Power Pop

New single: The Number Ones || Sorry

The return of Irish power pop masters The Number Ones is a sugar rush to the heart

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Received a message from Add To Wantlist head honcho Dennis: “You’re going to write about the new Number Ones single, right? And use the word “hits” repeatedly?”

Well, obviously!

Sorry is the first new release from The Number Ones in 7 years—and that break was just long enough that I didn’t expect to hear new songs from them again. But here they are, making a comeback right in time for Easter weekend. It might not start a new religion, but it just might reanimate the underground cult of people who fell for their earlier work. Because honestly, who does Good Vibrations-style punky power pop better than this Dublin band?

There isn’t a song in their back catalogue without a killer hook, and these two tracks—both HITS, of course—are no exception. Sorry wastes zero seconds of your time: no intro, just a straight dive into a verse that’s so instantly contagious, it reminds you exactly why you fell for this band in the first place. Like the earworm chorus needed a verse THIS contagious? Flip it over for Blind Spot, a slightly slower, timeless pop attempt that hits the mark as well.

The Sorry 7″ is out now on Static Shock Records. I’d raise my ten-out-of-ten jury sign if I had one. HITS!


Add to wantlist: Bandcamp || SSR

New album: Mythical Motors || Travelogues and Movie Stills

Another day, another dazzling dispatch from Chattanooga

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It’s that time again—Matt Addison has dropped another record under his Mythical Motors moniker. But instead of treating his prolific streak like a teacher piling on surprise homework, I see it as a gift. Mythical Motors is a beacon of consistency, always serving up lo-fi pop and indie rock snacks: crunchy on the outside, soft in the middle, never too sweet.

That consistency extends beyond the music. From the eye-candy collaged covers to the charmingly offbeat titles, Mythical Motors records are always worth digging into. Case in point: this new one is called Travelogues and Movie Stills, and the first track is titled The Red Bank Balloon Race. What’s not to like? And that’s before you even hit play.

Then again, using words like “highlight” feels weird with a record like this. These songs feel more like unearthed treasures—forgotten gems from a dusty tape that someone finally decided to share. Channeling Robert Pollard in sound and spirit, Travelogues and Movie Stills proves that Addison’s well of inspiration is far from dry.

We’re here for it.

Album out now on Tape at Repeating Cloud Records.



Add to wantlist: Bandcamp

New EP: The Segments & Flathead || Split

Power pop paradise? Two French bands make the case for relocation

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Barely a month after landing on the Wantlist with their excellent new LP, Marseille’s Flathead are back—this time teaming up with fellow French power poppers The Segments, a quartet from Lyon. Their split 12″ is out today via Dangerhouse Skylab Records, Wanda Records, and Lara Records. Each band contributes two tracks, and every single one’s a keeper.

Flathead delivers two power pop originals that hit all the right spots. Egg Time moves with punky momentum, while I’m in Love With My Girl opens with a guitar lick that’s the fastest route to power pop heaven I’ve come across in a while.

The Segments keep the streak alive with The Best For Us, a head-bopper built on an infectious vocal melody, spot-on harmonies, and killer guitar work. The song’s a melting pot of classic influences. They close out the EP with a pitch-perfect cover of Phil Seymour’s Baby It’s You, and honestly, it’s the ideal sendoff.

A must-have for power pop fans—maybe it’s time to consider relocating to France?


Add to wantlist: Bandcamp || Dangerhouse Skylab || Wanda

New EP: Big Mess || Terry

A cover worth raving about—and two originals that seal the deal

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It’s not like we didn’t already rave about Big Mess’s Terry 7″. The Kirsty MacColl cover that kicks off the single is pure fire—it was our favorite cover song last month for good reason. But let’s not forget: there are two Big Mess originals on this thing, and they crank up the excitement even further.

Here’s a band that writes two- to three-minute ’60s-style pop songs that, once played, explode into 90-second punk rock bangers. Their mix of punk, power pop, and junkshop glam is explosive and downright addictive. If bubblegum was laced with dynamite, it would sound like this.

7″ available now through Specialist Subject Records.


Add to wantlist: Bandcamp || Specialist Subject

New album: Leatherman || Turn You On

This Melbourne band will make your weekend much louder and cooler

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Ready for the weekend? Here’s a record to ease you out of work mode and into something far more fun—a record custom-built for dim lights, loud speakers, and steamy bars. Or, if you’re stuck at home doing chores, it’ll turn your vacuuming into a victory lap.

From their debut single 18 months ago, it was obvious Leatherman were a force. They’re part of a new wave of female-fronted rock’n’roll bands (RIYL Romero, Sheer Mag, R.A.B.B.I.T, A Giant Dog) that channel Thin Lizzy and Judas Priest while clearly growing up on punk. That mix of glam, grit, and guts works wonders here—twin guitars, bass riffs, and strategically placed oohs and yeahs all snapping into place with swagger.

Among the ten tracks are the two songs that originally got me hooked, now joined by more heavy hitters. Heartbeater Cheetah is as glam and catchy as its title suggests, while Slow Motion leans fully into Sheer Magesque classic rock worship. The closing track on the LP is titled Leatherman Rule OK, which breaks the whole “show, don’t tell” rule—but when it’s true, it’s true. The streaming version of the record ends on a steamy cover of Billy Ocean’s Love Really Hurts Without You, because why wouldn’t they? Leatherman, what a band!

Turn You On is out now via Legless Records and This Charming Man Records.



