Hey, folks. You may have noticed that, due to the blog being on hiatus, Rosy Overdrive didn’t get a July 2026 playlist up. I didn’t forget about that month, though! In fact, this month’s playlist is actually a two-for-one, covering both July and August. Because of that, it’s a longer-than-normal one, and because of that, some of these blurbs are quite short. But we’re still getting back on track here!
Artists with multiple songs on here: Cheekface (3), Little Gold (3), Upper Wilds (2), William Matheny (2), Graham Hunt (2), Kiwi Jr. (2), Dinosaur Jr. (2), Lambchop (2), Parts & Labor (2), Mopar Stars (2), Poppy Patica (2), Mesh (2), and Real Numbers (2).
Here is where you can listen to the playlist on various streaming services: Spotify (missing five songs), Tidal (missing two). Be sure to check out previous playlist posts if you’ve enjoyed this one, or visit the site directory. If you’d like to support Rosy Overdrive, you can share this (or another) post, or donate here.
“Hotel Meridian”, Shredded Sun
From Never Odd or Even (2026, Repeating Cloud)
Chicago garage-pop trio Shredded Sun have been responsible for a steady stream of quality records ever since their 2023 debut album, and their first release for Rosy Overdrive staple Repeating Cloud Records is a fizzy, expert-level power pop album that stands as perhaps their best work yet. At the very least, Never Odd or Even’s opening track, “Hotel Meridian”, is a perfect piece of college rock/power pop/indie pop/whatever-you-want-to-call it rock and roll.
“Fever”, Upper Wilds
From Mercury (2026, Thrill Jockey)
The delirious, loud power pop of “Fever” “kinda feels like it’s about everything”, per Upper Wilds’ Dan Friel, which makes sense for a song inspired by capitalism bleeding our current planet of residence dry. Read more about Mercury here.
“Babylon Man”, William Matheny
From Material Witness (2026, Diamond Teeth)
I’d say that Material Witness is William Matheny’s “tightest” album, but they’re all very tight so this might be recency bias talking. At the very least, the six-piece band barrelling through the ragged, longing pop of opening track “Babylon Man” sounds as close to Matheny’s rock-and-roll live act as they’ve ever gotten on-record. Read more about Material Witness here.
“U Can’t Do It”, Cheekface
From Podium (2026)
“U Can’t Do It” might be the catchiest Cheekface song of all time, somehow. At the very least, it’s the one from Podium that’s been living in the rent-stabilized portions of my mind ever since I heard it. It’s a blistering portrait of a modern kind of society-poisoner, delivered with wildly precise Cheekface-core pop music. Read more about Podium here.
“Box Dye”, Sweet Gloom
From No Love Lost (2026, Sneak Dog)
Oh my goodness. There’s nothing quite like a punk band truly, actually nailing the “Ramones-core” sound with a massive pop song (and it’s harder than it seems, given how many misses I’ve heard over the years). Los Angeles punk quartet Sweet Gloom do an admirable job of it on their sophomore album No Love Lost, but the insane, doo-wop-fluent, yearning pop punk/power pop “Box Dye” is just something else. It reminds me a little bit of the Bones Shredder album from last year, so it made sense to learn that Mr. Bones Shredder himself (aka Randy Moore) guests on guitar elsewhere on No Love Lost.
“Straight Line to Love”, Graham Hunt
From American Pyramid (2026, Run for Cover)
Coming a little over a year after Timeless World Forever, American Pyramid stems from Graham Hunt resolving to do things differently, bringing skeletons of songs and an eight-piece band to Minnesota’s Pachyderm Studio to record the album live. Album opener “Straight Line to Love” is the sanded-down, slow-moving platonic pop rock song it feels like Hunt has been working towards for some time now. Read more about American Pyramid here.
“Photos of the Reenactment”, Kiwi Jr.
From Blowin’ Up (2026, K/Perennial)
Kiwi Jr. open their first new album in four years with one of their best jangle pop moments yet in “Photos of the Reenactment”. As always, the Canadian indie rockers are at their peak when they combine 1980s earnest guitar pop with 90s ironic touches (“Like photos of the reenactment / Permanent afterglow” might be the new Kiwi Jr. mantra).
“Weakened”, Lambchop
From Punching the Clown (2026, Merge/City Slang)
Punching the Clown is inspired by a type of gospel music called “lined out singing”, a call-and-response technique featuring a choir. Indeed, an Eau Claire-based choir backs Lambchop’s Kurt Wagner on these dozen songs, as well as co-songwriter Andrew Broder’s guitar and Justin Vernon’s banjo. Read more about Punching the Clown here.
