Another month in the books, and we welcome October with a new anthology collection from Boston’s Speedfossil, starting with a new track “Peg Leg.” It’s got a choice f-bomb in the chorus, so pay attention! Not sure where I found Silk Cut but the opener “Good Morning” was a brisk reminder that fall is coming. Next, the legendary punk queen Cindy Lawson‘s “The Reckoning” has an energy and attitude. Next we again recognize Richard Turgeon fresh off his amazing ‘Shungite’ EP we have a freebie Pavement cover of “Date with IKEA.” Next, Dave Cope and The Sass pop in with a quick rocker “Don’t Let My Dreams Come True,” like a grunge tune without the grunge (can you picture an alternate universe where Nirvana would cover this?) Finally, a shout out to Kool Kat Musik for the compilation POP AID 3. A good cause and good music always are a perfect match, plus you have a new Pozers song! How cool is that?
Category: Power Pop Review
Benny J. Ward and The Sonny Wilsons
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.
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.
Chris Lund and David Woodard
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.
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.
September singles and more: Vegas With Randolph, Icecream Hands, Smash Palace, dt’s, Elena Rogers, The Whiffs, Joe Giddings
Midway through September and I’m falling way behind, but some great things are brewing. Vegas With Randolph is giving us a massive “Greatest Hits” album with several new tracks, and “Perfect Silences” is one of them. Keep your eyes peeled! More great bands are returning, including the great Icecream Hands from Melbourne, Austrailia going “Back On The Road” and the venerable Smash Palace with “Bitter Blue.” But its not all album previews, as New Jersey’s dt’s have an energetic melody with “Sun Shines Down.” Look out for more from these dudes! Multi-instrumentalist Elena Rogers is back with another A/B side with some help from Jamie Hoover (Spongetones), check out the jaunty “9 Lives.” Despite the tease of the title and cover, The Whiffs do not cover Devo. But it’s the finest garage power pop you’ll hear with an entire EP in a single track. And surprise! Joe Giddings follow up to this year’s super recommended album ‘Stories With Guitars’ is here already! Check out “Stay in Nowhere.” More reviews coming soon!
Davey Lane and Static Jacket
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.
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.