They’re coming. The anticipation is real. Will they represent a sea change in American politics or just another day of MAGA myopia? Odds are usually stacked against the governing party at the midterms but lately all bets are off on predictions about US political trade-winds. We’ll just have to wait and see. As the anticipation builds we can check in with a variety of powerpop pundits not afraid to share their views about all things political. Definitely more CNN than Fox but what can I do? I’m working with the available material here.
Seems appropriate to start with some seemingly patriotic material. I say seemingly because Sorry Monks‘ “We The People” portrays the people as not as ‘in charge’ as we might think and he’s not even American. As he says ‘We the people” gotta pay the price, four more years of pettiness and vice.’ Then Beatles 2 claim to offer a “Hail to the Chief” but their sincerity is questionable. I don’t know who Beatles 2 are but they get a nice inner city jam going here.
The midterms are ultimately about what the voters are going to do. The ChrisVandaly Project pose the essential question to Mr. and Ms. America, namely “How Will You Know” what is real from what is not? You gotta find somebody to trust. People like Jeff Shelton seem pretty trustable. His Well Wishers lay out what is at stake on “I Want My Country Back” with a plea to return to all that has been noble in the American experiment of self government. By contrast, The Blusterfields expose the darker side American experience on their recent LP Thoughts and Prayers. The album explores the inequality and unfairness of American life, shining a light on both those who will not see and those made invisible. But “Here Come the Idiots” focuses its a damning indictment on the MAGA crowd and their enablers.
The Menzingers turn our attention to just who these people are claiming to ‘clean the swamp’ and defend the people. “Other People’s Money” highlights the charlatanry behind these slogans. A band called The Puritans seemed just too apropos not to include here, especially when they are singing how “I Am Surrounded By Evil.” Ok, I admit they probably had me with the ringing guitar drone. Former Mountain Goats bassist Peter Peter Hughes gives us a bit more analysis of the present moment and the illusions that need shattering on “The End of Your Empire.”
The Ekphrastics lay out an electoral strategy that pays particular attention to all the various races that are in play on “Antifascist Electoral Voting Strategy.” As they sing, ‘Vote ‘em out, throw ‘em out, vote ‘em out’ if that’s your jam.
Maybe it’s the beginning of the end for this bizarre political interlude America has been going through. Or maybe it’s not. Let the countdown to voting day begin.
Generally speaking I’m more light than dark. Give me chirpy treble lead guitar over screaming solos every time. But every now and then you can add in some chunky rhythm guitar parts and inch the amps up past 11. As long as there’s a melody buried in there somewhere. Today’s acts get a bit more meaty than our usual fare but don’t stint on the hooks.
A while back Bandcamp Daily ran a feature on power pop and I had covered every act but one – San Jose’s My Life as a Bird. Skipping through their latest LP The Cabana I was immediately drawn to the skipping-along fun-grind of track #2 “Cheers To My Old Friends.” It had just the right mix of dissonant rock intensity and carefree abandon. The influence haunting this record is Weezer, obviously, but in highly original ways. You can hear it in the combination of dread and hookiness on cuts like “Other Worlds” and “Growing Up.” “Ankle Brace” sounds a bit brighter, poppier, like Weezer cut with Sugar Ray. Meanwhile “I Hope You Don’t Hate Me” and “Sadie” both stretch out dissonant drone into more slow and seductive material. For departures, there’s “The Cabana,” a slowly building kind of punk Beach Boys while “Sleeping In” is just adrenaline fueled power pop. Then album closer “Who?” reminds me of the Plain White Ts.
If you went to an Ultra Lightsconcert it would be like being buffeted by a consistent wall of sound, each song inviting you into a kind of aural mosh pit. Their songs have sonic equivalence that allow them to relate to each other while retaining their own original contribution. Sometime albums are like that, they exude a coherent slab of artistic feeling. That’s what I’m hearing on the band’s debut album Pleasure’s All Yours. The LP’s title track opens the record with a drony groove that only improves with repeated listens. The guitar tension pulling at “Good Enough” reminds a bit of The Futureheads. “Diamond Dreams” rides a relentless lead guitar lick into a kind of repeated meditative surge. Then you have “Nostalgia,” the clear radio-ready single here. “Got Damage” is also a singalong chorus charmer. This whole record is a full listen pleasure centre. You’re gonna hit play and just enjoy the trip from the start of side one to end of side two.
