Monthly Archives: July 2026

Around the dial: The Well Wishers, Onesie, Invisible Rays, and Log Flume

31 Friday Jul 2026

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I remember the feeling of first hearing some new song on the radio that I immediately wanted to hear again. It was simultaneously great and bittersweet – something new to love but with no idea when It would come on again. You don’t have that problem here. This radio locale offers you instant playback. And you are definitely going to avail yourself of it with this quartet of new LPs.

The opening cut on the new Well Wishers album Expected Outcomes pretty much lays it all out. “Pox on Everything” is what the Well Wishers do, distilled into one perfect song. There’s shimmering vocals, ringing guitars, winning hooks, and the occasional unexpected melodic subterfuge (of the very best kind). By contrast “Good Intentions” fakes us out with a brooding, lowkey start before settling into a solid jangly groove. Then “What’s the Secret” combines a slight pop dissonance with some new vocal tricks and a great break-out Lindsay Buckingham lead guitar line late in the song. On the whole jangle and harmony vocals are in abundance here, particularly on “In the Afterglow” and “Peace In Our Time.” And there are a few departures too. “The Flame” jumps out with different pacing, evoking slightly eastern melodic turns while “Back of the Line” sounds very AOR in a big guitar way, at least until the melodic hooks kick in throughout the chorus. “Soldiering” wraps things up as a striking, stripped-back acoustic guitar and piano number. Expected Outcomes really is a truth-in-advertising product from the Well Wishers vehicle and that just the way I like it.

Brooklyn’s Onesie deliver a walloping blast of muscular pop rock on their new LP Way Thousand Bump to the Sky. Don’t let the brief church-like organ kicking off “World Stepped on a Mirror” fool you. The song exemplifies the combination of playful experimentation and guitar amps turned up to 11 that defines this whole outing. Get ready for a blistering trip through various song styles and winning guitar tones. For instance, I hear a strong 1980s glossy guitar shine all over “Meetcha at Minnie’s (The Captain’s Song),” so slick and satisfyingly shimmering. By contrast, “Twilight Years” has a slightly garage-y shuffle. Or dig into “Tryptophantastic” with its fun, lurchy, slightly jazzy pop tuning. Let’s be clear, the record has serious jangle in its DNA. “Maybe Life’s Just a Monitor Gig” is jangly pop goodness with a dash of prog rock. “Heckscope” is like Matthew Sweet in a dark mood. Both “Honest Rendering” and “Doing a Band” blend a rocking base with a superior pop gloss at different points. What I love here is how inventive the songwriting is. “So Darkside” is almost musical-ish in structure while still delivering the hooky goods. “Superlative” is both sophisticated pop and muscular rock. Album closer “In Your Dream You’re Every Character” is another surprise, offering a slow and easy, almost jazzy number that blows up brilliantly near the end. Way Thousand Bump to the Sky is great ride, managing to be super smart while still being hummable, a very harder combo to pull off.

For a good ole boys version of Weezer you can’t go wrong with Boston’s Invisible Rays, especially on their most recent vinyl missive Blame It On The Rays. That’s not to take away from this band’s homegrown originality. No Sir. The songs here are striking and strong. But you can hardly make your way into the LP’s opener “Disco Denial” without feeling those Weezer vibes. “Home” is pretty Weezer-ish too. Things take on a more sunny stylistic shift on the upbeat “Violet Says.” “Sir David Mineham” sounds like a nicely harsh version of The Cure. Then “I Don’t Dream of You” offers a jangly departure with just a dash of dissonance. “Owe Me” is another jangle banger. I love the juxtaposition of 1970s rhythm rock guitar and the surging chorus melody on “Interstellar Sweetheart.” If you’re looking for the should-be hit single, it’s “Landline” for me. The track strikes just balance between disaffection and engaging hooks. “Kill the King of Rock and Roll” is also a strong contender, really hitting home in the chorus. The record wraps nicely with the cool-down, slow-tempo outlier “In Store.” Warm up the amp because you’re gonna want to play this one loud. Trust me, no one will blame you.

