Softjaw and Letters of Acceptance

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Softjaw

Softjaw “Love Can’t Kill You”

Softjaw made a strong impression with their EP debut earlier this year, but their full-length, ‘Love Can’t Kill You,’ takes things up another notch. They come out swinging with “You May Be Right,” a Cheap Trick-meets-The Sweet rocker that barrels along at full speed and dares you to keep up. The glam-infused “You Won’t See Me Cry” is sticky-sweet, and one of several instant gems. There’s even a touch of the Small Faces’ “Itchycoo Park” in its retro charm.

“Poor Disguise” shifts gears with some terrific key changes throughout the verses, and that’s part of the album’s appeal. Every song seems to jump out of the speakers with an immediate hook. The title track keeps the momentum rolling, delivering Lemon Twigs-style melodic flair with an extra dose of hard-rock muscle. “Halfwit” is another standout, pairing a heavy riff with shifting harmonies that explode into a brilliant blend of rock and irresistible pop. There’s a lot to love here, and the consistency is impressive. ‘Love Can’t Kill You’ is an easy addition to my Top 10 albums of 2026. Don’t sleep on Softjaw. This one’s highly recommended!

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Letters of Acceptance

Letters of Acceptance “Frets”

Kentucky’s Letters Of Acceptance take a winding road through power pop and folk-rock. The lineup of Clint Newman, John Harlan Norris, Scott Whiddon, and Tim Welch clearly has deep musical chops, but the results are sometimes more interesting than immediate. Their sound relies on intertwining guitar lines, homespun harmonies, and lyrics that find both absurdity and mystery in everyday life.

“Clara” gets things off to a promising start, with a bit of Elvis Costello-esque magic and some terrific riffs that build between the verses. “Don’t Forget to Try to Be Happy” takes its time getting there, but its one of those tracks that rewards repeated listens. “In Sunken Style” brings a welcome dose of Tom Petty-style jangle and vocal phrasing, an approach that also works nicely on “Sometimes Sunshine Smells Like Rain.”

The band isn’t afraid to wander into stranger, edgier territory, and that’s both a strength and a weakness. Some of the arrangements meander when they should be moving forward, and the songwriting occasionally gets lost in its own eccentricities. Stick around for “Broken Guitars (and Fucked Up Feelings),” a wonderfully offbeat title that leaves you wondering whether these musicians have a few regrets of their own. The hooks don’t come as quickly as I’d like, but there’s an appealing rough-edged charm beneath the surface. Worth spending some time with.

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November singles, EPs and no sleep: The Nervous Eaters, The Oldman Sound, Late Cambrian, Future Clouds and Radar, Eric Barlow, Radio Karma

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We start off November with The Nervous Eaters snarling out “Where’s Johnny Now,”a garage rock banger on their upcoming album, ‘Eat or Be Eaten’, arriving January 15, 2027, via Wicked Cool Records! UK Band The Oldman Sound has a great little EP of gentle rock loaded with crisp harmonies and brilliant guitar lines. Lead Andrew Forster is a natural talent that deserves a deeper dive. John Wlaysewski (vocals, guitar) and Olive Hui (vocals) are back as Late Cambrian and they push the boundaries of guitar prog pop on “Kin Precipice,” so don’t miss it. Robert Harrison (Future Clouds and Radar) also returns with a great single “Wooden Soldiers.” Next, Eric Barlow caught my ear last week. His album ‘Still Moving Parts’ deserves so much more attention, so we’ll start with the single “Burn.” Lastly, Radio Karma is a project by multi-instrumentalist Joe Giddings and Richard Rossi(!) and if you love Joe’s guitar work, you’ll love this too! Enjoy!

My Life As A Bird and Roger Manning Jr.

