Rob Bonfiglio and The Honeymoon Stallions

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Rob Bonfiglio

Rob Bonfiglio “The Over Under”

It took eight years, but Rob Bonfiglio returns with ‘The Over Under,’ his most personal solo record to date. This is a focused, melodic album shaped by decades of experience, both on stage and behind the scenes. Bonfiglio built his reputation with Wanderlust, then expanded his reach working alongside Wilson Phillips and touring with legends like Brian Wilson. That background shows up here in subtle ways. The songwriting feels confident, the performances tight, and the production is crisp without sounding sterile. While not a straight power pop record, it tends to lean into more modern rock influences from the late 80s, with the bright “Runnin’ From Me” leading the way. The standout track next is “Monsters.” It hits hard, with sharp hooks and a punchy arrangement that recalls peak-era Butch Walker. It is the kind of song that sticks after one listen.

There are also strong supporting contributions, including vocals from Lola Bonfiglio on “Blame This.” Still, this is clearly Bonfiglio’s vision. He handles most of the instrumentation himself, approaching second half of the album with synth textures and a looser groove. While the title track has a lot of neat little passages, it still needs a better hook to keep you coming back. “Fade Away” shifts into melodic Americana, lifted by some fine pedal steel guitar from Xandy Chelmis. “Wandering Eyes” carries the DNA of Matthew Sweet in its crunching chords, and “Like A Drug” is an uplifting, soothing pop gem akin to Andrew Gold. Overall a very good album, and if you followed his earlier work or missed him over the past decade, ‘The Over Under’ delivers. Highly Recommended.

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THE HONEYMOON STALLIONS

The Honeymoon Stallions “Bona Fide”

It’s been nearly 14 years since Andy Goldberg has given us some new power pop. Lucky for us, his band The Honeymoon Stallions hasn’t lost a step, and ‘Bona Fide’ has him a little older, but just as melodic. “Stay A Little Longer” sets the tone right away. It’s upbeat guitar pop with a chorus that sticks after one listen. The band sounds sharp throughout, with Charlie Morgan on drums, Dean Basil on bass and backing vocals, Peter Dillon on bass, and Paul Umbach on keyboards. That lineup clicks best on “Kiss Me Quick,” where the rhythm section drives a tight, confident performance.

“Great Surrender” slows things down with a mid-tempo ballad that leans into early ‘60s influence. The melody carries the track, and the arrangement stays focused without overreaching. Elsewhere, “Strong Enough” and “Coming Around Again” tap into a Lannie Flowers-style approach, built on clean hooks and classic pop structure. Goldberg keeps his identity intact, avoiding current trends and sticking with what he does well. His songs also track a bit longer with several passing the 4 minute mark. The only drawback is the lead vocal sits a bit low in the mix at times, which softens the impact slightly. Bringing it forward would help a few songs land even stronger. Still, ‘Bona Fide‘ delivers what longtime fans expect. Highly Recommended.

Amazon | Kool Kat Musik

Power Popaholic Interview: Quinn Hawkins

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Quinn Hawkins


Quinn Hawkins comes across as direct and self-aware in this interview, and that tone carries through his album Eccentric. He talks openly about burnout, relationships, and the mental clutter that drives many of his lyrics. Songs like “Different Level of Hell” and “Can’t Wait to Go to Bed Every Night” reflect a grounded perspective, built on everyday frustration rather than big, abstract ideas.

What stands out is his balance of dry humor and honesty. He does not over-explain his work or chase trends. He focuses on writing songs that feel true in the moment. That approach gives ‘Eccentric’ a consistent voice, even as the themes shift. It is a reminder that strong songwriting still starts with clear thinking and personal perspective.

👉 Album review here!

George Usher and The Corner Laughers

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“George

George Usher “Stevensonville”

What happens when artists get older? Some keep chasing the same rush, like Cheap Trick still plugging in and turning it up. Others slow things down and focus on life’s little details, like George Usher with his latest release, “Stevensonville.”

This is a concept album built around a small-town landscape, filled with sharply drawn characters. From “Reverend Thomas Pardee,” warning his congregation about creeping dangers, to “Judge John Bailey,” consumed by suspicion, Usher paints a series of interconnected portraits. His worn-in vocal delivery fits the material, giving each story a grounded, lived-in feel. “Mitch Kunkel” has a strong melodic hook and the country-leaning ballads, especially “Mary Beth Merriwether,” show off Usher’s songwriting depth. “Benny Weed” closes things out on a more optimistic note. It is about taking a risk and leaving the past behind, which gives the record a sense of resolution without wrapping everything up neatly.

This is not a quick-hit power pop record. If you connect with the characters and see pieces of real life in them, it will stick with you. And like Benny figures out, there is always a way to move on when it is time.

