power pop Archives - Vinyl From The Vault

The New Pornographers “Mass Romantic”

sfilzen — Tue, 02 Dec 2025 20:49:06 +0000

The New Pornographers “Mass Romantic” 2000. Limited edition reissue (2021) on red vinyl, Matador Records (originally released on Mint Records). The debut album from the indie “supergroup” that features Neko Case and a bunch of Canadian dudes including founders A.C. Newman (who still was going by Carl when the LP came out and whose songwriting I absolutely adore; he was formerly in Superconductor and Zumpano) and Daniel Bejar (from Destroyer, and if memory serves me from seeing NP several times has or developed severe stage fright and stopped touring with NP awhile back), plus Kurt Dahle (Limblifter), John Collins (The Evaporators) and Blaine Thurier who wasn’t in a band prior but is/was a filmmaker so helped with their videos and played synths. Mass Romantic is excellent indie pop, with lots of complexity while still having a very accessible pop sensibility. The layers of melodies are Beatlesque in quality and the interplay of vocals between Case, Newman and Bejar are stellar. While the record did not chart, it did make several best-of lists for the year/era.

I love the entire album but top picks are the opener/title track “Mass Romantic,” the anthemic-flavored “The Slow Descent Into Alcoholism,” the dense and piano-forward “To Wild Homes,” the Neko-forward “Letter From an Occupant,” and the final track “Breakin’ the Law” which according to Wiki “was taken from [Bejar’s band] Destroyer’s first album We’ll Build Them a Golden Bridge. The group vocals at the end of “Breakin’ the Law” are credited to the Camp Northstar Kids’ Chorus, a reference to the Canadian comedy film Meatballs. The chorus is actually every member of the band singing. Newman stated, ‘I like the fact that people think that it’s a kids’ group … We made ourselves sound like a giant group, but we ended up sounding like little kids. I love the fact that in the Rolling Stone review they mention the chorus of kids. I just think it’s great that people actually believe that, because it’s such a fucking ridiculous thing for a band to do.'”

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Radioactivity “Time Won’t Bring Me Down”

sfilzen — Mon, 10 Nov 2025 18:33:44 +0000

Radioactivity “Time Won’t Bring Me Down” 2025, released just over a week ago on Dirtnap Records, limited edition green vinyl (Green Noise Records variant). The punky power-pop band’s third LP (and third release on Dirtnap). We caught Radioactivity a couple of months ago at Dirtnap Fest, where they headlined the first night of the three-day event. Very high energy and slightly snotty live, their new album is too – it’s tight and snappy, with that Dirtnap sound (melodic punk with sass). Since I hadn’t heard the record when we saw them perform, I have no idea which tracks they may have played (pretty sure they played at least a few). My top songs from Time Won’t Bring Me Down include the title track and LP opener “Time Won’t Bring Me Down,” the punk-forward fast-paced “Why” and the slightly swampy “Ignorance is Bliss.” Radioactivity released “Analog Ways” as a single, I think a day or two before the album’s release and it’s mellow, comparatively speaking, to the rest of their sound. Yusuke Okada from Lost Balloons guest stars on the track, as does Orville Neeley from fellow Dirtnap Band Bad Sports. Also mellow-ish is the song immediately after “Analog Ways;” “Shell” has notes of folk-punk with acoustic (or at least acoustic-sounding) guitar that then morphs into some buzzy spaced-out effects. (It’s really good).

