcamp.com)

Cross-continental art-punks American Lips return with their latest LP of mayhem. Featuring members in locations as disparate as Montreal and Los Angeles, American Lips’ music is angular, choppy, jagged, intense, frantic stuff, filled with synths, guitars, bass, drums, and vocals. They mix a sense of urgency with cultural critique and twisted pop hooks. Their label is Ancient Fashion Records, and fashion seems to be a common theme through some songs. The opening track, “Record Store Day,” commands that you take that t-shirt out of your jeans, then put it back in your jeans, I guess as fashion dictates. Saxophone screams through the song, as the bass thumps its way through, too. Vocals start out speaking normally, but then more voices join in and it rises to a cacophony of screams by the end of the track. The drums keep steady metronomic time, even as everything else devolves into chaos. It’s the perfect way to start the LP. Fashion is also brought up in “This Is the Top,” where they sing that “Fashion lives on fascist tears.” It’s a bouncy quirky song about people with a sense of superiority. The “art” is the point here, with angular melodies, dadaist sensibilities, off-the-wall humor, plenty of synth beeps and boops, and mechanical precision in the rhythms. One favorite track is “Got It Made,” a song that features a mix of great lo-fi indie rock and turbulent instrumentals. I love the no-wave/new-wave deadpan of the title track, too, with a sound harkening back to the massive creativity of the early 1980s. “Lawsuit” has the sound of twisted art-rock version of the Dead Kennedys. But if you’ve ever wondered what a 60s pop band would sound like if they formed in the 1980s and took lots of acid, listen to “Get On.” This is super creative stuff, unlike anything else out there today. File alongside bands like The Flying Lizards The Normal, and Men’s Recovery Project. Recommended!

CAMP TRASH – Two Hundred Thousand Dollars (Count Your Lucky Stars Records, cylsrecords.com)

Camp Trash’s latest LP won’t bring any surprises to longtime fans. The band’s blend of indie rock and emo is still there, though their first LP in some three years leans more into the indie side of things and less into the emo-punk side. When I last reviewed them I noted similarities to indie-rock bands like Superchunk, and I stand by that comparison, though many reference Get Up Kids or Built to Spill. There are hooks galore, bright guitars, and big vocals, sometimes smoothly harmonized and other times loud and urgent. According to the notes, the titular money is about various con men, gamblers, low level mobsters, and cult members and their dream of a better life. They all have “can’t fail” plans to get the sum of money, but “can’t lose” always seems to lose. The songs are loosely connected on this theme, with songs about getting money, losing money, what they’ll do for money, and what they do if they get caught. I love the relaxed lope of “Signal Them In” and “Between the X’s,” back to back songs with a similar vibe of bright slacker rock. “Alibi,” too, is a slower pace with gorgeous guitar tone and a sweeping melodic line. A lot of people don’t get into slower tunes, and often I’m one of them. But these songs are bangers, even if they don’t have you bouncing off the walls. “No Vision” has a different sound from most of the album, with a grittier tone and slight distortion in the vocals. It’s less “slacker indie” and more “stoner-noise rock,” and it’s probably my least favorite song of the LP. Humorously, though, right in the middle of the wanky guitar solo, it cuts off and you hear the studio banter and laughter. Also very different is “Biker Bar,” a short song that starts out acoustically, with acoustic guitar and handclaps, but electric organ soon joins in, and the song has a cool bluesy soulful sound. Camp Trash aren’t a flashy band trying to grab your attention with gimmicks or over-the-top power. They’re just there, creating these songs in a workmanlike way in the hopes that you’ll listen. If you like indie-rock, you should listen.

MELKUS – Discografia Due (It’s Eleven Records, www.itseleven-records.de)

Melkus is from Leipzig, Germany, but the title of their second album is in Italian. Go figure. It’s a boring title, which loosely means “second album,” but the music contained within is anything but boring. Melkus plays chaotic noisy garage punk, sometimes veering toward hardcore and other times toward noisy pop. The first track, named after the band, is speedy old school hardcore punk with a Motörhead hard rock vibe, while “Give It a Try” has an art garage punk sound, with an odd broken up melodic line that verges on jazzy at times. Speaking of jazzy, “Sync Out” has plenty of jazz punk sounds, including saxophone in the mix! The track ranges from chaotic punk to jazzy jams. I like the use of piano in “Raus,” giving it a retro rock and roll influence mixed with the anarchic punk. Some tracks have a no-wave sound, like “Shining,” a track that alternates between monotonality and angular lines, between sparse and chaotic arrangements, and the anti-police “C.Ops,” too, has an out-there twisted melody, and it’s got eerie high-pitched synths, too. The mix of punk, free jazz garage, and no-wave sounds makes for a chaotic, yet creative LP.

RADIOACTIVITY – Time Won’t Bring Me Down (Dirtnap Records, www.dirtnaprecs.com)

It’s been a long, long decade since Radioactivity’s sophomore LP, “Silent Kill,” was released. And with band members Jeff Burke, Mark Ryan, Greg Rutherford, and Daniel Fried busy with other projects, I started to wonder if we’d ever see this particular configuration of some of Denton’s finest again. But here we are! This third outing still features Burke’s fantastic songwriting, based in up-tempo garage punk, with forward-propelling rhythms and massive chugging guitars. But time has given the band time to slow down somewhat and breathe. While some of the songs on this LP are quite similar to past Radioactivity albums (notably “Watch Me Bleed” or the album’s title track), many of the songs focus more on expansive melodies and arrangements. Listen to “This One Time” and see what I mean. The pace is definitely more relaxed than we’re used to from Radioactivity, and it’s got a darker power pop melody. And “Ignorance Is Bliss,” too, slows things down, and there’s even a hint of Americana storytelling and twang in there. And “I Thought” feels downright wistful. There’s still a driving rhythm, but the arrangement is toned down, more delicate, and there’s the addition of keyboards, giving the song a kind of warmth. The whole thing just feels like a snuggly sonic blanket for someone who needs a hug. “Analog Ways,” too, has a smooth warm sound, acoustic guitars blending with dark buzzy synths to create something truly gorgeous. There’s no garage punks here; this is lovely pure indie rock, in a song about eschewing the modern digital world, where social media interactions pull people apart instead of connecting them, and pursuing a more analog life. “Why” is one of the classic sounding Radioactivity songs, with a faster tempo and the wall of sound garage punk vibe. It’s got a strong, aggressive edge, but the pleading vocals reveal a vulnerability and raw emotion. And “Sleep” is interesting, in that it’s got the same vibe as one of those harder, faster Radioactivity songs of the past, but slowed down a bit so we can hear and appreciate the melody. It ends up with more of a modern power pop sound than garage punk. But it may be “Shell” that’s my favorite track of the album. It’s completely different from anything you’ve ever heard from Radioactivity. Once again, acoustic guitar is used along with buzzy synths and electric guitar. After starting quietly, with just acoustic guitar and pleading vocals, things slowly get bigger and bigger, as the rest of the band joins in. There’s a big grand sound, darkly soaring, like the soundtrack to some dystopian science fiction film. I would estimate that the split between the older, thicker sound and the newer more indie sound is about 40-60. And I’m fine with that. Because fast or moderate/slower, tense or relaxed, Jeff Burke is still a great songwriter and Radioactivity are a solid band. A+

SMALL DOSES – Rodeo (Snappy Little Numbers Quality Audio Recordings, www.snappylittlenumbers.com)

Featuring some veteran musicians, Small Doses formed a few years ago in Asheville, NC when John Polydoros and Matt Aycock decided to start playing together again. They had previously played in bands like Off With Their Heads and Dawn of the Dude, among others. After recruiting Crystal Kelly on bass, the trio released their debut LP in 2024. Now they’ve added Isaac on guitar and the quartet return with a four song EP, “Rodeo.” These songs feature a satisfying mix of punk rock and post-hardcore noise, with the right balance of melody and aggression. The songs are big and dark, and Polydoros’ singing is done with edgy spit and anger. I love the frantic sound of the hilariously titled “Actually, This Is My First Rodeo.” Guitars scream and shout just as much as Polydoros, drums and bass pounding away. But I think it’s “It Takes a Village, People” that’s my favorite track of the four. It’s got a uniquely Chicago sound, influenced by greats like Steve Albini and The Jesus Lizard. Which makes sense, given Polydoros’ time living and playing there. Solid new release that makes me look forward to more.

SPECTRES OF DESIRE – Incursions (Sweet Cheetah Records, www.sweet-cheetah-records.com)

Spectres of Desire is a solo project of dark-wave new wave synth pop from Minneapolis punk rocker Jonny C Tamayo, perhaps best known as one of the on and off members of The Slow Death. Deep vocals mix with shimmering synths and pulsing drum machine, creating the sounds of a post-apocalyptic world as seen from 40 years ago. Which, it seems, we’re already in. There’s a desolation in the sounds, a feeling of loneliness and isolation, even as the beat is very danceable and the synths sparkle and shine. Of the six tracks on this EP, I think “Feel the Blade” may be my favorite, with a cool simulated backing vocal track from the synths, powerful rhythm, and strong baritone vocals. Lyrics refer to the class wars, how some people feel they age out of battles for justice, yet all we need to do is “learn fast, change tactics” to be effective. I also like the piercing synths on “Circles,” a song that seems to speak to the divide between those who follow religious beliefs and those who do not. Those synths give the song, dare I say it, a heavenly sound. It’s pretty cool that these retro synth pop sounds are being used to convey subversive social and political messages, and I love the DIY ethic that went into this.

THE SPELLS – The Night Has Eyes (Garganta Press, gargantapress.com)

Not to be confused with Denver’s punk band Spells, or even the contemporaneous project from Mary Timony and Carrie Brownstein, this The Spells was formed in Austin, Texas in 1995, relocated to New York City, and they broke up in 1998. But they did leave behind these previously unreleased recordings, featuring Nicole Barrick (guitar, vocals), Marisa Pool (bass, vocals), and Leni Zumas (drums). It’s a time capsule of the NYC garage punk scene of the late 90s, with the only eight songs they recorded that we know of, their short career summarized in about 40 minutes. And it’s appropriate that this long-overdue LP is being released on Halloween, with song titles like “Lilith” (a figure from folklore, said to have been the first wife of Adam, but who fled Eden and later became the wife of Satan), “Snow White’s Coffin,” “and “The Night Has Eyes.” All the songs have an appropriately dark sound, with spare arrangements and plaintive vocals. And there’s more than a passing resemblance to another New York City performer, Lydia Lunch. The thin arrangements, dark sound, mix of singing and spoken work, and overall no wave aesthetic harkens back to her 1980s sound. Dissonance is used to great effect on songs like “Snow White’s Coffin,” which also features a martial rhythm and it’s one of the more melodic songs of the LP, making it one of my favorites. And “If the World Should End Tonight” is another favorite, with hints of surf and R&B mixed in. Mixing garage and no wave is a cool idea, and works well. Too bad The Spells didn’t leave more evidence of their existence.

WAGEMAKER – Twegen (Sweet Cheetah Records, www.sweet-cheetah-records.com)

What was once a solo project is now a duo, featuring bass and drums. LA’s Wagemaker play guttural music, driving and tough, joining a history of bands that focus on bass and drums. They mix distortion and grit to turn the bass into something massive and melodic, the drums now joining in to propel these songs forward. Lead vocals are no longer processed and covered up by various effects; they’re clear and front-facing. Some of the songs are pretty upbeat, with a nice groove. Most of these are in the front half of the album. “Back Ache” is one such song, distorted bass playing the melodic line, gruff shouted vocals powering out the lyrics. Another is “In an Hour,” a nice mid-tempo loper, gritty as hell, but also melodic. ”Mazie Mask” reminds me of 90s alternative music, with a mix of hard rock and “rapped” lyrics. But things start to get more experimental toward the end of the track, with sections of silence punctuated by double pulses from the bass and drums. From there, the record starts to veer into some free improvisation, with more focus on creative instrumentals than on “songs.” “Short Lived County” gets more and more abstract as the track progresses, And “Phil” mixes metallic dirge with the avant garde. We go full-on Sabbath with songs like “Chestnut,” super heavy and full of dark dirge-like metal. And the closer, “Hoof and Foot,” is similar. One thing I should mention, too: this is a benefit record. The band is donating all proceeds from digital sales to the Coalition for Humane Immigrant Rights.

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ARMCHAIR ORACLES – Saturnine (Kool Kat Musik, www.koolkatmusik.com)

“Saturnine” is the sixth LP from Norwegian band Armchair Oracles. As I noted nearly two years ago, with the release of their LP “Nothingeveris,” they play music rooted in power pop and indie rock, but smoothed out. On this latest LP, the smoothness is all consuming and the power pop fades away. The songs are buttery and dreamy, with occasional forays into progressive rock. Their gorgeous multi-part harmonies are still there in the vocals, and there are hints of psych in some of the melodies and arrangements. The band states that this is a concept album, with themes build around the experiences of a group of survivors in a desolate land, and reflections on the fall of civilization as they drift through the wasteland. A such, the songs have a solemn feel, much more so than past albums. The arrangements include piano and string ensemble (or string synths?), creating a much more orchestral sound. The album is presented in suites, with the first three tracks, “Atmosphere Part 1: Ashes,” “Atmosphere Part II: Sunrise,” and “Atmosphere Part III: Where Are We Now,” comprising the first portion of the work, each track flowing into the next. “Ashes” lopes with darkness, “Sunrise” has Pink Floyd-like mellowness and an epic feel, while “Where Are We Now” is a delicate folk-like tune with purposeful motion. I see these tracks as reflecting the destruction of civilization, the dawn of a new era for humanity, and the aimless wandering of the survivors. The next suite consists of tracks four through six, “Knights in Armour,” “Troposphere Part I: Into the Blue,” and Troposphere Part II: Islands.” The first reminds us that we have only ourselves to depend on in this new world. There are no knights in shining armor coming to save us. “Into the Blue” is a reminder that every day and every night, the decay of our past is all around us, but we’re still here and we need to go on. “Islands” has the biggest indie rock sound, with bigger guitars, though the vocals and overall arrangement are still very smooth. From the lyrics, “When I woke up this morning / I found that it might be too late / If our souls are filled with scorning / Great calamities await,” I take that the song is about how we, as people, cannot be islands. We can’t push others away. When we hold others in contempt, bad things can ensue. As we get toward the end of the album, there are some signs of hopefulness. “Solar Flare” is a gently rocking indie tune about the power of love, likening it to the energy of a solar flare. And the ending track repeats over and over, “Love still can work out, still can work out.” It tells us that no matter how bleak things may seem, as long as there’s love, we can survive and grow. “Saturnine” literally means slow and gloomy, and that’s the overall feeling of this album. And I think that fits the temperament of Armchair Oracles well, with their smooth and dreamy sound.

GUS BALDWIN (Permanent Teeth Records, permanentteethrecords.bandcamp.com)

Nearly a year ago I reviewed an album from Austin, Texas musician Gus Baldwin and the band The Sketch. I called it an outstanding release filled with exciting, powerful garage punk, with some songs pulling from the early 80s hardcore punk sound. Baldwin is back now with a solo album. He wrote most of these songs years ago, when he was still in the band Acid Carousel and the pandemic lock downs were in full effect. He recorded these songs in a home studio, as part of his self-imposed goal of writing and recording a song every other day, between 2022 and 2023. There’s no hardcore punk, but there’s still garage rock here, but there’s also so much more. There’s surf, psych, and experimental sounds, with a great deal of variety. Right from the opening introductory track, “Hello,” you can tell this release is going to be different. It’s eerie and filled with dark tension. But it’s just a short piece. “Full Regalia” is next and features acoustic guitar playing chamber music alternating with cacophonous garage rock. The whole thing has an almost baroque vibe, except for the raucous noise and the shifting rhythms. I, of course, favor the tracks that lean on punk, and “Depression” is one of these, with a fast and loud noisy sound and lyrics about how depression can be paralyzing. “Cherrywood” is another solid garage rocker,” while “Whatever Happened (To My Grandaddy’s Gun)?” is another mix of the experimental, funk, punk, and garage. “West Korea” is a cool track with a noisy garage funk sound, a layer of fuzz draped over everything and a deep funky bass, guitars stabbing away. “Azie Morton” is an amazing Americana tune, with simple samples repeating to provide the backing music, and recorded in a way that sounds old and scratchy. It’s just gorgeous. And the simple synths and vocals on “Pesticide” remind me a bit of the experimental psychedelic pop of Legendary Pink Dots. “Credit Card” is a dark song about people who essentially sell themselves on the internet. There’s a “bonus” version of the song tacked on the end, too, with references to phone sex of the past and the automated systems with synthesized voices. Taken together they can represent the loneliness and isolation many people feel, and how they use technology to feel more connected, but not necessarily in a wholesome way. The album may not lean as heavily into punk as the album with The Sketch, but it’s got a lot more variety and a lot of cool musical experimentation. That makes it a standout to me.

JOEL CUSUMANO – Waxworld (Dandy Boy Records, dandyboyrecords.bandcamp.com)

Joel Cusumano’s debut LP is unabashed power pop. After playing on a wide variety of San Francisco Bay Area bands, Cusumano is striking out on his own after a stint in a mental hospital for treatment related to his severe OCD. He says that for over a year he could barely function or even leave his house, but that after he received treatment he rapidly recovered. The one thing, though, was what comes next? He felt he had become a different person, so he needed to write differently than before. He began to see the changes in the world around him and began writing reflecting the alienation one feels in such rapid change. Yet despite the turmoil in his life and in the world, his songs are still bright and upbeat, filled with classic guitar pop sounds. The tunes are catchy, though sometimes a bit repetitive, and the guitar licks are perfect for the genre, sounding like radio hits of the late 70s and early 80s. In addition to power pop, there’s a strong streak of storytelling in these songs, which sometimes verge on theatrical. This may be due to the arrangements, or perhaps some subtle aspects of the melodies. Regardless, it makes many of these songs more compelling than simple power pop. “Ceasar” is an example of this, as is the huge “Another Time, Another Place.” For pure power pop goodness, I’ll recommend “Push Push,” a song that feels like it could have been a hit in 1980. The arrangement features the standard guitar, bass, and drums, but also the lovely texture of subtle synths backing the instrumentals. And “Mary Katherine” brings some 60s mod vibes to the party. One track that veers from the formula is the ballad, “Oh, Zoë,” with a grand melody and an organ in the arrangement. The backing vocals still have those solid top 40 pop harmonies, and the song has a feeling of grandiosity. “Ninevah” is another ballad, with a lovely quiet jangle. And “Maybe in a Different World” has harpsichord and piano in the arrangement, with a nice swirly melody, giving it a chamber orchestra sort of sound. The biggest roadblock, though, are Cusumano’s vocals, which are a deep baritone and sound somewhat rough, sometimes not quite in tune. It may hurt to say this, but Cusumano’s songs, as well-written as they are, might be better off with someone else singing.

THE GOODS – Don’t Spoil the Fun (Dandy Boy Records, dandyboyrecords.bandcamp.com)

The Goods is a power pop band from Oakland, California, who released their debut recording, a three-song EP, back in 2023. Now they’re here with their debut full-length LP, an eleven-song celebration of jangly guitar pop-rock. But, rather than being a nostalgia-fest of old stale sounds, The Goods have a modern vibrant take on the genre, blending indie influences into the mix. This new LP features songs that are smoother and more gentle sounding than the EP, which had a little bit of punk grit in its songs. The LP has wonderful retro jangle and vocal harmonies. Songs like “Photograph” (lyrics from which the album title are taken) have a great driving rhythm, even as the arrangement feels relaxed and breezy. “Aurora” has a little bit of a dark feel, almost gothic with harpsichord-like jangle from the guitars, a hazy sound, and gloomy melody. It’s a lovely sound. And though you can hear the power pop in “Easy,” it’s also firmly rooted in the more modern indie sound. A couple of the songs don’t quite do it for me, though. For example, “Me and My Ghost” comes across to my ears as a generic arena rock ballad from the 70s with a bit of southern twang. But overall, if you’re looking for some laid-back smooth power pop, The Goods have got the goods.

LILLIAN KING – In Your Long Shadow (pronouncedkroog.bandcamp.com)

Lillian King’s debut LP comes amidst grief. Her father passed away last year, and all of the everyday things of life that he loved to do reminded her of him. One of her ways of coping was talking with her mother and sister. But another was creating this album. But, King says, she didn’t want this to become her “grief album.” Her sister gave her sound advice, though: “Every album from now in is going to be a grief album.” The Chicago singer-songwriter has a gorgeous clear voice, and the songs feature spare instrumentals including acoustic or electric guitar, keyboards, drums, bass, and sometimes zither. And her sister’s advice is apt, because King says she processes a lot of emotions when she writes music. The songs are understated, but the feelings aren’t. The opening track, “Dragging Dirt,” is about how, as we age, we may feel it in our bodies, but we don’t feel it in our spirit. She sings about how she feels like a kid again, and I think we all can relate to that. Even as we get older, mentally we’re still that teenager or 20-something kid. But the song also speaks to spirituality, and about trying to find where fit into our outside of “God’s plan.” The instrumentation is super simple, just electric guitar playing a simple riff. The resulting song, as quiet as it is, becomes quite powerful. I really do love how low-key these arrangements are, like on “Shadow,” which features a quietly jangling guitar, simple bass, subtle keyboards, and tribal rhythm from floor toms. It provides the perfect backdrop for King’s impassioned singing. I love the use of zither on “Echo,” and the way the instrumentals shimmer quietly in this song that I take to be about memories echoing in our minds. “Voice in Headphones” verges on dreamy indie rock, with a more electric sound and definite indie songwriting style. The instrumentals are a little tougher and more emphatic on this one, with King’s vocal style getting a little edgier to match. If you’ve been following my reviews, you know I love acoustic music, and “Context” is simply beautiful, just King and her plucked acoustic guitar, singing about overthinking things, putting yourself in other people’s shoes, and getting away from things to clear your mind and spirit. King’s debut LP has a subdued sense of dignity and beauty.

MEGG – Low Life Club (www.meggmusic.com)

Born out of the musical cauldron of Southern California and building a career in Nashville, Tennessee, MEGG (Meghan Mahowald) is an artist whose music is a little punk, a little alternative, and a little pop. Her songs have a lot of attitude and charisma, reminding me, at times, of The Offspring, other times PUP, and other times like a pop punk Taylor Swift. “Low Life Club” is a six-song EP spanning just over 17 minutes, starting out with “IDC,” which stands for “I Don’t Care.” It’s a metal-pop-punk-rap track about everything MEGG doesn’t care about, especially shallow people, materialism, what’s “cool,” clothes, money, and pretty much everything “normal” society values. The attitude explodes out of the speakers with a celebration of the “outsider” punk lifestyle. “I Bet You Like That” again features spoken/rapped lyrics, over a poppy punky instrumental that’s thin on the verses and big and burly on the chorus. “Get Over It” has a slightly more relaxed version of the pop punk chaos of PUP in its big bright chorus, making it a stand-out. “Clarity” is the purest pop track of the EP, something that could be a commercial hit, sounding kind of like a pop punk Taylor Swift. “The End” is a song about the inevitable ending of relationships, and it, too, has a grand pop punk chaos to it; I think it’s my favorite of the EP. And the title track is a fun folk-pop-country-punk tune about the joys of life as a lowlife. MEGG hits these songs hard and comes out clean

THE SLEIGHTS – "Atari" EP (thesleights1.bandcamp.com)

It seems like such a short time ago that we last had a recording from Colorado’s The Sleights. Maybe because it was! Their album, “This One’s Gonna Hurt,” came out just this past spring. I loved that album, for its speedy crunchy aggressive sound. This new EP, though, is, for the most part, a little more relaxed, a little more melodic, less aggressive, but certainly no less sincere. We get four new tunes here, sequenced, somehow, in alphabetical order! “Apology” opens the EP with some smooth guitar jangle mixed with chugging chords, and the impassioned vocals sing tunefully about knowing you’re a fuck-up but being unable or unwilling to change. It’s got a really nice loping bounce to it. “Black and White” has the sound of a. lament, both musically and lyrically. The song, similar to “Apology,” is about how sometimes nothing goes right and everything blows up in your face until you feel like giving up – but “I never say die, never say die,” the chorus declares. No matter how bad things get, we keep on keepin’ on. “Bombs Away” has a bit bigger and fuller melodic punk sound, with big gang vocals and thick guitars. As this EP progresses, it gets a bit more aggressive with each track. The one track that’s belligerent and confrontational, like that last album, is the last one (and the first single released), “Earthworms.” It’s faster, louder, and angrier sounding, about a relationship that’s ended on not so good terms. I liked the LP, and this new EP does nothing to change my mind. The Sleights are a solid band, worthy of your time and money.

