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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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!

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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 “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.

Amazon

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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

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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.

Amazon

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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.

Amazon

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