Natives of Harrisburg, Pennsylvania The Jellybricks have a lengthy rap sheet and have always been a very strong power pop band. After joining Wicked Cool Records in 2019, the ‘Bricks reached their full potential, and with every additional release, they improve their sound. It begins with the upbeat song about misinformation, “Age of Stupid,” very akin to classic Green Day. “Dreaming In Stereo,” the title track, is a showcase of the band’s full sound, loaded with hooks and harmonies.
But the confessional “Sound of a Broken Heart” is a surefire hit here, packed with emotion and a great hook. The band’s music has evolved to include the contemporary rocker “All About You,” which features rapid-fire lyrics and groovy licks. “Monday’s Never” feels like a surly response to The Cure’s “Friday I’m In Love,” and while the second half doesn’t quite match the fantastic first half, there are plenty of gems here, including “Enchanted I Am,” the long player “Crazy Weather,” and the brilliant closing “Shine On.” Without a doubt, highly recommended.
Australian musician Richard Davies has long been under the radar with his bands The Moles and Cardinal, yet his music has built a solid cult following. The Flaming Lips, for example, covered his music and supported him back in 1995. Davies creates subtle, melodic indie rock tunes that are occasionally dissonant and melodic at the same time. He was a great interview early last year on his odd history in the music business.
With Composition Book, he strums acoustic guitar and adds female vocals on the opener “Feel Like A Dollar.” Davies delights with his incisive humor and lyrical weirdness on this opener, but it sticks. The simple piano repeated sequence on “Alvin Hollis,” grows organically with off kilter Velvet Underground touches, Who call outs “Lost Generation” reminds us of how “out there” Davies can be. This is an album to experience as a work of abstract music art. Highlights include “Tragedy,” “Since I Don’t Know When,” and the acid-laced “Blow Yer Mind.” Like all of his Moles music, this isn’t for everyone. But those in the know will absolutely love it.
Joe Giddings (Star Collector) has finally returned with a follow-up to ‘Better From Here’ after more than five years, and it’s safe to say that the wait was absolutely worth it. His new album bursts forth with power-pop energy, showcasing his signature blend of infectious melodies, shimmering harmonies, and dazzling guitar work. The album kicks off with “Tonite Tonite,” a brief but thrilling opener in the grand tradition of the Raspberries. The hooks are razor-sharp, and the harmonies soar, setting the stage for what’s to come.
“My Riviera” stands out as an early highlight, serving as a joyful recounting of Joe’s rock and roll journey. Packed with clever references—from “Jellyfish milk in his tea” to his beloved guitar—it’s a love letter to the music that shaped him. Listeners with a keen ear will pick up shades of Brian May (Queen) and Randy Bachman in his guitar phrasing, adding depth to an already irresistible track. “Then Came Madeline” shifts gears with its jangling strum and heartfelt melody. It would feel right at home on a classic Posies record, demonstrating Giddings’ knack for crafting emotionally resonant songs wrapped in shimmering production.
“David Stepanski” and “Adrenalin” paints a vivid portrait of childhood memories, complete with the kind of detail that makes it feel deeply personal yet universally relatable. Meanwhile, “Song at the End of the World” presents an imaginative concept—an critic interview set to music—further showcasing his creativity and storytelling prowess. The Jellyfish vibe is so strong through the entire album, and Joe’s ability to blend these influences with contemporary energy results in a collection of songs that feel both timeless and immediate. It’s an album that rewards repeated listens, and is the first one to make my new 2025 best album list! Super Highly recommended!
In 1975, power pop pioneer Badfinger was at a creative peak, however their masterwork ‘Wish You Were Here’ was taken off the shelves amid a fog of contract errors and managerial blunders. Still under contract to Warner Brothers, they needed one more album done, but it was too much for Joey Molland. He left the band, and Bob Jackson took his place as they created ‘Head First.’
Both lead songwriters Pete Ham and Tom Evans offered good tunes, but the record company rejected the finished package. Pete Ham committed suicide shortly after. However, the album was eventually released in 2000 and depicts their painful experience in the music industry. In fact, the standout tunes “Hey Mr. Manager,” “Moonshine,” and “Rock ’n’ Roll Contract” are likely Tom Evans finest songs. With the 50th anniversary of this album, Bob Jackson meticulously remastered each track. It sounds great overall, and features Ham’s excellent songwriting on “Lay Me Down” and “Keep Believing.” Bob Jackson adds the Ham-penned instrumental “Saville Row” as a bittersweet coda. Highly recommended.
Brooklyn’s own The Davenports return with an album that showcases Scott Klass’s talent for crafting thoughtful, understated pop in a world often dominated by bombast. Klass has long been a master of quiet storytelling, and this latest collection proves that his knack for melodic balladry is as sharp as ever.
The title track, “When Everything’s Over,” sets the tone with a subtle groove, drawing the listener in with a gentle pulse that feels both intimate and reflective. Slowing things down is where Klass really shines, and songs like “I Am Lying,” “Full Length Mirror” and “I’m Not Gonna Bother You” are when his storytelling is most moving. “We’re Talking About You” picks up the tempo, injecting some welcome energy into the mix. But at its core, ‘When Everything’s Over’ is a testament to the power of restraint—a beautifully understated record that doesn’t need to shout to make itself heard. Fans of literate, melodic pop (like Elliot Smith) will find plenty to love here. Highly recommended.