Check out the exquisite atmosphere A Country Western establish from the first bars of “Great is the Grip of the Hawk” from their 2024 LP Life on the Lawn. You are enveloped in a tonal topiary, so carefully manicured is the sonic landscape. Start the montage. Then “Sidewalk” clears the air, its aural attack is more straightforward. “The Dreamer” launches with legendary rock and roll chords before going for a Velvet Underground talk-singing strut. “The Spine” and “How Far (ft. Winter) couldn’t be more different in their vocal approach, one subdued, the other a bit wild. The rest of the album continues to play with layering sonic elements in slight tension with each other, sometimes bouncy (“Ridgeline”) or propelled by a buoyant lurch “Magnetic.” “For a Voter” is the closest thing to a pop song on the record, resting firmly in the REM tradition. “Hiding Out” dials things down to most minimalist folk rendering. Then closing cut “Wasting the Weekends” ambles us out the exits, releasing us from the grip of a pretty intense artistic experience.
Substantial doesn’t necessarily mean heavy, though that’s ok too. Here were three acts going a bit deeper sonically than our usual offerings but without neglecting the melodic hooks. Each bears spending a bit more time with to really land on their scene. Further hyperlinked liaisons are definitely recommended.
Let’s pretend your biggest worries right now involve finding a beach towel, a ride to some beachy locale, and keeping sand out of the radio. And if you’re particular about your summer playlist you can needle drop your way through the 21 tunes gathered here to get some ideas.
We kick things off with a new song from Australian band Beddy Rays. “Morning Light” has a rollicking indie rock sound not unlike The Front Bottoms or Catfish and the Bottlemen. Definitely singalong-able. It’s hard to put your finger on just what Murfreesboro, Tennessee band Piglett is doing style-wise. And I really like that. Their recent album On The Upswing alternates between moody alienation and slightly less moody alienation. “The Rock in Your Shoe” is a sweetly melancholy number carried along by its spare electric guitar work and vulnerable vocal attack. I really dug Jody and Jerms 2025 LP Love Descends so a new single from the band was a welcome development. “Grace” is no disappointment, marrying their impressive range of stylistic elements – folk, pop, indie rock – with their usual aplomb. Why isn’t Richmond, Virginia’s Dazy a big star? Everything about this act’s sound and demeanor says huge impact to me. Their recent double-sided single “Big Problem” / “Gravity” sounds like a cross between Beck and Sugar Ray and that’s a winning combo. Toronto’s Zuffalo sound like a seventies throwback on “Hellos Are Free,” a track from their recent album Flock of the Town. The vibe is the rock side of country rock, a bit Band-like or reminiscent of The Jayhawks.
Cheeky Chris Stamey has put out an album covering old tunes but dubbed it Modernism. That could have a number meanings ranging from sarcasm to interpretation. Whatever the intent, it’s an inspired collection drawing from The Kinks, The Beatles, The Everly Brothers, Sly and the Family Stone, and many more. But I’m drawn to the mesmerising reworking of Stamey’s own tune “Of Time and All She Brings to Mind.” I keep hearing REM. But that’s hardly surprising because when I listen to REM I often think I’m hearing the Stamey’s previous band The dBs. Ryan Hamilton has a new LP Haunted By American Dreams and right now I’m loving “That Girl” and its particular mix of chiming guitars and a Tom Petty melodic drive. Definitely replay-able again and again. Leeds band The Rise and Fall offer up a range of choices on their second long-playing release Coma Chameleon but I found myself drawn to the driving, sonorous “Pigs.” The guitars never let up while the vocals sound like a blend of church monk chorus meets Pugwash. What’s not to love? Vista Blue are so on top of popular culture. They’re always coming out with timely cuts about politics, sports and entertainment. This time they draw inspiration from the summer smash movie The Odyssey with “Wooden Horse.” The song notches down their usual frenetic pop punk attack for a more measured melodic pace, to great effect. First Leeds now Sheffield: Yorkshire’s music scene is definitely getting a look in here. This time it’s First Prize with a pleasant song entitled “Goodbye to the Day.” I hear more than little of 1980s Haircut 100.