Bandcamp only (vinyl)


“Corner

The Corner Laughers “Concerns of Wasp and Willow”

Northern California indie pop outfit The Corner Laughers return after a five-year gap, with Karla Kane steering the ship as usual. The opening track “Terra Mia” kicks things off with bright ukulele and a melody that sticks right away, a clear reminder of Kane’s strength as a songwriter.

You get the breezy, laid-back feel of “Dusking,” then a heavier, more sugary pull on “Larkspur Landing.” That mix of light and weight has always been part of their identity, and it still works here, even when the softer moments seem overly sweet. Songs like “Rainbow Cardigan” and “Dark Matter,” which showcase their positive and energetic attitude with a hint of environmental advocacy, are highlights here. The sunshine pop of “Crumb Clean” and “Universe Point” are also underrated gems. Overall a great album, and it’s highly recommended.

Amazon | Big Stir Records

 

The last of March: Rob Bonfiglio, Tamarack, Gooey Cookie, Friends of Cesar Romero, The Linda Lindas, Al Ham

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Bob Bonfigio returns with a really strong single, and I know an album review isn’t far behind. Next we have Tamarack, an indie pop band from Michigan, and it’s a freebie. Well they reference Alex Chilton on “Everything You’ve Heard,” so it gets bonus points in my book. It’s also got lots of lo-fi charm and harmonies. Gooey Cookie is a melodic punk grunge outfit, and I really liked “Bored to Tears” and “Wired Weird.” Next a high energy freebie from Friends of Cesar Romero, as part of a trilogy of albums for 2026, so far. These guys are super prolific! Next, The Linda Lindas do a Ramones version of an old cover “California Sun,” originally a hit by The Rivieras in 1963. And finally a special thanks to Joe Giddings for turning me on to this rare slice of 1970s pop, “Move Closer to Your World” by Al Ham. This iconic anthem was created by the same team that gave you the “Buy the World a Coke” commercial at the time. Young adults can look at the last episode of “Mad Men” for the reference.





Quinn Hawkins and The Monochrome Set

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Quinn Hawkins

Quinn Hawkins “Eccentric”

San Francisco musician Quinn Hawkins was a great find a few weeks ago, and I could not resist a full album review. His sound is strong with late-era XTC Andy Partridge sounds but isn’t limited to that single influence. The arrangements are well constructed, with chords and verses that catch you off guard.

The quirky “Can’t Wait To Go To Bed Every Night” is smart, catchy and so damn melodic. As the song increases its intensity, it goes totally into Dukes of The Stratosphere territory.  Solid guitar pop on “Love The Thought Of You,” and “(Back Off) I’m On Vacation,” with its unusual percussion. Ween influences come out on “Don’t Call Me Your Future,” “Different Level of Hell,” and the brilliant “Hawaiian Stress.” Out of the eleven tracks, none of them feel like filler. My favorite track “Souvenir in The Dirt”is the most XTC-like, but his piano pop ballad “Nothing Seems To Kill Me Now” starts off  quiet, then adds strings as it turns into something more dense, similar to 8×8. Overall a great debut that defies predictable pop, and a contender for my top ten list in 2026. Super highly recommended.

Amazon | Kool Kat Musik


The Monochrome Set

The Monochrome Set “Lotus Bridge”

Guest Review by Jack Serpick
By now, fans of The Monochrome Set have learned to be patient. After releasing ‘The Lost Weekend’ in 1985, the whimsical post-punk group broke up and their music has been sporadic ever since regrouping in 2012.  The Monochrome Set returns this month with the characteristically poetic and eclectic ‘Lotus Bridge’. The title track sets the dreamy mood that carries on through the album. Several tracks directly reference dreams in various capacities and the tunes themselves can be disorienting; they spin us, take us in unexpected directions and leave us upside down. It’s an engrossing experience. 

Frontman and lyricist, Ganesh “Bid” Seshadri, builds a mythical world and takes us on an adventure. Tracks like “Diaphanous” bring us into a city with a quick, pulsing beat. Songs in this camp flip-flop between highlighting intense drums and tamer keys or guitar ascents/descents; the group gets frequent comparisons to The Smiths. Songs like “Arcadia” are more mysterious and spacey, highlighting ethereal sounds. “Our Sweet Souls,” is a perfect album-closer, illuminating more drawn-out allegories. In  “Lotus Bridge,” crossing the bridge, whether between the past and future or a dream and the real world, entails leaving people who cannot follow: “We will stay where our broken bodies lay…we are happier this way…go and breathe in tomorrow, where the air will be so sweet.” As a whole the album portrays the contemplation and reminiscence that goes into leaving something behind. Highly Recommended.

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