Uni Boys-S/T

The third album is the charm for the Los Angeles band originally from Aliso Viejo. Whether you call this power pop, new wave like Tempe, Arizona artist Oliverio Balcells or just rock ‘n’ roll, they check all the boxes with their latest. Their guitars gleam and their vocals soar on their self-titled album with melody at the forefront, hooks galore and overlapping Pacific Coast harmonies.

Valley Bar in Phoenix, AZ-April 20, 2026
L to R: Reza, Noah, Michael

Noah and Reza trade off lead vocal duties and both are apt at writing infectious upbeat numbers and tales of romantic heartbreak. Additional magic happens when the duo blend their highly complementary voices in harmony.  The rhythm section provides the strong foundation as well as shifting the tempos. Artie’s drumming is the band’s not-so-secret weapon. Overall his style is reminiscent of the late Jack Reynolds of the Last and Scott Miller of Agent Orange as his surf-beat playing serves the songs. Equally important, he carries and advances their sound to propel the songs forward as well as offering some remarkable flashes. On bass, Michael strikes the balance between dependability and dashing with his versatility, while also adding some wonderful harmony vocals. Michael is also a songwriter & guitar player where timeless influences (doo wop, Beach Boys, Lou Reed) shine through his sounds.   

The record gets off to a speedy start with “Victim Of Myself,” Reza’s composition of getting out of one’s own way.  They find the sweet spot between power pop and pop punk along lines of the Shame Idols, the Hum Hums, and the Parasites. With its catchy title-chorus “I Don't Wanna Dream Anymore,” Noah’s dashing declartion could be the album’s strongest candidate for sync licensing. It’s like a reflection of the Taxi Boys in 20/20’s mirrored sunglasses. "You'll Curse His Name Again” is the album’s most unabashed Beatles-esque tune not far stylistically removed from the Poppees. Next, Reza’s atmospheric ballad, "Abra," has a majestical Chris Bell quality that melts into some Beach Boys harmonies. This paean is for the romantically inclined, the lovers, the dreamers… A chiming organ adorns “Maybe I'm Wrong” and leads Noah’s skip-along into the paisley lands of the Three O’ Clock suspended under a twilight canopy and billowy harmonies furnished by the Lemon Twigs brothers. This ebullient Bruce & Terry-tinged pop number flows into Reza’s “Want You Back.” Be sure to catch the outro that plays homage to the single version of the Last’s “She Don’t Know Why I’m Here.”  

During their live show, I noticed that Noah’s voice sometimes evokes the quivery style of Chris Stamey and it comes to the forefront on the dB’s-ish “You're So (Phisticated).” Reza’s gliding vocals and the Flamin’ Groovies-ish intro and outro makes his composition “Look On The Bright Side” both a live and recorded standout. My jaw dropped when I heard “Genevieve” as I wondered, is that a quote of “Silhouettes” by Herman's Hermits by way of the Rays?!? Noah’s vocals take on a real Joe King quality when the Queers ride the bubblegum surf waves. “Sin Your Life Away” unfolds with Reza's impressive arrangement burnished by those bittersweet Big Star filigrees. With the dramatics of the Raspberries and the straight-ahead clarity of the BMX Bandits and Honeyrider, Noah's “Without A Broken Heart.” lands the proper album on a pop-tastic strong note. Be sure to hear the two bonus tracks that were recorded in Billy Tibbals’ garage. “Can’t Do It” contains an ultra-catchy refrain that will sneak up to you when you are going about your day, while “Our Last Kiss” follows in the baroque pop tradition of Emitt Rhodes and the Left Banke with its ornate instrumentation and string section.   

Songs made to endure
While continuing to adhere to the power pop aesthetic, Uni Boys proceed further into Century 21 as they have refined and expanded their melodic sound to reach an even wider audience. They have already received the Billie Joe Armstrong stamp of approval and caught the attention of those who came of musical age circa ‘79/’80. The band with the infectious hooks and the striking Southern Californian looks have fully realized the sound that many listeners were wishing for and achieved the rare feat where every song could be released as a single. This is currently the top album I have heard in this very competitive year and also consider it among the best power pop albums since 1979.  

Valley Bar in Phoenix, AZ, April 20, 2026
L to R: Reza, Noah, Michael

Tempe, AZ Nov. 2023

Tempe, AZ Nov. 2023

Reza scoring a Yellow Balloon single
at the Dana Point Record Show
Photo by Chris Owen (MUSK, Killer's Kiss)

Michael checking up on "Lies" by the Knickerbockers
at the Dana Point Record Show
Photo by Chris Owen (MUSK, Killer's Kiss)

 

Valley Bar-Phoenix, AZ-April 20, 2026
L to R: Rez, Noah, Artie

The Point-Magic Circle (1983)

Along with groups like Action Now and the Things, the Point are still one of the more unheralded bands that were on the outskirts of the Los Angeles scene in the early to mid-‘80s. Their overall sound can be slotted somewhere between garage rock revival, power-pop and those Willfully Obscure college rock bands. In fact, their bass player Greg Edwards was a UCLA pre-med student during the time of the band.