On “Wherever” My Raining Stars so evoke a melancholic late 1980s UK guitar vibe it was like I was transported back to Manchester’s Arndale walking street. “It Will Take Me A While” from the same LP Toy Club is pretty sweet as well. Scottish lush guitar pop masters Dropkick are teasing us with a song well in advance of a new album Throughlines, coming out in October, cleverly titled “Side Note.” The mood is dreamy but with a touch of unresolved tension. Definitely LP appetite whetting. I initially thought the title to Lolas new single was “Summer Song” but turns out the band has produced another fine bit of hooky pop with a political theme. The actual title is “Summer Smog,” effectively soundtracking our world-on-fire 2026. Not that we need reminding but The Goods want us to know that “Summer’s Almost Gone.” But here’s the good news – this track is jangle-gorgeous. Almost like Teenage Fanclub meets the Beach Boys. San Fran’s Richard Turgeon may have (slightly) slowed the pace of his prolific releases but he spares nothing on the creative front. His new single “Let’s Hide Away” captures the uncertainty of our present times, balancing an earnest, low-key vocal against an alternating spare-versus-wall of guitars backdrop.
It feels like it’s been a while since we’ve heard from Philadelphia’s 2nd Grade. “Cellophane Girls” reminds me how much I’ve been missing them. Just listen to these shimmering lead guitar lines and subtle melodic hooks. Bliss! Another reliable set of guitar hook-masters come in the form of Seattle band Shake Some Action. Forget the Pacific Northwest for moment, this act sounds like they’re from swinging London 1966. That mod elan is definitely there on their latest solo single “Last Long Weekend.” Now for something a bit different, Ben Guterl from Forth Wanderers and Dan Howard from Victoryland team up as Billboard Style doing a song called “Billboard Style.” The track has a relentless drone that is curiously soothing and danceable to boot. Westside Cowboy have got a new LP out entitled It Goes On with cool tunes like “Kick Stones (The Boys)” and “Pin Up Boys” but I’m going to double back their January EP So Much Country ‘Til We Get There to showcase “The Wahs.” This is another track with a relentless quality to it, banging on with a buzzy guitar backdrop and a sunny singalong melody. The tenor of the new Hardwicke Circussingle “Behind the Lines of Reason” is all 1980s sonic melodrama. Definitely montage worthy.
Wrapping things up this round is a fantastic tip from our friend Ralph for Melbourne, Australia band Hexham Heads. Last year they put out a fine self-titled EP but the track that has me hitting replay right now is “In Time,” their contribution to most recent Popboomerang collection, Shake Your Popboomerang 4. Light, jangly, with just a touch of XTC here and there.
Let’s pretend its mid-July rather than mid-August. Plenty of time to give a newly minted summer singles playlist a few beach spins. And you can hit the hyperlinks above to find plenty of raw material for it here. Definitely.
A true miscellany is a random mix of things. Think jumble sale. By contrast, our melodic miscellany does contain consistent themes but the variety can be found in the execution. Here are a few collections where a wide variety of contributors work their magic in oh so many ways.
This long-player named Pet Sounds is not what you expect. No Beach Boys, no Brian Wilson. Instead what you get is a collection of 15 tunes, all focused on various kinds of pets. The range of styles here maps all over the indie rock scene, from the upbeat shoe-gaze of Lande Hekt’s “Lola,” to the baroque whispery pop of Railcard’s “Foxy,” to the deadpan talk-singing of The Burning Hell’s “Kings of the Animal Kingdom.” Some of what appears here is just full-on fun, like Gay Skeleton Club’s mesmerizing “2 Cats.” Late nineties indie hipsters will undoubtedly recall The Magnetic Fields’ “Fido, Your Leash is Too Long.” Tugboat Captain’s “Rufus” and Sassyhiya’s “Crayon Potato” provide a country turn while Brian Bilston and the Caternary Wires give off a Velvet Underground “The Gift” vibe on “Under a Cat” (sans the terminal ending). Despite the most tenuous of thematic links joining them together, Pet Sounds really is a solid collection. Though if I had to single out just a few cuts my personal faves trend toward the groovy guitar pop stylings of The Cords on “Bo’s New Haircut” and especially Special Friend’s “Breakfast.” I’m also drawn to the introspective “Dark Age” from Caleb Nichols and winsome “Marjorie Says” by US Highball.