“Apple Grove”, Drug Country
From Country Drugs (2026, Self Aware)
John Russell’s fuzz rock group Gnawing sadly broke up last year, but the Richmond, Virginia musician is plowing forward with the most substantial release yet from his solo project Drug Country. Country Drugs is a hazy, lo-fi, sprawling indie rock album, a forty-minute affair raging from the blistering Dinosaur Jr./Nirvana worship of his old band to pin-drop folk songs to diamond-in-the-rough lo-fi pop music. Evoking Russell’s stated influences of Sebadoh and Sparklehorse, “Apple Grove” is Drug Country’s best rural, open-space pop song yet, quiet verses exploding into a “Brand New Love”-worthy refrain.
“What You Want”, Little Gold
From Public Dog (2026, Tall Texan)
The world around Little Gold may have changed in the six years since their last album, but Christian “Smokey” DeRoeck and crew are still doing with the project what he’s been doing for nearly two decades now: making a very catchy, humble, and “Athens, Georgia” mixture of country rock, power pop, and “college rock”. Read more about Public Dog here.
“Postcards”, Commit 2 Try
From Famous Stages (2026, It’s Something Personal)
Self-described “tweemo” trio Commit 2 Try claim Rainer Maria, Modest Mouse, and Juliana Hatfield as influences, and their debut EP Famous Stages is pop music inspired by a few different dusty corners of 1990s indie rock. Opening track “Postcards” is slightly wobbly but lands its heartfelt pop blow nonetheless. Read more about Famous Stages here.
“Many Worlds”, Parts & Labor
From Set of All Sets (2026, Ernest Jenning)
Set of All Sets is more than a pop album, but when it decides to go for big choruses and hooks–like in the jaw-dropping eight-minute “Many Worlds”, which sounds like getting run over by a spaceship–it’s unmatched. Read more about Set of All Sets here.
“Drinkallnite”, Mopar Stars
From Official Researchers of the NJ Devil (2026, K/Perennial)
Philadelphia’s Mopar Stars have particularly been heroes at the “power” end of the power pop spectrum, adding classic rock and roll, punk rock, and 90s alt-rock energy to their Lemonheads/Replacements-influenced pop rock in a way that evokes everyone from Sugar to Liquid Mike. Read more about Official Researchers of the NJ Devil here.
“No1’s Good”, DUM1
From On a Dime (2026, Take a Turn)
Bay Area Indie pop musician Mack Narragan, (also of CVCC) started writing and recording songs in response to “the loss of several family members and a close friend”; soon, he had an entire album’s worth of homespun folk rock, slacker-pop, and jangle pop that’s now being released on Ray Seraphin’s Take a Turn label as the debut album from his DUM1 project. Read more about On a Dime here.
“Mine All Mine”, Stomatopod
From Evidence to the Contrary (2026, Pirate Alley)
The Chicago-based “PRF-core” garage rock trio Stomatopod recorded Evidence to the Contrary with Jon San Paolo at Electrical Audio, and it conjures up the heavy, classic rock-fluent garage rock of 2022’s Competing with Hindsight and some of the extra depth of 2024’s DrizzleFizzle (crammed into a smaller package). Opening track “Mine All Mine” will prepare you for what to expect here: indie rock that very much does rock.
“All Sunk In”, Hurry
From Zoned Out (2026, Lame-O)
The first song on Zoned Out, “All Sunk In”, is already one of my favorite Hurry songs –I love how simply it starts, just clean guitar chords and Matt Scottoline’s voice for forty-five seconds. It’s a moment that brings “How does he keep doing it?” to the tongue. Read more about Zoned Out here.
“Atlantis”, Poppy Patica
From Fix Your Fate (2026, Cell Ray)
The Washington, D.C.-originating, Oakland-based indie pop group Poppy Patica caught my attention in 2023 thanks to an incredible album called Black Cat Back Stage, and they quickly followed it up a year later with a more low-key, acoustic-based album called Sea Wrack. Frontperson Peter Hartmann has apparently been working on Fix Your Fate for ten years now (including recording some of it with Market’s Nate Mendelsohn in New York), and the result is an album that sonically lands somewhere in between the two LPs that preceded it. The breezy but hefty (in terms of hooks) guitar pop of “Atlantis” is an instant Poppy Patica classic.