Century City Rag

In 1979, the boys from Livermore, arrived in Los Angeles in pursuit of their Golden State dreams. They accomplished step one as they were able to land their 5-song cassette demo in the hands of Greg Shaw. As might be predicted, Kim Fowley then tried to get involved and intervene in their affairs. What’s more, Stiv Bators loved them to the point of even trying to join the group or was it that Fowley wanted Tom Alford and Jon Stebbins to be guitarists & writers in support of Stiv Bators? Nonetheless, a 4-song 10’’ recorded at Mystic Sound Studio reached Joe Nolte of the Last, who shared the recording with friend and bandmate Vitus Mataré. Vitus was in the process of putting together the rakish WarfRat Tales compilation. They landed an appearance on that comp, however it was unfortunately their polarizing jam “Pothead” which would have been better kept to band practice. Their Magic Circle album took shape in spring and summer 1983. It was produced at Radio Tokyo Studio in Venice by Vitus Mataré and recorded by engineer Ethan James. 

The Last (Steve Andrews, Vitus Mataré) The Echo-Echo Park, Los Angeles
WarfRat Tales (Unabridged) release show-Sept. 2005

Little Brother & Sister Bands of the Last

The Three O'Clock and the Bangs (The Bangles) were typically the openers for the Last. When those two bands broke through and went on to be national touring acts, the Point and Wednesday Week were ushered in as new openers for the Last.

Fault Lines
Their first and only long player has them all over the stylistic map, which actually may have limited them. Further listens reveal the many striated layers of L.A. scene seeping into their music: folk-rock, rockabilly, garage, roots rock, power-pop, punk, new wave and what went on to be known as Paisley Underground. While they reflected the diversified and sprawling nature of Los Angeles, the lack of an overall consistent sound might have hindered them as a recording act. On the other hand, their malleability might have helped them on the live circuit and cross over to different audiences.    

Here Today · The Point-You're the Fix I Need

After the so-so mid-tempo title cut, they cover the Sonics’ album cut “Strychnine” which probably stirred up small riots when they shared shows with the Unclaimed and the Crawdaddys. Tom Alford's composition “You’re the Fix I Need” combines the economy and effervescence of Uni-Boys with the dB’s angularity. This is stripped-down canvas sneaker power-pop that could have been a single. Their knack for vocal arrangements and harmonies begin to shine through on this number that also features Wednesday Week’s Kristi Callan on backing vocals. Jon Stebbins would later go on to achieve renown for his well-regarded books on the Beach Boys. Further, the intertwined guitars on the solo explore the territory between Younger Than Yesterday and The Notorious Byrd Brothers.

“All My Life”

In a way, the Point are the consummate compilation band.  I first heard the glorious “All My Life” on the Rebel Kind comp. that I found used at Flat, Black & Circular in East Lansing in the early ‘90s. They also appeared on the aforementioned WarfRat Tales and Rhino's Children of Nuggets box set. I do wonder if the welcomed inclusion of the flute in “All My Life” was suggested by producer Vitus Mataré. His flute playing can also be heard on some Last songs as a nod to both the Association and Jethro Tull. You can also hear the song’s possible influence on later UK bands like the La’s and the Lightning Seeds along with the Optic Nerve from New York City. “All My Life” would go on to be heard by ensuing generations and also reach its largest audience when it was somehow included on an episode of the Gilmore Girls television program.

Here Today · 09 Someday

Stampede of Sound
Side 2 continues with their version of “I Like Girls” which is a cover of a Gary Valentine (ex-Blondie) song that he recorded with his band the Know. “Someday” starts with doo wop and builds to a dynamic peak to witness an expanse illuminated by lightning flashes and the sound of Love’s “Seven and Seven is” still thundering in the distance. Its rough hewn production makes it sound like it was recorded in a Kleenex box, but it works in context. This song and the adjoining “Street of Warsaw” were recorded at Lyceum Sound. Overall, their only album is an uneven affair, but it does have its shining moments. There has been mention of some unreleased recordings from the Point that were done under the auspices of  Vitus Mataré.  Perhaps one day, the wider world will be able to hear these additional aspects of the Point.