Wild Honey RecordsSampler 2026 gives you a snapshot of 19 different acts currently on the label. These sorts of compilations can be pretty hit and miss, often covering more stylistic ground than any one listener can withstand or offering an uneven mix in terms of the quality of the tunes themselves. But not this LP, not with this roster of talent. The songs here are strong while the collection sounds coherent stylistically without tending toward sameness. Things break out strongly with opening cut “One Day” from the wall-of-guitars bangers Radioactivity. Solid rockers Bee Bee Sea keep the amps twisted right to 11 on “Holy Money.” There’s plenty of party approved dancing numbers here, like Oddfellows’ pumping “The Burden.” Of course, my own tastes run to those selections that crank up the pop quotient on their rocking out. Radio Days offer up driving lead guitar runs and enticing hooks on “I Won’t Give Up.” Crocodiles have a more guitar-rock combo sound akin to the early 1980s new wave with “Let’s Be Strangers.” On “Three” Conspiracy of Owls even manage to dig out a neo-Merseybeat feel. I could go on and on for each tune here, the quality is that consistent over the whole record.
Pete Ham wrote or co-wrote most of Badfinger’s big hits (e.g. “No Matter What,” “Baby Blue,” and “Without You”) and left behind an amazing catalogue of both released and unreleased compositions when he died by his own hand in 1975. Just Look Inside the Cover: Songs of Pete Ham honours that legacy, bringing together an impressive roster of 21 different indie artists to re-interpret those songs. Stylistically, it’s almost as if the acts have divided his sonic territory amongst themselves, covering the different periods when Ham was composing. The opening salvo from Mike Delevante is a wonderful acoustic guitar-heavy, early 1970s version of “A Lonely Day.” Sharp Pins recreate the lush mid-1970s power pop sound on “Just How Lucky We Are.” Then Richard Barone (of the Bongos, backed here by the Midnight Callers) channels 1965 on his sixties-perfect rendition of “I’m Only Human.” The 1970s were known for a particular brand of pop polish and Rob Bonfiglio and The Parlophonics apply that liberally to “Hand in Hand” and “Makes Me Feel Good” respectively. Another strong seventies stylistic motif was a loose, almost careening rock and roll vibe and that definitely appears on Bob Jackson’s take on “Just Look Inside the Cover” and Mic Harrison’s version of “A Little Bit of Rock and Roll.” Again, we have here a collection that never misses a step, though I won’t comment on everything. But my own personal fave is Bill Lloyd’s timeless poprock rendering of “Our Song.”
It’s good to mix things up and stretch our sense of what might appeal to us. That’s where compilation albums do most of the work. If the cover caught your eye, there’s probably something inside you’ll really like and whole lot else you could stand to discover.
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.
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.
I didn’t really appreciate the genius groove of The Nerves’ “When You Find Out” until it showed up on my running playlist. There was something about the sense of urgency built into the song that was irresistible on a full-throttle flat out-run. That took me back to their sole self-titled 1976 EP. Hard to believe such a legendary release contained a scant song-list of just four tunes – but what a quartet. The band was a pre-famous super-group of Jack Lee, Peter Case, and Paul Collins that didn’t survive long after the EP release. Case and Collins would later work together on The Breakaways and most famously in The Plimsouls before each established successful solo careers. But people remain in awe of The Nerves EP though when it comes to covers most people just cite Blondie’s cover of “Hanging on the Telephone.” That’s a shame because personally I think “When You Find Out” is the real cover joy.
