Category: Top Ten of 2026

Softjaw and Letters of Acceptance

powerpopaholic
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!

Amazon

–

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.

Amazon

Dropkick and The Morning Line

powerpopaholic
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.

Amazon

—

‘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.

Amazon

The Goods and Ventilator

powerpopaholic
The Goods

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.

Amazon


—

Ventilator

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.

Amazon

Ryan Hamilton and Onesie

powerpopaholic
“Ryan

Ryan Hamilton “Haunted By American Dreams”

Ryan Hamilton returns with renewed purpose. After 2023’s ‘Haunted By The Holy Ghost,’ he stepped away from music to focus on family, radio, podcasts, and other pursuits. The break proved temporary. As Hamilton explains, “‘Haunted By American Dreams’ is really about chasing something you were told would save you, and realizing it doesn’t. It’s the echo of small-town promises, late-night highways, and all the ghosts of who you thought you’d become. I didn’t want to make a perfect record. I wanted to make an honest one, even if it rattles a little.”

That honesty drives the album. Hamilton explores persistence, disappointment, and resilience without losing his gift for memorable hooks. The opener, “Dreaming Screaming,” sets the tone with crunchy guitars, soaring melodies, and an infectious chorus. “Over Again” carries the same melodic punch while embracing the idea of starting over. “That Girl” is built for singalongs, with one of the album’s strongest choruses, while “The Come To Jesus Moment” recalls Hamilton’s earlier work, blending his Texas roots with sharp power pop songwriting.

The performances feel lived in, the lyrics avoid easy answers, and every song serves the album’s central theme. There is no filler here. Fans of Tom Petty, Billie Joe Armstrong, and Adam Schlesinger will find plenty to admire. This album stands among Ryan Hamilton’s strongest releases and marks an impressive return. Easily makes my top 10 list for 2026.

Amazon


—

“Onesie"

Onesie “Way Thousand Bump to the Sky”

Brooklyn’s Onesie continues to push its sound forward. What started as quirky slacker rock from the trio of Ben Haberland, Rob Lanterman, and Jason Bauers has grown into a confident, finely tuned band that improves with every release. The opener, “World Stepped On A Mirror,” immediately grabs your attention with its shimmering guitar textures, driving bass line, and irresistible momentum. “Twilight Years” follows with a thick wall of fuzz and a descending chord progression that lingers long after it ends.

As precise as the performances are, Onesie never sounds mechanical. “Tryptophantastic” shifts effortlessly through melodic twists that recall Sugarplastic and XTC, while “Heckscape” delivers the band’s trademark offbeat humor and melodic charm. The hooks may not hit with the same immediacy as 2023’s ‘Liminal Hiss,’ yet the songwriting feels stronger from start to finish. The album moves through a wide range of moods, peppered with clever pop culture references and unexpected turns. Like Onesie’s previous releases, it rewards repeated listens, revealing new details and deeper connections each time. Highly Recommended.

Amazon

The Greenberry Woods and The Pretty Graves

powerpopaholic
The Greenberry Woods

The Greenberry Woods “It’s All Good, Sugar…”

Maryland power-poppers the Greenberry Woods were a big deal back in the 90s. And this is a rare case of a comeback that matches expectations. Brothers Matt and Brandt Huseman having previously revived their band Splitsville last year, they return to their musical roots with original member Ira Katz. The opener even expects us to “rewind and go back in time” on the opening track “Summer Song,” and it feels like they never left.

“Waiting ‘Round For Something To Go Wrong” was demo from those early days that’s fleshed out here, but other songs resonate and feel better composed like the solid “Whenever You Want Me Too,” loaded with handclaps, harmonies, and that crisp jangling guitar. Highlights include “Very Good Year” and the very self-referential “All I Want Is You,” with a few call outs to some influences in the lyrics and the densely packed “December Boy,” with its piano solo. The strongest ballad here “That Won’t Make You Love Me” is all about rejection, with some great backing harmonies floating behind the lead vocals. Likely the best song here is the single “The One That Makes You Happy” which starts out like a Green Day song and shifts to a great chorus. Not everything clicks, but enough does and it’s great to have this band back in the power pop fold. Highly Recommended.

Big Stir Records | Amazon

“The

The Pretty Graves “The Pretty Graves”

The Pretty Graves are a Connecticut-based underground art-rock quintet renowned for their blend of unadulterated melodies, soul-baring lyrics, and fuzzed-out guitars. The indie rock density is evident on the opener “Bending Reeds” with its chugging guitar rhythm and solid harmonies. Lead singer Chris Listorti has a deadpan approach to vocals, but this contrast works even better on “Do It Again” with the gentle, dream-like beat and those deep guitar riffs feel more important, making this the most accessible single.

“Feels Good” is a satirical anthem on modern cynicism and apathy, with lyrics that tell us “everything sucks, it feels good,” it slowly becomes a catchy chant “it feels good, the more you learn, the less you know.” There is no filler here, and “Queen of Lies” and “Walkin’” each have a hypnotic quality. “Each Step” is another gem as the melodic guitars get louder in some way reminding me of Disq, but slower and more polished. Some bits of psych pop stream in on “Up On The Hill,” and the closer “Nothing Passes Like Time” has the most melodic harmonies on the album. The themes of love and loss will grow on you with each listen. Overall, an excellent album and candidate for my Top Ten list of 2026. Highly Recommended.

Amazon