“Atrophy”, Mesh
From No Fun at All (2026, Feel It)
Philadelphia quartet Mesh have at long last returned with No Fun at All, an LP that elaborates on the “jangle-punk” sound they introduced back in 2021 with their debut EP. Read more about No Fun at All here.
“Gregory’s Sermon”, Jacob Perez
From Give Up Everything You Got! (2026)
I wrote about Cincinnati singer-songwriter Jacob Perez last year when he released There’s So Many Ways to Live a Life, a really lovely Americana record that probably deserved more attention than it received. Perez is back a year later with Give Up Everything You Got!, an album that feels a little quieter and more low-key than his last one, but “Gregory’s Sermon” is still on the “anthemic” side nonetheless. This is earnest Midwestern heartland rock at its finest, humble and story-forward but with a pop hook that’s just as important to the foundation.
“This Empty Frame”, Real Numbers
From Was It Always This Way (2026, Slumberland)
A blog I read called Indie Pop Atlas gave the latest album from Minneapolis indie pop group Real Numbers a mixed review, but it did concede that Was It Always This Way “does the best job I’ve ever heard of matching the feel of listening to an early-90s Sarah Records album”. This skill is put to good use to my ears in opening track “This Empty Frame”, a wistful yet sugar-driven guitar-mod-pop song with more than a bit of Television Personalities in its DNA.
“This Violent Side”, ESP Ohio
From Starting Point of the Royal Cyclopean (2016, Guided by Voices, Inc.)
I’m not sure why, but I decided to revisit every single Robert Pollard mid-2010s album recently. There’s a lot of good material from this time period (I didn’t have room for Ricked Wicky on this playlist, but check them out if you’ve been enjoying the recent Guided by Voices LPs), and Starting Point of the Royal Cyclopean has a sizeable contingent of vocal fans for a reason. The highs are very high on the sole album from Pollard’s ESP Ohio project, and the smooth lo-fi pop of “This Violent Side” certainly is one of those highs.
“Signed Sealed Delivered”, Brian Ennals & Blockhead
From Boatshoes (2026, Phantom Limb)
Baltimore rapper Brian Ennals reveals himself to be just as capable and clever on Boatshoes as he was with collaborator Infinity Knives on last year’s A City Drowned in God’s Black Tears–it’s producer Blockhead’s slippery, streamlined, and just-a-bit-jazzy production that separates this album from Ennals’ previous work. Read more about Boatshoes here.
“Sliding (Version)”, Franklin
From Go Kid Go (Remastered & Expanded) (2026, Solid Brass)
From 1992 to 2000, Franklin were a pillar in the Philadelphia chapter of 1990s underground indie-punk; this double LP edition of Franklin’s first album contains the band’s “complete recorded output from 1993–1996”, gathering up odds and ends to supplement the original eleven-song Go Kid Go with eleven more Franklin recordings. Read more about Go Kid Go (Remastered & Expanded) here.
“Forward”, Almost Exactly Like Julia
From I Feel Your Eyes on Me (2026)
Almost Exactly Like Julia is a Pittsburgh-based indie-pop-jazz-rock group led by guitarist and vocalist Julia Mahncke, who has described their sound as “a cross between Norah Jones and Dinosaur Jr.”. That’s not inaccurate, but it also doesn’t quite do justice to how strong of a pop song the opening track to their latest EP, I Feel Your Eyes on Me, is. There’s cheerful, melodic piano-led pop and some nice guitar soloing in it, yes, but “Forward” is capable enough that the unusual combination of influences feels natural.
“Faint Like a Star”, Dom Sensitive
From Pop Contest (2026, Chrüsimüsi)
Dom Sensitive is Australian garage rocker Dom Trimboli’s chance to experiment with wonky sampled piano instrumentals, “patchwork hip-hop production”, and rambling sung-spoken verses delivered by an emcee in the vein of Mark E. Smith and Gareth Liddiard. Read more about Pop Contest here.
“The Company Man – Live”, Lee Bains
From Free South 2025 (2026, Don Giovanni)
Sometimes a band’s best song is their most popular one, and there’s nothing wrong with that. As much as I love the two records succeeding 2014’s Dereconstructed, I don’t think there’s any denying that Lee Bains III & The Glory Fires’ crowning achievement in terms of “just one song” is “The Company Man”, the blistering, fuzzed-out country punk rock agitprop opener to that album. On his new solo live album, Bains reinvents songs from his band’s discography as drum machine-led, 80s-fluent country-tronica, and “The Company Man” is the one he chooses to open Free South 2025. It’s something of a proof-of-concept; if Bains can turn this song on its head without losing any of its power, then I’m all the more intrigued by an album’s worth of these successful experiments.