We begin with the original, of course. So action packed. Messrs. Case and Collins also revived the tune as a more languid instrumental on The Plimsouls self-titled debut in 1981. The first bona fide cover I could find was not what I expected – a rocky treatment from Swedish whistlers Peter Bjorn and John in 2003. Then we get another curve ball from Western Electric who basically completely reconstruct the song for a 2006 Peter Case tribute album A Case For Case. Things turn toward a more heartland treatment from The Heartbeats. The lead guitar work on this version is pretty special, rumbly and hooky.
The Heartbeats
As we stretch into the second decade of the new millennium the vibes get a bit more indie. Witches slow things down and strike a lot more moody chords. Boonaraaas turn up the speed and intensity on their 2012 take. But if you’re looking for a kick-ass rock and roller performance with a lingering sense of dread look no further than The Murderburgers 2015 release. Personally, I’m really fond of Patrick Lindgren’s somewhat restrained, uber-cool take from 2021. Nice organ! David A Burdick reliably turns out great covers and his recent work on the song is no exception.
Boonaraaas
We wrap things up with the cover that got me diving down this covers-rabbit hole, Blur’s Graham Coxon doing a remake of the song that is so 1960s late British Invasion. A little bit Kinks, a little bit Zombies, a whole lot fantastic. It’s from his recent fab solo LP Castle Park.
Some bands make a fleeting cross of the stage but leave behind something lasting. That’s The Nerves – one great EP. But what a legacy of impressive work from each talented member.
Summer playlists are not going to fill themselves. But who has the time to roam record shops old school, flipping through bins of shiny new vinyl? For better or worse, those days are gone. On the flip side, now you can shop from the comfort of your very own coffee perch. So let’s get this batch of 21 new-ish songs out there and see what grabs you.
The band’s presser describes “Daisy” as a perfect ‘flower pop singalong’ for your summer soundtrack and I’d have to agree. I admit I’m a bit late to the Beautyscene as this song and their debut LP I’d Do Almost Anything For You came out last year. But I think you’ll agree it deserves another seasonal spin. Another band I’m catching up on is Walter Mitty and his Makeshift Orchestra. “My Scratched CD of a Brain” is acoustic-guitar-light and pop-frothy with a toy piano in the mix somewhere, a winning combo in my book. My final 2025 resurrected single is from The Toxhards. The band give you fair warning with “Get Creative! Or Get Radicalized!” what with the free hand with exclamation marks. The song is big and bold and definitely going somewhere in an operatic Queen sort of way. Then there’s the allure of Rural France. This is light jangle with maximum impact. “Thirty-Seven Forever” is guitar pop goodness with a summer swing. Ace 1960s genre channeler Rad Venture pays tribute to the uber cool “Patsy Kensit” with predicable style. Slick and stylish mod pop.
Now for something a bit out there from the ever reliable Ricky Rochelle. “Beetles On High” starts a bit pop-punky only to sashay into full-on Mersey-pop mode in the chorus. If Abba had had a bit more rock and roll in their pop DNA they might have sounded like Fascinations Grand Chorus on “Chroma Eyes.” The hooks here have a got a bit more bite. Tony Molina softens up his trademark guitar pop on the smooth “Somewhere There’s a Feather.” These are folk rock harmonies with just the right dollop of electric guitar. Montreal’s Private Lives up the punk quotient on “Television Faces.” It’s there in the staccato rhythm guitar shots, the loose bass lines, and in-your-face vocals. It’s really the total package. By contrast, for a full-on trip back to mid-1975 check out the debut single “Love and Heartbreak in High School” from Plastic Family. It’s got the flavour of a Big Star-meets-Wings synthesis.
When he’s not hanging with his Stranger Things buds TV’s Finn Wolfhard knocks out some pretty hooky old school rock and roll tunes. “I’ll Let You Finish” is a teaser new tune from his soon-to-be-released second album, and it oozes a new wave Stones vibe. In the guise of Chrome Agnon DW Dunphy goes new wave for real with “Ion You,” just one of 15 fabulous tracks from the fundraiser LP Back In Time – Lost Hits of the 80’s Vol. 2. The Brazilian brothers behind Banda AL9 apply their unique talents to The Ramones, oops, I mean the Rubinoos (thanks Alan!) signature tune “I Wanna Be Your Boyfriend” with predictably poppy results. What a reinvention! We have more Montreal with Taxi Girlsand like Private Lives they take pop to the very edge, rocking things a bit raw on “Say It.” But the hooks are undeniably there. By contrast, Glasgow’s Fast Camelsare in no hurry. “All I Want” features languid, whammy-barred electric-guitar lead-lines and a tune that advances with a shuffle-like march.
