Chris Stamey returns to Powerpopaholic for his third appearance! Known for his groundbreaking work with The dB’s and a career that has spanned decades as a songwriter, producer, arranger, and recording artist, Chris joins us to discuss his outstanding new album, “Modernism.” Lots of cover songs, but not a typical “covers” album. This was Chris having fun in the studio. Check out the album review here.
Seattle’s The Rallies deliver an effortlessly melodic sound that balances warmth and energy without it feeling too lightweight. Opening track “This Time” is packed with hooks and instantly memorable, while “I Believe” builds on that momentum with an uplifting message and added guitar punch. The band’s sound recalls the melodic craftsmanship of Squeeze, The La’s, and even a touch of Deadeye Dick. “Comes and Goes” is a great example; a slow building simple verse that leads to an irresistible “la la la” chorus.
Produced by Johnny Sangster at Crackle & Pop, the album showcases a cohesive performance from Steve Davis, Lee Brown, Ben Heege, and Brian Chase. The album’s second half leans into its ’60s-inspired jangle, with the rich harmonies of “Love” and the Monkees-inspired “You Set Me Free.” Additional highlights include the minor-key gem “Be With You” and the self-assured “Not So Much Anymore.” The Rallies never stray far from a strong melody, and this one is highly recommended.
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Ahead of their time, Hypnolovewheel spent the late ’80s and early ’90s crafting a distinctive blend of garage rock, noise pop, post-punk, and psychedelia. Featuring guitarists Steve Hunking and Dave Ramirez, bassist Dan Cuddy, and drummer Peter Walsh, the band occupied a space somewhere between The Pixies and The Presidents of the United States of America. Despite releasing several excellent albums, they never received the wider recognition they deserved. The new compilation, ‘Parallel Universe,’ makes a strong case for rediscovery.
Across 22 tracks, power pop fans will find plenty to enjoy. The jangly, melodic “Bridget Because” balances perfectly against the fuzzed-out guitars of “Peace of Mind.” Short, hook-filled songs are scattered throughout the collection, with shades of early R.E.M., Talking Heads, and Hüsker Dü woven into the band’s sound. While a few tracks show their age, standouts like “Pleasant Valley,” “Here Comes a Headache,” “What’s Going On,” “Embarrassment,” and “Secret Star” remain as compelling as ever. For newcomers, Parallel Universe serves as an ideal introduction to one of alternative rock’s overlooked treasures. Highly recommended.
Scott Gagner is back with a serious “Sugar Rush.” His upcoming album ‘Sweet Tooth’ leans harder into pure pop than his previous work, and the first taste is irresistible.
Next up, The Amplifier Heads are ready to turn up the volume. Led by Boston power pop veteran Sal Baglio, the band delivers a crunchy preview of their forthcoming album that reminds you why rock and roll still matters.
UK outfit Bramwell channels the golden age of British AM radio on the excellent “Standing on Stones,” blending timeless melodies with sharp songwriting.
Little Gold offers another standout preview from its upcoming LP, mixing power pop hooks with a warm, lo-fi country spirit.
From Ireland, former Fireflys frontman Barry Walsh returns with the infectious new single “Star Ride,” packed with melody and charm.
Closing things out, The 286 delivers an EP worth your attention. Drawing inspiration from Jeff Lynne’s melodic style, the collection mixes strong covers with standout originals like “Midnight Symphony” and “Unbreakable.”
Jim Allen’s ‘Maybe Things Will Be Alright’ is an eclectic blend of power pop, roots rock, folk, and alt-country that succeeds through strong songwriting and an impressive supporting cast. Allen’s deep vocal delivery often recalls Eytan Mirsky, balancing sincerity with a melodic sensibility that keeps the album grounded even as it shifts styles.
The title track shines with dB’s co-founder Peter Holsapple adding guitar and vocals, delivering one of the album’s most immediate hooks. Elsewhere, Richard Barone lends his talents to the moody rocker “In a Cave,” while the touching ballad “For Byron” benefits from C.P. Roth’s backing vocals. The dreamy “Where I Am” reaches even further afield with contributions from Dorothy Moskowitz and Paul Conly. The variety never feels forced, making ‘Maybe Things Will Be Alright’ an engaging listen from start to finish. Check it out.
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Springfield, Illinois singer songwriter Lanny Durbin trades grit for brighter hooks and bigger choruses, delivering what may be the band’s most accessible and polished release yet. Despite tackling weighty themes like depression, aging, and isolation, the music remains upbeat, driven by ringing guitars, bouncy rhythms, and an undeniable sense of momentum.
Fans of the Gin Blossoms, Dropkick, and Teenage Fanclub will find plenty to enjoy here. Tracks like “Staring at the Telephone,” “The World of You,” and “Easy Ground” showcase Durbin’s knack for crafting memorable melodies and emotionally resonant lyrics without sacrificing energy. The album’s biggest strength is also its main weakness. The consistent sound creates a cohesive listening experience, but several songs blur together over the course of the record. Even so, ‘Cool If We Split?’ remains a satisfying and well-executed power pop release. Highly Recommended.
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Chris Stamey’s ‘Modernism’ serves as a companion to last year’s ‘Anything Is Possible,’ while standing firmly on its own as a celebration of the adventurous spirit of 1960s and early 70s radio. Drawing from classic rock, pop, soul, and even Broadway influences, Stamey curates a collection that feels both nostalgic and surprisingly fresh for a covers album.
The performances are consistently inspired. The Beatles’ “Hey Bulldog” benefits from the driving drumming of Big Star’s Jody Stephens, while the dB’s add their familiar sparkle to a beautifully rendered “Waterloo Sunset.” Stamey also tackles Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin),” injecting fresh energy into the funk classic with help from the Uptown Horns and an all-star supporting cast. Deep cuts such as the Left Banke’s “Shadows Breaking Over My Head” and “Hernando’s Hideaway” reveal Stamey’s wide-ranging musical curiosity. Nothing here is earth-shattering, but the musicianship is outstanding and worth repeat listens. Highly Recommended.
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Danny Laj and the Looks “We’re The Freaks” really speaks to the power pop movement. The track focuses on how something as simple as a noise complaint can threaten a beloved venue and the ripple effect that loss has on musicians, fans, and the local community. Something I’ve lived through, for sure. I’ve seen a big push in new music recently because it’s summertime. Let’s start with David Myhr (The Merrymakers) latest solo album, and the opening track “Summer Summer Summer” and its exactly what you expect, a swirling gem that will add a smile to your face. Next, The Toxhards are back after last year’s top-ten rated LP, with a new single and hopefully a full length isn’t far behind. After that you get a new freebie EP from The Regulars, a scruffy rock band from Boxborough, Massachusetts with the goods, check out “Impossible” and “Empty Dose.” Great live energy and good songs. Across the pond, Willie Dowling (Dowling Poole, Jackdaw4) is carrying on again in his manic way about the state of politics. We get it, mate! Finally, Almost A Cow is a Texas band with a big sound claiming to write anime songs, but its just melodic rock and roll (and I like it, yes I do!) Check out the 90s influenced power pop tracks “Manatee” and “Downfall.” Thanks!
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