“Several Got Away”, Dinosaur Jr.
From There Near (2026, Jagjaguwar)
I’m wrapping up a three-hour playlist as we speak, and now there’s a brand-new Dinosaur Jr. album coming out right before the buzzer I have to contend with! A crash-course through There Near reveals several playlist-worthy songs on the LP, but going with the opening track and single “Several Got Away” seems like a safe bet.
“From the Life of the Marionettes”, John Vanderslice
From FOCUS (2026, Tiny Telephone)
Since the beginning of this decade, John Vanderslice has largely abandoned his analog-recorded folk-y indie rock sound for highly digital, experimental, frequently wordless electronic music. I wasn’t sure if I would ever hear something like “From the Life of the Marionettes” from him ever again, but here he is, singing conversationally and emotionally over tight acoustic guitars (and, of course, whirring synths) like a more synthetic version of earlier Vanderslice albums. Read more about FOCUS here.
“Come On (Don’t Come On)”, Fig Dish
From When Shove Goes Back to Push (1997, Universal/Forge Again)
Chicago power pop/alt-rockers Fig Dish broke up in 1998 after two major label albums that went nowhere and a shelved third, but Forge Again Records has reissued their discography over the past couple of years, including a double-LP release of the final Fig Dish album, When Shove Goes Back to Push. Read more about When Shove Goes Back to Push here.
“Picture of You, Hanging”, Eliots Graveyard
From In the Long Run; The Time Together (2026)
Eliots Graveyard is Eliot Humphreys, a “socialist & queer freak twee pop musician” from Wrexham in Wales; In the Long Run; The Time Together is steeped in the long-standing tradition of strong British indie pop but with a noticeable debt to folk-y singer-songwriters, too. Read more about In the Long Run; The Time Together here.
“Hang Up and Try Again”, Hellrazor
From Gates of Hades (2026)
Michael Falcone and Kate Meizner are probably most well-known these days for their work in Jobber, but the 2022 album Heaven’s Gate from the Falcone-led, Meizener-featuring Hellrazor is still probably my favorite thing with which either of them have been involved. Gates of Hades isn’t a “new” Hellrazor album exactly, but the seven-song digital collection features some outtakes from their last LP and a few odds and ends, including a cover of Guided by Voices’ “Hang Up and Try Again”. The GBV obscurity (it’s on the 2012 album Class Clown Spots a UFO) is given a dirty, fuzzed-out glam-trash reading that I think improves on the original; credit to Hellrazor for digging this one up.
“Peanut Butter Prawns”, Cheekface
From Podium (2026)
The massive new wave pop rock success “Peanut Butter Prawns”–that’s the best song They Might Be Giants never wrote right there–is the first highlight on Cheekface’s sixth LP. Read more about Podium here.
“The Queen’s Weed”, Little Gold
From Public Dog (2026, Tall Texan)
The first acoustic song on Public Dog, “The Queen’s Weed”, is technically as catchy as anything else on the country-rocking LP. Read more about Public Dog here.
“Blowin’ Up”, Kiwi Jr.
From Blowin’ Up (2026, K/Perennial)
I saw Kiwi Jr. live in 2024 and they played this song as well as at least one other new one (“World Like Polly”). The Canadian power pop/Pavement-core group had put out three albums in a little over three years at the beginning of this decade, and there was little to suggest that their fourth album was still over two years from coming out. I’m not sure what caused the relative delay (a label change may explain this, partially), but Blowin’ Up is still very much the band whose sharp guitar pop hooks made them one of the standout members of the microgenre back in the days of Cooler Returns and Football Money.
“Modern Convenience”, Public Opinion featuring I Am the Avalanche
From The Curse of Public Opinion (2026, SideOneDummy)
The Denver punk group Public Opinion burst onto the scene in 2024 with Painted on Smile, introducing a novel and explosive mixture of power pop, hardcore, and Hivesian garage rock–all of which return for an exhilarating sophomore LP in the ten-track, twenty-three-minute The Curse of Public Opinion. The group enlist New York group I Am the Avalanche to help them out on “Modern Convenience”, one of the most immediately hard-hitting tracks on the album.
