Category: Highly Recommended by Powerpopaholic

Benny J. Ward and The Sonny Wilsons

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Benny J Ward

Benny J. Ward “SUPER!”

Benny J. Ward (Rinehearts) isn’t shy about going big — ‘SUPER!’ is fuzzed-out, hook-heavy, and unapologetically loud. From the start, Benny rides thick distortion-filled bass riffs, his vocals buried under garage fuzz, and it hits like a wall of sound on the opener “TELEVISIONS!”

But the hooks aren’t far behind. “Scratch That Itch” delivers a great punk-pop melody that lives up to its title, while “Ice Cream Headache” is just as sticky and infectious. Benny throws in some deeper influences with “Tell Me Tell Me,” where 70s acid rock vibes (think Cactus or The 13th Floor Elevators) seep through the pop earworms. It’s a great balance — no matter how sunny the melodies get, there’s always a grit bubbling underneath.

The momentum dips a little at the midpoint, but things fire back up with the scrappy punk blast of “I Didn’t Mean It.” His cover of Dusty Springfield’s “I Only Want to Be With You” is another surprise — rougher around the edges, but it works in his fuzzed-out framework. Closing highlight “Up and Down” rides buzzy guitars and a shakeable chorus, ending the album on a high-energy note. ‘SUPER!’ might wobble in spots, but Benny J Ward’s mix of distortion, melody, and sneering energy keeps you invested. It’s a scrappy, fuzz-pop ride that’s both messy and fun — exactly the kind of garage rock chaos you want. Highly Recommended.

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“The

The Sonny Wilsons “Maybe”

The Sonny Wilsons are a 5-piece band from Memphis, Tennessee. While Jon Auer (The Posies/Big Star) lends his production touch and some contributions, ‘Maybe’ is really the vision of Adam Yancey and Allen Couch. What they’ve crafted here is a clean, melodic rock record that dips into different styles without ever feeling like a cookie-cutter effort.

The title track “Maybe” sets the tone with a crisp, polished sound. The vocals stand out most here, landing somewhere between Chicago, The Posies, and The Well Wishers. “Deserea” shifts gears with a country-rock flavor and gentle harmonies, showing the band’s range early on. An early highlight is “Miss Kinetic,” driven by solid drumming and a strong chorus hook, with layered harmonies toward the close that tie it all together. “The Art of Letting Go” leans more into that Posies-style fuzz, building tension with climbing harmonics. Similar thick riffs show up on “Ones and Zeros” and the droning “Who We Are.”

But The Sonny Wilsons also know how to pull things back. “Desert Song” is a relaxed love ballad, while “Quicksand” stands out as a lighter, sing-along gem with a breezy, catchy vibe. Together, these tracks hint that the band is still exploring and defining their voice — and that’s part of the charm. Overall, The Sonny Wilsons deliver a debut that’s polished, versatile, and worth keeping on your radar.

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Chris Lund and David Woodard

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Chris Lund

Chris Lund “Surveillance”

Chris Lund has always been one of those criminally under-the-radar songwriters who can weave classic rock DNA into something fresh, and his latest album ‘Surveillance’ is no exception. This is a record that doesn’t just tip its hat to power pop’s heavyweights — The Beatles, Cheap Trick, The Raspberries — it gets in the ring with them.

The opener, “You’ve Got A Lot of Nerve,” immediately sets the tone. It’s a creative, daring start, brimming with fuzzy guitar hooks that hit hard in the chorus. The minor chord shifts nod to Lennon-McCartney’s darker moments, giving the track a moody depth that demands repeat listens. From there, Lund steps on the gas with “Crazy Driver” and “Got Me Running.” Both tracks are cut straight from the Cheap Trick playbook — swaggering riffs, urgent vocals, and just enough grit to keep things nasty.

Things get sharp and biting on “No Ethics No Future,” a snarling political takedown built on thick glammy guitar riffs. Lund leans into the sneer here, and it works beautifully. But if there’s a crown jewel, it’s “Sing Bird Sing.” The riff is pure Raspberries, and the energy pure Revolver-era Beatles. It’s bright, bold, and built for volume — the kind of power pop anthem that reminds you why this genre still matters. When Lund sings “I don’t care if you make my ears ring!” you know exactly what he means.

