
The Lemon Twigs’ Retro Pop Syndrome
The Lemon Twigs may suffer from retro pop syndrome, but every nostalgic reference has an unexpected deviation, every familiar melody is twisted and turned into uncharted territory.
The Lemon Twigs may suffer from retro pop syndrome, but every nostalgic reference has an unexpected deviation, every familiar melody is twisted and turned into uncharted territory.
While Joy Burklund’s Songbouquet sounds inspired by many of the classic pop and rock records that preceded it, it also affirms the power of community.
Office Culture’s Charlie Kaplan takes a little from garage rock and folk rock, producing his most satisfying solo release to date. It genuinely mesmerizes.
Channeling For Against and classic Stone Roses, Healees’ Coin de l’œil fuses jangle, shoegaze, and power pop into something beyond those genres.
The Promise Ring’s Very Emergency succeeds by subverting expectations but delivering ten nuggets of power pop and a rebuke of the emerging emo tropes.
Moon Mirror finds long-running power poppers Nada Surf relaxed and having fun with the same strong, catchy songs they’ve written for nearly 30 years.
The Lemon Twigs’ A Dream Is All We Know displays scholarly mastery of the complex techniques their forbears invented. The sheer musicality is prodigious.
Detroit’s Extra Arms make power pop look easy on their catchy, energetic new record, Radar. It’s a half-hour of no-skips, life-affirming, and no-frills rock.
With his 1979 debut album Look Sharp!, Joe Jackson joined the league of UK artists who fused sophisticated pop songwriting with a punk snarl.
Power pop has to have some punch. This can be manifested in different ways but is frequently through a hook-laden electric guitar line.
Pugwash mastermind Thomas Walsh excels at Beatlesque power pop, sounding like a cross between ELO and baroque-era Trash Can Sinatras.
Flat Mary Road break through with Little Realities and deliver jangly, hook-laden power-pop with a touch of Harry Chapin thrown in for good measure.