The Point in Century City, L.A. (L-R) Greg Edwards (bass-vocals), Mike Alford (drums)
Jon Stebbins (guitar-vocals), Tom Alford (guitar-vocals)

Human Switchboard-Who's Landing in My Hangar?

For some reason, Human Switchboard has eluded me in that I had not previously heard their music until 2024. Despite reading good things about them, I was somehow under the impression they were much more of a new wave synth rock outfit that played with a cold detachment...like a more arty Human League or a more melodic Human Sexual Response. I recently happened upon their first and only album Who's Landing in My Hangar? in a stack of donated records that actually included reissued White Light/White Heat by the Velvet Underground and Captain Beefheart’s Safe As Milk. Their prominent use of the Fafisa struck me hard and fast like hearing live Modern Lovers for the first time on Precise Modern Lovers Order. Not only present were the Lou Reed-ish vocals that reminded me also of those of Brother JT from the Original Sins, but also the most welcomed counterbalancing female vocals in the realm between Maureen Tucker and Chrissie Hynde. I also thought they were born and bred in the skyscraper canyons of New York City and shared sidewalks with Warhol. While they made their waves on the live front both opening for the likes of Alex Chilton and headlining in the New York City area (e.g.., CBGB’s Danceteria, Hurrah, Maxwell’s, Max’s Kansas City, Peppermint Lounge) their time spent growing up and living in industrial Northeast Ohio and snowy Syracuse were just as much an integral influence upon their sound. In their case, they embodied a good type of scrappy Midwestern resourcefulness coupled with the fortitude to make it happen against the prevailing headwinds. Overall, they generated a record that both reflects and transcends their era and continues to endure.

Worth the Excitement

Who's Landing in My Hangar? displays not only their vast versatility, but also their command to cast moods across the record, along with expressing a spillway of emotions within the songs themselves.  While their sound touches upon street rock, art punk, soul, garage and power-pop, they are ultimately singular, complex and uncategorizable. In other words, despite the genre hopscotching, they retained their consistent character across their recordings.

From the Other Music documentary

Another View

Most of all, they drew from the depths of the Velvet Underground and made an exalted sound of their own that connected to the stripped down, yet not thin or threadbare essence that I frequently value in music. Behind the wall of guitars and brimming keyboards, their rhythm section also exhibited the push-and-pull of the early Talking Heads. 

Who Put the Bomp?

Additionally, Human Switchboard appeared on the 1979 Bomp compilation Waves (An Anthology Of New Music Vol.1) and reminded me of being on a similar wavelength of what the Last were doing on their second album Look Again when Vitus Matare’s Farfisa keyboards rose to the forefront. Perhaps only Seymour Stein could match Bomp’s Greg Shaw when it came to prospecting powerful and lasting pop during the ‘70s. 

Myrna Marcarian (keyboards) & Bob Pfeifer (guitar)

Complementary Contrasts

One of their innate abilities was their ability to make discontent flow seemingly. This particular ability could be said to be the highest fulfillment of the promise of the new wave movement. Behind this musical dichotomy are the dueling identities of Myrna Marcarian and Robert Pfeifer. Combinations of absence/presence, straightforwardness/circuitousness and clarity/dissonance are some of the dynamics at play. It works like the epiphany when an art teacher imparts the concept of negative space and the physical and spiritual world momentarily snaps into place.

Urban Core

Leading off is the majestic “(Say No to) Saturday’s Girl” that is almost a response song to Blondie’s “Sunday Girl” mixed in with some Lulu and Lesley Gore loveliness. The frantic “Who’s Landing In My Hangar?” features Marcarian’s pronounced organ stabbing in a good way as she takes it to the edge against the rush of Pfeifer’s “New York Subway” spiraling guitar. “In This Town” is their Lee Hazlewood and Nancy Sinatra moment, albeit with lyrics expressing the cold indifference of the city. Further, their songs retain their insurgency, while capturing the ominous feelings of an unraveling New York and the bleak drabness of Cleveland of the time. To start side 2, Marcarian steps back up to take lead vocals on “I Can Walk Alone.” The sweeping song is a personal manifesto and declaration of fortitude set to an indelible melody.

 

Despite all the Computations

In retrospect, the full focus should have been on Myrna Marcarian as she co-composed their two best standalone songs ”(Say No to) Saturday Girl” and “I Can Walk Alone.” However, to fully appreciate the light, one must obviously have contrast with the darkness. While “Don’t Follow Me Home” does hinge to the Doors a little too closely, it does resolve with sweetness and light courtesy of countervailing backing vocals from Marcarian. The jaunty “Book on Looks” tilts towards the superrock of the Fleshtones.  Pfeifer continues to deliver his confessionals and character studies with deadpan vocals that hover between art skronk, bursts of squalling sax and perpetual motion to where the light breaks.

