Nick Frater and The Allwells

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Nick Frater

Nick Frater “Nick Frater”

Nick Frater is back with another collection of smart, melodic pop, and he wastes no time getting things going on this self-titled LP. “Another Night on the Town” opens with a warbling guitar riff, handclaps and a strong melody that immediately pulls you in. “Mirror Mirror” turns inward, with Frater trying to read the mood of a party before finally admitting, “click twice if you wanna go home.”

“Nothing to Lose” is another standout, built around a catchy piano melody that occasionally recalls 10cc. “Two of a Kind” uses an echoing guitar riff between the choruses, giving the song an extra layer of character.“Nevermore” kicks off the second half with a faster pace and a knowing nod to The Move’s “I’m a California Man.” Frater keeps adding little details throughout the album, and several songs reward repeat listens, like “Every Trick in the Book,” and “Lazy Castles.” Not every track here is gold, but Frater continues to prove he has plenty of ideas left in the tank. When the songs connect, they’re smart, melodic and packed with character. Highly recommended.

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The Allwells

The Allwells “The Allwells”

What does modern power pop sound like? The Allwells have the answer, and they deliver it with enough hooks, jangling guitars and rock ’n’ roll swagger to make the old-school faithful take notice. The Canadian band draws heavily from the early ’80s catalogs of Elvis Costello, Tom Petty, The Jam and The Cars, but this never feels like a nostalgia exercise.

The songs sound fresh, immediate and familiar in all the right ways. Lead singer Sam George has a voice reminiscent of Squeeze’s Glenn Tilbrook, and after years of playing in cover bands, the Allwells have absorbed plenty of classic rock and pop by osmosis. The opening track, “Any Day Now,” leaps straight into your brain and hooks you immediately. The jangling guitars, energetic chorus and earnest lyrics make it a perfect single. “Walk All Over You” brings dense instrumentation and steadily building verses that pull you in from the start. “Greta” has a fresh Costello vibe, telling the story of life in a rock ’n’ roll band without sounding like a period piece. The band switches gears on “Nice,” a mid-tempo narrative with an easygoing verse that sways into an uplifting chorus, dripping with cool. Overall, this is a strong debut from a band with the songs, chops and personality to reach a much bigger audience. Don’t miss this one.

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Power Popaholic Interview: Bleu

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Bleu is back, and there’s a LOT to talk about! In this exclusive Powerpopaholic interview, singer, songwriter, and multi-instrumentalist Bleu McAuley joins me to discuss his new album, “Sargent Pepper Grinder.” We get into the inspiration behind the album, Bleu’s creative process, his musical influences, and what keeps him pushing forward as a songwriter.

But here’s the real tease: Bleu has some major news to share about The Major Labels and L.E.O. These are two projects with a special place in the hearts of power-pop fans, and what’s coming next is worth hearing straight from Bleu himself. From his solo work to his contributions to some of the most inventive pop projects of the past few decades, Bleu has built a career full of infectious melodies, studio experimentation, and a knack for writing songs that stick with you.
Watch the full interview to hear the latest, get the inside story, and find out what’s next.

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Autumn Singles: Steven Wright Mark, The Pozers, Sharp Pins, Plasticsoul, The Spongetones, Lito and The Shepherds

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Steven Mark-Wright is back with a new song. A guy with a “Projector” for a head? Yeah, it’s a metaphor. Just go with it. The Pozers deliver a bouncy power pop single just in time for IPO’s upcoming East Coast shows. “The Separation” is a Beatlesque gem, packed with harmonies worth soaking in. The Sharp Pins return with an advance single from their new EP, Electric My Icebox, serving up more of that swirling, echo-drenched goodness. Over at Big Stir Records, Plasticsoul’s “J’adore” brings the rock, while The Spongetones‘ “The Music At The Close” offers a slow-burning beauty reminiscent of the late-era Hollies. Finally, a great FREEBIE from Lito and The Shepherds. Just sit back and absorb the vibes of “The Flow.” My inbox is overflowing with new music, so expect more reviews soon!

The Goods and Ventilator

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The Goods

The Goods “Goodbye Summertime”

Oakland’s The Goods have been steadily raising their game, and this might be their strongest showing yet. The echoing verses of “Lazy” open the album with a neo-psychedelic shimmer, its layered production immediately establishing a warm, summery mood. “Love You More” keeps things sweet, with a lightness reminiscent of The Lemon Twigs. The repeated line, “strip the leaves from the trees, steal the honey from the bees,” becomes a mantra as the song chugs and jangles along. From there, each track builds naturally on the last, pulling from CSNY, The Beatles, The Beach Boys, and Teenage Fanclub without getting trapped in any one influence.

“Minor Key” sways along on a light beat, while “Don’t Worry” carries plenty of Beach Boys emotional touch points without sounding like a carbon copy. The title track shifts toward jangly folk, recalling Scotland’s Dropkick, while “Driving” is another fresh pop nugget with its own character. With 14 tracks, The Goods maintain an impressive batting average. The songs have different tones and moods, yet the album never loses its sense of identity. The Goods have put together an album filled with one good pop song after another. It’s going on my Top 10 list for the year.

Amazon


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Ventilator

Ventilator “Reseda Spleen”

The ’90s left behind plenty of great records, but some disappeared so completely you’d think someone buried the master tapes. ‘Reseda Spleen’ is one of those albums. Matt Devine came to Ventilator fresh from his run with L.A. power pop band Permanent Green Light, alongside bassist Michael Quercio (The Three O’Clock). After the band dissolved, Devine bought a Tascam recorder and began working on what would become ‘Reseda Spleen’ in 1996, with mixing handled by legendary producer Earle Mankey (Sparks, The Runaways).

Ventilator draws a direct line to Alex Chilton’s half of Big Star, blending fuzzy guitars with a melodic sense of gloom. “The Tailor’s Lament” opens with thick guitar riffs, immediately revealing the album’s lineage, with shades of The Posies and Velvet Crush. “Landsdowne” shifts gears into something quieter and more emotional, carrying an easy going California feel. The aching “Happy New Year” continues in that reflective vein before “In Mysterium” brings the fuzz back in, landing somewhere in Matthew Sweet territory. The album’s ebb and flow works well, moving between heavier guitar-driven moments and softer, more introspective songs. While this isn’t grunge, the darker mood of the era hangs over the record, giving it a distinctly ’90s atmosphere. The remastered edition adds two bonus tracks, making this overlooked release worth another look. Highly recommended for a dark and stormy night.

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Power Popaholic Interview: David Myhr

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It’s been 5 years, and once again I sit down with the former Merrymakers songwriter to talk about his remarkable 30+ year career, his new album “Everything Is All About You,” and his continuing obsession with melody, harmony, and timeless pop songwriting. David talks openly about the making of his third solo album, working with an incredible cast of musicians and songwriters, and why collaboration has become such an important part of his creative process.

David also explains how songs begin for him, why he prefers to work with lyricists, and his philosophy of making music he himself wants to hear. “Everything Is All About You” features everything David Myhr fans have come to expect: soaring melodies, layered harmonies, sophisticated arrangements, and a deep love for the great pop records of the past, while still sounding fresh.

We also get into some of the standout songs, including “Summer Summer Summer,” “Take a Run at the Sun,” “Say Yes,” “Continental Drifter,” “Someday Soon,” “Milk & Coffee,” and the album-closing “Finally,” which David jokingly describes as a follow-up to “Yesterday.” Visit the review here