Add to wantlist: Bandcamp || This Charming Man Records

New single: The Speedways || Visiting Hours

One of the finest current power pop bands leans into Elvis Costello brilliance

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Last Sunday, I watched Paul Collins tear through sixty straight minutes of power pop perfection—almost zero pauses, no breathers. Backed by The Manikins, he played most of the debut Paul Collins’ Beat LP, more than a few Nerves gems, and a choice mix of later Beat and solo material. It was a reminder of everything that makes power pop so timeless: short, catchy, no-frills guitar pop with bite, melody, and heart.

These are good times for fans of the genre. We’re living in a full-blown power pop renaissance, with bands like The Whiffs, The Rubs, and The Reflectors leading the charge. The Speedways are very much part of that front line, and with their new two-song single, they shift into a slightly different gear.

Visiting Hours finds the band channeling late-’70s Elvis Costello with uncanny precision, bittersweet and effortlessly melodic—it’s power pop with brains and a broken heart. The flipside, Now That I Know How, follows the Costello playbook too-a couple of years later in Costello’s career perhaps, but both songs remain unmistakably Speedways.

Hits? You bet. In a better and fairer timeline, this band would be massive.

The Visiting Hours 7″ is out soon on Stardumb Records, Folc, and Beluga Records.


Add to wantlist: Bandcamp || Stardumb || Folc || Beluga

New album: Friends of Cesar Romero || Spider Dreamer Sweet Tooth

Twelve more reasons to believe in J Waylon's Doomed Babe Series

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There are no cheat days in J Waylon’s Doomed Babe Series. Installment #44 features twelve songs that could easily have been spread out over three to six separate releases—but instead, they’re bundled together under the catchy cryptic title Spider Dreamer Sweet Tooth. The songs feel like a cohesive set and don’t stray far from the sound we’ve come to love from Friends of Cesar Romero.

J Waylon sounds pretty fired up on the punked-out Quality Inn Cambodia, but he sandwiches it between two rock’n’roll-flavored power pop bangers. In fact, at least half of the tracks on Spider Dreamer Sweet Tooth have a romantic, heart-and-soul rock’n’roll glow that makes these already infectious songs even more irresistible. I’m still not even close to satiated when it comes to prototypical FOCR gems like Jennifer Ann. From the second Waylon starts singing, “Hey Jennifer Ann, you stole my heart once, now you’re taking it again,” I’m all in for the 100-second ride. Throw in a couple of double-snare taps and sweet harmonies, and I’m giving both thumbs up.

Of course, Spider Dreamer Sweet Tooth reveals other FOCR identities too, particularly Waylon’s garage rock and ‘60s pop leanings. Throwing Deadly Nightshade stands out on the second half of the album as a prime slice of classic garage rock through a bitter and broken heart.

Doomed Babe Series #44 is another surefire wantlist entry. Keep ’em coming, J.



Add to wantlist: Bandcamp

New album: Vista Blue || Clear Eyes, Full Hearts

Vista Blue’s new album might make you care about football... or at least about great songwriting

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There are two stages of Vista Blue: they’re either releasing new tunes or recording them. And yet, full-lengths remain a rarity in their discography. True to form, Clear Eyes, Full Hearts comes with a theme—but this time, it’s not baseball, Halloween, pop punk, Bandcamp Fridays, or cool bands. No, the new record is inspired by the TV show Friday Night Lights. I’ve never watched the show myself, so I won’t pretend to get most of the lyrical references, but I can say this: the songs rule.

All twelve tracks are packed with the kind of uncomplicated, and irresistibly catchy pop punk Vista Blue is known for. That includes their take on Daniel Johnston’s Devil Town—a song that’s arguably been covered enough times already, but somehow still feels welcome in this setting.

By now, if classic pop punk is your thing, Vista Blue should already be a staple in your musical diet. But Clear Eyes, Full Hearts feels especially fresh—crisp, hooky, and full of energy. I’ll happily second Josh Rutledge’s claim: this might just be one of the best things the band has put out.



Add to wantlist: Bandcamp

New album: Los Pepes || Out of the Void

Los Pepes crank up the punk energy on latest LP for Wanda Records

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Los Pepes’ new LP officially drops on April 25th, but I noticed it was already streaming in full this week. Which left me with a dilemma: wait a couple of weeks to write about it or follow the excitement I’m feeling right now? Easy choice—Out of the Void is too good to put on hold.

As on their previous work, the multinational London band expertly navigates the sweet spot between late ’70s pop punk, power pop, and garage rock-‘n’-roll. But if you simply file this under old-school punk rock, that makes total sense too—especially considering the relentless energy of the first four tracks. Then comes Sweet Appeasement, a garage power pop gem that provides a brief but welcome breather. From there, Out of the Void takes some unexpected turns, stretching the band’s sound while staying true to their sharp, high-energy songwriting. And of course, every track still comes with at least one mean hook.


Pre-order Out of the Void now at Wanda Records, Beluga Records, Spaghetty Town Records, and Ghost Highway Recordings.

Add to wantlist: Bandcamp || Wanda Records

New album: Tennis Elbow || The Narcissist Blues

Ten aces by Ryan Wentz

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Tennis Elbow is the “tennis music” project of New York City-based singer-songwriter/multi-instrumentalist Ryan Wentz. On his new album, The Narcissist Blues, it is his vocals, guitar, bass, keys, mandolin, and drums that you hear in ten sophisticated songs that slide between chamber pop and indie rock. The lyrics are quirky (titles like Sewing Machine, Astray, Barnstorm, and Getty Images pique the curiosity), and the sound is somewhat theatrical, so there’s a lot to discover here.



The Narcissist Blues—composed, mixed, and mastered by Ryan Wentz—is out now digitally via Outline Skates. Also featuring Rhiannon Dewey (saxophone; flute), Christopher Bill (trombone), Calvin Langman (cello), and The Tennis Orchestra (cello, violin, viola).

Add to wantlist: Bandcamp

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