Casting Their Spell

Live video footage shows their conviction and compassion for what they did as Myrna Marcarian is beyond convincing with her strident vocals and arresting keyboard playing. She is indeed a colorful focal point who brought in an advanced pop awareness and humane presence that clashed and converged with the street level sensibility of Bob and the sparks and shards flying off his guitar.  He certainly knew his way around the guitar and the interplay with Marcarian’s Farfisa organ is an essential element to their amalgamated sound. Live footage also reveals drummer Ron Metz played in a similar rangy fashion as John Dugan of Chisel.

Future Shock

Their sound did get glossier as the ‘80s ensued and 1983 Polydor demos revealed somebody (that is John Stainze) was trying to possibly shine them up to be an American answer to Culture Club. (For the record, I do enjoy Culture Club.) Still, “A Lot Of Things” is an all-around captivating pop song that benefits from the studio polish as well as being reminiscent of the Bangles at their best. On these later recordings, Pfifers’ quavering voice goes less Lou Reed and more in the direction of solo Mick Jagger or solo David Johansen. Your mileage may vary as some listeners do indeed enjoy this late phase in which Marcarian’s signature Farfisa sound is replaced by a Korg.

Ripple Effect

The 1981 album caught them at the peak of powers in a run that spanned from 1977 to 1984. Be sure to check out some of their compelling early garagey material that appeared on Who's Landing in My Hangar? Anthology 1977-1984 CD from 2011. The slinky “I Gotta Know” and “San Francisco Nights” deserve special mention as the former features Myrna on the glockenspiel and connects Girl Group pop to Paul Revere & the Raiders, while the latter is a Robert Pfeifer standout inspired by the Pickwick Poet Lou Reed.  

Making the Connection They were also the little band that got raved about by big acts like Lenny Kaye, Elvis Costello, the Beastie Boys, and Kurt Cobain (how did he hear so many records in his short 27 years?). Their sound would go on to influence not only the Feelies, Yo La Tengo and indie-popsters like Saturday Looks Good to Me and Lewsberg, but also the multitudes of garage bands now treated with indifference like the Kent 3. Living up to the promise of new wave is what sets this group and record apart from so many others. Consequently, Who's Landing in My Hangar? will reveal itself to the listener in its own time-even if it takes 42 years.

Ron Metz (drums), Myrna Marcarian (keyboards) & Bob Pfifer (guitar)

Joe & Mike Nolte-Joe 'N' Mike

The recording made it across the Mohave and Sonoran Deserts the other 110 degree day and I have to declare this is one of the finest in the Nolte canon. I don't know of the songs' initial inceptions, but it's almost like they were preordained to be recorded and heard acoustically. It's remarkable to hear the topical, yet universal and timeless "Difference" in new shadings. The pointed line about "Some People Left L.A, Some People Joined the Rockabilly Trade" really stands out in almost a gravelly "Eve of Destruction" way. The entire epic hinges upon some outstanding guitar playing. Next up, is my favorite song on the disc "Someday I''ll Have You." Promising lyrics ride atop jaunty and sparkling guitars before curving along some coasts of gorgeous harmonies in-route to a Beatlesque finale. "Everywhere" reminds me of an early Fairport Convention song transfigured over some of that jingle-jangle galore of the Searchers' "When you Walk in a Room" along with a nod to the Rooftop Singers' "Walk Right In." Also be ready for the nice rural route solo ambling through the aforementioned number. The harmonies are nailed on "The Other Side" and like "Difference"-it's illuminating to hear in an acoustic setting. "Day Girl" starts off with a standout intro and had me turning my head because the verses reminded of "Somebody to Love" by Jefferson Airplane. Mike Nolte''s "A Part of Your Soul" (Pallbearer) musically recalls Preflyte Byrds and "Onie" by the Electric Prunes resulting in one of the album's finest moments. "Nearly Dead" unfurls in pure emotional honesty and sounds like it was written during their "Gin and Innuendos" mid-'90s era-not the 1977 copyright. I won''t spoil the ending. Another seemingly anachronistic song follows in the form of "You Walk into a Room" which was supposedly inscribed in '89 or '90, but sounds like it could have had its lyrical origins switched-on from Joe's progressive band era of the Power. Does anyone else hear a brief bit of "Light My Fire" in "It All Comes Down"? August is the cruelest month here in the Southwest, but this stripped-down acoustic album (recorded in April of 2003) delivers some previously buried treasures from their South Bay shores while confronting the mirages along the way.