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Sugar Stems “Only Come Out at Night”

sfilzen — Mon, 08 Sep 2025 17:50:48 +0000

Sugar Stems “Only Come Out at Night” 2014. Dirtnap Records. Power pop from Milwaukee. We caught a solo set by singer/guitarist Betsy Heibler (aka Betsy Vox) last weekend at Dirtnap Fest where she played a selection of Sugar Stems songs. Only Come Out at Night was the band’s fourth, and I believe final, LP. It’s roughly jangled pop with lots of nods to 60’s pop and garage (organ/keyboards courtesy of Andy Harris formerly of Goodnight Loving) and a wall-of-sound production style. I’m not sure if I didn’t notice on the other Sugar Stems records we have or if it’s just this LP but Betsy’s voice often has a very Liz Phair style which adds another layer to its alt vibe. My top tracks include the rocking title track “We Only Come Out at Night,” the raw and raucous “Run Run Rabbit,” the ass-shaking “Radio Heartthrob” and “Haunted” on which one of the male members of the band takes leads on vocals (not sure who though). Since most of these tracks have a razor sharp and sweet edge – and I’m not very familiar with the Stems’ catalog – I’m not sure what, if any, of these tracks Besty performed at her set…but it sure was lovely.

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Hüsker Dü “New Day Rising”

sfilzen — Thu, 24 Jul 2025 18:07:21 +0000

Hüsker Dü “New Day Rising” 1985. SST Records. Midwestern 80’s punk, the third LP from Minnesota’s Hüsker Dü. A mix of chaotic, rough n’ ready punk, power pop and melodic punk. It made the UK Indie chart at #10 in ’85 and while it had no chart presence to speak of in the US, it was well-received critically and was included on some best-of lists (Spin, NME, Rolling Stone), both at the year of its release as well as retrospectively. The title and lead track, “New Day Rising” is a cacophony of scratchy sound (Bob Mould apparently hated the record’s production and I have to say I agree with him on that), but a really great punk track that is more in line with the Dü’s early hardcore material, as is “I Don’t Know What You’re Talking About.” (The album closer “Plans I Make” is just pure punk chaos, not even a lick of pop). I also like “I Apologize” and “If I Told You” which start to lean more power pop/melodic punk. The track “Celebrated Summer” mixes it all together – that track was sort of released as a single, sent as a promotional 45 to radio stations only – with bursts of speed and moments of delicate acoustic guitar. “Perfect Example” is a jangly alt-rock track, recalling R.E.M. more than anything else (it’s fine though a bit boring). “Terms of Psychic Warfare” is a beaty ass-shaker: power pop with punk edges and an anthemic feel – it’s great! “Books About UFO’s” is a bluesy rocker with piano which does not at all wedge into the punk genre (but it is a fun song, it’s too bad the production is so sucky as it could have sounded much better). I’m not sure I agree that this is one of the best punk releases of the era, but it is a great LP and demonstrates the evolution, in real time, from hard punk to punk pop that was trending in the mid-to-late 80’s.

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The Cleveland Steamers “Best Record Ever”

sfilzen — Fri, 18 Jul 2025 18:51:43 +0000

The Cleveland Steamers “Best Record Ever” 2018. Smog Veil Records, blue vinyl. The third LP from the Cleveland-based (obviously) power pop/punk “supergroup” (according to the album’s hype sticker). Band members have been in a bunch of underground groups like Pink Holes, Floyd Band, Singing Angels and Arch and the Bunkers. This is the second record by the Steamers now in our collection but not by design – the same person who gave me their 2022 release 10 More Steaming Piles of Hit gifted me this record, too. Like that more recent release, Best Record Ever is just OK and certainly doesn’t live up to its very ambitious name. The opener “See You Tonight” is alright, power pop with a garage punk edge and “Hung Up on You” is a strong garage punk rocker; it looks like it was originally released as in 2016 as a collaborative single by both the Steamers and Archie & the Bunkers. “My Asshole Cousin” is funny with a goth-punk vibe and “Maple Leaf Girl” is super-60’s inspired, and quite fun. “Never Saw You Again” is a bit dark, a raw 60’s inspired garage ballad. But “Dream of Me” kinda sucks, a gothy dirge with some squealing sax that seems to be attempting a garage-psych sound (but failing), however once it morphs into the next track, “Monsanto,” it gets a bit more interesting: heavier with some doom and gloom death metal vibes accented with theremin (totally not my thing but at least unique). For some reason, this album isn’t readily available for links so I guess buy it to hear the rest on the little I was able to link above. Happy to sell my copy, make me an offer:

Buy a Record

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The Other Kids “Living in the Mirror”

sfilzen — Wed, 09 Jul 2025 17:51:43 +0000

The Other Kids “Living in the Mirror” 1985. Boat Records. Produced by Butch Vig, recorded at Smart Studios; mid-80’s jangly Midwestern alternative power pop. Think The Replacements with less of edge and a smattering of R.E.M and Cheap Trick. Our copy clearly used, and likely part of the Cafe Voltaire dj collection based on the cover graffiti. Cafe Voltaire was a short-lived mid-80’s Bay View/Milwaukee club that became the Odd Rock in ’87 (an infamous music venue that hosted bands like Social Distortion – that show notorious for a bunch of arrests and general mayhem – I still stories about it to this day). My guess is that Madison-based The Other Kids most likely performed at Cafe Voltaire and dropped off a copy of their debut LP after the show. The Other Kids were as short-lived as Cafe Voltaire, recording two records in ’85 and ’87, though it looks like they have reunited for shows on and off in subsequent years. My favorite track is the glam-inspired “She’s Got Me Where It Hurts” which is edgier than most of the album – a real rocker. The only version I can find is a live one, recorded at the UW Madison Field House, probably in ’85. The album track is much better. The rest of the songs are fine (the production: excellent), but kind of bland in a jangly, shimmery very 80’s way. The title track exemplifies that sound and vibe pretty well.

As this is very obscure band, there is next to nothing online but I did find this live performance “Where the Wild Things Are” (not on Living in the Mirror) from ’87 at the now gone but not forgotten and also infamous O’Cayz Corral (Madison):

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Taxi Girls “Coming Up Roses”

sfilzen — Wed, 02 Apr 2025 17:29:42 +0000

Taxi Girls “Coming Up Roses” 2023. Wild Honey Records. 5 song EP from Montreal punks; their debut release. Fun fun girl punk: Ramones meets The Go Go’s with some growling spice. SO good! Sharp, short and edgy, with just five songs it’s a quick listen. All the tracks are great, but of the five my top picks are the grab you by the throat ass-shaking opener “After Effect” and “Hands Off” which is anthemic grrrl power – “keep your hands away from my body!” to a relentlessly driving bass and beat. Both “Sunshine” and the closer “Stay With Me” lean power pop/punk (both would feel very at home on the Dirtnap label) with 60’s pop vibes, complete with ooo ooo’s and harmonies. Since the three-piece group just formed a couple of years ago, there isn’t much out there about them. From their Bandcamp single (released a couple of months ago) “Rainy” page: “This past year, Taxi Girls shared stages with such notable acts as NOBRO, NOFX (final tour), Lagwagon , The Hives, Pansy Division – just to name a few. Iggy Pop played a pair of Taxi Girls tracks on his BBC 6 radio show in the UK.” Not sure if they will be touring the States anytime soon (you know, the Canada stuff 🙄) but hoping to catch them live sometime soon.

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The Nerves “One Way Ticket”

