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.
