Category: Highly Recommended by Powerpopaholic

What did I miss? The Elbow Patches, The Goods, Ryan Allen

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The days have gotten away from me, and I need to review some 2026 stuff this weekend. But here is another look at some of last year’s great music I did not review in time. 

The Elbow Patches

The Elbow Patches “Achingly Familiar”

John Dunbar was working on a new LP for his band, The John Sally Ride but with the sudden passing of legendary bass player, Sal Maida, earlier in the year he vowed to end that band and The Elbow Patches was formed. The jangle and melodic fuzz of the opener “You Can’t Kid Yourself” is a great start. Next the Byrdsian strums of “The Day Got Away From Me” is just comfort food for my ears. Dunbar’s sardonic side is kept in check, aside from tracks like “Who Doesn’t Hate Each Other?” Although there seems to me a sense of resignation in his songwriting. With its retro late 60s style, each track resonates, and like his other musical projects it’s certainly highly recommended.

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The Goods

The Goods “Don’t Spoil The Fun”

This should have been a bit higher on my list, Oakland band The Goods have a mellow melodicism on the opener “April Fools” akin to late period Monkees. You’ll hear that magic on “Sunday Morning Out of The Blue.” They also have a dense chiming jangle akin to Dropkick on many songs. But add those harmonies and you’ve got something special, like on “Raining” and “Me and My Ghost.” The album is also consistent with its style and quality songwriting. No filler here at all.  After a few spins, this will stick with you. Super Highly Recommended.

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Tulpa

Ryan Allen “Livin’ On A Prayer On The Edge”

Ryan Allen came out with 2 albums in 2025. Both are excellent and Allen just continues to get better and sounds like he’s having fun doing it.  ‘One Week Off’ is like an experiment in churning out demos, like Robert Pollard on a 4-track. Great as this album is, ‘Livin’ On A Prayer On The Edge’ feels more deliberate and the songwriting feels more thought out. It also allows thoughtful moments like “Anxious All The Time” and punkier excursions like “Devil’s Juice.” Some tune are just fun like “Spider Sally” while others are driving pop jams like “So What Who Cares.” It’s a very well rounded album that really showcases Allen’s talent. Highly Recommended.

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The Power Popaholic Top 25 EPs of 2025

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Each year I need to explain that an EP to me is more than 2 songs and less than 10 songs. Many great EPs came out last year, and a late entry that literally “slipped under my radar” was Robert Harrison’s return as Future Clouds and Radar. As part of the memorable power pop juggernaut Cotton Mather, he has always been a special talent. He ranks high this year, and also of note; the band Shake Some Action appears in both my album and EP list.

    1. The Vibeke Saugestad Band “The Sun Sessions”
    2. Future Clouds and Radar “Big Weather”
    3. Peter Baldrachi “Nothing’s Promised”
    4. The Glad Machine “All the Pretty Things”
    5. Flutter “When You Love Somebody”
    6. Shake Some Action “Running Out of Places to Run”
    7. Autos “Autos”
    8. Hexham Heads “Hexham Heads”
    9. The Rallies “Rallies ’25 (The Singles EP)”
    10. Mikayla Geier “HOT POT”
    11. Friends of Cesar Romero “All Goodbyes Aren’t Bad Cause This Goodbye Is For Good”
    12. Randy Klaxon “Sunday’s Child”
    13. The Jacks “Box”
    14. Doublevee “Periscope at Midnight”
    15. The Photocopies “Treacherous”
    16. Geoff Palmer “Kodak Flash”
    17. Clean Lines “Nuisance”
    18. Corin Ashley “EP #1”
    19. Skeleton Staff “Hepto-Altruism”
    20. Svenssen “The Making of Art”
    21. Moonspin “When You’re Around”
    22. J. Fla “Moon Eater”
    23. The Needmores “Side X Side”
    24. King Hüsky “King Hüsky”
    25. Elena Rogers “Songs About Me”

 

The Best Things In Life Are Free… (Album Edition)

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“…But you can keep ’em for the birds and bees” – Money (That’s What I Want)

While not everything here might be considered power pop, I do consider it great music. These are great albums at a “name-your-price” point. No excuses!

Beauty

Beauty “I’d Do Almost Anything For You”

This Red Bank, New Jersey trio brings the goods on its full length debut. “Alive Tonight” opens with thick guitars and stacked harmonies and moves with confidence and purpose. “Acid Baby Girl” follows as a fuzzy love song built on warm feedback and a relaxed pulse, balancing noise with control. Tracks like “You Always Take Me” and “Daisy” lean into simple melodic structures, pairing heavy guitars with clean, memorable choruses. Fans of Superdrag or The Posies will recognize the balance between punch and melody, though the band keeps its own identity front and center. The sequencing stays tight and focused, with no wasted moments or weak tracks. The result feels cohesive, deliberate, and fully realized. This release deserves serious attention and lands comfortably among the year’s strongest albums. Highly Recommended.


