So much good new music out there. Gene Champagne asks “Gimme Ammunition” and he’s locked and loaded here! Check out his new EP ‘Too Pop For Punk Too Punk To Care’, as fans of The Ramones would say “Hey Ho! Let’s Go!” check this out! Next, another Facebook find, Allie Kenny has some powerful mentors guiding her (Mitch Easter, Chris Stamey) and it shows with this brilliant single “Night Train.” Next, my friend Cliff Hillis is back with another catchy EP, ‘The Square Root’ about the nerd life (and how cool it is). Bob Hillman is ‘King of Bees’ but he don’t sting. Smooth adult pop, is the name of the game, with ample help from drummer Pete Thomas and Matthew Caws (Nada Surf). The Speedways are back to remind us why they’re one of power pop’s best, delivering another dose of classic Costello-style punch with “All Bets Are Off.” Need more speed? Loose Lips cranks up the tempo. Meanwhile, one of my personal favorites, Nick Piunti, takes a quieter route with a low-key acoustic EP that reveals a more intimate, heartfelt side (and it’s a freebie).
Category: Power Pop Review
Halloween Treats: Electric Johnson, The Goldstars, Three Imperial Royals, The Cheap Cassettes, Benny J Ward and Big Stir
Time to dust off those monster mash records and give your speakers a proper fright! Halloween is creeping up, and I’ve got a fresh batch of power pop treats with enough bite to keep the candy corn crowd happy. First up, Electric Johnson takes us to “Frankenstein Island” with a video worth checking out. Most impressed with The Goldstars who give you an entire LP loaded with Halloween music. Three Imperial Royals, The Cheap Cassettes, and Benny J Ward round out this spooky stack of tunes. My only trick here is dragging out Big Stir’s excellent Halloween Grimoire from 2025, because its so good you’ll scream. So grab your favorite goblin, turn up the volume, and let’s get this party startled!
Autumn Singles: Steven Wright Mark, The Pozers, Sharp Pins, Plasticsoul, The Spongetones, Lito and The Shepherds
Steven Mark-Wright is back with a new song. A guy with a “Projector” for a head? Yeah, it’s a metaphor. Just go with it. The Pozers deliver a bouncy power pop single just in time for IPO’s upcoming East Coast shows. “The Separation” is a Beatlesque gem, packed with harmonies worth soaking in. The Sharp Pins return with an advance single from their new EP, Electric My Icebox, serving up more of that swirling, echo-drenched goodness. Over at Big Stir Records, Plasticsoul’s “J’adore” brings the rock, while The Spongetones‘ “The Music At The Close” offers a slow-burning beauty reminiscent of the late-era Hollies. Finally, a great FREEBIE from Lito and The Shepherds. Just sit back and absorb the vibes of “The Flow.” My inbox is overflowing with new music, so expect more reviews soon!
The Goods and Ventilator
The Goods “Goodbye Summertime”
Oakland’s The Goods have been steadily raising their game, and this might be their strongest showing yet. The echoing verses of “Lazy” open the album with a neo-psychedelic shimmer, its layered production immediately establishing a warm, summery mood. “Love You More” keeps things sweet, with a lightness reminiscent of The Lemon Twigs. The repeated line, “strip the leaves from the trees, steal the honey from the bees,” becomes a mantra as the song chugs and jangles along. From there, each track builds naturally on the last, pulling from CSNY, The Beatles, The Beach Boys, and Teenage Fanclub without getting trapped in any one influence.
“Minor Key” sways along on a light beat, while “Don’t Worry” carries plenty of Beach Boys emotional touch points without sounding like a carbon copy. The title track shifts toward jangly folk, recalling Scotland’s Dropkick, while “Driving” is another fresh pop nugget with its own character. With 14 tracks, The Goods maintain an impressive batting average. The songs have different tones and moods, yet the album never loses its sense of identity. The Goods have put together an album filled with one good pop song after another. It’s going on my Top 10 list for the year.
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Ventilator “Reseda Spleen”
The ’90s left behind plenty of great records, but some disappeared so completely you’d think someone buried the master tapes. ‘Reseda Spleen’ is one of those albums. Matt Devine came to Ventilator fresh from his run with L.A. power pop band Permanent Green Light, alongside bassist Michael Quercio (The Three O’Clock). After the band dissolved, Devine bought a Tascam recorder and began working on what would become ‘Reseda Spleen’ in 1996, with mixing handled by legendary producer Earle Mankey (Sparks, The Runaways).
Ventilator draws a direct line to Alex Chilton’s half of Big Star, blending fuzzy guitars with a melodic sense of gloom. “The Tailor’s Lament” opens with thick guitar riffs, immediately revealing the album’s lineage, with shades of The Posies and Velvet Crush. “Landsdowne” shifts gears into something quieter and more emotional, carrying an easy going California feel. The aching “Happy New Year” continues in that reflective vein before “In Mysterium” brings the fuzz back in, landing somewhere in Matthew Sweet territory. The album’s ebb and flow works well, moving between heavier guitar-driven moments and softer, more introspective songs. While this isn’t grunge, the darker mood of the era hangs over the record, giving it a distinctly ’90s atmosphere. The remastered edition adds two bonus tracks, making this overlooked release worth another look. Highly recommended for a dark and stormy night.
The Cocktail Slippers and The Feeders
The Cocktail Slippers “Joyride”
This Norwegian all-female band lands somewhere between Heart and Vibeke Saugestad, with a dash of Kiss-style theatricality. ‘Joyride’ might be Wicked Cool Records’ strongest release from the band yet, mixing hard-rock muscle with enough pop sparkle to keep things from getting too heavy. “Back Where You Belong” comes roaring out of the gate with a traveling guitar riff, heavy bass and a tightly packed rhythm section.
The title track follows with a seductive “na na na na na” sing-along chorus that practically demands audience participation. But “123” is where the band separates itself from the template. Its story of dumping a loser boyfriend and refusing to keep “wasting all my time” gives the song some personality beyond the usual rock posturing. “This Town” takes a more melodic pop approach, and its chorus is arguably the strongest moment on the album. The band knows how to write a chorus, even if some of the lyrics occasionally settle for rock ’n’ roll clichés. Thankfully, the vocals, harmonies and sheer enthusiasm keep the formula from feeling stale. The band delivers big guitars, strong harmonies, and enough attitude to make the ride worthwhile. Definitely music that deserves to be heard.
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The Feeders “Dark Days”
I’ve missed Sam Vicari, so seeing him back in action is a welcome surprise. Sam has been a steady power pop presence for years, building his sound around what The Big Takeover once called “effortless melodicism” and “punky, crunching guitars.” For The Feeders, he’s teamed up with Chicago guitarist Alex Rackow (Winona Driver), bassist Eli Caterer (Smoking Popes), and drummer John Perrin (NRBQ), and the chemistry is immediate.
“Back to Indiana” opens with crunchy guitars and romantic longing, hooking you before the first chorus is over. “Congratulations, By The Way” keeps the momentum going with another sharp, compact gem. “Mrs. Duluth News Anchor” has an early Radiohead edge, while “Out to Rot” brings in some of that jangly Teenage Fanclub magic. The Feeders specialize in raw, fuzzy power pop, where crunchy guitars and tight arrangements give the melodies plenty of bite. The songs are lean, melodic, and rarely crack the three-minute mark, so there’s little room for filler. There’s not much to complain about here. The Feeders know exactly what they’re doing, and they do it damn well. Sam Vicari is back, and he hasn’t lost his touch. Highly Recommended.