VARIOUS – A 7 Step Guide to Happiness (Sell the Heart Records, www.selltheheartrecords.com)

The seven steps outlined in this guide to happiness begin with Her Head’s on Fire, and their song “Bound.” The New York post-emo band’s song has a feeling of tentativeness and anticipation leading into a proud striding sound. Step 2 consists of San Diego’s Hauntu and their song, “Mote It Be.” Their goth-punk sound is on full display, though “Mote It Be” features tougher grittier guitars and a harder driving rhythm than many of the band’s songs. Step 3? It’s “Unhinged,” by Neckscars, and its mix of dreamy melodic post punk and gravelly yet tuneful lead vocals. Sherlock provides step 4. It’s a remix of their song, “Fucked,” the “Oh God, it’s 2025 Mix.” The song is the only previously released track, but this is a remix of a song only available in their native Australia. It’s the poppiest track of the record, bouncy and fun, with just the right amount of punk grit. Step 5 is “Brackney,” from Time Spent Driving. The California band has been a proponent of the melodic emo genre of the 90s and 2000s, and “Brackney” has that big open sound the band is known for. “Modern Mountains” by Bear Away brings us to step 6, a big anthemic pop punk tune from the UK. You can hear the music soar, and I can imagine being in a dark club in the middle of a beer soaked crowd listening to this band. If that doesn’t bring you happiness, I don’t know what will. It’s a stand-out in a mini-comp full of stand-outs. The final step is intended to let you cool down and reflect after reaching a frenzy of happiness. HotLung’s “Fire It Up” features dreamy grunge that has an almost transcendent psych vibe. Amp up your happiness.

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BANQUETS – Petty Relics (Black Numbers, blacknumbers.bandcamp.com)

Oh, my! It’s been nearly a decade since we last got a new LP from New Jersey’s Banquets! After that last LP, “Spit at the Sun,” the band played a “farewell” show and dispersed across the country. An invitation to reunite for Fest 19 got them back together, and though the Fest appearance never came to fruition, the band started working on new material. This led to this new LP, with eleven tracks of the same kind of anthemic, emotionally laden indie-punk hybrid they were always known for. Big broad melodies, soaring guitars, and passionate vocals are the key features here, creating songs with all the feels. The opening track, “Glitter Gone” (the lyrics from which the album title is taken) jumps right in, announcing the band’s return, as if with a fanfare. “From here to heaven we’re just petty relics / From here we’re all ghosts,” the song declares, as if to say that no one person is any more important than anyone else. We all are born, live, and die; no one is more special than others. I love how these songs feel both dense and big and airy, particularly on “High-Wire Years,” an ode to how when we’re young, we take dumb risks. There are sections where the guitars are thick and noisy, and other sections where it feels like the song is alive and breathing, with a big open sound, single note riffs from the guitars, and angular lead vocals with harmonies. And also on the topic of dumb choices we make at a young age, there’s a nice relaxed loping tune called “Middle School Burnouts.” My favorite track may be “New Abrasions,” though. It’s got a nice melodic tone and almost comes across as pop punk – almost. It’s got a nice driving feel, too, though it gets quieter and smoother on the bridge before getting more boisterous to finish. Most songs are reasonably raucous but there are some softer songs, like “Same Circles,” with a slower pace and slightly more subdued sound.” It’s almost, but not quite, a ballad, and the lead vocal ardor is leveled up. “In the Perfect Light,” too, is a somewhat quieter song, and the guitars have a lovely jangle on this one, though the overall tone remains that of the indie punk emo hybrid. Banquets are back! But with the members living their lives in different places, will they tour around again?

CUSP – What I Want Doesn’t Want Me Back (Exploding In Sound Records, cusptunes.bandcamp.com)

Cusp’s debut LP of two years ago was written while the band was in transition, relocating from Rochester, NY to Chicago and being named one of Stereogum’s top 40 new bands. Now firmly established in their new hometown and with a reformulated lineup (Jen Bender, Gaelen Bates, and Matt Manes remain from the previous lineup, while Terrin Munawet and Eden Pacheco are replaced on drums by Tommy Moore, and Tessa O’Connell joins the lineup on keyboards), they present their sophomore LP, “What I Want Doesn’t Want Me Back.” For the most part, the album features some wonderful indie pop. But I wouldn’t have guessed that from the opening track, “Healthy Living,” which is dreamier, featuring lush synths and a thick arrangement. One we get past that, though, the album’s tone shifts. I love the 90s indie pop sound, and the story-telling vibe of Bender’s lead vocals, which remind me of Jenny Toomey and Kristin Thomson of Tsunami. The vocals are so clear and bright and are a real highlight of these songs. The shifting guitar tone, too, from a light quiet touch to full-on power and grit, is pretty amazing. I love “Oh Man,” with a mix of jazziness and showtune tone. “Lie Down” is a nice jaunty pop tune with fuzzed out guitars and soaring synths, and I like the cool ending with easy listening style vocal choir and piano. The closing track, “Extracurricular Hell,” is absolutely lovely, too, with a nice relaxed loping pace, a cleaner guitar tone, wonderful harmonized backing vocals, and Bender’s stupendous lead vocals. One outlier is “The Upper Hand,” a tune full of Americana, complete with steel pedal guitar. But even with the twangy country of the instrumentals, Bender’s vocals glide so effortlessly through the song. Another is “I Like My Odds,” a song with a grittier layer of guitar noise, while Bender’s singing is pulled back a bit in the mix. The result is a noisy song that could have become chaotic, but the relentless drums and bass of the rhythm section hold everything together very nicely. I hadn’t heard of Cusp before this, but they’re definitely on my radar now. I truly love their sound.

DESTINY BOND – The Love (Convulse Records, convulserecords.bandcamp.com/)

Destiny Bond is a Denver band that plays a cross between hardcore and post-hardcore. Many of their songs are rooted in the 90s youth crew hardcore sound, and many songs feature themes of identity and community, but they also have a distinctly aggressive post-hardcore vibe going on in most of these tracks. It’s an interesting combination, made even more interesting with the occasional foray into melodic hardcore and old school 80s hardcore. It’s the band’s second full-length LP, coming some four years since their forming right after the pandemic closures. They were formed when the vocalist for the band Sweet Kiss left, and a new vocalist joined and the band changed their name. So, three of the four members have been playing together a long time. This is evident from how tight the band sounds throughout the ten tracks. Listen to the opening track, “Destiny Song,” and you’ll hear echoes of 80s DC hardcore, 90s post hardcore, and even hints of melodic metal. But immediately following is “Free Me,” an intensely violent track with a speedy powerful drum beat and cool angular vocals, reminding me a bit of Pears. “Looking for a Fight/Done Looking” is a favorite track for it’s the shifts it goes through, from an old school hardcore sound that’s contradicted by a cool bounce in the rhythm and awesomely melodic guitar licks, to intense metallic 90s hardcore, to chaotic noise, all in the span of a minute and forty seconds! Destiny Bond provides a unique individualist sound in a sea of hardcore conformity.

DFMK – Playa Nuclear (Alternative Tentacles, dfmk.bandcamp.com)

DFMK is a longstanding punk band from Tijuana. They’ve been toiling away, playing shows in their native Mexico and across the US for years, but it wasn’t until they were playing a DIY show in Oakland where Jello Biafra happened to be in attendance that they got their “big break.” That led to their first Alterative Tentacles release, the “Dame Peligro” 7” in 2022. Now AT is putting out a full-length LP from the band, only their second in over fifteen years as a band. Their style is raw punk rock with a garage rock edge. The songs are powerful and to the point. Lyrics are sung in Spanish, so keep your translator app at the ready. Mister Cap (Jorge A. Zapeda Martin) sings most of the songs with plenty of spit, piss, and vinegar, though on the gorgeous (but short) “Lo Que Necesito,” guest vocalist Boom Boom Kid (aka Nekro, aka Carlos Rodriguez) sings with intense emotion on the tuneful introduction, and then the balance of the song speeds through with a raucous garage flavor, but those vocals remain ever melodic. I love the dark intensity of “Sometidos y Aburridos,” a song that almost sounds like something Dead Kennedys might have done back in the 80s, including some great surfy guitar work. The song also features something new for DFMK: keyboards! Nicole Laurenne from The Darts is a featured guest on this and the title track, playing her electric organ. Speaking of the title track, it’s another one with a cool dark surf-garage vibe. The title means “Nuclear Beach,” and the song is about trying to have your fun day at the beach, but “Radiation attacks my cells / My blood boils, I can’t stop.” It’s hard to have fun at all these days, with the poison of fascism attacking us all. At least that’s what I take from it. And if you’re into speedy old school hardcore, “Despersonalizacion” will scratch your itch. Raw and intense, it’s a great throwback to the old school sound. The band includes one cover on this album, “Tren de la Muerte,” which was originally released by San Diego band Cruz Radical. This makes sense when you know that Cruz Radical’s frontman, Fernando Cruz, has joined DFMK. And it was one of my favorite Cruz Radical songs, so it’s great to hear this new rendition.

On an interesting note: a lot of the band’s songs in the past have centered around partying and nihilism, but this time out the band attacks topics like immigrant rights, alcohol abuse, mental health, and emotional isolation. Though, like I said, the lyrics are sung in Spanish. One thing I will say about DFMK is that they’re better than ever. I’ve been following the band for over a decade, and they just keep getting tighter and more solid. “Playa Nuclear” is their best record yet. It’s got their signature sound, and they change things up enough to keep you on your toes. Recommended!

EVERYBODY’S WORRIED ABOUT OWEN – I Love the Red Trail! (Say-10 Records, www.say-10.com)

The Owen that everybody is worried about is Owen Trawick, a musician who identifies as queer and non-binary. Everybody’s Worried About Owen is their solo musical vehicle. They play singer-songwriter fare that could be called folk punk. It’s acoustic, it’s DIY, and it’s unabashedly emo – as all good acoustic music is. As I’ve mentioned in reviews before, acoustic folk punk is a favorite genre of mine, because it’s so vulnerable and honest. There are no electric guitars or loud drums to hide behind. Everybody’s Worried About Owen is an instant favorite in the genre after hearing this album. The songs are well written and well played. The arrangements sometimes feature other instruments (I think I hear banjo, cello, glockenspiel, and others). Trawick’s vocals are tuneful and sung with real emotion and with great range and dynamics. Every song is really good, but “Smoking Filters” is one of my favorites for its solid pop punk feel in the guitar, and the lovey melodic vocals. “Dreaming” is a big song. The guitar is strummed in a strong martial rhythm while Trawick’s vocals soar beautifully. The title track is simply gorgeous, with a bright repeating guitar riff, cello, and a bit of Americana feel. The song is a beautiful ode, you can feel like you’re hiking the trail with Owen, the sunlight filtering through the dense trees. The titular trail seems to be a simile for life, and the song about the beauty of life, and the desire to have someone special along on the journey, as the chorus says “I wish you were here with me.” There’s a line in the chorus, too, “The trail stretches into infinity,” that seems to reflect the infinite possibilities in life. It’s a wistful song, but also an optimistic one. “Lavender Oil” is another lovely song with plucked guitar and bowed bass, and Trawick’s vocal range is astounding. There’s a wonderful lilting quality to their singing that gives this song a vaguely Celtic quality. And “I Never Knew” closes the album with a rousing inspirational song, Trawick’s vocals singing out joyfully and full-throated, while the acoustic guitar is furiously strummed. The song is about how you can just get by, basely eking out a life, but you can still find intense joy in life. There’s a quiet section in the song that’s quite moving, where Tawick sings “Before taking your life, you gotta kill the old one, exhaust all your options, you gotta make sure ‘cause that Swiss army knife I held with white knuckles, well I don’t even know where it is anymore. I’m walking down sideroads and diving through dumpsters digging through the trash to find something unique. So, lean over the edge, reach out and grab it, oh I promise one day you’ll be singing: That I never knew that joy like this was out there!” No matter how low things get, don’t give up. Reach out and grab what’s unique, what’s you, and find the joy that’s there to be had. Great songs and inspirational messages – what more can you ask for? Recommended.

THE JUKEBOX ROMANTICS – This One Looks Cool (Sell the Heart Records,

www.selltheheartrecords.com) Longtime east coast band The Jukebox Romantics’ latest LP, features the band’s blend of 2000s pop punk and street punk, with plenty of pop melodies and plenty of big sing-along vocals. The opening track is one of the strongest, “Coffee, Cigarettes, and Damp Church Basements.” It starts slowly and quietly, with acoustic guitar and vocals, before exploding in a pop punk frenzy. Big guitar chords and pounding drums intro soaring vocals, the song virtually feeling like it’s flying. “Divey League Fools has a tougher, more aggressive sound, with dark crunchy guitars contrasting with sunny harmonies in the poppy vocals, the conflict between the two sounds making for a cool track. “Goodnight, Future Boy” is a little different, with less of a pop punk sound and a bit more of the 2000s emo vibe going on. It’s got broad emotional vocals and a wistful feel. And I like “She’s On the Run,” a speedier song with subtle whoa-ohs in the backing vocals, and a big bouncy feel in the chorus. “Ambivalence” is another with those street punk gang vocals and big breakdowns, though the rest of it is up-tempo dark poppy punk. The closing track, “The Walk to Heartwood,” is a nine minute epic that transforms through various styles, including big alternative punk, emo, and even ska punk. The balance of the songs, though, sound fairly generic, like so many of the bigger more mainstream pop punk bands (like Blink, to name one). “Packing Up My Knives,” for example, sounds like it could come from any number of bands that are featured on your local “alternative” rock radio station. This is the case with too many songs. Not that there’s anything wrong with it; I have plenty of friends who are into that sound. It’s just not my thing. So, for me, this is just an average release.

ROUSERS – 1979 Sire Session (Left for Dead Records, rousers.bandcamp.com)

The Rousers were a band that played around the New York City area in late 70s and early 80s, but were poorly documented on vinyl, releasing only a 7” single and a Christmas flexi disc, both in 1981. A few major labels considered signing them, but none actually did. The closest they ever got was recording a bunch of demos for Sire Records in the label’s basement studio on New York’s upper west side in 1979. And it’s these recordings that have finally come out of the vault and are being released. The PR materials call the Rousers a punk band and claim they were influenced by bands like The New York Dolls and the Ramones. But I hear no such influence, but what I do hear is a little bit of power pop and new wave, and a whole lot of rockabilly. Early in the album are the best tracks, in my opinion. That’s where most of the power pop songs are, with the bulk of the album featuring early rock and roll sounds. For example, the opening song, “Be My Girl,” is a song of its time, a solid late 70s power pop track about love. And “Lonely Summer” is a highlight of the record, with a quirky mix of power pop and new wave. “Party Boy,” which was on that sole 7” single the band released, is another power pop and new wave mix. These three tracks are my favorites of the album, and had I been in NYC in 1980, I surely would have been going to their shows for songs like these. But there are precious few songs like this in the Rousers repertoire. The bulk of what they played was rockabilly, with some surf and R&B tossed in. Some were originals and a lot were covers. One great original is “Product of the USA,” which feels like it has elements of power pop influence, though it’s definitely a roots rock and roll track. And there’s plenty of full-on rockabilly, with clever songs like “Twanged if I Do, Twanged if I Don’t” or “Man Oh Man.” They’re well-executed, spirited tracks. The band focused on a more energetic sound and up-tempo tunes, even speeding up the covers they played. But they could slow it down, too, and there’s a folk rock ballad here, too, “Smother.” It’s got that relaxed vibe of 70s rock. “Angel Town” is another ballad that leans toward a 50s R&B style, and “Baby It’s You” is a 50s rock and roll ballad.

I’ve mentioned covers, and there are several covers on the album, including rockabilly classics like Duane Eddy’s “Ramrod,” sped up and more energetic than the original. But there are surf and R&B covers, too. “Pipeline” is a surf classic by The Chantays, and here it’s peppier than ever. The Challengers’ “Movin’ and Groovin’” is here, too, and it’s a lot more raucous and fun than the original. And there’s a lovely R&B ballad, “If You Need Me,” originally by Wilson Pickett and popularized by Solomon Burke. All in all, there are 18 tracks (including CD bonus tracks) and about 45 minutes of retro rock and roll here.

SADLANDS – Try to Have a Little Fun (Wiretap Records, www.wiretaprecords.com)

Hailing from Brooklyn, NY, Sadlands is a newer band featuring members of Answering Machine, Choke Up, and Ellen and the Degenerates. The music they offer up on this, their debut LP (coming a couple years after their self-titled EP), is bouncy jangly indie rock. There are dueling lead vocals, which are strong and clear, and though some of these songs feature tough topics, the songs are bright and hopeful sounding. The album starts strongly with “Wrong Idea,” a song with tough guitars and bright clear vocals. And I like the surf-garage vibes of “Die Young,” a song about “immature people who think they won’t live long enough for their decisions to have any consequences.” As guitarist/vocals Jess Lane puts it. It’s got a gritty sound and more than a bit of arrogance and pleading in it, as it looks at both sides – someone who thinks “what’s the point,” and another who is fighting to stick around and wants the other person to stick around, too. And I love the ringing guitar tone of “Lessons,” another one of those bouncy bright sounding indie tunes. One of the slower more heartfelt tunes is “Casual Habits,” a song of conflicting feelings about another person, someone you know is bad for you, but you can’t seem to tell them. It’s a slow loping song with passionate singing. The song opens with, “I wish that I could tell you you’re stupid / I wish that I could put you in your place / But all I can manage to say is ‘I love you’ / I choke up the words at the sight of your face.” Sadlands’ debut is a strong one that brings back memories of the best of 90s indie rock and indie pop.

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ELWAY – Nobody’s Going to Heaven (Red Scare Industries, redscare.net)

Three and a half years ago, Elway’s last LP, The Best of All Possible Worlds, was released, and though I liked the band just fine before, that album changed my entire perspective on them. It was that good. It made my Best of 2022 list. So, the prospect of a new Elway record had me excited, but with some trepidation. They had set a very high bar for themselves with the last album. So, the question is, can they clear that bar and raise it further?

The theme of the last album centered around an admission that, yes, this world is pretty shitty, but it’s the only one we’ve got and we need to deal with that and try to make it better. This time out, Elway are pissed and downtrodden, repulsed by what we’ve become. The opening track, “Turner Joy,” musically did the least for me. It hews too closely to a melodic punk formula, but lyrically it’s about looking for a way out; it’s an admission that maybe this isn’t the best of all possible worlds, after all, and there has to be something better. “Open up and save yourself from Hell,” the song cries out, “an aperture away to someplace else.” There’s no more fixing this world, it’s broken beyond fixing. The song goes on to recount the many ills in the world. The whole album teeters between anger and despondency, and musically becomes much more diverse, with solidly thick arrangements, making excellent use of both solo lead vocals and harmonized backing vocals. “Laugh Track,” which was released last spring as a surprise 7-inch single, is here, with big sing-along pop punk and lyrics about the futility of life, where we spin our wheels and nothing ever changes. A lot of the album has this big sound that Elway is so known for. But it’s the richer songs with more complex arrangements that I really love. I love the rapid-fire rhythm guitar riffs and the juxtaposed lead guitars of “The Cost! The Price!,” a song of growing up poor and envious of those who have more. There’s a particular lyric here that I really love: “If you can’t point out your enemies, maybe start by taking stock of your friends.” I think it’s about hanging out with the wrong people, the ones who really don’t have your best interests at heart, and the consequences of that. The dynamics of “Down the Lane and Far Away,” with loud raucous sections and quieter parts featuring piano in the arrangement is pretty great. It’s got huge gang vocals, too, like all good Elway songs. And the title track may be the most depressing of all, a capitulation, an admission that nothing is going to get better. A realization that all those “faraway wars” that we’ve fomented and fed will end up coming right to our doorstep. That the monsters we’ve created will turn on us, and that the good old days are never coming back. We’re all damned to hell for what we’ve unleashed on the world and on ourselves. The album’s closing track, “Living Epilogue,” opens with the sound of birds tweeting, as the guitars gently jangle, creating a pastoral musical scene. It’s the aftermath, when people are gone from the earth. It’s got a big wistful, melancholy vibe, with a feeling of farewell.

“But it’s “Look at What We’ve Done” that’s the real standout on this album. It’s a majestic ballad that outlines all the horrific things that we’ve done to the world in the name of progress. Tim Browne’s lead vocals start subtly, but as the song progresses, he begins to cry out in agonizing pain, with the realization that nothing we do matters, nothing we do changes anything for the better. “We’ve come a long, long way,” he screams, “to live, die, and toil in vain!” The song ends with a damning line, “And we never change.” It’s a truly towering track, and it summarizes the theme of the album in one neat song in less than two minutes.

Ultimately, Nobody’s Going to Heaven doesn’t have the unique orchestral qualities that made The Best of All Possible Worlds such a standout, and this new LP doesn’t include the hopefulness that the previous one had. As always, though, the lyrics are thoughtful and meaningful. It may be a downer of an album, but it’s still a solid LP filled with great songs, and I’m still a fan. I don’t think it raises the bar, though. Admittedly, that’s a pretty difficult feat.

PALM GHOSTS – Content Providers (Sweet Cheetah Records, www.sweet-cheetah-records.com / palmghosts.bandcamp.com)

Palm Ghosts spent 2024 releasing a series of EP's that came together in December to create their Façades LP. They took only a short breather, and are now back with their new LP, Content Providers. The Nashville musical outfit continues to create music that’s a throwback to 80's post-punk, with the deep lead vocals that evoke memories of Joy Division, with synths aplenty. And though there’s melancholy in the music, it’s not nearly as downcast as that storied band. Palm Ghost adds in enough modern indie and brighter sounds to come out of it with a rosier attitude. Sometimes. Content Providers, as a whole, is certainly brighter than Joy Division or other of the Manchester bands, and certainly brighter than the “Façades” EPs, but it, too, has its moments. The (almost) title track, “Content Provider,” has sparkling synths and a blazing beat, with guitar and bass buzzing through with some solid riffs, but those basso vocals temper the music’s sheen. “Coming Up for Air” could have stepped right out of a 1980s prom, with a great dark tune with a solid danceable beat. And I love the ominous sound of “The Great Extortionist,” with its throbbing bass and tribal drum beat.

A lot of the songs are certainly more effervescent than past Palm Ghosts songs. “Box Bedroom Rebels” is a favorite, for its bright upbeat sound. This is the most raucous song I’ve ever heard from Palm Ghosts, with a lively rhythm and big gang vocals, making it a favorite of the album. And even the loping “Last of the Holdouts” has a dazzling sound, with jangling guitars and shimmering lead vocals – vocals that literally glisten and warble as if underwater. “Paul’s Last Epistle” mixes the brightness of modern indie in the guitars with some wistful vocals and soaring synths, for a great combination. And “Hell Is Empty” has a great 80s synth pop sound, with a great danceable beat and celestial synths creating an almost spacey sound.

Palm Ghosts produces another solid LP that keeps the 80's synth pop sound alive, while bringing it into the present day.

THE ROCKERATI – Waterloo Sunrise (Kool Kat Musik, therockerati.bandcamp.com)

The Rockerati is primarily the work of David McCarthy, of Brighton, UK. He writes, sings, plays guitar, and sometimes plays other instruments too. And sometimes he enlists the help of friends. According to the PR materials, The Rockerati is a sort of homage to another David: Dave Edmunds, McCarthy’s personal hero. Edmunds often used to do the same, playing multiple instruments on his records, especially his solo material. But where Edmunds mixed rock and roll and power pop, The Rockerati is an unabashed celebration of good ol’ rock and roll. The songs almost universally are based around blues progressions, and they’ve got the sound of roots rock mixed with rockabilly and pub rock. It’s a reminder that you can still make gloriously rocking music without slick studio tricks or fancy electronics. With just guitar, bass, drums, and your singing, you can have a musical party. And that’s what this record is, a rock and roll party. One thing, though: there’s only so much you can do with a blues progression before the songs sound the same or derivative. For example, the riffs on “16 Things” are an awful lot like Check Berry’s classic “Johnny B. Goode.” But there are also songs like “Rain Rain Rain,” which are less bluesy and have more of a country folk sound mixed in with the rock and roll. Just like back in the early days of rock and roll, when they would take old country tunes and play them with electric guitars. Rock and roll will never die.

CARMEN TOTH – Fix the World (carmentoth.bandcamp.com)

Carmen Toth is a singer-songwriter who has been a fixture in the Toronto music scene for years, performing both solo and under the moniker Social Potion. Her songs reflect a diverse set of influences from indie to power pop to 80's new wave. Toth cites many strong musical women as influences, such as Stevie Nicks, Kate Bush, and Sheryl Crow, and you can hear this in the songs. The diversity of influences leads to a diversity of sounds on the LP, and longtime readers of this column know that diversity is the key to my musical heart. The album starts out strongly with “Pretty Dresses,” an upbeat indie pop tune about the social norms for what’s “pretty” in a woman, and the media pressure to conform to society’s expectations. It also asks the question whether people who follow these expectations are shallow just for wanting to feel pretty. It’s a great opener with a bright bounce, and the 60's girl-group-style bridge is brilliant. In a similar vein is “My Ears Are Ringing,” another bright upbeat tune with great jangly guitars. The topic on this one is about conspiracy theories fueling extremism and the rejection of science, and how it’s destroying the world. You can clearly hear the Stevie Nicks influence in the next song, “Struggling,” with the contralto range, the big throaty vibrato, and the ability to shift between grittier and more feathery vocal textures. I really like the delicate “Ghost,” with a lovely arrangement featuring acoustic guitar and cello. And “Not Convinced” has a distinct Cindi Lauper vibe. It’s interesting to note that, while Toth has been making music for the past couple of decades or so, and she’s released EPs and singles, this appears to be her debut LP, so she’s been saving up all this goodness for a long time.

