The Cocktail Slippers and The Feeders

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The Cocktail Slippers

The Cocktail Slippers “Joyride”

This Norwegian all-female band lands somewhere between Heart and Vibeke Saugestad, with a dash of Kiss-style theatricality. ‘Joyride’ might be Wicked Cool Records’ strongest release from the band yet, mixing hard-rock muscle with enough pop sparkle to keep things from getting too heavy. “Back Where You Belong” comes roaring out of the gate with a traveling guitar riff, heavy bass and a tightly packed rhythm section.

The title track follows with a seductive “na na na na na” sing-along chorus that practically demands audience participation. But “123” is where the band separates itself from the template. Its story of dumping a loser boyfriend and refusing to keep “wasting all my time” gives the song some personality beyond the usual rock posturing. “This Town” takes a more melodic pop approach, and its chorus is arguably the strongest moment on the album. The band knows how to write a chorus, even if some of the lyrics occasionally settle for rock ’n’ roll clichés. Thankfully, the vocals, harmonies and sheer enthusiasm keep the formula from feeling stale. The band delivers big guitars, strong harmonies, and enough attitude to make the ride worthwhile. Definitely music that deserves to be heard.

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The Feeders

The Feeders “Dark Days”

I’ve missed Sam Vicari, so seeing him back in action is a welcome surprise. Sam has been a steady power pop presence for years, building his sound around what The Big Takeover once called “effortless melodicism” and “punky, crunching guitars.” For The Feeders, he’s teamed up with Chicago guitarist Alex Rackow (Winona Driver), bassist Eli Caterer (Smoking Popes), and drummer John Perrin (NRBQ), and the chemistry is immediate.

“Back to Indiana” opens with crunchy guitars and romantic longing, hooking you before the first chorus is over. “Congratulations, By The Way” keeps the momentum going with another sharp, compact gem. “Mrs. Duluth News Anchor” has an early Radiohead edge, while “Out to Rot” brings in some of that jangly Teenage Fanclub magic. The Feeders specialize in raw, fuzzy power pop, where crunchy guitars and tight arrangements give the melodies plenty of bite. The songs are lean, melodic, and rarely crack the three-minute mark, so there’s little room for filler. There’s not much to complain about here. The Feeders know exactly what they’re doing, and they do it damn well. Sam Vicari is back, and he hasn’t lost his touch. Highly Recommended.

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Sept singles, EP, and such: Willie Dowling, Stephen Kohler, Geoff Palmer, Gentle Hen, Mitch Easter, Kurt Baker, Chris Church

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We start off with Willie Dowling being a “Rat in a Maze” with a jaunty bounce about how small the world is, and how modern life is really a mess. Next, Stephen Kohler shares an energetic single “Step Into Your Shoes” with some interesting key shifts in the melody, and unexpected breaks. Very cool! Then, everyone’s favorite punk popper Geoff Palmer wonders about Billy Corgan (Smashing Pumpkins) and “Where Did His Hair Go?” complete with a conspiratorial rant midway through. Then we have a jangling gem from Gentle Hen. “Comfort Zone” is a freebie single in advance of the new album ‘Wink.’ It’s been ages since I heard some solo work from the legendary producer/musician Mitch Easter, but “Wall of Mist” does the job, and kept me engaged. Next Kurt Baker rips out a 70-styled rocker about “Wonder Woman” and I’m so glad Gene Simmons is retired! Finally, the determined Chris Church is back with a Suprise EP. The opener is a banger and “New Way Down” features cascading riffs and deep percussion. A great EP indeed! Enjoy!

David Myhr and Love Hearts

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david myhr

David Myhr “Everything Is All About You”

David Myhr has been a reliable presence since his days with The Merrymakers, and his solo albums have shown he has plenty of melodic firepower of his own. On “Everything Is All About You,” he turns outward, offering a collection of songs about taking chances, moving forward, and making the most of life.

“Say Yes” gets things off to a strong start, with a joyous carpe diem message, catchy horn lines, and Myhr’s trademark layered harmonies. “Take a Run at the Sun” follows with the same positive outlook at a slower pace. “Summer Summer Summer” has plenty of bounce, though the song feels somewhat lightweight. “Milk and Coffee” is more substantial, a Gilbert O’Sullivan-style gem about the small details of starting a new phase of life. The whistling melody gives it plenty of charm and makes it one of the album’s standouts.

The second half takes a sharp turn, slowing the pace and moving away from straightforward power pop into adult-oriented pop territory. “Continental Drifter” heads into ’50s lounge, while “Doodlebug” is a cute song for his child. These departures show Myhr is unwilling to stay locked into one formula, though some of the stylistic experiments feel less essential than the stronger material earlier in the album. Even when the songs wander, Myhr’s melodic instincts remain intact. There’s enough personality and songwriting craft here to keep his solo journey worth following. Highly Recommended.

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radio days

Love Hearts “Love Hearts Forever”

Norwegian punk-pop with enough sugar to rot your teeth and enough energy to get you moving. Love Hearts kick things off with the fast-paced “Sugar Sugar,” while “Smile” follows the Ramones template, adding enough harmonies and melody to keep your head bopping. They take things up another notch with “Occupy My Heart,” where his love “is stuck in my head, like a catchy pop song.” The chorus delivers a hook that sticks.

