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.
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.
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.
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.
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.
👉 Album review here,
If you care about power pop, and classic rock energy this one is worth your time.