POHGOH / SAMUEL S.C. – Split 10-inch EP (pohgoh.bandcamp.com)

Two bands that were active in the 1990's heyday of indie rock, melodic punk, and poppy “emo,” Pohgoh and Samuel S.C. both happened to reunite within a few years of each other. Members of the two bands reconnected at a Jawbox show in Pennsylvania about a year ago, and talk began of a collaboration. This resulted in this four-song 10-inch EP, with each band contributing a pair of tracks. I personally was not familiar with either band, so I’m coming at this with fresh ears, unbiased from earlier work. I’ll start by noting that neither band is really what I would call “punk” or “emo.” They’re both solid indie-rock bands, though, and both do exhibit some punk and emo influences. Pohgoh gets the A-side, with “I’m a Fan” and “Interlude.” The former is a nice easy-loping indie track with guitars that soar and also exhibit grit. Susie Ulrey’s lead vocals are sweet and clear, singing a love song that could be about a long-ago lost love that she’s never gotten over, or it could be about a long-term relationship that still makes her heart flutter. It’s hard to tell which, but her delivery is sweet and sincere. “The Interlude” is a lovely ballad, Ulrey’s vocals seemingly ethereal, the acoustic and electric guitars drenched in reverb, creating a heavenly sound. The lyrics seem to be an ode to her friends in the band, about the magical feeling of being together on a Monday night writing songs together. It’s lovely.

Flip the record over and we get two songs from Samuel S.C., “Evergreen” and “A Serious Sound.” “Evergreen” has a tougher sound that’s clearly influenced by DC/Dischord bands of the 1990's. It has the same sort of post-emo driving sound, with some sections of big power chords and others with jangling guitar riffs. Samuel S.C. also features a female lead vocalist, Vanessa Downing, and her singing style is the perfect complement to the instrumentals, powerful and full-throated. “A Serious Sound” alternates between a more relaxed vibe in the verses, with a thinner arrangement, and a big anthemic feel in the chorus. Downing’s singing style also alternates to match the instrumentals, between a more casual style for the verses and that big sound in the chorus.

The great thing is that both bands reunited for the right reasons: to write and record new songs, not just to make money off of nostalgia. From the sound of the songs on this EP, they’re both doing a great job of it.

VARIOUS – Chilling, Thrilling Hooks and Haunted Harmonies: The Big Stir Records Halloween Grimoire (Big Stir Records, www.bigstirrecords.com)

Big Stir is here to give you a big scare for the Halloween season. They’ve collected together 20 songs from their roster of bands, all with spooky themes for the season. In between each song are interludes by The Pepper’s Ghost Players, with eerie introductions to each track. There are too many tracks to describe them all individually, but I’ll make special mention of some of them. Sparkle*Jets UK do a great 50's-style novelty tune, “Eyeball Eater (from Outer Space)," which sounds like it stepped through a time machine. I really like the 60' Mod vibe the Corner Laughers bring to their contribution, “Dark Matter,” with multi-part harmonies in the lead vocals. Splitsville’s “I Was a Teenage Frankenstein” is some solid power-pop mixed with modern indie. Graham Parker and the Goldtops (yes, that Graham Parker!) give us a cool jazzy R&B inspired tune, “Music of the Devil.” Rick Hromadka’s “Stories of Souls” has a ghostly loveliness, and the introduction by The Pepper’s Ghost Players is a hilarious spoof on the Scooby Doo cartoons. I enjoy the darkness that is Lady Darkevyl featuring Chris Church and their song, “I Watch You Sleep.” If that’s not creepy, I don’t know what is. The Incurables offer up a gritty horror rock and roll track, “Halloween Bride,” with its best-in-class Rod Serling Twilight Zone intro. All the song needs is an spooky organ to be complete. My absolute favorite track of the album, though, has to be Hungry Town’s “Footprints,” a gorgeous folk tune with banjo, fiddles, and an eerie ambience. As the introduction tells us, the song is a take of the Curupira, a spirit in the Brazilian rainforest that takes the form of a ghostly young boy with backward pointing feet to confuse trackers. The Curupira protects against anyone who would harm the rainforest. The song is hauntingly beautiful, although it feels more Appalachian than Brazilian.

Other worthy contributors to this creepy compilation include Librarians With Hickeys, The Armoires, The Spongetones, Shplang, The Jack Rubies, Blake Jones and the Trike Shop, The Gold Needles, Crossword Smiles, Steve Stoeckel, Rochard Öhrn, Dolph Chaney featuring The Speed of Sound, and The Strawberry Alarm Clock (yes, that Strawberry Alarm Clock!). There’s over an hour of bone-chilling pop music here, a suitable soundtrack for your indie-themed Halloween party this season.

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THE BACARRUDAS - Bleed Out, Get Pushed Off A Cliff, Sink to the Bottom of a Lake, and Play a Halloween Monster Party (Mom’s Basement Records/ Schuylkill Beat Records  /  thebacarrudas.bandcamp.com)

No, that’s not a spelling error, the band is the Bacarrudas, not the Barracudas! And Bleed Out, Get Pushed Off a Cliff, Sink to the Bottom of a Lake, and Play a Halloween Monster Party!, besides being a long unwieldy title, is the band’s offering for this Halloween season. They give us ten spooky-themed tunes in the “horror garage rock” genre, featuring “cobwebby” organ sounds, reverb-laden guitar, bass, and drums, with vocals that feel like they’re relating a scary story. With a very retro 60s vibe, we get songs like “Halloween Party Tonight,” which introduces the album’s themes, and “Lady Frankenstein,” about a guy having a hard time finding a girlfriend, so he enlists the aid of a mad scientist to build him the titular mate. “She’s a little twitchy, she’s a little off / But she just might be the one I love,” the protagonist sings. I love the eerie “The Phantom Creep,” with its spine-chilling vibe and sinister vocals and the horror-surf guitar solo. “Wolf Party” has a rockin’ mod feel with appropriately gruffer vocals and plenty of howls. The ol’ neck-biter gets his own song, too, in the doo-wop inspired “Dracula’s Castle,” And Frankie gets a girlfriend in the hoppin’ “She’s in Love with Frankenstein’s Monster.” Other monsters celebrated in song include the Mummy, the Invisible Man, and the Creature from the Black Lagoon. Sure, this is a novelty album, sure, it’s a little silly. but it’s a lot of fun! Get spooky this Halloween with The Baccarudas!

THE CAROLYN – Pyramid Scheme of Grief (59 X Records, www.59xrecords.com)

The long-awaited follow-up to 2023’s “Harmful History” EP is finally here, and it’s a full-length LP! When I reviewed the EP, I mentioned that they’ve got a great indie rock sound with undertones of Americana storytelling, and that’s the case here as well. The band mixes in a bit more pop-punk, too, though with an emotional edge. I can hear these songs being played in a small dive bar in big sing-alongs. The passionate fervor in the songs is palpable, without seeming overwrought. Another thing I mentioned in the previous review is the band’s dynamic control, with big thick instrumentals that drop to near silence and back again, adding to the emotional tension. That’s fully on display here, too, particularly on songs like “And the Infinite Void,” a song that has a hint of Spanish Love Songs feel, with emo-ish indie rock. I like the more raucous tracks best, including “White Russians” and “Nosebleeds,” the latter being the kind of song that starts a big sing-along at live shows. And “Katie Arson” has a big driving sound, a pounding rhythm, gang vocals, and soaring guitars. The closing track, “Remember Damage,” is absolutely gorgeous, featuring acoustic guitar and cello. My only complaint about the EP still applies on this LP: the songs are too short! The LP has eleven songs, but clocks in at only about eighteen minutes long! Only three tracks exceed two minutes, with most being in the minute and a half territory. Just as I’m getting into a song, it’s over. But what’s here is really good stuff. I hope The Carolyn tours out to the west coast and makes a stop in San Diego, because I’d love to see them live.

THE ICY SOUTH – Read the Room (Dumb Ghost Records, dumbghost.bandcamp.com)

The Icy South is the project featuring Seth Chandler (Lizard Brain Trust, Sweet Seater) and Cameron Hawk (Curious Things, The Gamits). The pair also happen to be the founders of Dumb Ghost Records. The duo live in different states (Chandler in Oklahoma and Hawk in Colorado,) so this album was made by sending song ideas and recordings back and forth. “Anything goes, as long as it fits the vibe,” was the only rule for what they call the “bedroom psych” aesthetic. This process has resulted in an album that’s varied, with many different textures, different moods, different vibes. There’s lovely quiet acoustic music, dark noise, post punk, all-out pop music, and more.

Some of my favorite tracks are the acoustic ones. A pair of acoustic guitars playing off of each other is a pretty wonderful thing, and that’s how the album opens, with “Trepidation.” With the lead vocals drenched in reverb, the song has a lazy, hazy sort of feel, the melodic line giving a Joy Division sort of vibe.” Another cool track is “Storm in New Orleans,” with those dueling acoustic guitars, mechanical noises made from processed drum beats, a grinding basso synth, and beautifully harmonized vocals. I’m torn by “Turns.” It’s an unabashed soft-pop-rock tune that harkens back to the 1970s, but the arrangement of acoustic guitar and bright buzzy synths is lovely. Even more unabashedly delving into retro pop is “Ahh, Fire, Fuck,” a song with an odd title and sugary sweet space-synths over a 1980s Factory Records bass line and blasé lead vocals.

Not every track is acoustic-forward. Another favorite track is “After My Lobotomy,” an indie rock tune with a relaxed vibe, scratchy warbling synths, deep gritty bass, and high strung vocals that are just slightly distorted to match the instrumentals. It’s a real head-bobber of a song, with a solid rhythm, but it’s the way the sounds are layered together that I really love. “Used to Drive for Days” is similar, though here it’s the guitars that are underwater and the vocals that are on dry land. “1000 Years Ago” is dark and moody, with a steady post-punk dance beat, eerie buzzing synths, and vocals that are heavily processed, sung in a dream-like way. Immediately after is “Better Things,” a breezy acoustic folk tune. It’s a dramatic juxtaposition.

I wonder if the method by which this record was written and recorded was the key reason it’s so varied, with two people having different ideas and songs morphing as they’re created and bounced back and forth through the internet ether. I wonder if this record would have sounded a lot different and a lot blander if Chandler and Hawk had sat in the same room and wrote together. I’m glad they did it the way they did, because it resulted in quite a creative, well-crafted LP.

OVERSTAND – Take Control (Stomping Ground Records, overstand.bandcamp.com)

Overstand is a hardcore band from Phoenix, Arizona, in the vein of Agnostic Front, Madball, Warzone, and Sick of it All. That is to say it’s super heavy, fast, metallic hardcore in the style of '80's NYHC bands. Guttural lead vocals and big gang vocals conspire together, while the guitars, bass, and drums provide a wall of noise and a hard stomping rhythm on the big breakdowns. This makes sense when you note that the band includes former members of hardcore giants like Warzone, Vision, Casket Life, and more, and they’ve shared the stage with bands like Sheer Terror, Ignite, and others. Songs like “Suffocate,” “Short Fuse State,” or “Strictly Business” follow the 90s hardcore formula of fast and loud sections alternating with slow, stomping, pounding breakdowns. “The Pressure” is one of the better tracks on the album, a relentless track that runs and never walks. It’s super-fast, super-intense, and hammers you into submission. “The Voiceless” is another track that starts out with intensity and never lets up; it’s full throttle hardcore. The band says that, with this debut LP, they aren’t interested in nostalgia or posturing. I believe the latter; there’s no posturing here, just brutal, savage, hardcore music. But it’s hard to escape the feeling of hardcore nostalgia, because they’ve got that sound down solid.

SMUG LLC – New Exciting Doom (Anxious and Angry, anxiousandangry.com)

Single Mothers’ Drew Thomson has done the solo thing for a while under the name “Drew Thomson Foundation,” but he’s got a new solo project he’s calling “Smug LLC,” and “New Exciting Doom” is his debut EP. Where his past solo project featured music somewhat similar to what he’s done with Single Mothers, Smug LLC is completely different. It features an 80's post punk vibe, with thrumming bass lines, like Joy Division/New Order, plenty of synths that buzz or that provide shining ambience, and the vocals are done in a poetic spoken rap style. The six songs feel both retro and modern at the same time, a remarkable achievement. The beat is strong, making the songs eminently danceable. One of my favorite tracks is “Shoulda Died,” a song with lovely fluttering synths, unrelenting beats from the drums and synths, and lyrics about bad choices we make and how we’re lucky to have escaped the ultimate consequences. The vocal delivery reminds me of a cross between singer Jim Carroll and poet John Giorno, spoken/sung in a poetic manner, with syllables sometimes stretched out, someone’s spit out emphatically. I also like the use of jazz samples in “Somewhere Else,” an otherwise atonal piece about disillusionment with where one lives and the desire to start one’s own society with different rules. “Fuck this city, I’m going out and I’m gonna start my own city somewhere else,” is the refrain. It’s, perhaps, the harshest sounding track of the EP, but still has that rhythmic poetic vocal delivery. The title track closes the LP, and it’s got some cool Beastie Boys like vocal delivery, great synth melodies, and several cool samples. Smug LLC is a new unique sound that I can really get into. Get into this on the ground floor!

STAY INSIDE – Lunger (Tiny Engines, www.tinyengines.net)

Stay Inside is a Brooklyn-based band that’s known for playing music that’s at the intersection of indie, post-emo, and art rock. This makes them a perfect match for Tiny Engines, a label that’s known for releasing music from similarly situated bands. Lunger is the band’s third LP, and finds them in fine form. The songs are bright with thick, clever arrangements featuring unconventional electronics and... trumpet! The opening track, “Counting Electric Sheep,” is impossibly bright, with a thin layer of distortion, odd injected spoken vocals, synths that sparkle with angularity, and big bouncy group lead vocals. I love the way the instrumental leads bounce around between instruments, and the way the lead vocals change the vibe multiple times throughout the track. “Wish It Away” is a softer, more introspective sounding song, and I like the breezy “Super Sonic,” which again brings the electronics and especially the trumpet to the forefront of the arrangement. The guitar riffs, in combination with the trumpet and rhythm, give the song a nice bit of a jazz rock feel. As the first section of the album progresses, it gets more relaxed and smoother, with “Oh, Longshoremen” having a super casual vibe, and those big group lead vocals giving the song a unique sound, the lead guitar punctuating the arrangement with a pretty picked riff. The sound of the record changes again with “Monsieur Hawkweed,” a song that mixes grunge and Americana, with both twangy acoustic guitars and electric guitars with deep grit. Backing vocals are used as percussion, accenting various beats in the song. I love the mysterious spy thriller jazz feel of “Old Faithful” just as much as the raucous pop punk-ish tone of “Ain’t That a Daisy?” which follows. “Runnin’” has a hypnotic mix of indie rock and trip hop, with lots of sonic cuts, minimalist repetition, and interesting use of unusual samples in the arrangement. Every track sounds different, yet there’s a cohesiveness to the overall vibe of Lunger, making it a stand-out album.

VOLK SOUP – 10p Jazz (Dipterid Records, dipteridrecords.bandcamp.com)

Volk Soup hail from Leeds, UK, and were formed early in 2020, but stymied by the global pandemic. Regrouping in 2022, they expanded to a six-piece lineup, adding trumpet and saxophone, and now they’re ready to present 10p Jazz, their debut LP. And what a debut! Volk Soup don’t fuck around. They play brutally noisy post-punk music that’s laced with free jazz, and dark attitude. It’s controlled chaos meets poetic intent. This is manic-depressive stuff, with moods rapidly shifting and unexpected instruments jabbing their way into the arrangements. Besides trumpet and sax, I hear piano, violin, guitar, bass, drums, and synths. Vocals are sometimes delivered in a twisted lounge-style croon, sometimes angrily shouted – in the same song!

One favorite song is “Reptilian Brain” has a cool mix of old school punk and weird art music, a driving rhythm and a 60s mod vibe, with vocals sounding like they’re sung underwater. The song is an ode to our ancient reptilian brains, the ones that act on impulse, in response to need or desire, without thinking of the consequences. It’s nihilism and noise, mayhem and mischief. Another is “Professionalism Debunked,” with its hopping jazzy beat and rhythmic vocals talking about how social norms of “professionalism” that control how we act with each other are, essentially, bullshit – particularly because we’re all going to end up dead, anyway. As the closing verse says, “Debunk the idea / That you should act a certain way / When you enter through the door to which / You lose yourself every single day to a tiresomely expectant / Way of being that just applies / To people whose headstones shall read / Here professionalism lies.”

Songs range from gritty noise to funk to folk-like and everything in between. “Holy Building Tourist has the sound of an old folk tune, with acoustic guitar, sax and trumpet, and the lyrics make me uncomfortable, because, yes, I am guilty of visiting ancient cathedrals and churches as a tourist and not for any spiritual reasons. As is sung in the lyrics, I’ve gone to appreciate the architecture, the height of the spire, and the effort made to build these places. I view them as works of civic art more than I do as places of worship. “Mass Village Angst” starts with some funky jazzy rhythms,, the bass getting some particularly good licks in, but as the song evolves it becomes a massive wall of noise. Incredible! The album ends with two ambitious extended tracks: “Spellbound by the Phallus” and “Meet Me by the Willow.” They’re both masterpieces that must be experienced. The former, besides having a great title and lyrics that rhyme “phallus” with “malice” and “callous,” is a driving post-art-punk piece in the best 80s tradition, melding multiple musical styles. The latter is a corrupted spiritual, with a vocal choir (such as it is), and a grand melody played in a thin arrangement.

To sum up: Volk Soup is sonic guerilla warfare art. They’re gloriously unpredictable. Top recommendations.

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ABSOLUTE LOSERS – In The Crowd (Having Fun Records, absolutelosers.bandcamp.com)

Power pop never really went away, but it’s been seeing a real resurgence in the past several years. Prince Edward Island’s Absolute Losers is one of the bands keeping the power pop flag flying high. Solid guitar pop filled with hooks and harmonies is the order of the day. Songs like “At the Same Time” announce that Absolute Losers mean business, with a danceable beat, vocal harmonies, and great guitar-fueled pop-rock. I really like the song, “Letter,” too, with its insistent rhythm and somewhat muted tone. Like lots of power pop of the past, many of the songs are about love or relationships, and another good one on this topic is “You Never Say That You Love Me,” another danceable tune featuring those jangly guitars and harmonized vocals. Absolute Losers aren’t just a one-trick pony, though. Showing their versatility, they can play some modern indie rock sounds, too, like in “In the Crowd,” a song that, despite its title, has a lonely feel to it, the guitars jangling with melancholy. Several of their songs feature a cool updating of the classic power pop sound. “Bad Feeling” is one of my favorites in this category, with an understated breezy sound. And Absolute Loser can even do power pop ballads, on songs like “Your Colours” or “Don’t Go.” These songs have a lovely delicate British Invasion influence to them, with the feel of a baroque Beatles, making for a really pleasant listen. And that describes the album, as a whole: a really pleasant listen.

AMBULANZ – III (It’s Eleven Records, www.itseleven-records.de)

Ambulanz is from Leipzig, Germany, and they play “messy art punk,” as they call it, featuring dense chaotic music that’s still catchy, reminding me of China’s Round Eye, in that regard. Guttural garage punk guitar, bass, and drums are joined by a synth that careens and crashes, as well as dual vocals that sound like they’re singing for their lives. The songs are both chaotic art punk and poppy sing-along tunes, a clever balancing act. “Joy,” which opens the five-song EP, is a prime example. The music is ebullient and the vocals are frantic and jumbled, all while the rhythms shift around. “Flowers” has a powerful repeating bass line that swirls up and down, a speedy beat, and a great art punk vibe. There’s a lot more experimentalism in the odd intro to “Number,” a song that sounds like it’s about to go off the rails, filled with chaos and noise – yet it’s eminently poppy. “Repetition” is a little darker, and filled with, er, repetition, in the rhythms, the riffs, and the lyrics. “Slime,” which closes the EP, starts out in a similar vein as the other tracks, but as the song ends, the remaining six minutes of the track consists of sonic experimentalism. No rhythms, no vocals, just ambience with varying levels of noise. It’s art for art’s sake. And that could be a description of Ambulanz, too. This is creative music here.

ANIMAL, SURRENDER! – A Boot for Every Band (Ernest Jenning Record Co., animalsurrender.bandcamp.com)

If you can remember the “post rock” movement of the 1990s, spearheaded by bands such as Chicago’s Tortoise, you’ll have a good idea of what Animal, Surrender! sounds like. The five tracks on “A Boot for Every Band” are chill instrumentals with a jazzy vibe. Rhythms swirl and guitars play smooth minimalist riffs, as the music waxes and wanes, flowing over and around you. This music is about setting a mood, relaxing, and chilling out. And it does that very well. The opening track, “Misswanderer,” sets the stage, and Peter Kerlin steals the show with his mesmerizing eight-string bass. The riffs whirl around in a jazz-guitar sort of way. The title track follows, and it’s an excursion into post-rock hypnotic ambience. I love “Ruinous Realm,” a relaxed tune that starts out with a slow-burning smoky sound, and halfway through it completely changes to a slow lazy blues feel. “Poinciana” is a new cover version of the classic song written by Nat Simon, performed originally by Nat “King” Cole, and more recently popularized by Ahmad Jamal. The original song was written as a lush, romantic ballad, and Jamal’s version was upbeat, lithe, and lively. Animal, Surrender returns the song to its slower pace, but rather than romantic it’s got a more mysterious feel to it. I love that this arrangement gives Peter Kerlin a chance to shine with his eight-string bass. And Curt Sudnor’s pipe organ really adds a new dimension to the song, a grander nature. The album closes with a traditional song, “Shenandoah,” the sole track with any vocals (courtesy of drummer Rob Smith). The song has the same feel as the river it’s about; it meanders, ebbs, and flows, and evokes a sense of longing. If you’re into post rock, definitely check this out. There aren’t a lot of bands making this kind of music these days.

THE COVIDS – Pay No Mind (Wap Shoo Wap Records, www.wapshoowaprecords.com)

The “viral” Amsterdam band that emerged from the pandemic lockdowns is back with their second full-length LP, which finds them still playing raucous rock and roll, but the sound is somewhat cleaner, with a higher fidelity sound. Gone is the lo-fi distortion that was a trademark of past Covids records, but the high energy is still present. As a result of the cleaner sound, the band has a more rock and roll vibe going on than garage punk of the past. Think of bands like The Wipers or The Undertones, and you’ll get an idea of the vibe The Covids are going for. Songs like “Steppin’ Out” or “No Kids” are favorites, for the strong garage sound, reminding me a bit of Denton, Texas bands fronted by Jeff Burke (Radioactivity, Marked Men). “Waste of Space” is the most punk track to my ears, with a simple melodic line in the verses and a nice atonality in the chorus. Veering from the formula, “Station” has a more relaxed pace than most other tracks, and the vocal delivery, half spoken and half sung, reminds me somewhat of Fugazi. Even the guitar solo has a Revolution Summer sound to it. This makes it my definite favorite of the album. The album closes with a re-recorded version of “Banned in the USA,” which was released last year when half the band was denied entry to the US for a long-awaited tour. While The Covids are rocking out as much as ever, I think I like the dirtied-up distortion of past releases a little better than this cleaner sound. But The Covids are still a pretty great band and “Pay No Mind” is a solid record.

FAULTY COGNITIONS – They Promised Us Heaven (Dead Broke Records, faultycognitions.bandcamp.com)

A year and a half on from their debut LP, “Somehow, Here We Are,” San Antonio’s Faulty Cognitions return with a new LP. And as much as the band grew between their demo and the first EP, they’ve grown light years beyond that now on their sophomore full-length. Though still based in the pop punk tradition, this new LP shows a real maturity in songwriting and playing, with wonderfully jangly guitars, solid arrangements, top notch hooky melodies, and thoughtful lyrics. Songwriter Chris Mason says that on this album he focuses on the “hypernomalization of the horrors of our everyday world” and “the powerlessness of the individual to change or resist the world’s power structure that leaves people aware but immobile.” Topics like the damage of late-stage capitalism, growing inequality, and genocidal wars (particularly in Gaza) are covered.

Right from the start, with “Arsonist,” we get a new side of Faulty Cognitions, with a lovely lithe indie pop kind of melody, wonderful guitar jangle, and bright “whoo-ooh” vocals, though the layer of distortion that has been a trademark of all of Chris Mason’s bands is still present. There’s a nice driving Texas style garage rhythm in the drums and bass, combining multiple influences to create something unique. I guess the closes comparison I can make might be the UK’s Martha, another band that successfully blends pop punk, indie pop, and garage. A favorite of the album is the brilliant “Worse Than Any Bomb,” with long lineage of songs with bright upbeat sounds and dark horrifying lyrics.