On Nova Scotia’s Cape Breton Island you can find the former municipality of Sydney and very pleasant band named Company House. You won’t get much more spacey pop-pleasant than “Far Away” from the band’s self-titled debut album. Now give this new single “The Girl I Know” from Peter Freebairn a listen and tell me if it doesn’t have a seductively slow-building set of hooks. The guitar melody is so Neil Finn in its efficient simplicity while the vocal takes you over a hooky summit with the last line of the chorus. This should be major hit-single material if radio ever meant anything. Now off to Padua, Italy for a band with a distinctive aura surrounding both their compositions and performance. On “Ghost” snüff dial in some dynamic guitar work along with vocals that keep us on the edge of our seats. It sounds indie and old school at the same time. From the cover of Toronto’s The Get Alongs upcoming LP Second to None the vibe is pretty psychedelic. Ok, early release single “Sunday Afternoon” is pretty psych rock too but never at the expense of the melody. I love the grinding lead guitar line opening Radio Days new single “Flying High.” The rocking rhythm guitars are never far in the background here though the vocals really define what is rollicking about this tune.
Wrapping up this summer singles shopping fest is Minneapolis, Minnesota’s Favourite Girl. It was so hard to pick just one song from the band’s cracking self-titled debut LP. The title track has all the anguish and subtle hooks we’d expect from this self-described ‘femme forward’ act. Hit single radio stuff for sure. But “Not Going Back” gives off just a hint of Americana before kicking into some fine poppy rock. Why choose? Enjoy them both.
Was shopping for singles ever this much of a breeze? I don’t think so. Now you can save the dropping for the dance floor. And remember, these 21 tunes are just one blast of what these artists have to offer for your summer song playlist. You can keep the shopping going, hyperlink style.
Will I seem superficial if I admit that unusual band names get my attention? I don’t think so. A band’s moniker is the first indication of just how creative the outfit is. I know a lot of artists go through possible band names like Kleenex for precisely that reason. But the work can pay off because when a name clicks, both artist and audience know it. For me, a slightly out there name suggests I might be on to something a bit different but still 1980s AM radio accessible. Personally, I think today’s trio of bands have me hitting the name jackpot.
Jesus Christ Taxi Driver, now that’s an ear-catching name. It’s simultaneously evocative and potentially offensive. What’s not to love? On their 2023 debut album Lick My Soul this band showcased a mixture of rocking and more mellow material with eyebrow-raising titles like “Stupidmotherfucker,” “Poultrygeist,” and “Diabolical Catholic.” It was an impressive launch. But look out because their sophomore effort blows that debut out of the water. Taxi the Rich is a stunning collection of songs worked up with an immaculate new wave vibe. Now the thing about new wave is that most of the bands from the original seventies era had pivoted to it from years of doing something else: country, arena rock, glam, art rock, you name it. That depth is all over this LP. Let’s talk about the album’s stupendous single, “Lana Del Rey.” The song is just so cool. Sliding in slow and building to a strut as it makes it way to a glorious hooky chorus so worthy of its namesake. Just try to not hit repeat on this one. Opening cut “Have It” is also pretty special. From the opening vocal hiccups and stringy rhythm guitar you know this groove is going to grab you. “Jesus Christ Taxi Driver” and “Alive Too Long (To Know If I Ever Was a Child)” are so impossibly genre-hybrid I’m not sure whether they should be filed under rockabilly, shockabilly or a roadhouse jam. Really, there are just so many highlights here: the jangly “Tractor Man,” the country-ish “White Roses,” and the flute-led, damningly satirical “Too Cold to Golf.” “Record Machine” is my own personal fave. And don’t miss the album closer “Easy Love,” a gorgeous exit. Is Taxi the Rich headed for the ‘best of the year’ shortlist? Definitely.