I have been singing the praises of Log Flume song-by-song for over a year. Now they have an album and Go Where The Money Goes includes those earlier releases, “Necessary Evil” and “Get the Picture.” They still stand out as pretty marvelous 45s (you can read my original takes on both here and here). But now they are joined by nine other equally winning tunes that expand what we might think this group is about. “Dynamic” launches the record with an almost pop punk energy. “Far From You” also has a dissonant veneer masking a hooky underlay. “Get This Feeling” veers sharply from this pattern with a contribution that is dreamy and literally dripping jangle. “Up By 9 O’Clock” follows, a more demure slice of jangle – less sparkle, more meaty. At this point we’re halfway through this long-player and suddenly the band shake things up on the title track “Go Where The Money Goes,” taking the tempo down with a sweet but sombre Roddy Frame ballad. Both “Anything” and “Misery” strike me as very modish English poprock circa 1982. I’m also partial to “Every Single Day” and the slow and deliberate manner it advances its melodic charms. But I love the almost frantic pacing of “Follow You Around” and its killer melodic twists and turns. My money is going where this album is, it’s a winner.

Radio lives on my heart, even if its lost some of its lustre over the years. It’s not where I go for new music but we can pretend we’re carrying on that tradition here. Hit the hyperlinks and you can repeat the broadcast as much as you like.

Photo courtesy Joe Haupt Flikr collection.

Harrison versus Harrison

25 Saturday Jul 2026

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The Lennon versus McCartney post is the most popular thing I’ve ever put up on this music review site. It reliably gets between 50 and 100 hits a month. People do love them Beatles. I’m not sure a focus on George Harrison will produce similar results but that’s not because his efforts are not worthy. George authored 22 Beatles compositions and submitted many more that the band ultimately passed on. Some of these rejections – like “All Things Must Pass” – represent epic failures of judgement by John and Paul. Others, like “Not Guilty,” were more sound. George is both an interesting and divisive figure in the Beatles firmament, lauded for his early solo work on the epic 3-record set All Things Must Pass, but ruthlessly critiqued for the unevenness of everything he did after it. Personally, I think Harrison was a great pop songwriter who too often got in his own way. To make this point, we’ll review his solo work to show how a ‘Harrison versus Harrison’ pitch makes sense, as George was often his own worst enemy when it came putting albums together.

Everything starts with the 1970 release of the triple album All Things Must Pass. Who knew the quiet Beatle would break out of the Beatles break up with the most successful release, simultaneously holding the #1 album and single on both the American and British charts, surprisingly overshadowing releases by both John Lennon and Paul McCartney. Personally though, I find the album a bit bloated. Obviously, “My Sweet Lord” and “What Is Life” are superior tracks while “I’d Had You Anytime” (a co-write with Bob Dylan) and “Apple Scuffs” are strong deep cuts. But the record could have been a tighter single-album release. Two and half years later Harrison released Living in the Material World, which reviewers generally viewed positively, despite containing only one song worthy of single release, “Give Me Love (Give Me Peace on Earth).” The 50th anniversary edition contains the Irish-ish outtake “Sunshine Life for Me (Sail Away Raymond)” which I’m quite partial to. Another year and half later Harrison produced Dark Horse. What is striking here is how the early demo take of the title track really captures the magic of the song, particularly with the harmony vocals.