But Faulty Cognitions keeps changing things up, and there are songs with grittier, more emotional sounds too. “Be Casual” is one of these, with a denser sound, more emphatic lead vocals, and haunting backing vocals. “Rolling in Your Grave” has deeper lead vocals, reminiscent of the late Ian Curtis, but sung with more punk fervor over a definitely more punk arrangement. “Rooting for the Void” is a short acoustic folk punk song, seemingly about Elon Musk’s SpaceX, its massive government contracts sucking up the wealth of the nation, and how it’s all wasted with their rockets exploding in mid-flight. And “Tiny God” has a nice mix of street punk and cowpunk, with loud angry backing vocals punctuating particularly damning lyrics.

It’s clear that Faulty Cognitions has matured beyond their origins, and even beyond any of Mason’s previous bands. This second album is filled with excellent material that’s highly recommended.

GRUMPY – Piebald (Bayonet Records, www.bayonetrecords.com)

The music doesn’t sound grumpy, and I’m not sure this EP is about a spotted horse (the definition of “piebald”). But the music sure is theatrical, in an indie pop sort of way. The album info says that Grumpy is a “lovable malefactor, the main character who refuses redemption but demands attention. Grumpy isn’t embarrassed. They peel off the polish, slap on their top hat, and let the pain strut around in heels. Think Beetlejuice with a bleeding heart.” I can certainly hear the duality of the Grumpy character in the opening track, “Bird Parts ft. Harmony.” It opens with a lovely bright lope, but has moments where the music turns noisy and dark and the vocals sound downright villainous, while a beautiful harp is plucked in the background. The combination of the sublime and the grotesque is on full display – and that seems to be the point of Piebald. As the description says, “Anchored by a voice that wavers between charming villain and sad clown, Piebald invites the listener into a world where ugliness isn’t just embraced – it’s the source of Grumpy’s power.” I don’t know how extensive that theme is used through the whole EP, or if it’s just on a few tracks, because “Crush,” which follows, is just a lush pop tune about having a crush on someone for the longest time and finally getting up the courage to talk to them. It’s clearly sung from the point of view of young teenagers, because it’s got lines like “Let’s go to the mall / My mom can drive / And we’ll take pics at the Apple Store completely unsupervised.” It’s unabashed pop fluff and sounds very different from “Bird Parts.” Another song with a different sound is “Knot,” a subtle, quiet acoustic track with double tracked vocals, both sung in a hushed manner, almost whispered, but one manipulated to sound deeper and uglier. The sounds of fingers sliding across the guitar strings are amplified at times, creating an interesting noise that interrupts the sad, pretty song. “Deeptalker” and “Proud of You” are both more standard pop tunes, with the former being lighter folksy fare, and the latter being more electronics-based lush dance-pop. “Rice” closes the EP with a return to the theme of duality from the first track, with sections that are smoother pop and others that are twisted and noisy. This EP isn’t the sort of thing I listen to regularly, being a little too much on the pop side of things – and the use of autotune can get grating at times – but it’s certainly interesting.

HEATHER THE JERK – Very Motorcycle (Goodbye Boozy Records, goodbyeboozydigital.bandcamp.com)

Heather isn’t a jerk! Heather the Jerk is a garage rock and roll band from Madison, Wisconsin that play bouncy fun music that’s got a layer of distortion across it. They give us four songs on this new EP. The A-side’s “Lie Detector” is a hopping poppy garage tune that’s a lot of fun. The other A-side song, “Song for You,” has a darker sound, the keyboards warbling above the guitar, sounding like alien music. The guitar solo is played with loads of reverb and reminds me of some of the guitar sounds from the Repo Man “Reel Ten” music, at the end of the film. The B-side has “Anxiety,” a solid song with an early Go-Go’s sort of garage pop vibe. And “No Animals” is played at a relaxed loping pace, featuring vocals, guitar, and bass without drums. It’s got a melody that sounds a bit old timey. What a fun EP.

WHITE REAPER – Only Slightly Empty (Blue Grape Music, bluegrapemusic.com)

This latest LP from the Louisville, Kentucky rock outfit, frankly, sounds like every “alternative” band on a major label from 20 or 25 years ago. There’s a slight pop punk sound in the melody of some of the songs, which are slickly produced with close harmonies in the vocals. There’s a grunge-lite feel in the guitars and bass, and a weird new wave thing going on with synths on some tracks. Honestly, this feels pretty generic to me, aiming for airplay and streams more than anything else.

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BLACK GUY FAWKES – The Misery Suite (Asbestos Records, blackguyfawkesmusic.bandcamp.com)

Black Guy Fawkes, aka Ian Robinson, says the title of this album comes from “what I called my office at the time because I was sitting in there either brooding or having therapy sessions on my laptop and it was a way for me to get out what I needed to at the time.” He’s best known for folk-punk, and has released a lot of acoustic material over the past decade. But more recently, Black Guy Fawkes has pulled together a full band and has been writing and releasing fully electric-punk tunes. Robinson plays rhythm guitar and sings, and joining him are Corey Mackereth (lead guitar,) Zach Dodge (bass,) and Derek Shank (drums, keyboards, additional rhythm guitar, and backing vocals.) On “The Misery Suite,” Robinson adds a number of guest performers, including Ian Legge (cello on two tracks,) James Miner (slide guitar on one track,) and a number of guest vocalists, including Lauren Kashan (Sharptooth,) Angelo Moore (Fishbone,) Linh Le (Bad Cop/Bad Cop,) and Dave Hause. Robinson says this record is “about confronting things that I was learning about myself in that first year of therapy, the baggage I walked in with, and the lessons I learned along the way.” Musically, the album is quite varied, running from smoother indie-punk to more raucous melodic punk, from relaxed Americana to bluesy metal, showing amazing versatility and creativity.

One favorite track is “Fear of Faith,” the song that features Bad Cop/Bad Cop’s Linh Le on guest vocals. The song is about loss of trust after having put your faith into people, only for them to turn around and screw you over. This applies not just to people but institutions, such as organized religion. The song has the same kind of melodic-punk vibe as Bad Cop/Bad Cop songs, making it a real standout. “Little Black Storm Clout” has a relaxed Americana vibe, electrified folk-punk about anxieties and uncertainties in relationships. I love “Disposable,” a song that features acoustic guitar and cello in a beautiful, solemn tune. Another highlight is “Racial Battle Fatigue,” a song that mixes metal, blues, and hip hop in a song of righteous rage, and the exhaustion of dealing with the daily realities of institutional racism in America. “I’m not your token boy / Keep your hands off my joy / And when you see me lie / I’ll never shuck and jive,” is one defiant verse. “Glass Houses” is another track that rocks a bit harder than the rest, and it’s the one that features Lauren Kashan joining in on vocals. Black Guy Fawkes’ new album is interesting and thought provoking. Recommended.

THE DREADNOUGHTS – Polka Pit (Punkerton Records, punkertonrecords.com)

The Dreadnoughts are often called a polka-punk band, but the Vancouver group don’t really play a lot of polka music. They focus more on sea shanties and various European folk traditions, mixing these with a healthy dose of the punk-rock aesthetic. The band is coming up on two decades of existence, and Polka Pit is their eighth full-length LP. Accordion and strings mix with guitar, bass, and drums throughout the album, the vocals are gruff and gravelly; the whole thing is just a bunch of fun. The title track opens the album, and it’s the closest thing to actual polka music, successfully quoting “In Heaven They Have No Beer,” one of the most beloved of polka songs (and one which polka-punk pioneers Polkacide covered on their 1986 self-titled LP). Another polka tune is “The I’m Going to Fight Jim’s Girlfriend Polka,” and sure, it’s a polka, but it’s also rock and roll. It’s about getting so drunk that you want to fight your buddy’s girlfriend, and the song exhorts us to “drink until you don’t know who you are.”

My favorites are the sea shanties, though. They’re songs sailors used to sing together to coordinate their work, like pulling ropes to hoist sails or to raise anchor. As such, they often feature call and response, with alternating solo and gang vocal sections. Though traditional sea shanties are sung a cappella, accordion is a common instrument for recordings, and it makes sense, as they’re portable and plenty loud for all the sailors to hear. “The Good Ship Mary Robinson” is a song singing the praises of leaving your life and family behind to go to sea, especially for the comradery of the crew, where “you’ll never drink alone.” (Fun note: The Mary Robinson was a real clipper ship, built in 1854 and operating as a commercial trade vessel. Of note is that on her maiden voyage, it took The Mary Robinson 30 days to sail around the Cape of Horn, traveling from New York to San Francisco, due to heavy gales and snow storms. The Mary Robinson was lost on June 27, 1864, after sailing from San Francisco. A squall drove the ship onto a reef at Howland Island, and then it slid off and sank.) “Luang Prabang” has an even more authentic sea shanty sound, but it’s actually a cover of a song by Dave Van Ronk from 1965. It’s sung a cappella, but it’s not a seafaring work song. It’s an anti-war song about fighting in the Vietnam war, losing one’s “manhood,” but becoming a “fucking hero” fighting for “Christian democracy.” You can hear the bitterness in the delivery, spite dripping from every word.

Besides sea shanties and polkas, other folk traditions explored include the tarantella, a Southern Italian folk dance that originated from the belief that the dance would cure illness from the bite of the tarantula. “Tarantella Bang Boom” sounds like it could have come from the wedding scene in “The Godfather,” so authentic is its sound. The Dreadnoughts also offer up some fun instrumentals, like the lively dance, “Dark Sleeper,” and they’ve got a folk punk cover of Brahms’ “Hungarian Dance” too! And “Dirge (For Neomar Lander)” sounds like it, too, could have come from the soundtrack of “The Godfather.” The last Dreadnoughts LP I reviewed was 2022’s Roll and Go, which I enjoyed, but Polka Pit has it beat by a mile! What a fun record!

THE HAPPY FITS – Lovesick (thehappyfits.com)

The Happy Fits have had a rough year and been anything but happy. 2024 saw one founding band member (guitarist/vocalist Ross Monteith) leave the band and another (drummer/vocalist Luke Davis) dropping off a tour for "mental health reasons." New members were brought on, and the band found itself having to reinvent itself. Lovesick is The Happy Fits’ fourth full-length LP, and their first without Monteith. After Monteith’s departure, longtime touring members Nico Rose and Raina Mullen became fulltime members of the band, both on guitar and vocals. Frontman Calvin Langman (lead vocals and cello) and Davis remain. With such a major change to the band’s make-up, will they still have the same magic as on their first three albums?

Lovesick” finds the band delving into themes of love, loss, and self-discovery, and dramatically expanding their influences. More than just indie pop, the band has begun dipping ever deeper into the 70's pop sound. I hear power pop, but I also hear strains of ABBA and other AM radio giants of the past. One of the lead singles, “Everything You Do,” is a perfect example of this. It’s bright and shiny, big and bold, with a disco beat and it sounds ready for Eurovision competition. “I Still Think I Love You” has that ABBA energy, too, and I think part of it is the mix of male and female vocals harmonizing together, along with strings and that disco beat. “Cruel Power,” too, is brash and goes full send, with maybe a bit of pop punk energy. “Shake Me” is another big song, a sparkling pop tune, about losing passion and needing to shake things up to feel it again.

One thing remains the same as before: In the old configuration of The Happy Fits, all three members got a turn at lead vocals. That’s still the case, with Rose and Mullen adding a new dimension to the band’s sound. “Lovesick #1 (Misery)” gives us our first taste of this new aspect of the band. I’m not sure whether it’s Rose or Mullen singing the leads, but the range is incredible. The song starts out as a quiet ballad, and the singing is sad and tender, but as the song evolves the vocals get more emphatic until the song explodes with energy and the lead vocals begin to tunefully spit ire, and the chorus is just huge. Bravo! “Miss You,” too, features one of the new members taking leads, and as good as they are it’s the arrangement that’s the real star of the song. No longer content with cello as the sole bowed instrument in the band, a full string section is added here, and it’s glorious.

“Wild In Love” is somewhat different from the rest of the songs on the album. It’s still bright and ebullient, and does everything we love The Happy Fits for, but it’s got more of an 80's pop sound, with plenty of synths, and deeper lead vocals that seem to channel bands like New Order. And the melodic lines of “Blackhole” sound a little Devo-like to my ears, though it’s definitely smoothed out and popped up. Devo never had strings like this! The album certainly is more diverse than past records, with tender ballads featured alongside the exuberant dance-pop tunes. “I Could Stare at You for Hours” is a quiet love song that features Langman’s old fashioned crooning, and the string section returns to give the song a lush feel. Most of the ballads are toward the end of the album. “Superior” is a big tearjerker ballad with enormous dynamic range, “Wrong About Me” is a solemn hymn with acoustic guitar, lush strings, and angelic backing vocals. And there’s one bonus track at the end that’s reserved for the deluxe edition. “Tenderly” sounds like it stepped out of a 1940 black and white movie, with just Langman’s crooning, ukelele, and strings. It’s absolutely lovely and nostalgic.

So, does Lovesick still have the same magic as The Happy Fits’ first three LPs? No. But it has new magic, a fresh sound, and The Happy Fits may be poised to finally break into the mainstream.

NAPE NECK – The Shallowest End (Dot Dash Sounds, dotdashsounds.bandcamp.com / Red Wig Records, www.redwig.org)

Nape Neck are a trio from Leeds, in the north of England. One usually associates the north of England with rolling fields and pastoral scenery, but Nape Neck are anything but. They’re high strung, filled with tension, and make music that will induce anxiety at 50 paces. “Angular” and “noisy” barely scratch the surface when talking about this band. This no-wave music that’s right up there with the giants, atonal and with only the barest of song structures. Tempos and rhythms shift, melodies are minimalist or non-existent, and the chords will grate against your soul, with dissonance pouring out of your speakers. Guitar notes are bent to the point of breaking. A panacea is supposed to be a solution or remedy that makes things better, but the song, “Panacea,” spins you around until you fall over from dizziness. Some of the songs take minimalism to an extreme, with short riffs repeated over and over, like a machine. Favorite track: “The Rabbit.” It has a cool rolling bass riff, stabbing guitars, awesome modal harmonized vocals, and a jazzy rhythm. Nape Neck doesn’t play music. They make sonic art. An they create sensory overload.

NATIVE SUN – Concrete Language (TODO Records, www.todomusic.net)

New York City’s Native Sun is describe as a “garage/art rock" band. I get the garage part, but not the art so much. The songs have a garage-y grit to them, though the tone ranges from retro to more modern indie, with psychedelic influences sometimes added in. Many of the songs have a big booming swagger, too. The album opens with “Down My Line,” a tough sounding rocker with modern garage brawn. The lead vocals are sung broadly, stretching out syllables and bending notes in a garage-like way. It’s a robust opening and bodes well for songs to come. I like the sensuous “I Need Nothing,” a slower song with a 70s psych jam sound that’s oozing with voluptuous riffs. By contrast, “This Mess” is pure garage punk, with raucous guitars, thumping bass, and lead vocals spewing snot and sass. And yet another contrast comes in the song, “Squash.” It’s completely different, a nice jangly indie rock tune in a Superchunk sort of vein. I guess, with songs like “Adam,” I can sort of see the “art rock” part of the description. It’s got spoken/sung vocals that sounds a bit like the arty garage stuff that was being made in the 70s. And after the halfway mark, it gets downright psychedelic and chaotic. “No” reminds me a bit of another New York band, Alice Donut. Lead Vocalist Danny Gomez sounds an awful lot like Tomas Antona on this song, and the band plays the same sort of punk-adjacent psych-tinged rock and roll that Alice Donut is known for. The album ends with “All I Can See,” which has a lovely folk-rock acoustic sound, and about two thirds of the way it starts building in intensity, with electric guitars gone wild, before slowly fading away. “Concrete Language” is a solid debut LP, with plenty of variety.

PINK FUZZ – Resolution (Permanent Teeth, permanentteethrecords.bandcamp.com)

They call it “desert rock.” The trio (siblings Lulu and John Demitro and drummer Alec Doniger) hail from Boulder, Colorado, hardly in the desert. So, what is “desert rock?” I always thought it was rock music with a dusty lonely sound, but the Internet tells us it’s a subgenre of rock that’s aligned with “stoner rock,” featuring elements of classic rock, heavy metal, punk, and psychedelia, with fuzzed-out guitar riffs, repetitive drum patterns, and a penchant for jams. Think Queens of the Stone Age, as an example. And I suppose this is a good descriptor for the music on Resolution,” the band’s third full-length LP. There are definitely metallic elements, though the band isn’t overtly “metal.” There are too many pop elements in the melodies to call this metal. There are elements of psych, too, as well as 90s alternative rock and plenty of shoe-gaze-like fuzzed up music. There’s plenty of jamming, too, with some power-guitar solos. Unlike shoe-gaze, though, the tempos are mostly brisk, the feeling bright, and there’s little self-absorbed depression going on in these songs. My favorite songs are some of the ones where Lulu takes the lead vocals. “Long Gone” has a lovely melodic line in the verses and the high-tension effects added by the synths. “Coming for Me” is a great mix of indie rock and alternative/grunge, with a thick heavy feel mixed with a lighter poppy melody. And “Worst Enemy,” featuring both siblings singing together, is super poppy and bright, with synths crying out like it’s 1980s new wave. “So Sad” feels very different from the other tracks, with a sparer sound and an almost evil vibe, with the guitar injecting screechy sounds and Lulu’s lead vocals dripping with hypnotic sensuality. Overall, there’s plenty to like here for fans of 90s alternative jams.

BENNY J. WARD – Super! (Kool Kat Musik, www.koolkatmusik.com)

Folks in the US may not be familiar with Benny J. Ward, but he’s a longtime fixture in the Perth, Australia music scene. He’s best known there for fronting Rinehearts, a solid power-pop band, and the raucous punk band Leeches! Ward is finally releasing his debut solo LP, and you can hear the different influences of the bands he plays in. Super! has a mix of power-pop and gritty garage. The opening track, “Televisions,” for instance, is a super-gritty garage tune that could have come right out the '60's, with fuzzed-up guitar and bass tone. It's got a martial rhythm and a dark tone. Immediately after comes “Scratch That Itch,” with a cleaner sound and a poppy bounce, right out of the power-pop playbook. Both songs are great, but they sound like they’re from different bands. My favorite songs of the album, though, are when the two sounds merge. The sweet “Ice Cream Headache” is a good example of this, with a head-bobbing bubblegum melody, complete with sugary backing vocals, but the song also has a '60's garage tone to it. It makes for a nice blend. But there are some songs that lean more heavily into the power-pop side of things that have a guitar sound that just makes me melt, with multiple guitars playing in tandem, one an octave higher than the other. “Back to Bed” is one of those, and it pulls up memories of classic '60's pop. The closing track, “Nest In Your Head,” is completely different from anything else on the album. It mixes '70's blues-funk-rock, '80's industrial noise, and '90's grunge. Benny J. Ward’s debut solo LP has plenty of variety, with solid songwriting that makes me want more. Hopefully Ward becomes better known around the world now.

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LAVEDA – Love, Darla (Bar/None Records, lavedamusic.bandcamp.com)

Laveda is a New York City quartet that wears the influence of that city on its sleeves. You can hear the 80s art rock scene embedded deeply in their essence, and they mix in a generous dose of shoegaze, too. Sonic Youth is clearly a heavy influence, with some solid noisy arty rock music and vocals that are spoken with a mix of angst and ennui. Right from the start of “Love, Darla,” the band’s third LP, we hear amorphous noise for a full minute too introduce the band, at which point they begin to add in some melody on guitar over the noise, which moves to the background. Another 30 seconds, and the full band comes in, launching “Care,” a song about the opposite, “I don’t care, I don’t care” is the repeated refrain. The guitars mix background noise with angular jabs, drums pounding with plenty of backbeats, and Ali Genevich’s lead vocals alternately speaking and shouting. It’s the sort of music that’s right out of mid-period Sonic Youth, and Laveda attack the genre with ferocity. Lydia Lunch is also a solid influence in the vocals, I would be willing to guess. And even though the band is thoroughly New York, I hear a bit of Chicago influence, too, in “Strawberry,” particularly in the strong bass and powerful off-kilter rhythms. It’s a bit reminiscent of Steve Albini sort of stuff. We also get lovely indie pop tunes, though. “Cellphone” is a pretty tune, sans noise or angularity, and Genevich sings the lyrics in an attractive straightforward manner. The lead guitar has a nice clean tone and plays wonderfully meandering melodic lines. Songs like “I Wish” and “Dig Me Out” are a hybrid of styles, with more of a poppy melody and cleaner tone, but with overly relaxed, subdued spoken vocals. It’s sort of like someone quietly reading poetry while an indie band plays in the background. A highlight of the album is “Highway Meditation.” It goes on a whole musical journey, beginning with mysterious guitar and what sounds like wind chimes. Vocals are barely above a whisper, and the guitar is delicate, almost echoing the wind chimes. Halfway through the drums and bass join in, and the instrumentals become emphatic as the pace accelerates. We return to the quiet, though the guitar’s texture becomes more complex and the drums remain. The vocals rise in fervor, and the guitar begins some high-pitched rapid strumming, before the return of the more powerful chorus, and the song ends with vehement instrumentals. The ten songs on this album provide for a little more than half an hour of music, but I could listen to double that without tiring. Good stuff here.

TIRED RADIO – Hope in the Haze (Red Scare Industries, tiredradio.bandcamp.com)

Tired Radio call themselves “East Coast Bummer Rock,” and it’s an appropriate descriptor. They hail from Brooklyn and play melodic punk-based music that’s raw and emotional, reminiscent of the style played by The Menzingers or Hot Water Music. But where those bands have evolved with a slicker more produced sound, Tired Radio retains a rougher-hewn more honest tone. They sing about topics like trying to seem OK when things aren’t, depression and how things that used to make one happy no longer do, alcohol abuse, and more. After a short introductory acoustic song, “D.R.E.A.M. (Depression Ruins Everything Around Me)” explodes with soaring guitars and gruff raspy vocals that are intensely vulnerable and emotional. It’s a style several bands have successfully performed over the years, but those bands eventually get too big and popular, hire well known producers, and end up sounding too slick and affected. That’s not the case here; the ten songs sound much more sincere. A favorite of the album is “Your Great Escape,” a song that sounds familiar after just a couple of listens. It has a relaxed loping pace and an understated intensity in the instrumentals. The lyrics are about trying to run away from bad situations and the consequences of your actions. The chorus, “Hey, where you gonna go when all the places that you’ve been you’ve already called home / Yeah, what are you gonna do when all the reasons that you’re leaving here are bound to come looking for you,” seems to tell us that no matter how much we try to run away from troubles of the past, everything will eventually catch up to us. And “understated intensity” could well describe the whole album. These songs simmer, they don’t explode. It creates a kind of tension, where you’re waiting for that eruption, but it doesn’t happen, the unresolved pressure creating a sense of anxiety, which is exactly the sort of thing Tired Radio sings about, how our lives are filled with unresolved anxiety. I mean, how else can you explain a song like “Midnight: Miserable (Everyone I Love is Gonna Die),” a song about being inside your head with increasingly depressing thoughts? The closing track, “Mountains // Molehills,” has some cool jazzy technical guitar work and a nice pop melody, making it another standout. Tired Radio have been around awhile, releasing music since 2017, but this is their first LP for Red Scare. Label boss Toby Jeg said people were telling him he needed to work with this group, but it took him some time to go see them play live. Good thing he did. If you used to like The Menzingers but have gotten bored with them, check out Tired Radio, because they’re better than The Menzingers ever were.

DAVID WOODARD – Everything Belongs (Kool Kat Musik, davidwoodard.bandcamp.com)

Past records from David Woodard that have come across my desk have been… OK, I guess. I’ve described them as being a mixed bag, with a few good songs and a few I couldn’t get into, and my ultimate description was “inoffensive”. But this latest LP is a completely different story. Woodard has focused on power pop, as a genre, and, though I like power pop, those past records just didn’t grab me as being special or unique, and the songs were too soft, too relaxed, too “adult contemporary.” With “Everything Belongs,” though, Woodard amps things up with a generous dose of pop punk. The tempos are livelier and the arrangements are rawer and fresher, giving every song more energy and more punch. The guitar and bass tones are dirtied up and the lyrics more current. A good example is one of the pre-release singles, “Scapegoat.” It’s about how cold and cynical a lot of Americans have grown, and how blame for everything that goes wrong is laid at the feet of those who are most vulnerable and powerless. “If compassion is for the weak,” says the chorus, “Go ahead and scapegoat me.” It continues, exposing the hypocrisy of the so-called “Christians” behind the election of Donald Trump, “If empathy is a sin, well, then I guess I’ll go to hell.” Empathy, mercy, and forgiveness are tenets of Christianity – but not the American brand, apparently. The bright title track expresses the very American ideal that everyone can belong, that we’re a melting pot that welcomes the poor, the tired, the huddled masses yearning to breathe free, as the poem on the Statue of Liberty says. It’s an idea that seems to have gone out of style in these troubled times. “Freedom Fries” is a reminder that politicization of even the minutiae of life isn’t new. Remember when France opposed the American invasion of Iraq, and segments of society renamed “French fries” as “Freedom fries,” because we were supposed to hate the French? And “Myth of a Nation” is about the massive hypocrisy that is modern America, still crowing about the promise of freedom and opportunity, while the realities are much more depressing. Not every song is political, though. There are songs about nostalgia, too. Like “Text Me if You Time Travel,” about the simple times of childhood and the friends we had, how we drift apart, but how we always remain connected. And there’s even a song about love of baseball cards. Every song on this album is a pleasant surprise, with solid melodies and tight energetic performances. “Everything Belongs” is Woordard’s best record yet.