“Come On Home” brings a jangling Byrdsian shimmer, perfect for a late-night drive, while “Touch or Go” dives headfirst into quirky Tubes territory — playful, offbeat, and oddly irresistible. “God Loves His Children” closes things out with an ambitious Lennon-esque sprawl, and the song’s multiple melodic shifts give it a restless, searching quality. It’s a record that demands to be cranked loud and proves that power pop, when done right, still has the muscle to surprise. Highly recommended, and a contender for my top ten list this year.

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“David

David Woodard “Everything Belongs”

David Woodard isn’t shy about where he stands. ‘Everything Belongs’ takes on the culture wars headfirst, railing against conservative hypocrisy while still delivering guitar-driven power pop.

The opener “Everything That’s Wrong with Everything” sets the pace with stop-and-start breaks and an emo-styled chorus hook that feels like a lost Green Day single. “Scapegoat” keeps the fire burning, calling out the lack of empathy in today’s climate. The title track “Everything Belongs” hammers the point home, fast and furious, with the biting lyric: “You can smile and pretend nothing’s wrong … fake it so well they all sing along.”

By the time “Coffee Houses” rolls around, the tracks similar tempo and tone feel repetitive. Luckily, Woodard shifts gears with “Reissue,” a clever tune from the perspective of an old album begging to be heard, and “Baseball Cards,” a nostalgic melody about glory days that’s simple but sticks. Then we get back to more political protest, with “Metastupid World,” a direct blast at our “Mango Mussolini” and his lies. Overall, the album is equal parts anger, anxiety, and melody. Yes, several tracks blur together in pace, but Woodard’s mix of protest, satire, and sincerity makes for a compelling listen. Check it out.

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The Wellingtons and Star Collector

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“The

The Wellingtons “Baby Moon”

Melbourne’s beloved power poppers The Wellingtons return with ‘Baby Moon’, their first full-length in years, and it’s like they never left. Zac Anthony and Kate Goldby may be older, wiser, and busier with life, but their ear for glossy, sugar-rush melodies remains razor sharp. From the first track, it’s clear they’re still masters of the style—blending crunchy guitars, bright harmonies, and just the right dose of emotional heart. “Always Gonna Be That Girl,” a blast of jangling power chords and buoyant melodies that instantly feel familiar. It’s followed by “She Still Loves Me,” a track that could almost be mistaken for an outtake from Jellyfish’s ‘Spilt Milk.’ Few bands nail that kind of baroque-tinged power pop sheen as convincingly as The Wellingtons.

Kate Goldby takes the spotlight on “The Things I Did Before” and “Not Ready To Give Up” delivering a vocal performance that recalls The Bangles’ shimmering blend of strength and sweetness. Later on, the band turns up the volume with “I Won’t Turn Away,” a denser slice of fuzz-pop where the layered guitars push forward with more urgency. Honestly, not a dud or wasted note here. This is a can’t-miss return from one of Australia’s most consistently delightful bands, and it eassily makes my top ten album list this year. Super Highly Recommended.

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“The

Star Collector “Everything Must Go!”

Vancouver’s Star Collector are back to rock your world. Frontman/guitarist Vic Wayne and longtime bandmates Steve Monteith, Tony Kerr, and Adrian Buckley burst out of the gate with the title track, a punchy opener that sets the tone with enthusiasm and grit. Lyrically, the record leans heavily into solitude, nostalgia, and self-reflection — sometimes to the point of repetition — but the band keeps things compelling with good arrangements and a willingness to shift gears. “Shining Example” is closest to their traditional formula, while “Queen Bed” digs deeper, delivering a thought-provoking story about “bed rotting”.

“The Best Thing” stands out with its jangly guitars, handclaps, and undeniable melodic lift — easily the most infectious track here.  Another standout “Shakedown The Breakdown” snaps back with crunchy riffs and swagger, channeling a mix of The Who and Joe Walsh. While not every song hits it’s mark, it shows the band is willing to take risks while holding tight to the classic rock influences. Undeniably worthy of your attention, and music that deserves to be heard.

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Tamar Berk and Keys

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“Tamar

Tamar Berk “ocd”

Tamar Berk’s newest album, ‘ocd’, is her most polished effort yet, combining luxurious production, lyrical depth, and shoegaze sounds. As the title implies, the album delves deeply into the repeating, nervous thought patterns that characterize obsessive thinking. Berk’s greatest strength is her emotional honesty. Her cooing voice calms the tumult, and her production choices keep the songs warm and real, even when the subjects are bleak.