By the mid-1970s Harrison seemed to running out of ideas. 1975’s Extra Texture was clearly a contractual obligation album to meet the requirements of his Apple/EMI deal while 1976’s Thirty Three and 1/3 was an equally weak outing on his new Dark Horse/Warners label. How things change with his 1979 release, the self-titled George Harrison. “Blow Away” is an amazing single, a perfect example of George’s strong pop instincts. “Dark Sweet Lady” is a strong soft rock number while “Faster” celebrates his love of car racing. Two year later Somewhere In England showed George Harrison was no fluke. The new record had even more strong cuts. While Harrison was annoyed that his original song line up was rejected by the record company the final collection of songs was much improved. For instance, “Blood From a Clone” savaged his record company but it was a better song than many on the original line-up. And of course “All Those Years Ago” was the song so many Beatlemaniacs needed to work through their grief over John Lennon’s tragic death. A year later Harrison released Gone Troppo, an album with no obvious singles or clear artistic direction. Still it contained a few strong compositions, like “That’s the Way It Goes.”

After a break of five years Harrison returned with the commercially successful Cloud Nine. The album saw Harrison return to #1 on the singles chart with a cover of James Ray’s 1962 minor hit “Got My Mind Set On You” and finally acknowledge his Beatles past on “When We Was Fab.” But the key thing about the record was the way that producer Jeff Lynne (of ELO) worked an effective creative tension with Harrison, reigning in his religious and soft rock predilections to push him into a more retro rock and roll feel. The album may be the most consistent song-writing-wise of Harrison’s career. “This Is Love” is evidence of how Lynne disciplined Harrison’s pop instincts to good effect. Of course, Lynne would go on to work with Harrison on the Travelling Wilburys and the Beatles Anthology project with impressive results. Harrison’s last record Brainwashed would be released after his death and while lacking a stand-out single the record as a whole is strong. Album opener “Any Road” made the UK charts while title track “Brainwashed” offered on final political and spiritual message from a performer who had never shied away from either.

Removed from the enormous shadow of Lennon and McCartney, George Harrison was an impressive songwriter who would have held his own in the 1960s and 1970s as a solo artist. But, frankly, in my opinion he was often his own worst enemy, betraying his solid pop instincts to pursue less clear spiritual or esthetic goals. Over the arch of his solo career we can see how he could produce superior pop singles when he put his mind to it. But it appeared he needed a creative tension that would challenge his decisions. In the Beatles John and Paul were ruthless critics and the George material that surfaced on Beatles records was of an exceptionally high standard. In his solo years the critical environment changed, with clearly negative results. However, in his final two decades push-back from his record companies and a supportive relationship with the likes of Jeff Lynne and others got Harrison back on track producing Beatles-worthy hooks. Let’s wrap with his Irish paean “Sunshine Life for Me (Sail Away Raymond).”

George Harrison – Sunshine Life For Me (Sail Away Raymond) (Official Video)

It’s not hard to find George Harrison music or commentary on his career. You can start at his website to get your feet wet.

Border crossing: Swapmeet, Mildred, Smug Brothers, and Shambolics

19 Sunday Jul 2026

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We love to skirt the border of our defined genres. Really, Poprock Record is a throwback to the pre-Westphalian era of overlapping musical sovereignties. Melodic rock and roll is our main thing obviously but we step over into a host of adjacent territory all the time. Like with today’s quartet of misfit melodicans.

Adelaide Australia’s Swapmeet alternate between a harsh but airy nineties rock grind and songs with guitars that exude lighter, more bespoke tones, often matching the shift between female and male vocalists. Opening cut “I Know” dives into the former with relish while follow up and title track “Mount Zero” takes up the latter. Then we arrive at “Bonny,” the seductive should-be hit single. The guitars are soft but glide over a rhythm section that establishes a subtle but still driving urgency. Trust me, this one will work its melodic magic on you. “2CU” also builds to breakout set of hooks in the chorus. “Seeds” is another song with a remarkable intensity, shifting from light to crunchy and back again. There are some variations on their key themes here. “Sand” is mostly lullingly light with some elegant lead guitar lines, “Personal (Don’t Take It)” combines folk with a striking string section, while “My Heart Breaks It” ventures into almost jazzy territory. It may be a bit of trip somewhat outside of power pop but Mount Zero is definitely worth taking on the summit.