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BILLY BATTS & THE MADE MEN – …For the Surly Types (Rad Girlfriend Records, www.radgirlfriendrecords.com)

If you’ve ever worried about the punk scene aging and the music disappearing, fear not! Billy Batts & the Made Men are here to alleviate your concerns. The trio consists of brothers Brody (guitar) and Nub Nub (drums), along with their friend Noel (bass). Brody and Noel are barely out of their teens and Nub Nub still is a teenager, so yes, there are young people still into this music. But unlike most teen bands, these guys are already lifers. The band was formed in 2019 and they’ve poured their all into it, touring and recording and, well, getting really good. The youthful energy abounds, and they play hardcore and punk songs like it was still 1983. The power and fury are in your face, like good punk music should be. They’re fast and super tight, rivaling and surpassing a lot of your favorite punk veterans. They’re not a political band, though, and their songs could be put into the “funny punk” category, with songs about winning the lottery and using the money to give hot dogs to the poor, pissing in a potted plant, fights in fast food restaurants, hating your job, being addicted to farting, and more. They also show a pretty diverse range of influences, with some of the songs being manic, chaotic, and angular, others poppy yet hardcore (think Descendents), others full-on 80s hardcore punk. I like the gritty grating sound of “Cory, The Breadman,” with some riffs that sound like jazz being hit over the head. “Goes This Way” is one of those poppier songs, and you can hear the Descendents love in it. I love the mix of brightness and melancholy in “Jesse’s Had a Bad Day,” In an album of strong tracks, “The Crumb Incident” is one of the strongest songs, dark, powerful, and filled with ire. It reminds me of a mix of 80s hardcore and NOMEANSNO, in a way. “My Job Sucks” is a great speedy song with a message everyone can relate to, and it, like all these songs, demonstrates that these kids are great musicians, not just punk kids. I saw the band live last summer, too, and they give the same energy non-stop for the full set. The punk future looks bright.

THE BURNING PARIS – Last Ashen Leaves (A Thousand Arms Music, www.athousandarms.com)

The Burning Paris’ flame burned brightly in the early party of this century, then the flame was extinguished when they broke up in 2003. But the band reformed in 2021 with a couple of new members, and now present a new album, “Last Ashen Leaves.” It’s a lush, moody album, filled with strings and piano, besides the usual guitar, bass, and drums. Vocals are sung in a subdued hush, and the resulting music is very orchestral, very emotional. From the devastatingly sad opening sounds of the cello in “Coffin Bells” to the explosively grand ending of “Bedroom Eyes,” The Burning Paris take us on an emotional roller coaster. The combination of the cello, the haunting vocals, delicate piano, and lightly plucked guitar of that opening track is a jaw-dropping way to open a record. “Kilsyth,” by contrast, though it still features the same instrumentation and same vocal stylings, feels sadly bright, like a lot of shoegaze music of the past. The arrangement feels down in the dumps, but the melody and the keyboards, in particular, are quite lovely and bright. I love the combination of acoustic guitar and cello on “Greenwood,” a gorgeous instrumental with a neoclassical ambience. In a stroke of master tracking, after that quiet reverie comes to explosive “Arsonist,” a rich and noisy track, a cacophony of cymbals filling the first half of the song, and a chilling guitar tone dominating the second half. It’s quite a contrast. The way “Desolation Sound” builds in intensity through most of its nearly six minutes before it suddenly returns to quiet for a solemn ending is astounding, making this one of the stand-out tracks for me. Immediately after that mental hammering, “One Year Ago” is light and, well, almost lively. The vocals are buried in the mix, below the ebullient guitars, and there’s a layer of reverb painted across the whole thing, and it, again, is a massive contrast to the previous song. This album has emotional peaks and valleys like few records do these days. Lush and beautiful stuff.

GANSER – Animal Hospital (Felte Records, felte.net)

Ganser is a Chicago band that’s been releasing music for nearly a decade now. They play arty post punk music, music that’s sometimes noisy, sometimes angular, and often minimalist, with riffs set on repeat. They remind me of a blend of a Steve Albini band with Sonic Youth. The core of the band remains Alicia Gaines (bass, backing vocals) and Brian Cundiff (drums, keyboards), but longtime vocalist Nadia Garofalo has been replaced by Sophie Sputnik, and guitarist Charlie Landsman has also moved on, leaving the quartet as a trio. Their music throbs with deep bass and percussion, even as it swirls with dreamy synths and guitars. There’s a layer of noisiness on some songs, too, creating a thick sound over which the vocals are spit out in a half singing, half talking style. “Black Sand,” which opens the LP, is a perfect example of this. Other songs are smooth and flowing, with tuneful relaxed vocals and haunting synths, such as on “Stripe.” Even the smoother songs have noise and tension in them, too, like “Ten Miles Tall,” which reminds me of Sonic Youth’s “Brave Men Run,” from way back in 1984. I like the range that this album explores, from spacey and sensuous (like in “Grounding Exercises”) to shredding raucous stuff (like in “Half Plastic”), and everything in between. Even with the variation, there’s a basic tone that remains consistent and fully recognizable as “Ganser.” And we even get a jamming psych track in “Lounger,” that, despite its retro feel, still has an unmistakable Ganser vibe. My favorites are the edgier tracks, with those minimalist, noisy, angular riffs. “Plato” is one of my favorites for this reason. And “Left to Chance,” which ends to LP, is at once bouncy and poppy, yet noisy and grating, but also hypnotic. It’s a remarkable achievement to have all that in one song, let alone one record. Recommended.

MODEL MARTEL – A Thousand Couple Times (Snappy Little Numbers Quality Audio Recordings, www.snappylittlenumbers.com)

Model Martel is a newer band from Cleveland that features longtime friends and veterans Tim Gill (guitar and vocals), Jason Utes (bass), Rozco Provchy (guitar), and Ryan Kelly (drums), and “A Thousand Couple Times” is the band’s debut LP. The play music that’s part emo, part pop punk, part indie rock. The songs range from big, lush, and noisy to bouncy and even a bit poppy, giving the album a nice variety, even as the basic tone remains consistent – the mark of a good band that’s found their sound. I really enjoy songs like the opener, “Green Hat,” with its thick guitar sound and late 80s emo sound that sounds like a mix of DC bands like Soulside with west coast poppier punk. The passionate lead vocals contrast nicely with the smoother backing vocals, and the dense guitar jangle mixed with a poppy melody hits just right. And some of the song topics are pretty funny, like “Mitt,” one of the record’s lead singles. It’s about the cringy stuff you find on the internet, such as video of Republican politician Mitt Romney singing the song, “Who Let the Dogs Out.” Demonstrating how the band can take their basic tone (concentrated guitar jangle) and extend it into a more indie rock sounding track is “Dramadies,” a loping tune that doesn’t lean into punkish sounds at all. It sounds fresh, has a nice pop bounce, yet a slight melancholy sound, too. Another favorite of the LP is the schizoid track, “Attuned,” with shifts between thick and thin guitars, rapid and relaxed tempos, manic fury and contemplative meanderings. And I like the relaxed trot of “Puritas,” a song that sets waltz time and straight time against each other and has a slightly jazzy feel. This is the kind of music I can listen to for hours. Strong debut.

PINES – In His Wake (semaphorerec.bandcamp.com)

Pines is the new project from Detroit-born artist Josh Hight, who has taken up residence in the UK. Hight previously has played with post-punk band The Detachment and has released solo material under the name Irons, but now he’s operating under the Pines moniker, and his music is filled with melancholy and regret. The four songs in this debut EP are slow and sad, and that’s appropriate for the title track, which is about being the only surviving child in a family devastated by loss. The song is reverb-laden, and it has a sorrowful grandeur about it, with a slow dirge rhythm and soaring instrumentals. Hight’s vocals are delicate and calming, sung in an even tenor pitch, as if in a dream-like state. The closing track, “Uriel,” is a reference to the mythological archangel, who is often depicted as a guardian, a guide, and a revealer of divine truth. The song is an invocation and appeal, and though it has a similar slow, dreamy feel as the other songs, it also is the sole track with a somewhat hopeful sound. A lovely debut.

RICKY ROCHELLE – Second Layer (rickyrochelle.bandcamp.com)

Ricky Rochelle may be best known from the bands The New Rochelles and The Young Rochelles, bands that focus on a pop punk sound. But Ricky is also a prolific solo artist, releasing three LPs and a plethora of singles and EPs over the past several years. He uses his solo releases to expand beyond pop punk into power pop and indie music. Sure, a lot of the songs are rooted in pop punk, but use of different instruments in some songs, as well as using new textures, melodic lines, and more relaxed paces give the dozen songs on the album a great variety, even as they’re all recognizable cohesive. As an example, “Lover’s Escape” has the basic pop punk formula and a great jumpy melody, but the synths in the arrangement give the song a completely different feel. Those synths sound like a smooth orchestra of strings, and there’s piano in there, too. The lyrics about lovers getting away together for a romantic trip are simple, but the melody is the real star in this opening track. In a similar vein is “Scenederella,” a song about a woman who becomes a punk rock queen. “Bouncy” and “fun” are words that come to mind. I really like the lithe power pop tune, “Good News, I Love You.” It’s a lot lighter and more relaxed than most of the album, with hints of funk and reggae in the rhythms, and a nice bubblegum melody on the chorus. The multitracked vocals add to the pop effect. And “Self-Doubt” has wonderful balance between simple basic pop punk and a lusher indie sound. “Psychotic Reaction” has the grittiest sound of the album, with vocals that are almost growled, and tougher sounding instrumentals. And those vocals! Ricky’s singing is the perfect blend of snotty punk and smoother pop and indie. The closing track, “Before It Was Too Late,” is the outlier of the LP, a smooth pop tune without any punk content. Even the vocals are way cleaner. It’s a pensive tune, too, about confronting abuse he suffered and his reconciliation with his father, mere weeks before he passed away. He sings about cleaning out his dad’s apartment and not finding any photos of the two of them on display – but he does find some in the closet, and sings about how his dad couldn’t throw those times away. And he sings about his song meeting his grandfather for the first time on his last day. It’s a touching way to close a wonderful album.

SHAME – Cutthroat (Dead Oceans, deadoceans.com)

Right off the bat, reading through the band’s PR materials, I like them. “Our live shows aren’t performance art,” says frontman Charlie Steen. “They’re direct, confrontational, and raw. That’s always been the root of us. We live in crazy times. But it’s not about ‘Poor me.’ It’s about ‘Fuck you’.” The band certainly is confrontational with some of their tracks, filled with noise and dissonance and not so subtle ire and disdain. Themes explored in the album include greed, corruption, desire, lust, envy, and cowardice. One of my favorite tracks of the album tackles that last one: “Cowards Around” is a driving, pounding track with guitars and bass used as percussion every bit as much as the drums. The lyrics are delivered as if the record was a slam poetry competition, emphatically and with disgust at the people being spoken about. Another favorite is “Nothing Better,” with its jazzy rhythm and angular guitar jabs. “You’re always doing nothing / It’s ‘cause there ain’t nothing better to do,” accuses the chorus. I also like “Lampião,” with a casual loping pace, an accusatory tone, experimental sounding riffs, and a vaguely Brazilian undercurrent and Portuguese lyrics in the chorus. It reminds me of the massive creativity that was happening in underground music of the 1980s. “Screwdriver” has dark angular lines and a droll vocal delivery, with lyrics being spoken in a world-weary manner. The guitars get noisier and noisier as the song progresses, and the vocals get shriller. And “Packshot” is dripping with evil intent, with dissonance galore. There are other tracks, too, that are less noise-filled and more melodic, like the Americana-inspired “Quiet Life.” There’s a loping twang to the song about someone stuck in a bad relationship, but being too much of a coward to leave. “Spartak” is a nice indie track with a lush arrangement that borders on dreamy and the lyrics are a takedown of people who act like they’re better than everyone else. In between are songs that mix these two extreme styles, the noise and the indie. “To and Fro” has a nice indie tone filled with synths, but the vocal delivery has that spoken poetic quality. And the title track has a hard rockin’ dance sound. This was my first exposure to Shame’s music, and I’m impressed. In some respects, they remind me of Irish group, Gilla Band, with a similar noisy musical style melded with spoken lyrics spit out with the sound of an angry poet. Recommended.

SHPLANG – Let’s Get High (and I Could Be Your Man) (bigstirrecords.bandcamp.com)

LA’s psych rockers, Shplang, are putting their entire back catalog onto digital streaming services for the first time, and to celebrate, they’ve released a new two-song single. The A-side title track is a relaxed folksy sort of tune, with plenty of plucked guitar and laid back vocals singing about the ordinariness of life and the desire to make a change through romance. There are touches of psych and country in the short instrumental bridge, and the whole thing is nice and soothing. By contrast, the B-side, “Frankie is Back,” is darker and harder rock. It’s an early Halloween present from Shplang, a song about the return of the tall green reanimated monster with the abnormal brain. Two songs, two sides of Shplang.

THE TOUCHDOWNS – The Movie The Ride (Dumb Ghost Records, dumbghost.bandcamp.com)

With a name like “The Touchdowns,” one might reasonably expect some dumb jock rock and roll band or something like that. But The Touchdowns, originally hailing from Iola, Kansas and now based in Kansas City, play solid indie rock in the vein of bands like Guided By Voices, The Lemonheads, or Dinosaur Jr. The songs are noisy yet poppy and jangly, with arrangements that are alternately spare and full. It was an eye-opening pleasant surprise. The songwriting is strong, with great melodies and lyrics, and solid execution. The lead vocals are emphatic, yet relaxed, while the backing vocals are super smooth. It’s hard to pick a stand-out track, though, because the quality of these songs is so even and so universally good. But I’ll point out the opening track, “Bad Movie Night,” with its constantly changing texture and smoothly executed melody that’s simple, yet deceptively so, with contrasting backing vocals. I like the delicate sounds and pretty harmonies of “See Me Shakin’,” and the closing track, “Last Out,” has a fantastic power pop vibe about it. Never judge a book by its cover, and never judge a band by its name. Solid stuff.

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THE DIVISION MEN – Hymns and Fiery Dances (divisionmen.bandcamp.com)

The core of The Division Men is the husband and wife team of J. Spencer Portillo (vocals/acoustic guitar) and Caroline Rippy Portillo (vocals/bass). Originally from Texas, the couple formed the band while living in Berlin. Now back in El Paso, Texas, they record with a plethora of guest performers. On “Hymns and Fiery Dances,” they’ve included a veritable who’s who of indie music, including Rafael Gayol (Leonard Cohen), Roch G. Nelson (Afghan Whigs, Twilight Singers), Jay Reynolds (Asleep at the Wheel), Fredo Otiz (Beastie Boys, Los Lobos), Dana Colley (Morphine), Barb Hunter (Afghan Whigs, Pigface), and more. The album features seven tracks ranging from vaguely Eastern European folk to Latin music to country and western. The songs are very orchestral and cinematic in feel, with lush arrangements that feature a string section. “Cemetery Girl” opens the album with a dark driving song that has the vague Eastern European sound. It’s quite unique, with no band I’m aware of playing this sort of sound. The arrangement is filled out with a glockenspiel, as well as the more traditional guitar, bass, and drums. The song is quite creative, when during a break in the music some rapid breaths keep the rhythm flowing. I like the dusty sound of “San Saba,” sounding like something from a spaghetti western, including that deep bass sound. “The Undertow” has a distinct Central American folk sound, while the album’s title comes from the lyrics of the sensuous “Dead Moon.” “Lenora” is a western ballad that closes the album with a melancholy sound. It’s slow and sad, with deep reverb, a harmonica sobbing, a lush dreamy arrangement, and a solemn waltz time rhythm. “Hymns and Fiery Dances” is an album both romantic and mysterious.

DONELLA DRIVE – Axon (donelladrive.bandcamp.com)

Hailing from San Antonio, Texas, Donella Drive calls themselves a band that blends alternative metal, post hardcore, and progressive rock. To my ears it’s a mixed bag. I hear elements of metal and post-hardcore, as well as funk and math rock, but I don’t hear much in the way of progressive rock. For example, the opening track, “My Name is Axon,” is an airy instrumental, with plenty of ambience and experimentalism. But after this short intro, “Simian Transmission” is a blast of chaotic noise that resolves into a solid post-hardcore track. It’s hard and pounding stuff, edgy in a Quicksand or Refused sort of way, but with metallic tinges. We get “Mindless Embryonic,” which transforms from atmospheric to metallic funk to mathy metal and finally to a metal song with punk-like gang vocals. There’s even more funk and metal in “Terlingua,” while “Stir the Echoes” starts out as doom metal, with a very Black Sabbath riff, then turns into a Latin-inspired funk rock track, transforms into a hard rock track, then returns to a doom metal note for the ending. There’s space rock here, too; “External Gazer” is an instrumental for when you’ve launched yourself into the deep dark depths of the cosmos. “The Past Inside the Present” is another funky track, with metallic heaviness abounding but it transforms into jazz rock, complete with saxophone. And the band goes full-on hair metal with “Death Animation.” The band is musically proficient, with tight arrangements, but they come across as more of a jam band, and it’s just not the sort of genre I’m into.

MAPLE MARS – 25th Anniversary Double Single (Big Stir Records, www.bigstirrecords.com)

Celebrating their 25th year as a band, LA’s Maple Mars give us a new two-song single, featuring “Couldn't Have Been a Better Time” and “Tidal Wave.” The former is a bouncy jangly power pop tune with British Invasion influences, while the latter is a darker tune that channels 60s psych and progressive rock sounds. Both demonstrate why Maple Mars have reached their silver anniversary: they’re tight and write some good songs. Of this pair, the winner in my ears is the A-side, with its bright retro sound. If you’re a fan of power pop and retro psych sounds, you should be listening to Maple Mars.

CLAIRE MORALES – Lost in the Desert (clairemorales.bandcamp.com)

Lost in the Desert can refer to a feeling, both musically and emotionally. The ten songs vary widely, expressing a range of emotions through tonal and dynamic changes, representing the change and turmoil in our lives. “Road Dogs” opens the album with the sole upbeat track of the record. It’s poppy exciting tune, with Morales’ big alto vocals reminding me of pop punk singer Miski Dee Rodriguez of City Mouse. It’s brash and bold, with a lush arrangement filled with glissando-laden piano, guitars, bass, and drums. It’s the only track that doesn’t have that lonely feeling of being lost in the desert. But as soon as that ends, the tone changes dramatically. “YVB” is a slow, dark song, with a sound of isolation in a vast open expanse. A violin occasionally screeches, as if a bird of prey is circling overhead. The feeling of desolation is palpable, as the music swells, and Morales’ vocals sometimes tremble tentatively, sometimes yell out plaintively. The title track is a song that embodies the themes of the album within the song, morphing between laid-back rocker and solemn pensive spiritual. Morales’ singing belts out through it all in defiance. One of my favorite tracks of the album is “Angels in the Ether,” an epic track that begins tentatively, then resolves into a throbbing hypnotic song. The bass provides a gong-like sound, as the guitars and synths pulse and swirl. There’s a mysterious quaver in Morales’ vocals, adding to the supernatural sound. And I love “Low,” a slow tune that showcases the huge range and emotional qualities in Morales’ vocals, the way she glides between notes mimicking the sliding and bending of notes in the guitars. “Lost in the Desert” is a dramatic and varied record with a lot of feelings, from sadness to frustration, from elation to devastation.

ODD ROBOT – "Buddy" (oddrobot.bandcamp.com)

Southern California’s Odd Robot last released music nearly two years ago, with their album, “Deathmates.” They had some leftover unused tracks from the recording sessions, and have decided to release a few as one-off singles. “Buddy” is the first of these, and it’s a gentle ballad played in 12/8 time, so it sounds both like it’s a waltz and that it’s played in straight time. I love the dreaminess in the clear lead guitar tone, the melancholy feel, and the trumpet used in the arrangement (and no, it’s not ska!). Odd Robot play pop punk in the same vein as bands like The Smoking Popes and Alkaline Trio, and vocalist Andy Burris croons with the best of them. It’s a lovely song, and I’m glad it’s getting out and not just collecting dust in some recording vault.

THE PLANET SMASHERS – On the Dance Floor (Stomp Records, stomprecords.com)

Montreal ska-punk legends, The Planet Smashers, return with their tenth LP, their first since before the COVID pandemic. The band’s been around since 1993, and were among the prominent third wave bands back in the 1990s, performing all over the world. This new record features a baker’s dozen high-energy tracks that will be sure to, well, get you on the dance floor. I like how the band sometimes blends in old school rock and roll, like the guitar licks and backing vocals used on “Wasted Tomorrows,” the song that opens the LP. They give the song, which features a blend of two-tone and ska punk, a hint of 50s retro. Back in the 50s, UFOs and alien encounters were a big thing, and the band has that covered, too, with the song, “Alien,” a jumping track about wanting to be an alien, so you can go wherever you want, whenever you want. It’s really more about the freedom and means to do whatever you want, rather than being tied down to a job or place, rather than being a little green person from outer space. And the band aren’t afraid to get political, as they do on the track, “Police Brutality.” The song injects some jazz with great sax and trombone solos, and it features guest singer Neville Staple. I think this may be one of my favorites of the album. Many of the songs are impossibly bright, as ska punk usually is. “Bags of Cash” is one of the brightest of them all, with a great fresh fun sound. After twelve vigorous lively ska punk tracks, The Planet Smashers close the album with “Easy Like I Do,” a two-tone track, with a more relaxed beat, closer to reggae than ska. It’s a nice chill way to end. If you’re a fan of ska punk, check out one of the best of the third wave.

THE PROBLEM WITH KIDS TODAY – Take It! (Shed Records, theproblemwithkidstoday.bandcamp.com)

This New Haven, Connecticut trio (Tate Brooks – vocals and guitar, Silas Lourenco-Lang – bass, and Reena Yu – drums) have been releasing music for the past few years, and after trying the big studio recording and professionally managed tour experience, they decided it was time to go the DIY route. Recording this latest LP in their backyard shed and releasing it on their own Shed Records imprint, the band lived and breathed the DIY ethic. The resulting LP is fifteen songs of garage, power pop, and roots punk sounds, channeling groups such as The Ramones, Dead Boys, The Jam, and more. There’s plenty of pop melody, but also plenty of loud brashness and snot. The songs are up-tempo, with rapid-fire guitar licks, sure to get you moving. An early stand-out track is the manic “Feelin’ Alright.” The title is perfect, because that’s what it does to you: makes you feel alright. It’s a simple song, but, and here’s the simple old trope, it’s high energy garage punk, and the chorus is something everyone can and should sing along to. Another fun one is “Spongebob Squarepants and Patrick Star,” which, besides being about the cartoon characters, sounds like a raw Replacements. And the title track is classic garage, with a more loping pace, sparse lyrics, a simple melody, and nice gritty jangly guitars. I really like “I Dunno,” in which they clean up the guitar tone a bit, making them sound a lot janglier. The song is solid garage power pop. But I think it’s the more punk-leaning tracks that are my favorites. “The Stranger” and “Secret-Keeper” have the sound of early Southern California hardcore heroes, Channel 3. And “Nothing to Say” reminds me of some of punk coming out of the UK in the early 80s. Wow, fifteen tracks and not a stinker in the bunch. Recommended!

ADRIAN SHERWOOD – The Collapse of Everything (adriansherwood.bandcamp.com; On-U Sound)

Adrian Sherwood is a prolific British record producer, who has specialized in remixes and dub, particularly with a reggae bent. He’s worked with such musical luminaries as Depeche Mode, Coldcut, The Woodentops, Primal Scream, Pop Will Eat Itself, and Skinny Puppy. But it was his work with Tackhead that first brought him to my attention back in the late 1980s. Tackhead were a much harder and edgier outfit than most of what Sherwood worked on, falling into the industrial category of music. Sherwood was credited as the “mixologist” of the band, meaning his took the recorded tracks and manipulated and mixed them to create the band’s unique sound. Tackhead were strongly associated with the record label Sherwood founded, On-U Sound, and he worked with a number of the label’s artists, providing his mixing and producing talents. Like Lee “Scratch” Perry and Mark Stewart. Sherwood also was the co-founder of Dub Syndicate, a well-known band in the dub genre. And Sherwood has also released a large number of albums under his own name, of which “The Collapse of Everything” is just the latest. It’s an album of instrumental mixes with a cool chill sound. The title track sets the tone for the album, with its relaxed flowing feel, the deep reggae-inspired bass, the myriad keyboards, and the gorgeous fluttering flutes. If this is collapse, bring it on. I’m vibing on the Middle Eastern slant in “Dub Inspecter,” and I love “Battles Without Honour and Humanity,” a funeral dirge of a track with moments that are veritably orchestral. You can hear the slow march to death the title represents, the destruction of lives, the ending of humanity. By contrast, “Spaghetti Best Western” has a deep dusty twang to it, music for a lazy hot high noon at your local budget hotel. And “Hiroshima Dub Match” is one of the edgier tracks on the album, with a pounding plodding sound filled with evil clangs, explosive punches of rhythm, and an eerie howling wind. Occasionally you hear the representation of screams. If’ you’re into dub and chill instrumentals, check out this new record from the master.