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My Life As A Bird

My Life As A Bird “Willow”

San Jose musician Mike Keller has been keeping busy this year with two albums. March’s ‘The Cabana’ delivered an optimistic bounce that should appeal to Weezer fans, but his latest, “Willow,” takes a darker turn. After a brief intro, “Breaking Up” hits hard with fuzzy guitars, layered harmonies, and the raw emotion of a relationship falling apart. “Giving Misery” is another catchy gem, celebrating the peculiar comfort of being “in love with hating everything.” If ‘The Cabana’ is Keller’s nerdy “blue” side, ‘Willow’ feels like his heavier ‘Pinkerton.’

The bitterness runs deep, but Keller never loses his ear for melody. “Voicemail” captures the nagging feeling of trouble brewing inside your own head, while “Nicer” and “Faded Memories of Loved Ones” gradually move toward self-forgiveness. The album closes with “Little One,” a lullaby wrapped in a hazy wall of sound. Keller knows how to write a hook, but ‘Willow’ gives those hooks some emotional bruises. It’s a compelling, guitar-driven song cycle about the anger, resentment, and eventual acceptance that follow divorce. Highly Recommended.

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Roger Joseph Manning, Jr

Roger Joseph Manning, Jr. “Hopium”

Roger Joseph Manning Jr. (Jellyfish, The Lickerish Quartet) has kept busy as an in-demand session player and producer, so finding time to make his own music is a welcome bonus for fans. His new album, ‘Hopium,’ splits its time between studio recordings and live tracks, including songs that have been brewing for years. Manning enlists a talented crew of friends, including Victor Indrizzo on drums, Steve Shane McDonald on bass, Jim Wilson on electric guitar, Ken Sluiter on mixing and mastering, and Jason Falkner on additional guitar, to bring these recordings to life.

The original material is top-notch, even if Manning occasionally lets his ideas run a little long. “Modern Dance (The After School Specials)” is a bouncy, instantly appealing single about parenthood, while “My Magic Bicycle” and “Wish Away” take the scenic route with the kind of imaginative storytelling and melodic magic heard on his ‘The Land of Pure Imagination’ album. These are the highlights, delivering the eccentric charm and sophisticated pop craftsmanship we expect from Manning. The live tracks, recorded at the 2018 International Pop Overthrow, sound great, too. ‘Hopium’ offers plenty for longtime fans to enjoy while we wait for Manning’s next round of power pop wizardry.

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Dropkick and The Morning Line

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Dropkick

Dropkick “Throughlines”

Andrew Taylor and his Scottish bandmates in Dropkick have spent years honing a signature blend of melodic power pop, Americana, and alt-country. While their early work drew heavily on the Byrdsian 12-string flourishes of Teenage Fanclub, Tom Petty, and Wilco, Dropkick has evolved into a far more mature outfit—armed with crunchier guitars and sharper hooks.

“It’s a Long Way to Fall Down” kicks off the album with a bright, jangling riff and Taylor’s soothing lead vocals, capturing everything that makes the band so distinct. “You Ought to Know” builds on that momentum using layered harmonies to elevate an already sticky chorus. Elsewhere, buzzing riffs drive the energy of “Toe the Line,” while subtle, soft strings turn the ballad “Circles” into a welcome shift in tempo. Other standouts include “Leave It Understood,” a poignant reflection on avoiding wasted time, and the offbeat chord progressions of “The Start of My Decline.” This is easily one of the year’s strongest releases and a serious contender for my top ten list.

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‘Softjaw

The Morning Line “Stars”

‘Stars’ by The Morning Line is a welcome reminder of why guitar-driven indie rock never really goes out of style. Spanning 21 tracks, this career retrospective pulls together the best of the Northern California band’s catalog, alongside two new songs and an early demo dating back to 2004.

Frontman Stephen Smith’s distinctive voice and thoughtful lyricism give the music plenty of character. The band strikes a sweet spot between ’80s college-rock jangle and rootsy Americana. Standout tracks include “Spellbound,” “Stars To Me,” and “90s Pickup.” These songs are rich in detail and will leave you eager to dive even deeper into the rest of the album. And while several tracks didn’t quite leave a lasting impression, none of them felt like filler—every song genuinely deserves a listen.

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