Shifting locales to Oakland California we find a band that manages to combine seemingly conflicting musical esthetics, a laid back Americana with an indie rock alternative vibe. My gut says Mildred are the kind of band you could drink beer and discuss the meaning of life with. The band’s new album is Fenceline and it is a mood, a struck pose that rarely shifts dramatically. Instead it wends its way along, sonorous, contemplative, almost hypnotic at times. The record opens with “UPS Brown” and it’s a scene-setter with its slow, evenly paced, Hayden-esque demeanor. “Fish Sticks” lifts the mood slightly, vibing acts like Blue Rodeo or The Jayhawks. “Cobwebs” kicks the tempo up further with a guitar and vocal attack that is very Neil Young-ish. A number of tracks definitely have a meditative quality – I’m thinking “Mumblecore Melody” and “Pitch Boats” particularly. The album’s departure tune is “Fleet Week,” a good-time country singalong throwback, in a James Taylor style. Another highlight is album closer “Hardcore of Beauty,” a beautifully executed mediation on its unstable subject.

After two decades slugging it out on Ohio’s indie music scene Columbus natives Smug Brothers have decided to put out a greatest hits of sorts with Gravity is Just a Way to Fall. If you’re just discovering the band it’s a great way to get the flavour of their unbridled songwriting range. Despite drawing from ten albums the collection of songs here really cohere with a tight, 1980s new wave-reminiscent sound. Intro tune “Let Me Know When It’s Yes” lets its guitars ring in bright tones. Then “Interior Magnets” offers a darker guitar attack, a bit more in the garage than light of day. The new wave feel really comes on for me on “It was Hard to be a Team Last Night” and “Take It Out On Me.” Sometimes the vibe reaches back to the sixties that inspired so much new wave, as on “Silent Velvet,” particularly its tinny lead lines and reverb drenched rhythm guitar. “Seemed Like You To Me” is also pretty 1960s with its ringing guitars a la McCartney in a Rubber Soul moment. For something a bit more out there, “Javelina Nowhere” starts the song with a killer flute solo. “Everyone Is Really Five” and “How Different We Are” are both just great rocking melodic cuts. Altogether Gravity is Just a Way to Fall is a superb collection that will hold you over until some new Smug Brothers material arrives next fall.

My new favourite recent discovery is Scotland’s Shambolics. Their early work is a bit more obviously Brit-pop adjacent, particularly the jangleful “Chasing a Disaster” and the thumping “Love Collides” with its lustrous, weaving lead guitar line. But with the band’s first full LP Dreams, Schemes & Young Teams their sound begins to gel into a distinctive poppy party sound all its own. The whole record is a strong outing – there’s no filler here. But the many video are singled out of the package for a reason. “Never Be Mine” is a relentless driving pop number. By contrast, “If You Want It” is a barn-burning number for the dance floor. It evokes the stomping melee of unified dancers that you no doubt see at every Shambolics concert when this comes on. And then there’s the album’s master class in pop song social realism, the indignant, unbending, generational rage-fueled “Universal Credit.” It’s this generation’s “Common People.”

Who doesn’t enjoy a wee trip somewhere different? Our four bands test our genre boundaries and still get us home on time. Get your bandcamp travel agent to fix you up.

Photo ‘All the Way to Canada’ courtesy Thomas Hawk Flikr collection.

Britpop summer continues: Arkayla “Fortune Teller”

15 Wednesday Jul 2026

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The Britpop renaissance going on the UK right now continues to throw up great tunes from hitherto unheard of acts. Well, unheard by me, so far. Obviously they have been bubbling under the UK national charts, working up some local press in their various regional music scenes for a while. As I’ve caught on to them I’ve written up great recent releases from Keyside, The Guest List, and Marseille, all bands that will be soon releasing long-playing debuts. And that is something definitely to look out for. But while we await their arrival we can reach back to last year and a fabulous single from Manchester band Arkayla. They do have a hot-off-the-vinyl-press new song called “Doba” which is pretty fab but the song that really rings the Britpop bells for me is from 2025. “Fortune Teller” opens teasing us with a lightly strummed electric guitar, adding in some harmony vocals, building up our interest before really launching about a third of the way through the tune. From there the song alternates between building up the sonic attack and then having everything drop down to vocal and guitar to grab our attention repeatedly. It will have you hitting play again and again.

