The Rallies “No Better Time”

Seattle’s The Rallies deliver an effortlessly melodic sound that balances warmth and energy without it feeling too lightweight. Opening track “This Time” is packed with hooks and instantly memorable, while “I Believe” builds on that momentum with an uplifting message and added guitar punch. The band’s sound recalls the melodic craftsmanship of Squeeze, The La’s, and even a touch of Deadeye Dick. “Comes and Goes” is a great example; a slow building simple verse that leads to an irresistible “la la la” chorus.

Produced by Johnny Sangster at Crackle & Pop, the album showcases a cohesive performance from Steve Davis, Lee Brown, Ben Heege, and Brian Chase.  The album’s second half leans into its ’60s-inspired jangle, with the rich harmonies of “Love” and the Monkees-inspired “You Set Me Free.” Additional highlights include the minor-key gem “Be With You” and the self-assured “Not So Much Anymore.” The Rallies never stray far from a strong melody, and this one is highly recommended.

Amazon

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Hypnolovewheel “Parallel Universe”

Ahead of their time, Hypnolovewheel spent the late ’80s and early ’90s crafting a distinctive blend of garage rock, noise pop, post-punk, and psychedelia. Featuring guitarists Steve Hunking and Dave Ramirez, bassist Dan Cuddy, and drummer Peter Walsh, the band occupied a space somewhere between The Pixies and The Presidents of the United States of America. Despite releasing several excellent albums, they never received the wider recognition they deserved. The new compilation, ‘Parallel Universe,’ makes a strong case for rediscovery.

Across 22 tracks, power pop fans will find plenty to enjoy. The jangly, melodic “Bridget Because” balances perfectly against the fuzzed-out guitars of “Peace of Mind.” Short, hook-filled songs are scattered throughout the collection, with shades of early R.E.M., Talking Heads, and Hüsker Dü woven into the band’s sound. While a few tracks show their age, standouts like “Pleasant Valley,” “Here Comes a Headache,” “What’s Going On,” “Embarrassment,” and “Secret Star” remain as compelling as ever. For newcomers, Parallel Universe serves as an ideal introduction to one of alternative rock’s overlooked treasures. Highly recommended.

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Scott Gagner is back with a serious “Sugar Rush.” His upcoming album ‘Sweet Tooth’ leans harder into pure pop than his previous work, and the first taste is irresistible.

Next up, The Amplifier Heads are ready to turn up the volume. Led by Boston power pop veteran Sal Baglio, the band delivers a crunchy preview of their forthcoming album that reminds you why rock and roll still matters.

UK outfit Bramwell channels the golden age of British AM radio on the excellent “Standing on Stones,” blending timeless melodies with sharp songwriting.

Little Gold offers another standout preview from its upcoming LP, mixing power pop hooks with a warm, lo-fi country spirit.

From Ireland, former Fireflys frontman Barry Walsh returns with the infectious new single “Star Ride,” packed with melody and charm.

Closing things out, The 286 delivers an EP worth your attention. Drawing inspiration from Jeff Lynne’s melodic style, the collection mixes strong covers with standout originals like “Midnight Symphony” and “Unbreakable.”

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Jim Allen “Maybe Things Will be Alright”

Jim Allen’s ‘Maybe Things Will Be Alright’ is an eclectic blend of power pop, roots rock, folk, and alt-country that succeeds through strong songwriting and an impressive supporting cast. Allen’s deep vocal delivery often recalls Eytan Mirsky, balancing sincerity with a melodic sensibility that keeps the album grounded even as it shifts styles.

The title track shines with dB’s co-founder Peter Holsapple adding guitar and vocals, delivering one of the album’s most immediate hooks. Elsewhere, Richard Barone lends his talents to the moody rocker “In a Cave,” while the touching ballad “For Byron” benefits from C.P. Roth’s backing vocals. The dreamy “Where I Am” reaches even further afield with contributions from Dorothy Moskowitz and Paul Conly. The variety never feels forced, making ‘Maybe Things Will Be Alright’ an engaging listen from start to finish. Check it out.

Bandcamp only

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Local Drags “Cool If We Split?”