Patrick Donders from the Substack blog Chiming Back put me on to A View of Earth from the Moon and he seldom steers me wrong. This is crafted pop perfection. The band name might be a mouthful, the current album title Rolled Over Like a Wave might be a tad overlong, but the content is precision itself, musically, lyrically, performatively. Going back to the band’s debut Closer to a Ghost I was already impressed but this new record raises the creative bar by some distance. “Emerson and Henry David Thoreau” is a strong opener, a wonderfully wordy group of lyrics set against an alluringly droney guitar. “Never Coming Out of My Room” has a seventies rock strut that makes sitting still a challenge. I’d swear “Blood to Wine” is an Aaron Lee Tasjan tune and band leader Jonathan Fickes has temporarily become ALT. “Eight Miles an Hour” is pretty Tasjan too and that is just fine. “Halloween in ‘93” reminds me of fellow Seattle power pop act Ruler. “Faith” is another tune the delivers hooks full of gravity and staying power. Now stay with me as I pitch “Cash In/Flame Out” like a Taylor Swift number as if she had a great guitar pop band backing her. A real treat here is the lyrical drollery going on throughout the album. In front of a stroll-along, whistling musical dynamic “Everything For Free” Jonathan sings ‘tell me about your sweater? Is it acrylic?’ and then riffs on The Smiths with lines like ‘Hey! Get this cow off my burger, don’t you know meat is murder?’ Really, no ordinary talent could be behind this.
Nate Amos’ solo project This is Lorelei is the ultimate indie DIY affair. Between 2014 and 2021 he put out an enormous number of releases with what his presser describes as a ‘straight to Bandcamp spirit.’ To be honest STB can sometimes be, well, amateur and ramshackle. Not so this sprawling TIL back catalogue. Gems abound for the dogged listener. My favourite find is his cover of Bruce Hornsby’s hooky piano marvel “Every Little Kiss.” But if the prospect of wading through 60 different Bandcamp entries doesn’t float your boat, relax. After the unexpected mainstream success of his 2024 LP Box for Buddy, Box for Star he decided to go back and pick out a selection of songs to rerecord for this most recent release Holo Boy. The results are impressive: a record of immense variety that somehow flows seamlessly. It really is a great introduction to the artist. “I Can’t Fall” opens the album with a strong Jon Brion aura. Then “You Just Woke Me Up” moves things in more chipper direction, like walking out into the breaking morning sun. Those languid lead guitar shots are something else. “Dreams Away” is starting to sound like single material, ready for radio play. “SF & GG” is pretty poppy too. Overall if I had to boil down the vibe here I’d say there are strong echoes of Beck and Eels. Songs like “Name of the Band,” “Mouth Man” and “Holo Boy” all stretch our expectations of where the tune is going and I love the uncertainty. Or Amos just gives us a pleasant song experience on tracks like “This Is a Joke” and “Money Right Now.” And check out the impressive acoustic guitar ornamentation colouring “My Friend 2.” So there’s your choice – you can deep dive the catalogue or take up the Readers Digest condensed version with Holo Boy. Either option is a very good time.
Clever is never the main attribute that keeps you coming back to an artist. There’s got to be great songs and performances. But man ‘clever’ can sometimes be the unexpected value-added to a musical experience, that little bit extra seemingly tucked in just for a discerning listener like you. And don’t you deserve it? You know you do. Get your daily dose of clever right here by clicking the links to these artists.
There are bands that get an instant add to our ongoing playlist whenever they put something out. They’re that reliable. Today’s crew offer some prime examples.