Between the sub-minute-and-a-half punk blasts, the band slips in some stronger pop tracks, including “Be Good,” “Crush On You,” and “With You.” This isn’t rocket science, and some of the short, chorus-free punk tunes start to blend together. Still, the better songs rise above the noise and show the band has a knack for melody. Fans of Vista Blue will want to add Love Hearts to their playlist. A fun, energetic album that deserves to be heard.

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Radio Days and Tim & The Turmoil

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radio days

Radio Days “Off the Record”

Radio Days are back, and the sound is back to solid power pop. “I Won’t Give Up” has all the hallmarks of a great power pop single, with sharp riffs, handclaps, and harmonies driving the song forward. That approach carries throughout the album, delivering short, punchy songs with plenty of energy.

“One Heart One Love” and “Another Lonely Night” keep things moving with songs under three minutes, but the consistency starts to work against the band as several tracks begin to blur together. Most songs stick to boy-loves-girl cliches but on “Keep Me Straight” it’s about staying sober. “Driving Through the Night” and “I’ve Got a Song” also stand out more with their minor chord shifts and strong hooks.

It’s difficult to review an album where everything is done “right,” yet it leaves so little of an impression. Radio Days are a bit like cotton candy here, lots of sweet fluff that goes down easily, but once the album is over, I honestly couldn’t remember a melody. The band clearly knows the power pop formula, but this time around they follow it so closely that the songs rarely develop their own identity. Still, this is a good album that most power pop fans will enjoy.

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Tim and The Turmoil

Tim and The Turmoil “Bring the Friction”

“Shockwave” opens with heavy chords and plenty of gravitas, delivering solid rock in the vein of Deep Purple or Pearl Jam. “More Time” pulls things back for a simpler mid-tempo rocker about the passing of a friend before the minor-key crunch of “The Warnings” kicks things back up. Lead singer Tim Wilkins has a crisp vocal style that works well here, and the hooks are solid.

“The Warnings” is one of the album’s stronger tracks, sounding almost like a metal song translated into plain English, with the lyrics pushed clearly to the front. “Gettin Through” takes a biographical look at the band, built around the basic formula of “2 guitars, bass and drums.” Other worthwhile tracks include “Write You A Letter” and “Open Road.” There’s nothing wrong with any of this, but there’s also little here to challenge the listener or break new ground. The playing is competent, the songwriting is solid, and the production is clean, but much of the album feels predictable and lacks any urgency. Fans of alt rock akin to comfort food will enjoy a serving.

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Coke Belda and Professor and The Madman

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coke belda

Coke Belda “9”

Coke Belda, a Valencia, Spain native who settled in Pittsburgh, has been serving up finely tuned power pop since 2013. Across nine albums, he has stayed true to his love of melody, harmony, and polished pop craftsmanship, with The Bee Gees, Jeff Lynne, and The Beatles among his key influences. On this latest release, those influences remain clear, but Belda puts his own sugary stamp on them.

Coke’s approach is relaxed and smooth, allowing the melodies to take center stage. “Golden Days” gets things off to a strong start with soaring strings and lush harmonies, while “Everyone Needs You” has an almost ethereal quality, built around layered guitars and beautifully stacked vocals. Then there’s “Beach Life,” which positively shimmers. If you’re looking for the perfect song to accompany a honeymoon video, this one practically begs for it.

“The Music Is Waking Up” sounds like a lost Gilbert O’Sullivan song, with its charming piano-led arrangement and lyrical plea for music that retains a human touch in the age of AI. “Velvet Sunrise” features some clever harmonic touches in the chorus, while “World Without Fear” and the jaunty “Keep on Wandering” provide more highlights. There’s no denying this album leans heavily toward the sugary side of pop, and some listeners might find the sweetness a little excessive. For fans of classic pop craftsmanship, lush harmonies, and unabashed melody, this is another winning entry in Coke Belda’s growing catalog. Highly recommended.

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AProfessor and The Madman

Professor and The Madman “Dreamworld”

Alfie Agnew and Sean Elliot came up through the Southern California punk scene, playing in several bands before befriending Rat Scabies of The Damned. When former Eddie & The Hot Rods bassist Paul Gray joined in, Professor and the Madman was born. Their latest concept album is a love letter to mid-’60s psychedelia and pop, complete with the “Revolver”-inspired artwork.

“Dreamworld” opens with simple piano chords before bursting into swirling psychedelia and a “ba ba ba” chorus. “Tolerant World” charges forward on a forceful guitar riff, and “Mental Tape” has a playful, campy quality, with vocal inflections reminiscent of Smash Mouth’s retro lounge style. Recorded at Abbey Road Studios, the production is rich and polished without losing the album’s vintage character.

“The Light” delivers strong hooks and a touching lyric about trying to get through a painful time. The Beatles influence is unmistakable on “12 Strings and Tambourines,” which borrows the hypnotic drum-and-bass rhythms of “Tomorrow Never Knows.” My favorite track is “Adams Street,” a perfect blend of dreamy vocals, nostalgia, and memorable guitar. Its lyric, “We’d create fictitious bands/Give them faces, names, and plans,” neatly explains the album’s concept. Professor and the Madman have built their own dreamworld, and it’s a fun place to visit. Highly Recommended.

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