Springfield, Illinois singer songwriter Lanny Durbin trades grit for brighter hooks and bigger choruses, delivering what may be the band’s most accessible and polished release yet. Despite tackling weighty themes like depression, aging, and isolation, the music remains upbeat, driven by ringing guitars, bouncy rhythms, and an undeniable sense of momentum.

Fans of the Gin Blossoms, Dropkick, and Teenage Fanclub will find plenty to enjoy here. Tracks like “Staring at the Telephone,” “The World of You,” and “Easy Ground” showcase Durbin’s knack for crafting memorable melodies and emotionally resonant lyrics without sacrificing energy. The album’s biggest strength is also its main weakness. The consistent sound creates a cohesive listening experience, but several songs blur together over the course of the record. Even so, ‘Cool If We Split?’ remains a satisfying and well-executed power pop release. Highly Recommended.

Amazon

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Chris Stamey “Modernism”

Chris Stamey’s ‘Modernism’ serves as a companion to last year’s ‘Anything Is Possible,’ while standing firmly on its own as a celebration of the adventurous spirit of 1960s and early 70s radio. Drawing from classic rock, pop, soul, and even Broadway influences, Stamey curates a collection that feels both nostalgic and surprisingly fresh for a covers album.

The performances are consistently inspired. The Beatles’ “Hey Bulldog” benefits from the driving drumming of Big Star’s Jody Stephens, while the dB’s add their familiar sparkle to a beautifully rendered “Waterloo Sunset.” Stamey also tackles Sly and the Family Stone’s “Thank You (Falettinme Be Mice Elf Agin),” injecting fresh energy into the funk classic with help from the Uptown Horns and an all-star supporting cast. Deep cuts such as the Left Banke’s “Shadows Breaking Over My Head” and “Hernando’s Hideaway” reveal Stamey’s wide-ranging musical curiosity. Nothing here is earth-shattering, but the musicianship is outstanding and worth repeat listens. Highly Recommended.

Amazon

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Middlebees “Seconds”

Middlebees is the musical project of Jon Manos, a songwriter with a clear gift for classic pop craftsmanship. The album opens with “Ticking,” which begins modestly with a toy piano and simple verse before unfolding into a rich, layered chorus anchored by a memorable hook. Manos draws from a wide range of pop influences throughout the album. “Made It Back” shines with jangly indie-pop energy and an unmistakable ’80s feel, while “Ashby” channels the bright, carefree spirit of late-’60s bubblegum pop. The stylistic variety keeps the record engaging while maintaining a consistent melodic focus.

The ballads offer a welcome change of pace. Manos’ deep vocal register suits some material, though “And You’ll See the Sun” feels less impactful than some of the stronger tracks and might have benefited from additional vocal harmonies. Even so, the album succeeds where it matters most: the songs. Tracks like “When Will the Light Shine” and “I Gotta Go” highlight Manos’ ability to craft infectious melodies without relying on studio excess or gimmicks. Fans of melody-driven pop, whether rooted in the ’60s, ’80s, or modern indie traditions, will find plenty to appreciate here. Definitely this check it out.

Amazon

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The Bishop’s Daredevil Stunt Club “Fever Dreamer”

Over the past 12 years, Bishop’s Daredevil Stunt Club has steadily expanded its sound, and ‘Fever Dream’ finds the band leaning further into glam rock influences. Opener “Stunt Double” recalls the swagger of Imperial Drag, driven by crunchy riffs and tambourines that immediately set the tone. The album hits an early high point with “Disco Demolition,” a standout single packed with Queen-sized harmonies, thick guitar lines, and an irresistible energy. While “Heavy Conclusions” and “Fuzzz4escence” showcase the band’s impressive musicianship, neither track delivers hooks that stick.

Things quickly get back on track with “Monday the Destroyer,” a hard-rocking groove machine complete with a healthy dose of cowbell. “Lost Daughter of Stardust” blends influences ranging from Extreme to David Bowie’s Spiders From Mars era, revealing more depth with each listen. “Hostage to Hypothetical” is another slow-burn highlight that rewards repeat spins, while closing track “Reach” wraps things up with a classic rock chorus that leaves a lasting impression. ‘Fever Dream’ may not deliver wall-to-wall hooks, but Bishop’s Daredevil Stunt Club continues to evolve while maintaining the strong musicianship and adventurous spirit that have defined the band for over a decade. Highly Recommended.

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