RICHARD TURGEON – Shungite (Kool Kat Musik, www.koolkatmusik.com)

Following up last year’s “Life of the Party” LP, also on Kool Kat Musik, Richard Turgeon returns with “Shungite.” It’s another album full of Turgeon’s mix of power pop, classic rock, and alternative rock. Like that last LP, this has the feel of 80s rock mixed with modern indie. Once again, this LP is primarily a DIY affair, with Turgeon not only writing all the songs and acting as frontman, he plays nearly everything on the album, joined on a few tracks by bassists Ron Guensche and Eric Salk. And Tommy Carmine plays keyboards on one track. Turgeon also recorded, mixed, and mastered the whole LP, so this is truly his vision and voice. The album starts out strongly with the title track, a raucous tune about a rare carbon-rich mineral that new age crystal adherents think offers healing properties, water purification, protection from electromagnetic forces, and other benefits. It’s a hard driving track that leans into the indie rock side of things, and except for an unnecessary guitar solo it’s a solid one – maybe my favorite of the LP. Turgeon experiments with some other genres on this LP. We get grunge in “Small Fry,” and “This Is the Last Song (I Write for You)” has a distinct 90s pop punk sound. “I Won’t Cry” has a mix of African folk and 80s new wave sounds, making it quite unique. “All Good Things Must Come to an End” is one of the tracks that sounds too much like classic rock for my tastes. Plus, despite the title, the opportunity to track this as the final song was missed. The honor of being the closing track goes to “Hit My Ceiling,” and it ends the LP on a weak note, sounding too much like a folk rock tune. Like “Life of the Party,” “Shungite” offers a mixed bag of tunes, but I think that delving into some new genres has served him well.

WILD WILD WETS – Time Mutations (fuzzcoffeeroasters.com)

San Diego’s Wild Wild Wets has been known for their trance-inducing psychedelic rock music for the past decade and a half or so (with a short hiatus somewhere along the way). The rotating cast of musicians has always featured Mike Turi, and on this latest LP he’s joined by drummer Dave Mead, bassist Albert Sanchez, and Rocket From the Crypt member Jason Crane on congas, trumpet, and percussion. The music is hypnotic, throbbing stuff, with bits of dub and tribal rhythms in places. It’s been labeled as “tripped out indie party music,” and that’s as apt a description as any. Think On-U Sound sort of music, then charge it with an extra dose of energy and dose it with acid. The songs are drenched in reverb, and studio manipulations abound. Highlights include “Time On My Mind,” which opens the LP with frenzied mesmerizing beats on the conga, thick guitar jabs, and Latin-inspired guitar solos. The minimalist riffs of “Sunshine Sue,” combined with the enthralling flutelike keyboards, and mixed with ethnic percussion samples yields a wonderfully chill flowing atmosphere. The combination of experimental noise and reggae dub on the too-short “When Your Ghost Becomes an Island” is amazing. The penultimate track is an outlier, different from the rest. Eschewing the party-psych of the rest of the album, “On the Moon” is a sensuous ballad with a cinematic quality that sounds like it was pulled from an old spy thriller, making it a cool unique track. This is a cool, out of the ordinary record.

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DEAD FORMAT – Forget What I Said (Say-10 Records, www.say-10.com)

Hailing from Say-10’s hometown of Richmond, Virginia, Dead Format play a mix of 90's melodic punk and aggressive pop-punk. In some ways, the mix of poppiness and aggression reminds me of Pears, though Dead Format doesn’t quite reach the powerful grind of Pears, and is maybe a little poppier. Dead Format definitely use more “whoa-ohs” in their songs. Some songs lean further into the 90's skate punk sound, like the opener, “Daybreak,” which has an ironically dark tone to it. It’s got big heavy riffs in the bass and guitars, mixed with a lighter melody in the vocals, providing an interesting contrast. “I Had Fun Once, It Was Awful” is another solid track, with big broad riffs, gang vocals, and a speedy poppy feel. Shark in the Pool” is a great mix of aggressive skate punk, gritty post hardcore, and poppy punk, making it one of my favorites of the album. And I like “Pendulum” for its Descendents-like pop sensibilities mixed with fiery instrumentals. While this record features ten tracks, it qualifies as a mini-LP or EP, clocking in at under 20 minutes. That’s way too short for how good this is.

EASTERN BLEEDS – Lake Huron (Ashtray Monument; easternbleeds.bandcamp.com)

Eastern Bleeds is a new band from Los Angeles, and Lake Huron is their debut full-length LP. Their general sound is big and broad alternative rock, with expansive sounds. Sometimes songs have hints of grunge, other times they tend toward the dreamier end of the spectrum. The band features veterans of the 90s “college rock” scene, including Bill Kielty (vocals), Bob Penn (drums), Joe Rivera (guitar), and Trent Steinbrugge (bass), so the band sounds seasoned and tight. The songs on this LP began as a simple collaboration between Penn and Rivera, sending each other demo recordings of song ideas over a three-year period. Eventually, they recruited Kielty and Steinbrugge, and what was once considered a side project became a full-fledged band. They claim influences from Sunny Day Real Estate, Twilight Singers, and Hot Snakes, who were all notable 90s indie bands. I can definitely see the comparison with Sunny Day Real Estate. Eastern Bleeds play songs with the same sort of deliberate pace and pensive quality, but Eastern Bleeds has arrangements that are somewhat thicker and lusher than SDRE. I see less influence from the other two bands, though maybe some of the dreamier nature comes from Twilight Singers. But I can’t see much in common with Hot Snakes, a band with more garage fury and intensity.

Probably the most intense track of the album is the opener, titled (with or without irony,) “The Opener.” Maybe this one is where they get the Hot Snakes comparison, because it’s the one track with the most driving sound and most powerful guitars. It’s part grunge, part garage, and extra parts dreaminess, with smooth vocals and plenty of reverb. The rest of the songs have an even more expansive sound, with more reverb and lots of big sustained notes and broad chords. “Sinking of Miles” probably embodies the band’s aesthetic the most completely, with its sweeping epic sound that slowly builds over the track’s four-minute span. The mix of indie rock and dreaminess is strong, vocals rising and ringing out. The guitar’s melodic lines dig deep, and the totality feels like it’s exploding with joy toward the end. “Back to Shore” is another one, with a bouncier beat and strong hopping guitars. And the title track is the most relaxed, laid back song of the album, with a slower pace and more passionate vocals. It’s not quite a ballad, but it’s the most ballad-like song of the record, with a softness to it. If you’re a fan of the 90's and 2000's alternative music genre, you should check out this new band, Eastern Bleeds. They keep the flame alive.

DAVEY LANE – Finally, A Party Record (Kool Kat Musik; cheersquadrecordstapes.bandcamp.com)

Davey Lane is a prolific Australian musician, playing in the bands You Am I, The Pictures, and The Wrights. Lane has also had an extensive solo career and is an in-demand session artist who has shared the stage with the likes of Crowded House, Todd Rundgren, Robyn Hitchcock, The Saints, and more. Finally, A Party Record is Lane’s fourth solo LP, and it’s a wide-ranging effort, covering a variety of genres, from the titular party music to indie, power pop, blues, and more. As a result, the album is disjointed, without a sense of cohesion. That said, there are some solid tracks here. Favorites would have to include “Over, Over & Out,” a song that has a nice indie meets folk rock vibe, with acoustic and electric instruments. Lane’s vocals are strong, clear, and emotive. I like “God, I’m Fucked Up Over You,” too, a track that’s alternately angular and smooth and flowing. The synth tuned to sound like a marimba gives the verses a quirky sound, while the chorus is silky smooth. Another good one is “He’s a DJ,” which blends indie rock with a Springsteen-style anthem. The closing track, “If It Can Rain, It’ll Rain,” feels like a cross between a Broadway show and a mid-late period Beatles tune, complete with horn section. It’s the most unique and may be my favorite of the LP. There are also some tracks that didn’t do it for me. Included is the opening salvo, “Mach IV.” I think it’s intended to be the track that introduces the “party” vibe, but it’s just a funky instrumental jam that doesn’t really catch my fancy. “Not Expecting to Fly” sounds too much like a cross between AM top 40 of the 70s and arena rock of the same era, complete with sugary harmonized backing vocals and cock-rock guitar solo. And “Saint Me” comes across like a cheesy hair band track. The result of all this is a ten-song mixed bag with some strong highs and some disappointing lows.

SAN GABRIEL – Nights and Weekends (Share It Music; sangabriel.bandcamp.com)

James Bookert is a musician, best known for being part of the band Whiskey Shivers, but the band called it quits during the COVID-19 shutdown. Bookert is also known for acting in the film, “Pitch Perfect 3,” where he played a member of the fictional band Saddle Up. But, with the movie wrapped and the band broken up, he took a job in a liquor store to make ends meet. This, plus waking up in a hospital after a series of seizures, led him to rethink his life and finally embark on a solo career. His job gave him ample opportunity to write and record, as his shifts were primarily on nights and weekends – resulting in the title of his debut solo LP. The album contains ten songs that are contradictorily impossibly bright and filled with melancholy. Recorded in his home studio, Bookert plays everything (a variety of synths and drum machine) and sings, giving his songs a danceable beat, sparkling instrumentals, and tuneful vocals that sound cracked and weary, filled with sadness, yet still hopeful. This is evident right from the start, with “Tape Machine,” a song with a shiny 80's feel in the instrumentals, but with lyrics about coming undone and needing a tape machine to hold one’s self together. And the lush “Alone in My Room” is a rich tune with lyrics of isolation and loneliness. “Running Out of Time” is a fun sounding track that makes use of studio production to augment the drum machine rhythms, with sharp digital cuts. I also like “Going Nowhere,” another driving dance tune that sounds right out of the 1980s, but with downer lyrics and vocals. The closing track, “Breathe,” reminds me of something that could have come from a John Hughes movie soundtrack. It’s a slow, deliberate song with huge lush synths and pensive vocals that sing of an intense love. “I can’t breathe without you,” is the refrain. It’s like the climax of the film, when the guy sees the girl at the prom. It’s an almost spiritual sound, with a feeling that gets more and more hopeful as the track evolves. Deep nostalgia on this album.

THE SPONGETONES – The 4oth Anniversary Concert… And Beyond (Big Stir Records, bigstirrecords.bandcamp.com)

The Spongetones should need no introduction, but just in case you just crawled out from under a rock, they’re a power-pop band formed way back in 1979 in Charlotte, NC. They grew up listening to 60's pop, particularly the music of The Beatles. They decided this was the kind of music they wanted to play, and that’s exactly what they’ve done for more than 40 years over nine LP's. Their last LP came out back in 2009, so it’s been a while. In 2021, the band played a big hometown show to celebrate their four decades, playing songs from across their catalog in an epic hour-long set (it had been delayed more than a year by the pandemic). The recordings from that show sat dormant for the past four years and are finally seeing the light of day in this new commemorative release. But not only do we get 18 live tracks of their greatest hits, we also get three brand-new studio recordings, hinting of new records to come at long last. The band play great, jangly 60's pop songs, complete with Beatles-like close harmonies, delighting fans worldwide. And the hometown crowd were clearly appreciative, as can be heard on these recordings. We get their biggest hits, like “She Goes Out with Everybody,” “My Girl Maryanne,” and “Here I Go Again,” all catchy tunes that are sure to have you up and dancing. “Little Death,” which comes from their 1995 album “Textural Drone Thing,” is one of the more unique tracks, eschewing the Beatles-esque pop for some cool jazz mixed with dark psychedelic pop. And “Where Were You Last Night,” from the band’s debut LP Beat Music, sounds like a cross between The Beatles and Roy Orbison.

The three new songs appear at the end of the album and are classic Spongetones, but updated with a more modern feel. “Help Me Janie” is a solid power pop tune, complete with those vocal harmonies. It’s bouncy and fun, but it sounds modern, not antiquated. “Honest Work” is a throwback, sounding more like a 60s track than a lot of the band’s songs. It lopes along with a quirky novelty feel. And “Lulu’s In Love” has a smooth pop sound that blends 50's and 60's pop with a Latin influence.

In a bit of poignancy, the band has dedicated this album to Chris Garges, the band’s second drummer, who joined the band in 2014. The show this record presents was his penultimate with the band. Shortly after his last show with the band, he passed away from cancer. Garges’ close friend, Eric Wilhelm, who helped Garges set up for that last show, and who sat in for a few songs at Garges’ insistence, is now the band’s full-time drummer.

If you’re a fan of power pop, you should be a fan of The Spongetones. If you’re a fan of The Spongetones, this is a record you should have.

TTTTURBO – Modern Music (It’s Eleven Records, www.itseleven-records.de)

Short review: Manic garage pop that sounds like it’s played underwater. Longer review: take synths and guitars, add lyrics, sweet pop melodies, and record it as poorly as you can. You end up with super lo-fi music that makes regular lo-fi pop records sound crystal clear, music with a sugary pop sound mixed with garage intensity, and music that warbles and quavers. The band calls their sound the “Modern Sound,” and that’s also the title of the opening track. It’s a bit frantic, but it has a great pop sound, though it sounds filtered through a ton of dirty water. The synths shine through the muck, while the vocals are a bit chaotic, giving the song that garage-like vibe. Less garage-like is “Motorbike,” with synths and vocals playing competing melodies that intertwine in an enchanting way. I love the way the vocals feel very casual, like people are just kind of singing along to a karaoke machine or something, the way different voices come in and out. “Words, Notes, Songs” is a great example of this, with different vocals appearing in different places in the mix, some sung, some spoken, like it’s people at a party or something. The distorted synths are smoother sounding here, but dissolve into crazy noise at the end of the track. And “Chainmailed Dreams” is a favorite, with a mix of post-punk, goth, and garage sounds. The vocals are really weird here, sped up after recording. The closing track is the most confusing of all, called “Rock Outro.” It sounds like skinny Elvis on acid. TTTTurbo is brilliant, strange, sweet, and confusing all at the same time.

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BAND ARGUMENT – if the accident will (bandargument.bandcamp.com)

Band Argument is a San Diego trio featuring Jake Kelso, Sila Damone, and Jordan Krimston. The key feature of the band, which on the surface looks like a standard guitar-bass-drums combo, is that they hook everything up through MIDI interfaces and manipulate the signals to create sounds these instruments don’t normally make. The trio have been evolving since their earliest releases, and this album marks a big change in Band Argument’s sound. Gone are the quirky poppy tunes with angular rhythms and mathy beats. Well, the angular rhythms and mathy beats are still there, but there’s less quirky pop and more smooth, sweeping, soothing melodies. What is the same is the high-pitched high-tension sound in the guitar, courtesy of the MIDI interface. The album feels a lot more introspective than past efforts, too, with songs that are more subdued and less sparkly, and lead vocals sung in a quieter more thoughtful manner. Case in point, the opening track “pawn,” feels breezy and modal, even as the rhythms shift. There aren’t a lot of chord changes, but the song has a grand and floating yet driving demeanor, and the vocals are quite hushed. Even breezier is “specs,” a song that could be in 3/4 or 4/4 time, depending on how you count it out. It’s a cool effect. One favorite is “thou shalt,” a song that has a dark urban feel to it. This is a song that sounds like the city at night, with an air of mystery and with plenty of buzzing activity. “do not” has the brightest poppiest sounds of the album, but Krimston’s vocals are quieter and more subdued than I think I’ve ever heard him sing. There are a number of instrumental pieces on this album, too, all very moody, offering up interludes and side-trips. The title track, “if the accident will,” is one of these, with a disjointed rhythm, and another is “socket,” with a mix of indie, experimental, and jazzy Afro-Cuban rhythms. Some of the more experimental pieces include the jittery “dust rmx” and the gritty “you are so smart.” The former is digitally sliced and diced, while the latter is noisy and experimental instrumental. Another favorite of the album is “birds,” which exhibits many of the sounds I’ve previously described, shifting from noisy experimental parts to breezy and smooth, and it’s got some of the quirkiest brightest moments of the album. But it’s also go some of the darkest and moodiest. Band Argument continues to evolve, but they remain an exciting and engaging trio.

BROKEN YOLKS – The View of the Bystander (High End Denim Records, highenddenimrecords.com)

When you want your fried eggs to not be runny, you break the yolks. The resulting breakfast has hardened centers. Likewise, Broken Yolks, from Edmonton, Alberta, Canada, play punk rock that’s hard, tough, rugged, furious stuff. They play skate punk, speedy stuff that’s metallic tinged, melodic, and frenetic. They’re only a three-piece, which is mind boggling, because they’ve got a much bigger sound. A lot of skate punk bands try too hard to sound like slick 90s melodic punk, but that’s not the case with Broken Yolks; their sound is raw and urgent, even as the band are a tight unit, expertly executing the 15 tracks. The title track is the viewpoint of someone who has been a bystander in the past, watching injustice but not taking any action, and who now determines that they will no longer stand by. It’s a call to action in these dark times, and the music is as powerful as the message, with an angry demanding quality. While most skate punk steers clear of political topics, Broken Yolks dive right in. They think the world has been fucked up and aren’t afraid to call out those responsible. In the track, “Danger Close,” for example, we’re warned not to drink the water, with the polluted state of the world laid at the feet of do-nothing politicians. What may be my favorite track of the album is “Plaids, Hats, or Tats,” a song that uses 90s youth crew hardcore, a scene that featured a lot of conformity, to decry just that – conformity. People wear plaid or get tatted up or wear certain kinds of hats to “fit in” with a scene, giving up their individuality, what makes us each special and unique. Another favorite is a song that’s 180 degrees from the previous track. “Misery” is the poppiest song of the album, high energy pop punk played with a fury to match the subject matter. “Quitting Old Habits Ain’t Easy” is an old school hardcore banger about the things we do that stop us from being our best. Smoking, procrastinating, and working a shit job that we hate are all targets that keep us from making a real difference in the world. Broken Yolks are not just another run of the mill skate punk band. They’ve got something to say, and we should listen.

THE DIRTY NIL – The Lash (Dine Alone Records, thedirtynnil.bandcamp.com)

All hail The Dirty Nil! The little band with a big sound from Dundas, Ontario, Canada is back with their fifth LP. The trio have always had a core of Luke Bentham (vocals, guitar) and Kyle Fisher (drums), but they’ve been going through bass players, lately. After their first release (sans bass), Dave Nardi joined the band, and was the third member for several years before taking his leave. Ross Miller took over for a number of years before bowing out and being replaced by Sam Tomlinson. And, though Tomlinson is featured on this LP, he, too, has gone on to new endeavors, leaving the Nil to look for a new person to fill that low end. But they won’t let this deter them. The Dirty Nil have always worn their love of heavy rock and roll on their sleeves, and that’s still the case.

One of my favorite tracks of the LP is “Rock N’ Roll Band.” Not only does it have a great heavy rock sound, it’s got a solid poppy melody, those trademarked guitar harmonics that Bentham does so well, and lyrics that speak to the realities of being in a touring band (“So you wanna be in a rock and roll band / With your friends in a broken van,” and “I’m gonna call it as it is / It’s a hole in your pocket and you’re all out of gas!” “Someone else is getting rich, not you.”) It’s an admonition that being in a touring band today is something you do for love, not for money or glory. And the album closer, “I Was a Henchman,” is classic Nil, with a big brash sound, power chords aplenty, and Bentham’s vocals that can knock you down at twenty paces.

There’s something new for The Nil on this album: a heartfelt ballad, complete with strings. “This Is Me Warning Ya” is completely unexpected, featuring only Bentham’s delicate guitar and soaring vocals (and those strings in the background). It’s truly gorgeous. And another unexpected track is the smooth lounge-like stylings of “Spider Dream.” Both of these two tracks are perfect vehicles to showcase Bentham’s awesome vocals. Since I first came across this band more than ten years ago, I’ve been amazed at how clear and strong his singing is, and how he can bend notes effortlessly.

What are my takeaways from this album? The Dirty Nil are evolving, adding some new sounds to their arsenal, showing their softer side, yet they continue to demonstrate their technical prowess and they remain true to their core mission of being a Rock N’ Roll band, with their friends in a broken van. Solid, as always.

THE DROWNS – Live at Rebellion (Pirates Press Records, piratespressrecords.com)

The Drowns have been getting bigger and bigger, their mix of punk rock, street punk, and glam getting more and more popular. They’ve toured all over the world and been invited to play multiple festivals. And on a recent visit to the UK for Rebellion Festival, their set was recorded and is now being released on this live LP. They run through a dozen tracks over 40 minutes that span the band’s entire catalog, from their first LP, “View from the Bottom” to their most recent, “Blacked Out,” and everything in between. It’s fascinating to listen to, because The Drowns have evolved over the seven years this represents, and putting it all together into a cohesive set is quite a challenge, one The Drowns are more than up for. And if you like their records, well, hold onto your hats because they’re about to be blown off. The Drowns, live, are a machine to be reckoned with. Maybe it’s a tired trope, but “high energy” doesn’t even come close to describing The Drowns’ live set. Not only is the band on fire, the crowd is obviously really into them, and roar with approval. A lot of live albums have the great energy, but the sound sucks. Not so with this record. The sound is almost as good as any studio LP, so you can hear how crisp and on fire they were in Blackpool that summer day. As far as highlights, well, every song is a highlight! But if I had to pick out some favorites, I guess I would pick these. “Black Lung,” with which they open their set, is from a 2020 7” flexi-disc, and reminds me a lot of Rev’s old band. Success and their song, “Believe In,” which opened their final (and best) LP, “Radio Recovery.” I really love “Cue the Violins,” too. The song originally appeared on the band’s second LP, “Under Tension,” and it’s solid street punk mixed with power pop, with a great melody. On this live set the band supercharges the song, playing it faster and with more fury than on the studio LP. “Just the Way She Goes,” off their most recent studio LP, “Blacked Out,” is another power pop gem, and this live rendition is grittier and more “real” than even the excellent studio version. It’s catchy, energetic, poppy, and a ton of fun. “Eternal Debate,” from their “View from the Bottom” LP (2018) makes an appearance here, too, and like with “Cue the Violins,” the song is on steroids, with more power and snot than ever before. It’s a big street punk tune, with big fist pumps and beer-soaked sing-alongs. And, of course. The band’s cover of “Ballroom Blitz,” the glam-rock song from Sweet, is a hell of a lot of fun. As is the whole record. If you’ve never seen The Drowns live, you’re in for a treat. Recommended.

LEATHERFACE – The Peel Sessions (A.D.D. Records, leatherface.bandmcamp.com)

Florida’s A.D.D. Records has scored a major coup, here. Digging through the archives of the legendary John Peel, the BBC radio presenter who hosted numerous punk and indie bands on the UK airwaves for many years, three sessions from the legendary Leatherface were uncovered. And now, they’re available on a single LP. There are a dozen stellar tracks over nearly 45 minutes to entertain your ears and mind. Leatherface were a band from the North of England, mainly operating from the late 1980s through to the mid 1990s, reuniting in the late 90s and then calling it quits in 2012. A point of reference that’s been used for the band that I think is spot on is a cross between Hüsker Dü and Motörhead. They had a gruff hard rock vibe, like Motörhead, but also a solid indie-punk melodic sensibility that was pioneered by the Hüskers. They were certainly a band way ahead of their time, and they were one of the most interesting and exciting bands to come out of the UK in the 1990s. This album focuses on the band’s early years, before the hiatus, featuring songs from each of their five studio LPs and some from EPs. And because the band was so ground-breaking, the music still sounds fresh and current, even today, decades after these songs were performed on the radio across the ocean. Songs like “I Want the Moon” embody all the best aspects of Leatherface. It’s driving, powerful, edgy, rocking, with a great flowing indie melody. I love the indie feel of “Springtime,” with guitars that are both jangle and sneer, and the lead vocals that are just rough enough, but still hit the melody just right. I think my favorite track may be “Peasant in Paradise,” because in addition to the qualities I’ve already mentioned, it seems to have the same sort of gruff melodic sound that the Chicago scene in the 80s and 90s was known for, from bands like Naked Raygun, The Effigies, and Pegboy. One fascinating track is “Not a Day Goes By,” a bouncy track, with Frankie Stubbs’ gruff, gravely vocals lithely bounding around the complex melody. It’s like the vocal equivalent of driving a big rig truck around a twisty racetrack; you would think it would tip over and crash, but it doesn’t. And then at the close of the song they immediately launch into a punk rock cover of Elvis Presley’s “I Can’t Help Falling in Love with You.” It’s incongruous, but it works. But even legendary bands have an occasional song that doesn’t quite hit right, and here it’s “Heaven Sent.” The arrangement feels a bit thin, with little variation in tone, and Stubbs’ vocal style doesn’t match the flowing melancholy melody. And the closing track, “Little White God,” likewise feels awkward and lacks the excitement and energy of the other tracks. This LP is a great document of the past that sounds like it could have been recorded in the present. Fantastic stuff.