Mommyheads

Mommyheads “No Quietus”

I think the similarity to the cover of last year’s ‘One Eyed Band’ threw me off, but the band keeps pushing its blend of power pop and progressive rock with confidence and precision. “Triumph and Crash” stands out as a sharp nod to classic Genesis, especially the keyboard driven drama associated with Tony Banks, without slipping into imitation. “Black Veins” shows Adam Elk at his strongest as a writer and vocalist, and the song carries emotional weight and ambition, setting a high bar across the record. Tracks like “I’m Your Apocalypse” and “Race Care Brain” expand the scope further, layering ideas, textures, and shifting moods. The album feels intentional from start to finish, built for close listening rather than background play. This release works as a full sonic journey and rewards attention. Highly Recommended.


Static In Verona

Static In Verona “Altered State Lines”

Chicago musician Rob Merz blends ambient textures with power pop in a focused, personal way. The opener “Alright in the Morning” sets the tone with echo soaked guitar lines, thick percussion, and a steady vocal lead. The title track, “Altered State Lines” builds momentum through layered, rhythmic guitars and a forward push. Merz’s approach feels distinct and intentional. “Camera” and “Fearful” slowly create atmosphere, pairing mood with clear narrative intent. “Demons” shifts gears with a heavy, Zeppelin inspired riff that adds weight and contrast. The closing “Back in the Aviary” drifts into a hazy, dreamlike soundscape, bringing the album to a calm and thoughtful end.


Merry Christmas from Power Popaholic!

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If “Gingbread Shitshow” is my favorite cynical new Xmas song this year, then the single “Tchotchkes” by Tchotchke and The Lemon Twigs is on the other end of the holiday spectrum.  A brilliant classic in all its layered Phil Spector-esque glory. Enjoy!

Our last-minute gift here is from Ex-Norwegian! A seasonally inspired remix set of fan faves and deep cuts, never before heard. A holiday FREEBIE for you!

Merry Chirstmas To All. And to All a Good Night!

Vanilla and The Prize

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Vanilla

Vanilla “Cookiewow”

Northwestern band Vanilla returns with ‘Cookiewow,’ a 17-track album released gradually over the past year, following 2024’s ‘Pish Posh.’ The slow rollout fits the record’s reflective tone, which centers on aging, loss, frustration, and resignation. The album opens with “Abney Park,” a jazzy meditation on a lingering ghost. It sounds refined rather than eerie, though the mood stays dark. “Weathered Faces” leans into rock territory, focusing on time slipping by and memories fading. Cultural decline surfaces in “Hand of Glory,” where a strong chorus shines through layered horns and guitars. “Hollow Man” strips things back with shuffling percussion and lyrics steeped in self doubt and surrender.

The second half brings more energy. The bouncy “Pardon Me” takes a blunt swipe at political corruption, while “Boxing Clever” answers with guarded optimism, undercut by the line “nothing’s worth the price we pay.” It stands out as one of the album’s strongest moments. “In the Margins” pushes forward with driving guitars and a sense of resolve. “Beat the Clock” and the seasonal “Gingerbead Shitshow” add more hooks without losing bite. Jayson Jarmon’s songwriting remains sharp throughout, as this album is Highly Recommended.

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The Prize

The Prize “In The Red”

Another classic Aussie debut! ‘In The Red’ by The Prize hits hard from the opening seconds. This record grabs you on first listen and never lets go. The Prize come out of Melbourne, consisting of Nadine Muller on lead vocals & drums, Carey Paterson on lead vocals & guitar, Joseph Imfeld on guitar, Austin Haire on guitar, and Ethan Stahl on bass. Their sound is akin to Redd Kross or Buzzcocks, but I hear the influence of Thin Lizzy and Cheap Trick with plenty of layered melodic riffs. You get tight punk energy, power pop hooks, and straight-ahead rock grit.

The strong opener “Connie” sets the table, and we are off to the races. The three guitarists trade riffs and solos without excess on “Don’t Need ‘Em.” Not a note of filler and the energy stays high across the full run time. The vocalists work equally well too, both Nadine and Carey carry each song and the songwriting keeps things compelling. The tempo finally moderates on “Silver Bullet,” so a ballad would have made it perfect. However, it still makes my Aussie dominated year-end list. Super Highly Recommended.

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