“Early Morning Breeze”, Dolly Parton
From Jolene (1974, RCA)
Big old “rest in peace” on this one. People better equipped than me have said plenty about Dolly Parton in recent days, so enjoy this song if you haven’t heard it before (or even if you have).
“Haunt”, Inland Years
From Nowadays (2026, BSDJ)
Inland Years’ Ryan Daniels favors shorts bursts of pop music hovering around the 60 to 90 second range, which helps his latest collection, Nowadays, sound like a lo-fi Teenage Fanclub with a Tony Molina or early Guided by Voices attitude to song construction. Read more about Nowadays here.
“Forgotten Favorite”, Velocity Girl
From 1989 – 1992 (2026, Slumberland)
Rosy Overdrive loves a good time-capsule release from a 1990s indie rock band, and the latest archival release from D.C.-area group Velocity Girl certainly fits the bill. There’s no doubt a razor-sharp edge to the indie pop of their early material collected here, like their cult-hit “Forgotten Favorite”. Read more about 1989 – 1992 here.
“Wreck the Bike”, Mopar Stars
From Official Researchers of the NJ Devil (2026, K/Perennial)
Mopar Stars’ debut LP is a fiery, lean eleven-song/twenty-eight-minute album with all the energy and hooks of the band’s tantalizing earlier releases. It’s hard to come up with a better opener than “Wreck the Bike”: what a riff-based hook on this one! Read more about Official Researchers of the NJ Devil here.
“Go Around (The Apartment Dwellers)”, Teenage Guitar
From More Lies from the Gooseberry Bush (2014, Guided by Voices, Inc.)
Now this is lo-fi! Teenage Guitar was a particularly abrasive Robert Pollard side project where he sang, played, and home-recorded everything–a lot of which is just him fucking around on pianos and whatnot. “Go Around (The Apartment Dwellers)” is anything but half-baked, though–the opening track from More Lies from the Gooseberry Bush (the second and final Teenage Guitar album, for now at least) is dark cloud of dread and intense, shit-fi indie rock.
“Sign”, Mesh
From No Fun at All (2026, Feel It)
This eleven-song, twenty-eight-minute No Fun at All is right in the center of “rough-edged and rowdy” and straight-up guitar pop–it’s a sweet spot in which Mesh thrive. Read more about No Fun at All here.
“Days”, the Mountain Goats
From Days (2026, Cadmean Dawn)
The Mountain Goats are a band who are not always served best by “subtlety”, but the title track to their latest album, Days, is a very deft maneuvering through the ticking of time. Nestled in between much more eye-catching songs about Charlie Sheen, Candlebox, and Layne Stayley, “Days” finds John Darnielle asking and answering himself (“Do you know how short the days are? / No, you don’t / When they’re gone, will you be ready? / No, you won’t”) in a hushed but brisk manner.
“Getting Older”, Graham Hunt
From American Pyramid (2026, Run for Cover)
The past few years have seen Madison, Wisconsin musician Graham Hunt emerge from a Midwestern underground indie rock lifer to one of the best, most innovative, and most rightfully-celebrated guitar pop minds currently operating. An instant highlight from American Pyramid, “Getting Older” is perhaps Hunt’s breeziest jangly guitar pop moment yet. Read more about American Pyramid here.
“Cochise”, Little Gold
From Public Dog (2026, Tall Texan)
We’ve been living through an era of alt-country that’s very “rambly”, one that takes its cues from Jason Molina and Neil Young above all else. To be clear, I asked for this and I enjoy it–but it’s still such a breath of fresh air when Little Gold open up Public Dog with “Cochise”, an unabashed, concise power pop barnburner. Read more about Public Dog here.
“Like They’re Here to Stay”, Parts & Labor
From Set of All Sets (2026, Ernest Jenning)
Nearly everything in Set of All Sets is unrelenting, pummeling catharsis, although sometimes that can be as simple as the pied-piper synth riff that leads us through “Like They’re Here to Stay”. Read more about Set of All Sets here.
“Summer’s Gone”, Twin Bloom
From Twin Bloom (2026, Dandy Boy)
While Twin Bloom can indeed be described as “indie pop”, the Oakland group’s debut EP’s four songs are less directly inspired by the straightforward jangly twee pop of many of their Dandy Boy labelmates and instead chase a more cavernous, 1980s-evoking sound–Twin Bloom’s pop music is filtered through ambitious reverb-y dream-gaze and new wave sheens. Read more about Twin Bloom here.
