Australian power-pop legend Dom Mariani(The Stems, DM3 and The Someloves) talks about his career, his many bands and about his new solo LP “Apple of Life,” and the creative process behind his songs.
Australian guitarist Dom Mariani is one of the most popular musicians down under, having fronted several legendary bands like The Stems, DM3, Datura4 and The Someloves. His second solo album takes all these influences and adds very lush orchestration to his latest effort âApple of Life.â Mariani opens with âBreakaway,â a majestic Phil Spector-ish melody loaded with harmonies, and then continues on the title track. With âApple of Lifeâ he uses a strong rhythm, as it shimmers with those irresistible hooks. Songs opine on global anxiety with âWorld on Its Headâ and âSad State of Affairs.â Eventually things slow down with country-styled âWhere Do Lovers Go?â adding a slide guitar flourish. This approach is also on âTake it All Back.â The melodies on the second half of the album vary stylistically from heavier rockers (âBreaking Pointâ) to sunny love songs (âOh Angeline,â) and are performed with meticulous craftsmanship. Overall a highly recommended album.
The High Frequencies is Lisa Mycholsâ latest vehicle, and it fits her like a custom-tailored suit. Joined by Tom Richards, Scott Richards, and Ricky Tubb, she dives straight into high-voltage power pop with âTonight and Every Nightâ and âNothing Really Stays the Sameââboth immediate, hook-loaded ear-grabbers.âSee You Againâ channels the punk-pop spark that made The Masticators so beloved, and the rest of the album shifts effortlessly between garage grit and new wave gloss. Itâs the ideal setup for Mychols: no stylistic boxes, just a band agile enough to follow her melodic instincts wherever they lead.Thereâs zero filler, and the closer, âNexus Star,â is a stunner. This is easily a contender for the year-end top ten.
Los Angeles quartet, Humbug, is Alex Cubillos (Lead Guitar), Ryan Bouimad (Bass), Aidan Cole (Rhythm Guitar) and Ardem Gourdikian (Drums). A solid opener with the indie rocker âOpen Season,â and Aidan Cole’s vocal has an earnest quality similar to Ray Davies here. âQuit With Suzyâ and âBarbara Saysâ continues the anxiety fueled observations with a great hooks.
Cubillosâ arrangements are compact and personal here, especially the ballad âI Know the Story.â At times, a Weezer-like burst of energy comes out like on âNinaâ and âGalaga,â and these are super enjoyable to listen to. Overall, Open Season, bursts through the noise with gritty authenticity and an infectious energy that commands attention. Highly recommended, and itâs a rare Bancamp freebie (while it lasts)! Donât miss it!
Milwaukeeâs long-running power-pop band Trolley release A Carnival of Grey and White, their fifth full-lengthâand it retains the bandâs trademark blend of psych-tinted jangle, punchy Mod-era pop, but thereâs a deeper emotional undercurrent this time. Midway through making the album, guitarist/vocalist/producer Mike Perotto passed away, a loss that couldâve scrapped the project entirely.
Instead, Paul J. Wall and Terry Hackbarth pushed forward, layering Mike’s songs with a sense of purpose that sharpens the bandâs already urgent sound. The opening title track crackles with vibrant energy, and the following songs contain all the ingredients that made Trolley a vibrant band. All three band members are featured vocally, their performance carries a reflective edge on âFather Time (Will Take)â and the mid-tempo âStarlight.â Overall, an album that deserves to be heard.
NYCâs self-proclaimed pigeon-whisperer Parent Teacher delivers a lo-fi bedroom-pop set that should land well with fans of Mo Troper and anyone who appreciates DIY pop with some rough edges. The album opens on âWild Emotion,â itâs understated vocals, fuzz-smeared guitars, everything barely hanging togetherâuntil it finally snaps to life with the excellent âFire Door.â That track rides a chugging drum pulse and stacked harmonies that cut through the haze and show exactly what Parent Teacher is capable of when the hooks hit.
âStepping Stoneâ is another keeper, a slow-burn mood piece that gradually piles on layers until it feels like the room is vibrating around you. The same immersive build shows up in âHysterica,â where the grungier textures give the album some welcome bite. Not every choice lands, yet thereâs real charm in the grit and the gloom. Check it out.
Iâve been covering Vegas With Randolph since 2008, so this career-spanning Drops Of Gold feels like catching up with old friendsâand discovering just how much theyâve grown. This compilation distills years of their hook-crammed, melodic power pop into a single place: greatest hits, fan favorites, and several digital bonus tracks, all bundled together.
From the first moments you hear âThe Better Partâ with those signature harmonies and bright guitar choruses, youâre reminded why VWR are one of my favorite bands. Thereâs no shortage of smart craftsmanship hereâsongs that sound effortless but carry the weight of experience. Tracks from their best albums ‘Above The Blue’ through ‘The Future Store’ are represented, and what stands out is how the bandâs core strengths remain intact as their sound matured. With 34 tracks total, you always risk flattening the rough edges that made the band special in the first place. But what I hear is that these guys are having a great time playing together, particularly on tunes that sound like a non-punk version of Bowling With Soup mixed with Fountains of Wayne. Songs like âN.S.A.,â âWomen in Airports,â and âThe Girl Holding Out For Meâ are all great examples of this.
‘Drops Of Gold’ is a solid retrospectiveâproof that Vegas With Randolph havenât just been churning out songs; theyâve been refining their craft the whole time. For old fans, itâs confirmation of why you kept listening, especially the great new bonus tracks like âPerfect Silences.â For new listeners? Itâs a great introduction to a band with genuine power-pop heart. Super highly recommended.
Asbury Parkâs The Modbeats have been on a roll this year, dropping one infectious single after anotherâand now, with ‘Ballad of a Starving Artist,’ they deliver the full payoff. This debut full-length brims with the kind of energy, wit, and melodic punch that made classic Brit-influenced power pop so timeless. Itâs an album that feels both nostalgic and modern, confident in its craft and absolutely bursting with hooks.
From the opening chords, âRocking Chairâ blends sharp, chiming guitars with a swaggering âcooler-than-thouâ attitudeâimagine early Oasis channeling Marshall Crenshaw. Then âFair Weather Friendsâ injects a bit of Beatles DNA, balancing tuneful verse with and solid chorus. Itâs the kind of song that sneaks up on you and sticks around all day. Stylistically the band stretches out just enough to keep things fresh, from the bittersweet memories of âShadow Oak Driveâ to the driving riffs of âFrankie.â The jangling âSome Lonely Placeâ is another highlight, taking the spirit of the â60s mod scene and running it through a 21st-century filter. Smart, stylish, and brimming with confidence, this is one of the yearâs standout debuts. Highly Recommended.