SAM RUSSO – Hold You Hard (Red Scare Industries, redscare.net)

The UK’s Sam Russo is known both as an acoustic singer-songwriter and as the frontman of his eponymous band, and on this, his fourth full-length LP, we get both! The first half of the album features five full-band songs that are both raucous and emotive. We get the big broad style of poppy punk with emo tinges in songs like “Gator Lodge,” “Graveyard,” and Santa Monica Waves,” the last written “with my feet in the sand in California,” as Russo relates. Of the full-band songs, I like “Bruises and Sunburn” best; it’s got a nice lope to it, and is a bit poppier than some of the other full-band songs. The couple of times I’ve seen Sam play live have been solo acoustic, and the second half of the LP is Sam, mostly alone with his acoustic guitar and vocals. To me, solo acoustic is where a singer-songwriter is most exposed. There’s no band to hide behind; their entire being, emotions and all, are laid naked to the world. And such is the case on “Hold You Hard.” Without having to compete with electric guitars, bass, and drums, Russo’s vocal dynamics can express a wider range of emotions. I love the crackle in his voice in “The Muckleshoot Casino,” and how his voice is raised as a cello comes into the arrangement in the background. It’s just gorgeous. The string choir on “Bait Machine” mated to both acoustic and subtle electric guitars, with Russo’s more raucous vocals results in an exciting heart-tugging track. And the album closer, “Unsolved Mysteries,” is another quiet one, Russo’s hushed vocals really setting a thoughtful mood. Just lovely.

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BIG LIFE – "The Cost of Progress" EP (Setterwind Records, setterwindrecords.bandcamp.com)

Michigan’s answer to the DC/Dischord Records scene, Big Life, returns with their latest release, their third EP. These EP's are really mini-LP's, packed with plenty of music in a handful of songs. In this case, “The Cost of Progress” has eight songs filling some 22 minutes of exciting music. Think Embrace, Rites of Spring, maybe some Gray Matter. Hell, the whole Revolution Summer sound from the mid-Eighties and the evolution of the sound into the Nineties is here. The hardcore lineage is there too, but the songs are tempered with melody and, dare I say it? Emotion. The instrumentals are crunchy and melodic, and the vocals are passionate. There are spoken and shouted lead vocals and plenty of big gang vocals, too. The album is exciting and current, with songs that ponder the dystopian nightmare our world has become. There’s the opening track, “Go-Getter,” about trying to get ahead in the rat race, but ultimately wasting time and going nowhere because of the forces aligned against us. In a similar vein is “Out of Breath,” about how we chase after targets set for us, never reaching the goal and killing ourselves in the process. But “that’s the cost of progress,” we’re told, giving the EP its title. “Civilwarland” brings the band to new territory, mixing in some harder-edged post-hardcore, with angular and dissonant chords. The song speaks to the divide in the country, the chorus pleading, “Somebody say we’re gonna be OK,” but the reply is “No we won’t.” The song paints a grim picture of our future, with militias roaming the streets and the people “delirious with hunger,” waiting for a savior that never comes. And I really like “Killed Twice,” which sounds like something Fugazi might have done, but also has a soulful jazzy bridge, complete with sax solo. Big Life has successfully taken sounds from the past and brought them to the present, giving them exciting new vitality. An excellent release that’s highly recommended.

THE DEPTH BENEATH US – Descent (thedepthbeneathus.bandcamp.com)

The Depth Beneath Us are a Pennsylvania quintet that play instrumental music. It’s orchestral post-rock and roll, with sweeping pieces that approach symphonic qualities. The ten tracks here provide for a lengthy 55 minute LP, with minimalist rhythms and maximalist guitars, bass, and synths. The sonic landscapes are huge and dreamy, and with the reverb, it’s almost as if this is space-rock. There’s the feeling of being out in the vast empty spaces, far from anyone else. There are elements of post punk, elements of metal, and elements of jazz and blues in these tracks, and parts of them feel deeply spiritual and emotional, while others are more clinical. There are elements of math rock, too, as meters shift, rhythms change, and riffs clash and mutate. “Cluster B” is a good example of this; after an introductory portion, there’s a shift into very mathy jabs and off-kilter rhythms. And after a while, the piece changes tone yet again, to smooth and serene. “Jealousy Professor,” by contrast, is swirly and spacey, with free jazz beats and no discernable meter until the rhythm section settles into a pulsing pattern. Some of the pieces are uplifting, particularly the ending track, “Closure.” There are no lyrics, of course, but the tone and the melodic lines are driving and positive sounding, like someone with determination to reach a goal. And the sounds resolve at the end, with the satisfaction of a goal reached. If you’re into contemplative instrumental post rock music, you should check this out.

OK COOL – Chit Chat (Take a Hike Records, okcool.bandcamp.com)

OK Cool, the Chicago duo of Haley Blomquist and Bridget Stiebris, returns with its debut LP, Chit Chat. I last heard from the pair in 2023 with their wonderful “fawn” EP, my only complaint being that it was too short. Well, they’ve now fixed that! OK Cool play easy breezy indie-pop, with songs that are both understated and lush. It’s simple music, but really pretty, really well-done. There’s less shoe-gaze influence than what I noted on the EP, but there’s some bits of pop punk influence this time out, some hints of grunge, and plenty of solid indie-pop. “Intro” begins the LP with lovely acoustic guitars and the pair’s subdued vocals. As the short piece continues, electric guitar joins in, and then the full band; the arrangement gets thicker and richer, the vocals rising. This flows smoothly into “Waawooweewaa,” a break-up song that ranges from punchy pop punk to thoughtful dreamy pop. The song was the LP’s lead single, and I can see why it was chosen – it’s the most straightforward song, and I think my favorite. “Safety Car” is a cool shiny tune with glittery synths mixed with grungy bass and jangly guitar. It’s got a nice bounce to its rhythm. “Splitting” is a nice driving indie-pop tune, with the vocals pulled back in the mix and layered with reverb, creating the illusion that they’re being sung from far away. I like the quiet melancholy of “Loop,” a subdued song with acoustic guitar and piano, and I like the big airy sound of “Ruined,” with thick rhythm guitar and lead guitar playing meandering lines. This one reminds me the most of 90s indie-pop. There’s plenty of variety in the songs, yet you can always tell they’re OK Cool songs. That, to me, is the mark of a great band and great record.

THE UNKNOWNS – Looking from the Outside (Drunken Sailor Records, theunknowns4.bandcamp.com)

The Juice Man who runs Drunken Sailor Records is well-known for his love of old school punk rock, releasing some great current bands playing an older style. His latest find is The Unknowns, who hail from Brisbane, Australia. The band’s been around for over a decade, mainly self-releasing their records or doing so with Australian indie label Bargain Bin Records, so this LP is their first foray into international distribution. While their general sound is that of old school 1970's punk rock, they mix in some more modern garage punk sounds, giving them hints of a Marked Men vibe. The songs are mainly played at a mid-tempo lope, but the guitars snarl almost as much as the snotty lead vocals. The album starts strongly with “All Grown Up,” a bitter sounding song about growing up and leaving behind the foolish things of childhood, learning the hard lessons of life that “they don’t teach in school.” I like the dark urgency of “Lost Me,” and in particular the opening salvo of the bass angrily fighting with the drums. This is one of the faster tracks of the album, and also one of the simplest, sung and played with lots of powerful ire. Another favorite is “Hold My Shadow,” with more of a power pop sound and simple yet effective melodic riffs. “Tongue Tied” is another quicker-paced track, and this one reminds me a lot of some of the garage punk sounds that emanate from Denton, Texas. There’s even some rockabilly influence here, in the hard-driving song “Crazy Eyes,” with plenty of bluesy rock and roll guitar licks. Good stuff here!

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DOUBLEVEE – "Periscope at Midnight" EP (doublevee.bandcamp.com)

Allan and Barb Vest, better known as doubleVee, return with a new EP featuring six new songs – well, four new songs and two that are reimagined versions of songs from Allan’s previous band, Starlight Mints. The couple recorded the EP in their home studio, with Allan providing vocals and playing guitars, bass, and drums. Barb provides vocals and plays keyboards, while violinist Brent Williams and trumpeter Christi Wans contributed to the record, as well. The completely new songs include “Diamond Thumb,” with a fun retro calypso lounge feel. The production is really well-done, with the marimba sounds contrasting with the off-kilter keyboards. And the closing track, “Everyone’s Lonely Under the Sea,” is a hell of a lot of fun, too, with a retro mod feel. The reimagined songs are “Submarine Number Three Vee,” which opens the EP, and “Maybe Tonight (What’s Inside of Me?).” That opening track is a bit quirky and a lot theatrical, coming off as a mix of power pop and stage musical from the mod era of the 60s. There’s violin and cello in the arrangement, along with some jangly guitars and cool vocal effects. The use of unexpected rhythms in the vocals are pretty fun, and this track is probably my favorite of the EP. “Maybe Tonight” is a lot more straight-forward, though the keyboards and the mysterious horror-surf guitar tone really make the track. doubleVee are creative and masters of musical production.

FVRMN – Suicides (Sweet Cheetah Records, www.sweet-cheetah-records.com / Steadfast Records, steadfastrecords.net)

FVRMN, a Tokyo-based band, play thick, noisy, distorted indie rock. It’s lo-fi with a gritty sound, yet underneath it’s soft, smooth, and melodic. The melodies are poppy, the rhythms bouncy, yet the instrumentals are concentrated and impenetrable. Frontman J Holmes must listen to a lot of old jazz, because the circle of fifths chord change pattern is prominent in some of the songs. One such song is “Parasitic Sympathy,” a song with dense guitars, angst-filled lead vocals, and haunting backing vocals. “Moloch,” too, has those wonderful chord changes, and Holmes’ scratchy vocals tug at the heart. “French Uhuru” has this a bit, too. It’s a nice loping tune which also features guitars and keyboards that sound like violins. Outliers include the ballad, “Too Innocent” and “Invitation Phase.” The latter starts out clean and jangly before the distortion comes in, creating a lovely quiet period of reflection. And perhaps the most exciting track is the final one, “Razorblade.” It’s got a powerful anthemic punk rock quality to it. As I said in my review of their previous LP, “Back to the Whip,” FVRMN have a sound that’s pretty unique and very worth your while.

LOLAS – Big Hits and Freak Disasters (Kool Kat Musik, www.koolkatmusik.com)

It’s been a few years since Lolas put out their last LP, “All Rise.” In the interim they’ve released a plethora of digital singles, all of which are included on this new album – plus a few more even newer songs. Lolas’ last album focused on good old bubblegum AM rock and roll, with plenty of Beatles and Beach Boys influence. This latest LP still has that nostalgic fun, but they mix things up a bit. Much of the album is sure to evoke memories of pop music of the past, like the AM power pop tune, “Trick Myself,” one of my favorites of the LP. The opening track, “Work Is the Blackmail of Survival,” is definitely in the retro camp, with gorgeous vocal harmonies and jangly guitars, but there are hints of garage rock sounds mixed in. 1960s Beatles influence is strong in “Shut Me Down,” but so is 1970s pop rock. And things sometimes get a little grittier and modern, like the grunge-filled pop of “Call Your Name.” Even while the song is heavier, with fuzzed up guitars and bass, the lighter vocals and harmonies are still there, creating a cool contrast. And there’s even a folksy tune that borders on Americana; “I Wish You a Happy Journey” is subdued and delicate, quite different from the rest of the record. I enjoy, too, the 80s power-glam-folk-rock of “From the Start,” a song with a great lilting melody that’s made even better by Tim Boykin’s solid lead vocals. And then we get “All Sewn Up,” one of the tracks that wasn’t previously released as a single. It’s a frantic garage punk tune, the most raucous of the LP, making it an instant favorite. And if you’re looking for 80s new wave crossover, “I Couldn’t Stop It” is the song for you. Lolas latest LP is a continuation of the band’s legacy, bearing the torch of power pop of the past, yet still sounding varied and fresh.

LOT LIZARDS – The Horrors of Adulting (Punkerton Records, punkertonrecords.com)

Lot Lizards are billed as a “melodic punk band,” but that term conjures mental images of 90s bands that played “punk” that was metallic, melodic, and, well, dull. Lot Lizards are not that. They’re definitely punk, definitely melodic, but with a mix of pop and emo. The songs are punchy and bouncy, but they’re meaningful and packed with emotion. “Broken Parts,” for example, the closest to sounding like “melodic punk,” is a song about coping with the slow breakdown of those we love. In this specific case, it’s about frontman Jon Barnes’ father, who is struggling with Parkinson’s disease. The song laments those times “when you have to watch your heroes dying,” and asks, “Are you still you?” I can relate, because my dad suffered with Parkinson’s for many years. Eventually the medications lost their effectiveness, and he passed away in a nursing home. Barnes’ lead vocals on this and other songs are appropriately gruff and gravelly, perfect for this sort of punk band. The album title, “The Horrors of Adulting,” refers to the difficulties we all encounter as we grow up and become “responsible adults.” For example, “Exploding Heart Syndrome” is about navigating relationships and dating, trying to be true to your authentic self and hoping your partner is the same. And “Surprise Party” is about self-destructive behaviors some of us turn to in an attempt to cope with the chaos of life, often leading to death. “You’re going off the edge / You’re heading straight for death / You’re running out of places / To run away from you” warns the song. The ten songs fly by in under half an hour, way too fast. Good stuff.

UPSET BOY & THE QUEENS – "Silver Dreamer" EP (Sweet Cheetah Records; upsetboyandthequeens.bandcamp.com/)

A new EP from Upset Boy & The Queens! This four-song record collects the band’s previous double A-side single from last summer (“Trying to Get to You” and “Think Too Much”), their recent single “Amphetamine Queen,” and a new song that becomes the EP’s title track. And as I mentioned in the review of the double A-side single, though the band features singer, songwriter, and guitarist Chris Watts, best known for playing alt-country, along with bassist Lulu Jones (formerly of Thelma and the Sleaze, the queer all female southern rock band) and drummer Dan Dolive, the resulting songs are neither alt country nor southern rock. Instead, we get solid indie rock with a power pop melodic sensibility. I like the bluesy grunge of “Think Too Much,” along with its chaotic mayhem, as well as the power pop bounce and indie pop jangle of “Trying to Get to You.” “Amphetamine Queen” has more of a hard-driving classic rock vibe, and the new title track mixes these styles together to create some solid listenable indie rock. Good stuff.

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ACAPULCO LIPS – Now (Killroom Records, acapulcolips.bandcamp.com)

What would have happened if The Go-Go’s were formed in Seattle instead of LA? Imagine mixing the sunny sweet bubblegum pop and surf of 1980s LA with the gritty garage, grunge, and psych sounds of 1990s Seattle and you’ve got an idea of what Acapulco Lips sounds like. The band has been a staple in the Seattle music scene for over a decade, yet they’ve released precious few records. In fact, only two: one EP and one LP, the latter nearly a decade ago. It may have taken almost a decade, but the band’s sophomore LP is here. There’s a solid 60s rock feel throughout the album, and the mix of pop and grit is very appealing. The band says that the unifying theme of the record is time. As singer/bassist Maria-Elena Herrell explains it, “In 3rd grade my teacher had us all sit and look at the clock in the front of the classroom above the chalkboard, starting with the seconds arm on 12 and it rounding back, in a circle, to the 12. She then told us that was a minute and that we could never get that minute back. And that is time. What a bummer, time.” Life is about living in the moment, in the now, and that’s what the band is trying to get across through the eleven tracks contained herein. “Welcome to the Other Side” opens the album with a very retro bubblegum sound, which immediately conjured images in my mind of The Go-Go’s. It has a bright sound, yet it’s played a little slower than it might be, giving it a feeling of melancholy. Like being sad on a warm sunny day. I also really love the gentle jangle of “Take My Hand,” with a British Invasion sound and lyrics that reflect hope and support.

Most of the songs have a similar vibe – 60s garage and bubblegum pop. But there are also some that get even grittier. “Everyday” has a fantastic mix of noisy fuzzed out instruments and serene heavenly vocals, and lyrics about the insanity of doing the same thing over and over every day, but expecting, somehow, you’ll get a different result and change things. I love the stark contrasts this presents. Similarly, “The Flim-Flam” has a great 60s psych sound, particularly in the growling bass and chilling keyboards, but the vocals are smooth and seductive, singing a song of the allure of groups of people that seem socially acceptable, but suck all your time from you for their own benefit. They exhort you to “come along, be a part of the family,” and end up being almost cult-like, as they promise to “show you the way.” And the opening of “Slowly Disappearing” is very reminiscent of the old Iron Butterfly tune, “In-A-Gadda-Da-Vida” before settling into the familiar 60s pysch-pop-bubblegum vibe. Midway through the song, though, it turns very spacey, with sitar creating a wild psychedelic aura on the bridge. The psych drone continues in “Fuzzy Sunshine,” and I love the hopeful sound of “So Many Miles,” a jangly tune about looking at where you’ve been and about making the changes you need to get where you want to go. I think this one may be my favorite of the album. Solid stuff here, gorgeous to listen to.

SPLITSVILLE – Mobtown (bigstirrecords.bandcamp.com)

In 1994, starting as a side project, Splitsville was born out of creative differences. Twin brothers Matt and Brandt Huseman had written and recorded some raw demos during downtime after recording the debut LP with their band, Grenberry Woods. Producer Andy Paley heard these demos and encouraged the brothers to make their next album sound more like these demos. The rest of the band disagreed, resulting in the band’s demise shortly after the release of their second LP. But the Husemans kept going with their collaborator on the demos, Paul Krysiak. The new band was dubbed Splitsville, and, as they say, the rest is history. The band released five albums and a couple of EPs over the decade or so of their existence, then going on hiatus after the release of “Incorporated,” their fifth album. That was in 2003. The band was named to the Power Pop Hall of Fame at some point of their journey, as well, but the silence has been deafening. But no more. More than two decades after “Incorporated,” the hiatus is over.

This new album features ten solid tracks of guitar-fueled power pop meets indie, opening with the aptly titled “Cold Open.” They call this their “nod to the Monkees,” and it’s a song about their comeback (“Here we come again / All dressed up and ready to party / We’re gonna make some noise / Our sound and fury signifies nothing”). “A Glorious Lie” is a great power pop meets grunge song, with a heavier thicker sound, but still with a great pop bounce. I like the soulful “Gray,” a stripped back bluesy tune about the police killing of Fredie Gray in Baltimore in 2015. Power pop is not usually associated with activist songs, but here we are. “Each one a tragedy / Prayers and sympathy / Don’t change anything” the song opens – a reference to the lack of action when state sanctioned murders take place. As the song fades and stops, it’s replaced by a huge orchestral sound, turning into a new wave gospel, singing that there’s never enough love.” And “Fallsway” is a bouncy tune about crime, illegal “red-lining” of neighborhoods, and crumbling infrastructure in their hometown of Baltimore. “I Hate Going to Hutzler’s” is a power pop gem about anxiety in a supermarket. But one of the most poignant songs of the album is “Beth Steel,” about the closing of the Bethlehem Steel plant at Sparrows Point. “They’re burning down the empire / But the trains still run on time” is a reference to our increasingly fascist government, which works solely for the wealthy and screw over the rest of us. The song has a mix of power pop and progressive rock that reminds me of Ambrosia’s classic first album.

When most bands reunite it’s to play the old songs and make that nostalgia money. When good bands reunite, they do it for the right reasons – the create new music and because they have more to say. Welcome back, Splitsville, we’re listening.

SPOILS SYSTEM – The Nope Out (Sweet Cheetah Records, spoilssystem.bandcamp.com)

PR outfit Sweet Cheetah has been branching out into releasing records for a while now, and it not only demonstrates their commitment to the indie music scene, but it demonstrates their impeccable taste in music. They’ve been on a streak of releasing quality records, and this latest, from Hudson Valley, New York band Spoils System, is more proof. The band plays a mix of late 90s/early 2000s emo, and indie (think Get Up Kids or Jets to Brazil), with bits of shoegaze, and I even hear some early Mission of Burma influence here and there. The songs are solid indie rock, with an almost power pop melodic sense, but instead of the clean jangly guitar tone of power pop we get some great fuzzed and clanging guitar tones. “Subtle Amends” is a standout track, with a resemblance to Jawbox and other 90s DC bands. The chugging rhythms, the call and response riffs between the bass and guitar, and the slow, smooth, halting vocals are all hallmarks of that band’s songs. And it makes a lot of sense when you check the liner notes and see that J Robbins gets engineering credits on the record. “A Fight Broke Out in Church,” too, has a similar sound, with some mathy rhythms and the same sort of vocal and instrumental patterns. The contrast of “Force for Good,” which follows “Subtle Amends,” couldn’t be starker. The song is heavenly, with a softer, smoother sound that flows more evenly and gently, but builds in intensity over its four and a half minutes. And on a song like “The Fits” we get a lusher modern dreamy indie sound that reminds me a bit of Cymbals Eat Guitars in their heyday. Spoils System’s sophomore LP has great variety, but is also coherent and consistent. Quality music here.

WE ARE SCIENTISTS – Qualifying Miles (Grönland Records, www.groenland.com)

I last reviewed “We Are Scientists upon the release of their 2021 LP, “Huffy.” At the time I noted their sound is sparkly indie rock meets power pop with hints of glam. They’ve been evolving in the interim, though, including the 2023 release of another LP, “Lobes.” With that record, they veered away from a guitar-pop formula into a direction more replete with electronics. The guitars were still there; they just weren’t the centerpiece. The danceable rhythms were still there, too, and maybe more prominent. With “Qualifying Miles,” the evolution continues. Gone is the manic danceroom energy, with guitars brought back to the forefront. The songs are slower, dreamier, more wistful and introspective. The opening track, “A Prelude to What,” is the perfect embodiment of this newest direction, with delicately jangling guitars, ambient synths filling out a rich sound, and glorious vocal harmonies. The song’s slow steady pace, expansive sound, and heavy reverb give the feeling of tiny insignificance in the great big universe. “Starry-Eyed” is the closest the band come to dance music on this album, but it’s not a dance tune. Yes, it’s got a stronger rhythm, but it, too, feels big and dreamy, with a brooding pensive sound. “The Big One,” too, has a distinct rhythm, and a poppier sound, but it’s also big and lush, with a thicker dreamier sound than in the past. “Dead Letters” is about as close as the band get to their earlier indie meets power pop sound, but it leans more heavily into indie rock, feeling more modern, and even though it’s got a bright waltz-time tempo, clapping and all, there’s still a general feeling of introspection and melancholy in the song. The whole album feels more modern and more mature, and I think it’s their best work to date.

VARIOUS - Pop Aid 3 (Koolkatmusik1.bandcamp.com)

Besides putting out a plethora of power pop records, Kool Kat Musik has been a contributor to various worthy causes, via compilations. This, their third such foray, is a benefit for the victims of the LA fires this past January. I’m sure everyone saw the news this past winter of the devastation suffered in the communities of Alta Dena and Pacific Palisades, where only a scant few homes and businesses were spared. This comp is bigger than the previous efforts, with two CDs chock full of musical goodness, with an hour and forty-two minutes of content across thirty tracks. And with so much music, you know there’s going to be plenty of highlights. Here are a few! We get jangly yet gritty lo-fi power-pop-punk, like “Hero Drink,” a tune from The Stewart Dolly. There’s some cool frantic retro garage meets indie from The Trafalgars on “Hip Young Man,” and if you’re after old school top 40 sounds, Robin Schell’s “Simple Explanation” is your ticket. Hanemoon’s “Rain” scratches the soft folk-rock itch nicely, while Joywire (featuring Jeff Murphy), channels their Elvis Costello influence in “Underrated.” Herb Eimerman’s “Years Behind You” has a lovely delicate jangle in the lead guitar mated to a nice crunch from the bass and rhythm guitar, and the lead vocals are ethereal. The Dreambots’ “High Road” is lovely for its rolling feel, subtle harmonized backing vocals, and power pop jangle. I’m a sucker for guitar jangle, and “Catch You When You Fall,” from Tim Izzard and the Distractions has it in spades. And I really like the lithe power pop sounds of The Red Sticks and their song, “Walk on the Darkside.” 100% of net profits from sales of this compilation will go to the American Red Cross, earmarked to help the victims of the fires, so be sure to pick this up. You’ll be getting some solidly good music and helping a solidly worthy cause.