No word on a full album from these folks but as long as new songs reliably arrive I’m not complaining. Visit Arkayla at their spartan website to get hooked up with show tix, music and merch.

Return to Cult Canyon

09 Thursday Jul 2026

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There’s a dog barking near the start Cult Canyon’s “Bitter Birdies,” the opening cut from their recent long player Smoke Tricks. It comes just before the rippling piano riffing really kicks in. It’s a small thing but it adds leavening to the impressive layered quality of the emerging, building soundscape. It’s like you’ve entered a room where a lot is already happening and you can feel the tension rising, in a good way. On “Good Good Habits” it’s the tone of the main guitar that is so alluring, allowing the vocal rise up and ride over it like something bobbing on the ocean. The emerging string section just increases the swell. “Real Sublime” sounds more rocking, paced with a low-key strut. By contrast, “A Longing” gives off a Lennon-esque atmosphere, aided by its pumping piano chords. The focus on creating unique musical ambiences on this record is striking. “Run Red Lights” evokes an era of early 1980s FM radio hit singles with its haunting rhythm guitar tone. “Overwhelming Odds” is something different again, soft, meditative, exploratory. “Ride” takes things to the album’s plaintive conclusion. Over the course of these eight distinctive tunes you can’t escape the feeling you’ve really been somewhere special.

A trip to Cult Canyon is really the best way to pick up some new Smoke Tricks. You can make an easy return to the band’s website and Bandcamp pages via the hyperlink highway.

I get mail! Jim Allen, Scott Roberts, Middlebees, and more

05 Sunday Jul 2026

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The mail does pile up and people often write again, now to find out what has happened to their melodic missive. All I can promise is that I get to everything … eventually. But exactly when ‘eventually’ may arrive is always a bit unclear. Turns out eventually is today.

When Jim Allen declares that his new album Maybe Things Will Be Alright contains ‘two shakes of power pop, a jigger of roots rock, a splash of folk, and a sprig of alt country’ you’d be forgiven for thinking that it’s going to careen all over the stylistic map. But the record has a consistent sheen, despite its genre-hopping. That must be due to the crack team of players he’s assembled, which aside from his regular bandmates includes former members of the Mekons, the dBs, the Bongos, and Suzanne Vega’s backing band, among others. Not everything here fits our stylistic brief but most comes close. Opening cut and title track “Maybe Things Will be Alright” has a great pub rock vibe. “Panic Button” then switches gears with a jaunty piano pop number. “Let My People Sleep” appeals to me in both sentiment and jolly delivery. And make sure to tune into Allen’s Leonard Cohen-esque “For Byron.”

If you take a stroll through Scott Roberts’ back catalogue, particularly his Lost Weekend and GrandDad band recordings, there is a strong REM/Byrdsian ring to most things. As things take a solo turn the mood tends to be more spare, stripped down, and DIY, revealing more layers to Roberts’ musical persona. On this latest LP Fake Fakebook he does a kind of remake of Yo La Tengo’s Fakebook, which was itself mostly an album of covers. So meta. The results are intimate and often tender, particularly on his coverage of the Yo La Tengo material like “Can’t Forget,” “What Comes Next,” and “Did I Tell You.” Cat Stevens’ “Here Comes My Baby” is a sprightly acoustic romp. The Flamin’ Groovies “You Tore Me Down” is recast as the Byrds circa 1968. Then we have a spellbinding take on Daniel Johnston’s “Speeding Motorcycle.” But my favourite track here is his moody rumination over the Kinks’ “Oklahoma, USA.”

