Time again to twist the dial in our never-ending search for exciting and hooky new tuneage.  Today’s finds qualify as some quality discoveries.

Pugwash regularly conjured review comparisons to the Beatles and XTC but their sound eventually became its own point of reference. The band’s creative force Thomas Walsh now returns with a solo album The Rest is History that bears the mark of his distinctive artistic imprimatur and then some. The record launches with “A Good Day for Me,” a very ELO-inflected bit of pop genius. The arrangement of the song is so perfect, shifting from delicate moments and lush interludes to straight up earwormy hooks. Singles don’t get much better than this. “Another Lesson in Life” is a close second vote for should-be single with its psych Beatles feel and Lennonesque vocals. From there the album oscillates between spare and sunny pop sketches like “Love in a Circumstance” or “Born of Kamchatka” and the more jangle-pop contributions like “Take Your Time” and “Man Lies Down Again.” “All This Hurt” does crank things in a more power pop direction. And of course there must be some XTC vibes somewhere on any given Walsh product, this time featured heavily on “Everyone Back in the Water.” Pugwash fans are going to be very happy with Walsh in solo guise. The Rest is History is pure enjoyment.

Velvet Crush main man Paul Chastain has a new outfit and the vibe is something else. The band is The Small Square and they have a new LP entitled Ours and Others. I love the distinct mood on this album. Opening cut “Twenty-Third” sets a sombre tone before breaking out into a more Mike Viola pop ode. By contrast “The Hourglass” builds on its acoustic guitar base in a very Michael Penn kind of way. Then “Open Up (Closer)” commits to a more rocking demeanor with a Matthew Sweet balance of ripping lead guitar and strong melodic hooks. And check out the gorgeous jangle defining the enigmatic lurch of “Tilt.” It’s got Byrds, some Tom Petty, and just a hint of Mike Viola again. Come to think of it “Insta” has got some Brydsian turns too. The album has got a load of beautiful mellow pieces too like “Days In,” “Found Object,” and “Baby Face.” Should be single is definitely “Can’t Let Go (Oh, Tommy).” This one saunters in, understated, only to break out a great hook in the chorus. I’m also partial “N. Main Blues” with its otherworldly synth textures and chugging chorus.

With their new album Song Machine Bisbee Arizona father/daughter combo The Exbats move the dial up from their usual early 1960s Brill Building/Phil Spector sound to a more early 1970s Partridge Family vibe. “Riding With Paul” has got the ‘ba ba ba ba’s of the TV band down, with just a dash of Monkees guitar work near the end. Not that the sixties motifs have been entirely put away. “To All the Mothers I’d Like to Forgive” harkens back to an early 1960s girl group sound. Other sixties riffs can be found on the 1960s girl singer standards “Easy to be Sorry” and “Himbo.” Or there’s the more late 1960s Sonny and Cher feel to “Better At Love.” Sometimes the retro sound gets refracted through later periods. “Cry About Me” takes a new wave remake approach to the sixties girls group sound while the current single “Like It Like I Do” could be either The Bangles or The Go Go’s doing their hip-shaking, good time take on the past. Then there’s “You Got My Heart” and “Food Fight,” both rollicking blasts of goof pop, the latter getting garagey in a Velvets way. Last up, a real surprise – is that some Abba I hear lurking deep in “The Happy Castaway”? Get yourself a copy of Song Machine. You’ll have it running for a long time.

All this past week I just can’t stop listening to Miss Chain and the Broken Heels new album Storms. On the bus, during my run, on my way shopping for the husband, I just keep choosing this record and then hitting repeat. There’s something brash and raw and real going on here while still being oh-so polished and hooky. Sometimes the sound has a strong retro 1950s sheen. Songs like “Wild Wind,” “Caring Wolves” and “Uh Uh Uh” lean into that more rough-hewn, fifties-style melodic rock that reminds of another great find this year, The McCharmleys. But at other points lead singer Astrid Dante exudes the vocal charisma of a Neko Case, Jenny Lewis or Chrissie Hynde. Opening cut “I Don’t Know” is like a declaration of purpose, wielding its original and distinctive rhythm guitar work to anchor the song. “Storms” trundles along with a carefree abandon. “Hunters of Hope” has a more anglo-poprock gloss. Really, there are just so many great tunes here: “Since You’re Gone,” “Perfect Day” and the hypnotic “Green and Black.” Storms works on the stereo and you know it would rock live.

There’s nothing like twisting the dial and stumbling across a new find. Today’s acts will give you plenty to return to.

Photo courtesy Thomas Hawk Flikr collection.