“Everyone Leaves Everyone”, William Matheny
From Material Witness (2026, Diamond Teeth)
Material Witness is as comfortable as ever between the “power pop” and “alt-country” labels frequently applied to its creator, made by a singer-songwriter with new wave and honky tonk in his DNA but who doesn’t really make either of them. Read more about Material Witness here.
“Clam Along”, Dinosaur Jr.
From There Near (2026, Jagjaguwar)
…and a second Dino Jr. song sneaks onto the playlist less than 24 hours before it’s supposed to go live. If “Several Got Away” is the confident J. Mascis chugger that buoys these late-period Dinosaur Jr. albums, “Clam Along” is one of those slightly-emotional guitar-workout songs that are just as essential to these albums still feeling rewarding twenty years into the band’s “reunion”.
“Fried Clams”, Poppy Patica
From Fix Your Fate (2026, Cell Ray)
Poppy Patica aren’t really “punk” or “garage rock” or anything like that, but Peter Hartmann and company can inject a bit of distortion, guitar solos, and quicker tempos into Poppy Patica’s sound and still come off as themselves, as “Fried Clams” proves. Just as “Fried Clams” seems like it’s going to veer into full-on rock and roll heroics, the two-minute track careens to a halt, and Fix Your Fate moves on to its next little world.
“Scraping the Last Bits of Light”, The Chutes
From The Chutes (2026, Dandy Boy)
Some hardcore musicians bring a more punk edge to indie pop when they pick it up, but The Chutes bears virtually no signifiers of that scene despite Kenneth Turner and Erika Calderon-Turner’s backgrounds. The two trade lead vocals over top of jangly, sunny guitars like they’re veterans of the art form: opening track “Scraping the Last Bits of Light” sounds like a band who are students of British C86-style indie pop. Read more about The Chutes here.
“Green-Wood Cemetery”, Upper Wilds
From Mercury (2026, Thrill Jockey)
Four LPs and nearly a decade into Upper Wilds’ space-rock exploration of our solar system, we’ve reached Mercury, the inevitable “death album”. And by that, I mean both that it was inevitable that Upper Wilds would make a planet-based album about death, and that Mercury is about the inevitability of death. Read more about Mercury here.
“Everlasting Happiness”, Real Numbers
From Was It Always This Way (2026, Slumberland)
The indie pop hits continue to come on Was It Always This Way, and the relatively stripped-down, humble-sounding “Everlasting Happiness” is one of the best of ‘em. The acoustic-led, keyboard-and-synth-touched song combines the simplicity of 1980s C86/early twee with just a bit of “sophisti-pop” attitude without getting too busy in the construction.
“No Fly Zone”, Cheekface
From Podium (2026)
“No Fly Zone” is the patented Cheekface “should not work anywhere near as well as it does” song on Podium–they’re always good for at least one of them per album, and the chorus of “No Fly Zone” ends up being one of the catchiest things on the LP. Read more about Podium here.
“Debt”, Red Star Sky
From Debt (2026)
Debt is an acoustic collection from longtime Pittsburgh indie rocker Corey Layman; it’s “folk music” in concept and execution, particularly with the title track, which is a stark, spare meditation on the titular subject. Read more about Debt here.
“The Liquid Observer”, Circus Devils
From Stomping Grounds (2015, Happy Jack Rock)
Stomping Grounds is one of the more accessible Circus Devils albums–if it’s not the most accessible, it’s probably the one that most sounds like a “normal” rock album. The quiet songs on Stomping Grounds are very charming, too–I’m thinking of the lovely “Girl in Space”, the fascinating closing track “Sunflower Wildman (Remember Him?)”, and the one I’ve put on here, “The Liquid Observer”. It’s very cool that I can just put on a random Bob Pollard album and be taken by some song I’d never thought twice of before like this.
“Just West of Nicollet”, Lambchop
From Punching the Clown (2026, Merge/City Slang)
LAMBCHOP NEW SHIT
Read more about Punching the Clown here.
“Chrome”, Ty Segall
From Chrome (2026, Drag City)
A new Ty Segall album is a neat prospect, of course. But what about a new Ty Segall album called Chrome that ends with a five-minute garage/krautrock/synth-rock/boogie barnburner of a title track? Well, yes, I’m certainly interested in that. The blistering “Chrome” is Ty Segall trending into Trans Am territory, a fascinating mode that I hope the prolific garage rock continues to explore on his next album (which I’m assuming will be coming pretty soon).
Rosy Overdrive 