Ten albums in and David Brookings continues to deliver the goods in his distinctly American Beatlesque way. It says something about his vision and consistent songwriting that, despite a changing cast of backing characters, Encore has that recognizable Brookings and his Average Lookings sound. You can take in all the elements on “Richmond at Night” where a Micheal Penn kind of melodic intensity combines with an alluring rhythm to really draw you in. Then “Coldwater Canyon” updates an early 1960s song structure with some contemporary indie rock sheen, something we hear again later on “My Last Little Shred of Youth.” “It’s Giving Cringe” operates with a nice guitar lick that runs throughout a very pleasant pop number. But the obvious should-be hit single is undoubtedly “Where Did I Go Right” with its solid hooks. This one definitely says lather, rinse, and repeat. The album contains a number of offhand reflections on being a musical artist at this particular moment but goes into detail about the arbitrary nature of fame and being discovered on “The Van Gogh Plan.” Brookings also throws in the pretty stand-alone single “Shelby” to sweeten the package.
The Rallies are a ‘feel good’ band who know how to wield jangly guitars and harmony vocals to good effect. Album #4 No Better Time confirms this with plenty of soaring, uplifting tunes. Opening cut “This Time” lays out the Rallies musical formula clearly with sparkling guitar lines and layers of gorgeous vocals. Then “I Believe” is the hooky radio-ready single, taking off with a great singalong swing. You can practically feel “Comes and Goes” has a buoyant skip to its step. This is an album oozing positivity while giving nods to a number of rock and roll’s glorious forebears. “Be With You” has got some great Beatlesque changes in the song structure. “Notice Me” is practically propelled forward by the jangle guitar work. “You Set Me Free” even adds an element of sixties Monkees-in-garage mode to the band’s sonic mix. “Not So Much Anymore” is another strong power pop entry, with a killer organ underlay. LP closer “If Only” strips things back to very essence of The Rallies, a basic accompaniment and the band’s riveting, plaintive vocals. Trust me, No Better Time is the shot in the arm you’ve been looking for.
Lost at sea, shipwrecked on some island, whatever. As long as I’ve got a copy of Lost At Sea, the new album from TheLegal Matters, I’ll be fine. The band is an amazing combination of individual talents – Keith Klingensmith, Andy Reed, and Chris Richards – that gel with the sonic sophistication of acts like The Spongetones or The Flashcubes. The overall aura here is a tight 1970s power pop vibe, equal parts Badfinger and Big Star. The album’s stylistic ambitions are readily apparent from the opening cut “Everybody Knows.” These are big and bold pop hooks. On “The Message” I hear faint echoes of The Beach Boys lurking somewhere in the background. But the dominant feature throughout the record are the carefully chosen lead guitar tones. Check out the atmospheric guitar lines colouring “Shake This Feeling,” the noir-ish guitar shading on “Temporary Thing,” or the spacey otherworldly guitar work on “It Doesn’t Matter.” “Let Me Explain” wields the guitar like a paintbrush to fill all the spaces of the tune. By contrast, “Stuck With Me” puts its gorgeous harmony vocals up front. There’s also some great psychedelic pop moments here on songs like the XTC-ish “Marching On” and “The Exit Signs.” “Slow Down” gears things down in a recognizably Big Star register. Altogether, Lost At Sea offers up a pretty smooth ride.
Sans his Complicated Men backing band, Nick Piunti heads out Solo…ish on his new long-player. Andy Reed from The Legal Matters produced and played on this record with help from Donny Brown from The Verve Pipe. The results are a slight departure from Piunti’s usual fare, at times more spare and gritty or conjuring up surprising new sonic elements. He still sounds like a cross between Bryan Adams and Tom Petty to me (and what’s not to like about that?) and that works well with the material he’s assembled here. Opening track “Big in Madrid” echoes the songwriting chops of artists like Mike Viola. A strong start but somewhat supplanted by the striking shift in aural sensibility that comes with the next contribution “Break Even.” Here the song’s interesting vocal melds dynamically with its distinctive guitar hooks. From there the album turns in a more heartland direction on “One Dimensional” and “Darken My Days.” I also get a strong Bryan Adams feel from “Vacant Heart” and “Peripheral.” “Handshake Deal” sounds like the radio-ready single to me, though “Bruises and Bandages” offers up a more mellow kind of should-be AM staple. For polished pop sheen, look no further than “Better Songs,” another should-be hit single.
You can cash in on these reliable acts with the hyperlinks above. They are ready for immediate playlist addition.