That said, ‘ocd’ isn’t always as memorable musically as it is thematically. Several songs lack the sharp hooks that would bring listeners back for repeat spins, however it does beat true to it’s own slowcore drum, like the laidback “indiesleeze”and “I’m In The Day After.” Big highlights for me were the sharp lyrical details of “You Ruined This City for Me” with its urgent guitar lines and the hazy arrangement of “I Had a Dream I Was Lost in an Auditorium.” For listeners drawn to the emotional landscapes, ocd will feel like a mirror. For those craving sharp, replay-ready pop craft, it’s a little more uneven. Fans of Tamar will enjoy this and ultimately this highly recommended.

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“Keys

KEYS “Acid Communism”

While it’s new to me, Welsh psych-pop outfit KEYS have been making hook-driven, genre-bending music since their 2002. Two decades on, their eighth album ‘Acid Communism’ is their boldest statement yet—raw, expansive, and unafraid to push into some power pop territory.

Acid Communism embraces grit. The opener “There’s No I in Teams” erupts with energy—clattering drums, jagged guitars, shimmering keys—while “Form A Band” channels classic rock swagger. Softer turns arrive with “Your Shoes” and the impressive “The Greatest Joke of All,” written solo on piano during lockdown with a Beatles-styled catchiness. Another gem, “Poyekhali” lightens the mood before tracks like “The Spectre” steer the record into darker territory. Each song feels distinct, yet the sequencing ties them into a bigger journey, making this a great listen overall.

The title is a meditation on connection and togetherness in an age of digital detachment. As frontman Matthew Evans puts it: “ACID” is experimentation, “COMMUNISM” is community. That philosophy shapes the record’s collaborative, unfiltered spirit. Highly Recommended.

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Davey Lane and Static Jacket

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“Davey

Davey Lane “Finally, A Party Record”

Davey Lane, an Australian musician known for his work with You Am I and The Stems, celebrates his fourth solo album “Finally, A Party Record” with eye-catching artwork that subtly references Rod Stewart’s “Atlantic Crossing.” The album demonstrates why Lane deserves greater attention. The album is a pulsating mashup of synth melodies, distorted guitar, and obvious references to rock from the early 1980s. It’s as if Mr. Roboto-era Styx had a baby with ELO making an action B-movie soundtrack.

Starting with the funky bass line of the instrumental “Mach IV” creeping synth chords build on top of it, and then the distorted guitars kick in to set up an ominous retro mood. This leads to “Not Expecting To Fly” and its deep thick synth darkness and Davey’s strong vocal make this a winner, the bright harmonies and chorus shifts recall a lost 80s classic, familiar yet brand new. My favorite song here is “Over, Over & Out” and this leans more into Tom Petty styled strum, with a richly layered chorus that builds up with great sonic details, and a terrific solo break. Other highlights include “An Absent Lover,” a thickly produced groove call-and-response play and duet with Nitida Atkinson, and “God, I’m Fucked Up Over You” a slick ballad that recalls 10cc. Lane has a unique point of view, and it seems tried to make a “party” record for those who hate parties, but love great music. Plenty of good melodies here make this one Highly Recommended.

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Static Jacket

Static Jacket “The Grape Lady Falls”

Virginia Beach, Virginia is home to the indie rock band Static Jacket. Colen LoCoco and Jason Goldberg formed the duo in 2024 after trading recordings for a year. They swiftly developed a style that is gritty, catchy, and difficult to define. Bands such as the Kinks, the Beatles, Lou Reed, Elliott Smith, Sonic Youth, Pavement, the Stooges, and Beck are supposedly among their musical influences. Their music deftly moves from pop-filled nooks to raucous, discordant explosions, drawing from a vast emotional and aural palette.

“Frown Sugar” is an excellent and memorable introduction. They sound like The Beta Band meets The Dandy Warhols; melodious and dissonant at the same time. A fantastic song with booming guitars, “Analemma” really throws everything at the listener.  The songs range from mid tempo alternative rock (“Any Wonder”) to high charged, high energy club pop (“Give Us The Money”), with the rare light harmonized gem “Undue Shine” providing a music palette cleanser. The albums first half is the strongest, but nothing here is filler. “Haunt You” and the closer “Walk Don’t Run” are also standouts here. Best of all this debut is a name-your-price download, so get it now! Highly Recommended.

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