sfilzen — Wed, 19 Feb 2025 18:16:15 +0000

The Nerves “One Way Ticket” 2008. Alive Records. Jangly, garagey, power pop. A collection of tracks recorded for their first EP The Nerves (1976), demos and live recordings. I was exactly today years old when it clicked that The Nerves wrote and first performed “Hanging on the Telephone,” a UK hit for Blondie in 1978. The original is great, as is the rest of the collection. The title track “One Way Ticket” and “Paper Dolls” pretty much set the bar for the power pop sound that continues to evolve 50 years on. “Walking Out on Love” veers hard into a punk pop sound – this song was recorded by The Breakaways, formed by Peter Case and Paul Collins after The Nerves dissolved and before Case left that band and helped found the more well-known The Plimsouls in 1978 (just one Plimsouls song on this comp, “Thing of the Past” recorded live in 1979). The other Nerves member, Jack Lee, also has a track on One Way Ticket: a straightup rocker “It’s Hot Outside.” The live tracks on Side 2 are a bit raw, a lot messy – and quite muddy – but full of snotty energy; these are from July, 1977 on the Magical Blistering Tour tour with The Ramones, recorded in Schoenberg, Illinois (Chicago-area). The most exciting of these is “Come Back and Stay” which, again, I was today years old when I realized this is an original Nerves song – I have only ever heard Paul Young’s new wave/blue-eyed soul interpretation from 1983 (which I loved then and still do today) which went to #22 in the US and to #4 in the UK. And since there are zero videos of The Nerves that I could find, will include Paul Young in 80’s acid wash jeans here:

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The Marked Men “On the Other Side”

sfilzen — Fri, 20 Dec 2024 20:36:37 +0000

The Marked Men “On the Other Side” 2018. Dirtnap Records. A punchy punky power-pop comp of all “non-LP tracks released by the Marked Men, originally released in the period between 2003 and 2010 on labels such as Dirtnap, Swami, No Idea, Shit Sandwich, and Mortville, plus 2 never-before-heard unreleased tracks” (“Disappear” and “Go Cry“). Dirtnap announced its 25th anniversary concert (festival?) scheduled for Labor Day weekend 2025 with 17 bands confirmed. I don’t think those have been revealed yet but I’m probably seeing Dirtnap Ken tomorrow night at our house so will try to get the inside scoop then. Maybe The Marked Men?? Possibly! They played at the (belated) 20th anniversary Dirtnap Fest in Madison in 2022 (video below, not mine).

According to the Bandcamp listing for On the Other Side “if there is/has been a “flagship band” for Dirtnap, Marked Men and their various offshoots are it. The band hasn’t released any new material since 2009 (the last album came out in 2008.), and they probably won’t, so this singles comp is as close to a new album as it’s going to get. Marked Men still plays a handful of shows every year, but has no plans to release any further new material.” My top picks on this comp are “Nothing’s Changed” from 2005 (on Shit Sandwich Records), the lightning fast punk’d out “Too Pretty to Fuck” and the mod-punk “Whip Myself” both from 2009 (on No Idea Records), the wicked-beated, power-chord crashing “Like Robots” from 2008 (Dirtnap) and “I Can’t Be Good” from 2003 (Mortville Records). We have several of the Marked Men’s releases (I’m pretty sure all on Dirtnap) but I think this comp might be my favorite in our collection of their material.

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The Real Kids “The Real Kids”

sfilzen — Thu, 05 Dec 2024 20:13:49 +0000

The Real Kids “The Real Kids” 1977. Red Star Records. Hard rocking power pop with a punk edge. The Real Kids was the Boston-based rockers first LP. Founder John Felice was a childhood friend of Johnathan Richman’s and was even in Richman’s Modern Lovers for a bit (at age 15) before starting The Real Kids in ’72. He was also a roadie for the Ramones. Both influences, as well as 50’s and 60’s rock, can be heard on The Real Kids. The album is a mix of mostly originals and a few covers, including a punk’d up version of Buddy Holly’s “Rave On,” a rough blues interpretation of Eddie Cochran’s “My Way” and the rollicking boogie-woogie’d cover of “Roberta” by Frankie Ford + Huey “Piano” Smith. Of the originals my top picks are the hard-jangled power pop album opener “All Kindsa Girls,” the (early) Beatlesesque with a hard edge “She’s Alright” – it’s tight, an absolute scorcher, and the album closer “Reggae Reggae” (though on discogs it is listed as “Raggae Raggae”) which has absolutely zero reggae influences that I can hear but damn, it’s a hot garage rock ass-shaker. (That said, if the album cover has a misprint, it would make more sense. The track has more in common with a raga than reggae.)

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