Seconds is the second album from Atlanta-based Middlebees. I note the location because when you start spinning this record you are going to swear its coming somewhere from 1960s England. The sheer range of sixties-derived styles here is staggering. And highly listenable. “Ticking” kicks things off with an early 1960s halting demeanor, only to break out a more 1980s pop feel in the chorus. Then “Make It Back” introduces a real strength of this outing, strong guitar riffage, aided in this case by a soaring melody. Similarly, both “Watch Out!” and “I Gotta Go” immediately grab your attention with their strong lead guitar hooks. By contrast, sometimes the melody leads the way, as on the 1960s poppy “When Will the Light Shine” or the Herman’s Hermits-ish “Ashby.” The record does occasionally veer into more soft rock, singer songwriter material (though more of the sixties than seventies variant), particularly on tracks like “And Then You’ll See the Sun,” “This Time (Is Mine),” and “I Know You Know I Do” (the latter even successfully resurrecting the sax solo). A few songs cut in a more rootsy feel. “Rip Her Apart” conjures the mid-1980s cowpunk vibe of bands like Rank and File while “Save Me” reminds me of the Ruen Brothers, kinda new wave and western at the same time. Seconds really is a striking sophomore helping of what Middlebees excels at.

Acts and their promoters aren’t the only ones dropping me a line about new music. Sometime fans or just a friendly stranger sends me a prompt about some new release. That was the case with Guelph, Ontario’s Geordie Gordon. He’s put out three LPs over the past six years and each continues to develop his thoughtful folk demeanor, both lyrically and sonically. The essential elements are all there on his 2021 debut The Tower. “4-Track” really stands out for me from this collection, the creative guitar work and distinct drum-machine depth a perfect backdrop for the love song lyrics. Two years later Tambourine is a revelation, going deeper emotionally and in musical complexity. Title track “Tambourine” kicks off very Joni Mitchell before shifting to a more contemporary pop folk feel. I also really like “Life Line” here with its jaunty pop vibe. Now most recently 2026’s River Round completes the trilogy and again the artistic leaps are impressive. The guitar playing is exquisite, whether going for touching acoustic folk on “Endless Line” or more innovative textures in “River House.” The songs range from the intimate folky “All the Fires” to AM ready poppy tunes like “On My Way.” Altogether, a very promising collection.

I’ve been meaning to write about Rob and Ellen’s fabulous EP In On It ever since R.E. Seraphin put me on to it. You get the vibe right away with the intro track “So Many Californias.” There’s jangle but it’s allowed to land in a spacey, garage rock kind of way. Then “Penny Fountain” shakes things up with strings and a syncopated guitar strumming that is utterly captivating. “Cupcake Store” whips up a more languid strummy atmosphere while “Edge of Spring” lets the acoustic guitar sparkle behind an engaging tune. There are a few break-out rock moments on this release. You can hear it on “Second Hand” and “Scene Report,” both of which add some rock heft to the jangle. It’s also there on the album closer “Cosmic Error” where the distortion pedal adds the gravity necessary for a cosmic level of mistake, and in doing so shifts the EP’s mood into something more dissonant and shoe-gazey. Clocking in at just 20 minutes, this is a ‘play and hit replay’ kind of release for sure.

It’s a wrap for this mailbag with just a teaser from Anglo-Japanese instrumentals band The Routes. Their new EP Play contains 6 covers of the Velvet Underground and they are all super sweet, particularly “Femme Fatale” and “There She Goes Again.” But all the preview available now is their version of “I’m Waiting For The Man.” It’s great and will have you itching for more.

I might say ‘mailman bring me no more tunes’ but I love getting mail. Responses are often quick, delivery of promised coverage must less so. But I’m more reliable than your Congress-person that’s for sure.

Photo ‘Post Office Lunch Break’ courtesy Thomas Hawk’s Flikr account.