VARIOUS - Red Scare Across Canada: 2025 (Red Scare Industries, redscare.net)

Another surprise release from Red Scare! They’ve got a group of their artists embarking on a tour across our neighbor to the north this summer, so they thought this four-way split might be a good thing to bring along. The new EP features Brendan Kelley and the Wandering Birds, Guerilla Poubelle, Sam Russo, and In the Meantime. Brendan Kelley’s contribution, “Tracksuit,” is very gritty and slimy rock and roll. Imagine someone trying to be smooth and cool, drinking cheap booze and wearing the titular attire, and now image what they’re really like. Imagine the sleazy rock and roll track that would accompany said person. There you go. Guerilla Poubelle’s track, “L'incendie, le canadair et le colibri,” (“The Fire, the Canadair, and the Hummingbird”) is a great raucous street punk tune, with big gang vocals, gravelly lead vocals, a prominent bass, and an epic sound. Sam Russo is a wonderful troubadour, and he offers up his solo acoustic stylings on the emotionally packed “Leaving.” And In the Meantime closes out the EP with “Old Gum,” a solid 90s punk track. I’m a little jealous of those Canucks because this looks to be a banger of tour, if this EP is anything to judge by.

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REMY VERREAULT – Never Take for Granted (High End Denim Records, highenddenimrecords.com)

Quebec punker Remy Verreault began his solo career at the worst time possible: during the pandemic shut downs. His first LP came out in the musical wasteland of 2021. Yet he has persevered. And thankfully so. Verreault makes aggressive crunch-filled melodic punk rock. It can loosely be put into the modern skate punk category, with metallic tinges. Verreault takes the term “DIY” to heart, writing all the songs, playing all the instruments, and singing all the songs himself, for the most part. He is joined by a couple of friends on two of the tracks. The eleven songs here are loaded with power, played fast and loud, packed with melodic punk sensibilities. If you’re into this 90s punk inspired sound, you’re going to love this album. It’s really well produced and performed, and the music is intensely assertive and energetic. Though I do have the same general feedback from my review of his previous LP, “Break the Silence,” that many of the songs sound too much alike and there’s not enough variety, this album does branch out s bit more. “Nothing Comes for Free” is a little slower, played at a loping place, and it has a somewhat brighter sound than the dark-tinges of most of the tracks. That darkness is a trait common to a lot of 90s melodic punk. “Echo” is less melodic in the vocals, which are shouted, giving the track a 90s NYHC feel. Blending 90s hardcore and metal, “One Life” has a slower sludgier feel, vocals shouted and growled as the guitars, bass, and drums pound and sneer. The topic of the song is straight out of the 90s straight-edge scene, too, singing about how we have “one life, one chance,” and we need to make the most of it. And “Doomscroll Prophets,” too, has a slower metallic hardcore feel. Maybe Verreault’s best output to date.

WENCHES – Stupid Sick (The Ghost Is Clear Records, theghostisclearrecords.com / Already Dead Tapes, www.alreadydeadtapes.com / Master Kontrol, masterkontrolaudio.bandcamp.com)

On the border between hard rock and punk rock, Wenches play music in the vein of Motorhead, MC5, and The Stooges – or more aptly, like your friends that play in the local dive bar and are fanatical about that sort of style of music. It’s loud and powerful, with driving rhythms and heavy riffs, and manic vocals. It’s loaded with aggression and energy, with vocals shouted maniacally. The band scores on “Kick It Down” by recruiting Chad Price to join the fun (ALL, Drag the River, A Vulture Wake). And they’re joined by Jonathan Newby (Brazil, JC Autobody, Fixation Arc) on “Like Lightning.” These are easily the best two tracks of the album, sounding the tightest and most professional of the eight songs here. If you’re a hard rock fan, check it out. It doesn’t do a lot for me, though.

THE WIND-UPS – Confection (Dandy Boy Records, dandyboyrecords.bandcamp.com)

What would the love child of The Ramones and The Marked Men sound like? Possibly like The Wind-ups, a band from Chico, California. They play a mix of lo-fi noisy garage and poppy punk rock. I say “they,” but The Wind-ups are primarily the work of a single person, Jake Sprecher. He’s joined here and there by various friends, but this is an amazing solo effort, really, recorded at “the cottage” in Chico. We get gritty noisy garage punk on tracks like “A Fine Pink Mist,” or “the dark “I Can’t Sleep at Night.” They have a frenetic nervous energy, like someone who just can’t sit still for thirty seconds. We also get poppy tunes that are layered with the same distortion, like “I Love Her,” a stupendous mix of Ramones-core and gritty garage. “Keep Away,” too, could have come from a Ramones LP – or maybe a Ramones bootleg with lo-fi recording quality. “(That’s Just My) Dream Girl” is a solid jangly power pop song, but produced with a thick film of gravel and dirt over it. A little more laid back is “Cheer Up,” a tune that mixes spoken word art with The Jesus and Mary Chain style noisy post punk shoe-gaze. And I have to laugh at the insertion of lyrics from “Laverne and Shirley” in the song, “Pain In Your Heart.” The Wind-Ups have another solid record of noisy punk here.

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THE LEGENDS OF THE SURF GUITAR – Recorded Live at The Lighthouse April 1, 1995 (Oglio Records, www.oglio.com)

On April 1st, 1995, a special event occurred at The Lighthouse Café in Hermosa Beach, California. It was a celebration of the greatest surf guitarists and surf music ever. This gathering brought together musicians from the first wave of the 1960s and the second wave of the 1970s and 1980s. Joining in the fun were members of such iconic surf bands as The Chantays, The Surfaris, Davie Allan & The Arrows, and guests like Bob Dalley of The Surf Raiders and Bob Demmon of The Astronauts. Joining in the backline were luminaries Don Murray, of The Crossfires and The Turtles, Pete Curry of The Halibuts and Los Straitjackets, and John Blair of Jon & The Nightriders. The entire set, more than an hour of the greatest surf hits throughout history, was captured on tape, and now it’s finally seeing the release it deserves. The music on this album is outstanding and is a must for all fans of classic surf music. Many of the hits of the genre are here, including “Apache,” “Mr. Moto,” “Peter Gunn” (a version which also quotes the song “Baby Elephant Walk”), “Pipeline,” and more. There are also some lesser known songs (at least by me – I’m sure they’re all hits), such as the fantastic “Lanky Bones,” originally recorded in 1964 by Eddie & The Showmen. I like the use of the circle of fifths chord progression in The Lively Ones’ “Andele,” and the jazz, power pop, and surf mix of “Windshield Wiper” makes it a favorite. “Tally Ho” has an almost baroque feel to it, the high pitched guitar tone mimicking a harpsichord. Bob Knight, the original saxophone player in Eddie & The Showmen, joins the group for “Squad Car,” playing the part of the siren on this classic dark tune. I really like the contrasts of high-pitched lead guitar and deep bass of the rhythm guitar (and bass), plus the driving rhythm of “Green Room.” And the eternal classic, “Baja,” originally recorded by The Astronauts, is here too, lovingly performed. And the album closes with what’s probably the most well-known surf tune in history, “Wipe Out!” The performances are spot on, the sound quality is top notch for a live recording, and the music is a must for all surf music fans. I’m not normally one for instrumental albums, but this is good stuff.

TERROR MANAGEMENT BAND – Austerity Gospel (terrormanagementband.bandcamp.com; belladonna-records.com; ashtraymonument.com)

Florida is not the first place one thinks of when one thinks of emo-noise bands. Pop punk? Sure, Boy bands? Of course. But Terror Management Band play music that’s noisy, dissonant, sludgy, emotion-packed, and exciting. “Austerity Gospel” is their sophomore LP, and it’s also their mantra. But there’s nothing austere about the ten tracks here. They’re thick and flavorful, intense and raging, with pounding shredding instrumentals and roaring vocals. The opening track, “Deincarnation,” reminds me of early Midwest emo, as made by bands like Gauge, Cap’n Jazz, and Friction, but with more dissonance. It’s, perhaps, the best track of the album, so it’s placed perfectly at the beginning. I love the floating feel of the guitars and vocals over the complex drum rhythms of “Chamber Music,” and the vocal fury of “Exit Interview” is outstanding, the lyrics shouted as if reciting beat poetry. The melodic lines are minimalist and unconventional. Minimalist repetition of riffs is a key feature of many of the songs, including “Neon Pond,” which is another Midwest emo influenced track. It’s smoother and janglier than many of the other songs, but judicious use of feedback keeps the noise alive. These guys are good. Recommended.

VARIOUS – Acoustic Revolt CutAway Live Sessions Vol. 2 (acousticrevolt.bandcamp.com /redbrontosaurus.com/)

Acoustic Revolt is a regular series of live performances in San Diego, featuring acoustic performers both from the local area and from around the country and around the world. Last year, Acoustic Revolt founder Kevin White released a benefit compilation LP featuring many of the performers, recorded “live,” just as they would play at one of the shows. The San Diego Food Bank was the beneficiary of that comp, and once again will receive the proceeds from sales of this new one, volume 2 in what’s now become a series. The sole repeat performer, Half Man (Chase Spruiell of Big Loser), hailing from Texas, opens this comp with “Survival,” a song that’s a staple of his Half Man performances. It showcases Spruiell’s stellar songwriting. Matt Caskitt is a local punk rock drummer known for his bands Caskitt and Matt Caskitt & The Breaks, but during the pandemic lockdown, he taught himself to play guitar and has been performing solo acoustic shows for the past few years. His song, “Crossroads,” is a heartfelt rendition of a song written for The Breaks. He came up to speed on the guitar super-fast, and his vocals have always been outstanding – but you can hear them even more clearly in this solo performance. Half of the punk band, Urethane, makes an appearance here. Pro skateboarder Steve Caballero and Tim Frog offer up a delicate tune, “Sigh Sign,” the dual vocals offering an added dimension. Like Matt Caskitt’s entry, this is a stripped back version of a song they do with the full band, and I think this acoustic rendition feels even more sincere. Marc -Alan Prince is an acoustic performer from Milwaukee, Wisconsin, and I recently reviewed a split live LP he appeared on. His songs are big, brash, and beer-soaked, and “We Were Young” is no exception. It’s acoustic, but this is the kind of song that gets the crowed riled up. Be prepared to shout and stomp to this one. Acoustic Revolt curator Kevin White makes an appearance here, too, in his guise as Never Pass Go. He offers up “Changing with the Tune,” a frantic political anthem about the growing chaos in society that’s going to be the end of us all. We get two tracks from Long Island’s Clover’s Curfew, the folk punk duo of Jameson Urcuiolio and Danni Christian. “Low Road” has the sound of an old time gospel tune, while “I’ve Got a Name” has a great folk jangle. The mandolin and harmonized vocals give this a great old timey feel. Ciaran O’Reilly, formerly of local band Petty Saints, has started doing more solo stuff, and I think his material is stellar. “Red Wine and Vinyl” is no exception. It’s strong singer-songwriter fare. Son Terre is a local, too, playing what he calls “indie folk.” His song, “Shine,” has a wonderful unorthodox melody that shifts unexpectedly. City Mouse, from Los Angeles, is the sole electric entry here, performing with electric guitar rather than acoustic. City Mouse is normally Miski Dee Rodriguez and a rotating cast of supporting musicians, but here Rodriguez stands alone with an interesting choice. “Hialeah Blues” is a song from her other project, Floor Notes. I’ve loved that song since I first heard it ages ago, and in solo form it comes across as more delicate than in full band form. And the album closes with Canadian singer, Greg Rekus and his song, “Encampment,” from his latest LP, “Sinners Go to Church, Saints Go to Jail.” Rekus’ raspy vocals are unmistakable, and the song about hitting hard times and living day to day is an anthem for all of us these days. As always, White has brought together a very worthy collection of singers and songs for a very worthy cause. The record is out now, an there’s a two-part record release show (a matinee and a nighttime event) on Saturday July 5th.

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HLLLYH – Uruburu (Team Shi, hlllyhband.bandcamp.com)

HLLYH is the title of the final album of DIY music collective Mae Shi, a band with a rotating cast of characters that operated out of The Smell, Los Angeles’ oldest DIY space. “HLLLYH” was released in 2008 and then the band fell silent. In 2022, though, founding member Tim Byron began reaching out to past members of Mae Shi about reuniting for one final album. The response was positive, and some old unreleased songs were taken out of mothballs, but more importantly, a slew of new songs were written. To the band members, this began to feel less like a final Mae Shi album and more like something new. HLLLYH, the band, was born, and Uruburu is the band’s debut LP, and there’s a promise of more to come, because they wrote so many new songs.

What would be the same as the old band is that their music would be built from “spastic drums, guitars, hoots, hollers, claps, and candy-coated synths.” This is a perfect description, because the album has a bright, glorious feel to it. It sparkles and shines. According to the band it’s “an end-of-the-world story written on a Mobius strip. Built from bright colors and loud sounds, it is a puzzle to be solved, written in English, Morse code, and machine language.” I don’t know about Morse code and machine language, but bright colors and loud sounds is spot on. The 15 songs on the album are impossibly gleaming and luminous. There’s a mix of indie and pop punk, but performed in the most unconventional of ways. I think the title, “Uruburu,” is taken from “ouroboros,” the snake that eats itself, a circle that symbolizes the continuous cycle of life, death, and rebirth, both the beginning and the end of time itself.

A real stand-out track appears almost immediately: “Flex It, Tagger,” features scintillating electronics on speed, huge gang vocals, and a radiant melody. The arrangement is chaotic, with so much going on at once, yet it’s all perfectly coherent. This is actually a good way to describe the whole album: sparkling tight coherent chaos! The songs are big and brash, exciting and engaging. Another highlight for me is “Trapped in the Song,” a mostly quiet understated song, with a thin arrangement and a bit of a funky beat and bass. But they’ve got a big pipe organ in the arrangement! When it comes in, it completely changes the vibe of the song from a hushed introspective number into a huge ecclesiastic hymn. Speaking of spiritual, that’s what I get out of the sweeping “Endless High Five.” It’s got a holy feeling to it, full of glory and quiet digital power. And “(Failed Teste)” melds mysterious synths, tentative percussion, whispered voices, and field recordings of everyday sounds into a cool experimental piece. I like “Black Rainbows,” too. It reminds me of a synth-fortified PUP, with its big gang vocals and abundant energy.

HLLLYH are now based in the San Francisco Bay area, and played their first show this past winter (with the legendary Brainiac), and they’re playing a handful of west coast shows this spring and summer, sadly not getting far enough south to hit San Diego. Hopefully they will, one of these days. I would love to see them live. Are you paying attention, HLLLYH? “Uruburu” is one of the most creative records I’ve heard this year. Hell yeah for HLLLYH!

LAMMPING & BLOODSHOT BILL – Never Never (We Are Busy Bodies, wearebusybodies.com)

Lammping is a Toronto based band known for playing psychedelic music that blends in samples and hip hop beats. Bloodshot Bill hails from Montreal, and he’s that city’s rockabilly icon. This is the first chapter in a four album set, due to release over the course of the next year, featuring Lammping’s experimental hip hop psych beats and melodies, with Bloodshot Bill’s unique vocals. “Never Never” features seven tracks and clocks in at just about a quarter hour, and they take us on a fascinating musical journey over that short time. It starts out with the title track, which features prominent saxophone samples, giving the track a cool jazz meets hip hop vibe. Bloodshot Bill’s vocals have an almost Cajun sound, with a strong accent, unsurprising because the Cajuns are descendants of the Acadians, from Nova Scotia. Bill almost sounds like he’s rapping to the beats, and the track is layered with a multitude of rhythmic and melodic samples. The result is an outstanding funky chill track.

“Coconut” is next in our travels, and it’s an island destination, with calypso beats. But it’s a trip on psychedelics, with perception twisted, senses overloaded, and a jungle thick with samples. It’s an instrumental, way too short, because it’s a destination I want to revisit. “One And Own” has rockabilly guitar with Bill’s vocals, and a bunch of samples and sound manipulations, creating something akin to acid rock mixed with old timey jazz, on, well, acid. There’s more jazz samples in “0 and 1,” with a piano riff forming the backbone of the tune, with both an open sound and a processed muffled sound. Hip hop drum beats and various samples accompany this instrumental. I really like the appropriation of gospel choir samples in “Anything is Possible,” too. “Never Never “is an outstanding collaboration, even if Bloodshot Bill only appears on only a few tracks, and I’m excited for the next three adventures.

OMO CLOUD – Mausoleum (Dusty Mars Records, omocloud.bandcamp.com / Silver Girl Records, www.silvergirl.com)

Short version of this review: Absolutely stunning. Longer version: Omo Cloud is the alter-ego of San Diego born and raised Cole De La Isla. The non-binary musical artist grew up a child of musicians, hanging out in recording studios and listening to Radiohead, Wilco, and Bowie. Mausoleum is their debut LP, and it comes after a smattering of singles released over the past few years. Omo Cloud’s music can best be described as ethereal indie. The arrangements are heavenly, ranging from feathery and diaphanous to thick, dreamy, and almost grungy in some songs. Some of the songs reach near orchestral level of gorgeous complex arrangements, while others evoke the theatrical. Of the album title, says De La Isla, “A mausoleum can be a lonesome place, cool and lonely and sad. But it’s also a monument to what has come before.” And via the eleven songs presented, it’s a way of letting go to a painful past, moving beyond it, while being able to come back and reflect upon it.

“Ode to Twenty” opens the album, speaking of orchestral, with a simulation of the sounds of the players tuning, then settles into a quiet reflective song with acoustic guitar and hushed vocals, with dreamy keyboards that lurk in the background and then burst forth. De La Isla’s vocals are breathy and delicate, so perfect for setting a mood. “The Summer” is a bold indie tune with a tinges of folk and grunge, while “Brutal” is an amazing tour de force, featuring acoustic guitar, bass, drums, and synths in a lilting courtly dance number. The music is subtle and lively, while the vocals are emotional and heart-wrenching. The angelic backing vocals and the flute solo are spot-on perfect. “Ultimate Love” is one of the earlier singles, a song that blends indie, grunge, and radio friendly contemporary pop sounds in a soft song that explores the true meaning of love, what we’re taught it’s supposed to be, and what we find for ourselves. I adore “Good Intentions,” an exquisite song that features gorgeous strings and De La Isla’s amazing vocal range, creating a song that feels out of time, something from the misty past. And “Tell Me,” also featuring the string ensemble, has the feel of a ballad from an old black and white film. The album ends with a short instrumental, “Orbiting,” that fades away. It does have the feel of moving out into space, into the void, away from reality.

Omo Cloud’s debut LP is one of the most touching, emotional, and wonderful records I’ve had the privilege of listening to so far this year. De La Isla may be young, but they have an old soul. Very highly recommended. There aren’t enough words to describe how good this is.

ROBERT SCHEFFLER – Truce (robertscheffler.bandcamp.com)

New York singer-songwriter Robert Scheffler’s third full-length album “sets out to explore the agreements, unspoken or overt, that shape our bonds to friends, partners, and the world at large,” as the album notes state. So it’s no accident that this predominantly solo album sees Scheffler recruiting various friends to help with back up. Scheffler provides his own guitar, ukelele, and lead vocals in a home recording affair (inspired by Warren Zevon’s “Life’ll Kill Ya” LP), and the resulting recordings were mixed and mastered by New York legend Scott Anthony. The eleven tracks have a solid indie vibe, ranging from folk and Americana to bluesy to pop, with a wide range of feelings and emotions on display. It’s a nice understated affair, relaxed and not too in-your-face. The arrangements are lush without sounding complicated, and the melodies are smooth and easy. Scheffler’s musicianship is solid, and the songs are both meaningful and pleasant. From the acoustic driven “Excuse the Mess” that opens the LP to the quietly desperate “We’re All Waiting” that closes it, this is a really nice listen. One highlight in between is “Hang On, Skyline,” a song that starts out quietly, with hints of indie and Americana. It slowly builds over its three and a half minute length, with both electric and acoustic guitars and subtle electric organ. Another is the delicate “All In Good Time,” with acoustic guitar, piano, and strings. It reminds me a bit of the late great Michael Johnson, a folk and pop singer-songwriter who wrote and recorded some amazing songs, but sadly passed away several years ago. “All In Good Time” has the same sort of lovely light touch and smoothness that packs a hefty emotional punch that Johnson had. There’s also “Carry On Without Me,” a song that let’s Scheffler express his soulful rock side, while still retaining the casual relaxed feel. “Blue Sky Mess” is a solid indie rock tune. And “I Don’t Love You Like I Should” is absolutely adorable, played on ukelele with accordion accompaniment. Just beautiful.

TORPEDO – What the Fucked Do We All Do Now? | Lights (Broken Clover Records, brokenclover.com)

Torpedo is a Swiss trio that makes music that’s experimental, noisy, and dreamy all at once. After releasing their debut LP, they’re back with their curiously named sophomore release. The first six tracks account for half the LP’s 45 minute length, and the final track holds the balance. Interesting. There is dissonance throughout the album, with guitars gently clashing in atonal chords, yet it’s played in a pensive way, sometimes calm and sedate, sometimes noisy, angry, and chaotic. The opening track, “Some Wolves,” takes us on a journey through all these sounds, exploring a range of emotions. Then there are two short noisy ominous tracks, “Some” and “Where” (get it?). They’re dark and mysterious, filled with deep, baleful, sinister, tones, threatening clicking sounds, and indistinct French dialog. The noises ebb and flow, menacing all the time. “ONW” is downright melodic, in comparison. It’s a gritty garage-like song with clean lineage from Sonic Youth, with a rapid tempo, angular guitars, and brusque inharmonious vocals. That is, until we get to the bridge in the middle of the song, when it gets downright smooth and lithe, the vocals transitioning to melodic singing. The song eventually transitions back to a noisy sound,, with the guitars manifesting a wall of melodic fuzz, as the temp speeds up, the vocals matching the drummer’s rapidly increasing tempo, before ending in a slow puddle of sludge. “Sugar Love” is a short track filled with the sounds of birds, the vocals reciting, as if poetry, “Spring, 94, spring, two oh fifteen, sugar love.” What does it mean? Damned if I know, but it flows int that final extended track, appropriately titled, “NOISE.” This one is for all you experimental and industrial noise addicts. It’s a stream of consciousness sort of piece, dreamy and nightmarish. It goes through changes over its 23 minute length, from chaotic to serene, to surreal and thoughtful. A work of sonic art.

THE WHIMBRELS (Dromedary Records, dromedary-records.com)

The Whimbrels are like a Who’s Who of the New York City underground and art music scene. It features Arad Evans (guitar, vocals, writing), who was part of Glenn Branca’s ensemble from the 1980s until Branca’s death in 2018 (among other groups). It has Norman Westberg (guitar), who was the main guitarist for Swans for over 35 years (and has had a solo career and contributed to other projects). Matt Hunter (bass, vocals, writing) is a co-founder of New Radiant Storm King and has played with J. Mascis, King Missile, Silver Jews, and others. Steve DiBenedetto (drums) is an artist who has collaborated, musically, with members of Bongwater, King Missile, Yo La Tengo, and When People Were Shorter and Lived by the Water. And the group is rounded out by composer and guitarist Luke Schwartz, who also has played with Branca and myriad other projects. With a line-up like that, there are high expectations. It doesn’t disappoint. The album features seven tracks that span from indie-pop to more experimental, all thickly arranged with complex riffs and rhythms. “She is the Leader” opens things with the most jangly indie song of the album, the vocals read out like an actor reading his lines, full of vigor and emotion. But many of the songs have more of a minimalist feel, with pulsing rhythms and short repeated riffs, still with lush instrumental arrangements. “Monarchs” is one such track, and the guitar tuning gives it a hint of South Asian flair, almost like listening to rock and roll sitar. If you want to get dark and gritty, “That’s How It Was” is for you, the noisiest toughest sounding track on the LP, with guitars growling most of the time, even more than the vocals, even with the smooth flowing bridge halfway through the song. “Scream for Me” throbs with garage rock goodness, even as it’s adorned with buzzsaw guitars cutting through your perceptions. The closing track, “Four Moons of Galileo,” is a masterpiece of instrumental experimental rock and roll, a hypnotic eight minute sonic excursion through art rock and progressive rock genres. The Whimbrels debut is as good as you would expect.

MERCY MUSIC/DANGER DAYS – Split 7-inch (doublehelixrecords.com)

Las Vegas’ Mercy Music and international punk collective Danger Days team up with Double Helix on a new split 7”. Each band gets one song to make their case, and both do so without a doubt. The A-side is Mercy Music’s first new release since 2023’s outstanding LP, “What You Stand to Lose.” The song is called “Big Fucking Mess,” and it’s a perfect description of how we’re all feeling about the world today, with a chorus that screams, “Big fucking mess, and I’m always depressed / Will I ever be over it?” It mixes pop-tinged melodic punk with some cool 80s post-punk tinges, like melancholy guitar riffs pulled back in the mix and loaded with reverb. The resulting track sounds different from the “usual” Mercy Music tunes. It’s got the trio’s usual top-notch performance, but a different vibe. Danger Days, a four-piece featuring members from the UK, Sweden, and New Zealand, offers up “Wasted Time” on the B-side. It’s a more straight-forward punk rock banger, singing about feelings of hopelessness. It’s got a solid 90s punk sound, big and crunchy with plenty of melody. These are two different bands, but it makes for a solid split single.

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