There's a special kind of magic reserved for artists who remind us why we fell in love with pop music in the first place — simple, catchy, and crafted with soul. Geoff Westen is one of those rare songwriters. If you grew up cranking tunes in the car, spinning records on a turntable, or lighting up the dance floor, then "Music For My Friends" will feel like coming home. This 10-track Hard Pop album is a celebration of melody, energy, and the sheer joy of music that moves your feet and stirs your heart.

But before that, let me introduce you to Geoff Westen — a pop craftsman who doesn't mince words. "It's all about the songs… stupid!" he says, and listening to this album, you quickly realize just how right he is. Westen's vocals come with a confident, slightly raspy edge that perfectly matches the gritty yet polished instrumentation surrounding him. His delivery is relaxed but never lazy, carrying a cool sense of urgency that pulls you deeper into each track. Let's get into the song-by-song Breakdown.

"Bye Bye Bebe" opens the album with punchy drums and jangling guitar riffs that set a rebellious, upbeat tone. Geoff's vocal performance is playful yet direct, embodying the bittersweet vibe of a freeing and painful goodbye. The production layers shimmering synths with a raw rock edge — a perfect introduction to the sonic landscape Westen has created.

"It's Not Over" shifts gears into a defiant anthem of resilience. The driving bass line and tight percussion create a heartbeat that won't quit, while Geoff's delivery adds a conversational intimacy, as if he's sharing a secret you need to hear. The blend of classic pop hooks with modern production flourishes feels timeless yet fresh.

"Technicolor Dream" lives up to its name with lush, vibrant instrumentation — think swirling synth textures and vibrant guitars that paint a sonic canvas as colorful as the title suggests. Geoff's vocals float effortlessly atop this soundscape, delivering a dreamy, hopeful performance that invites you to escape and imagine.

On "Wut U Gon Do Bout It?", Westen turns up the attitude with a catchy, swagger-filled groove. The interplay between the gritty guitar lines and funky bass keeps the energy high, while the vocals carry an edge of playful challenge almost like a musical dare that you can't resist.

"Why? Why Not!" is an infectious pop-rock blast, fueled by punchy rhythms and a sing-along chorus that sticks with you long after the song ends. Geoff's vocal phrasing is sharp and charismatic, conveying a sense of urgency wrapped in carefree fun. The production here is crisp, balancing analog warmth with digital clarity.

"Living On The Metro" slows things down just enough to reveal a darker, urban narrative. Sparse but effective instrumentation &emdash; tight drums, atmospheric synths, and moody guitar &emdash; frame Geoff's more introspective vocal delivery. The song captures that restless city energy with an undercurrent of longing.

"Headed For A Fantasy" is where the album flirts with escapism and wonder. Layered guitars shimmer beneath a smooth rhythm section, and Geoff's voice takes on a wistful tone, making you feel like you're on the verge of chasing a dream. The production sparkles, with subtle effects that enhance the fantasy without overwhelming the core melody.

"I Hate The City" is a raw, punchy critique wrapped in a tight pop structure. The guitar work here bites, with edgy riffs that complements Geoff's blunt, almost spoken-word vocal style. The song's attitude and production remind me of classic punk energy filtered through a modern pop sensibility.

"Night Ride" brings back the kinetic energy with a driving beat and shimmering synth lines that evoke neon-lit streets and late-night adventures. Geoff's performance is smooth and confident, inviting us into a nocturnal world where anything feels possible.

Finally, "You're Too Good For Me" closes the album on a bittersweet note. Geoff's vocal delivery here is tender and reflective, carrying the weight of unspoken emotions. The instrumentation is elegant yet understated, allowing the song's heartfelt message to resonate fully.

Throughout "Music For My Friends," Westen's production strikes a fine balance between polished pop sheen and gritty, organic textures. Guitars; both electric and acoustic take center stage, delivering crunchy riffs, jangly chords, and shimmering layers. Synths and electronic elements are used tastefully, adding depth without overpowering the songs' core melodies. The rhythm section is tight and dynamic, driving the energy forward without losing subtlety.

For anyone who's been missing that pure pop joy — that sense of connection through simple, honest songs, this album is a must-listen. Geoff Westen is reminding us why the songs matter most. So crank it loud, feel the beat, and let "Music For My Friends" take you on a ride you won't forget.

Michael Jamo - SONGWEB / Ghana

There's a tender irony in the very name of this album. Music For My Friends: like a postcard from a world on pause, a rock-tinged disco-pop cry from the heart, delivered from a home studio in the midst of the pandemic storm. Geoff Westen, the shadowy indie crooner and veteran of well-crafted melody, offers here much more than a record: a nod to a time when pop wasn't afraid to be pop, and when dancing was still an act of gentle resistance.

We enter the album as if we're climbing into an old convertible, the car radio tuned to an imaginary station somewhere between 1982 and tomorrow. From "Bye Bye BeBe," the tone is set: a square beat, glittery synths, a half-dandy, half-crazy voice. Westen doesn't bother with subtextÑhe sings about love, longing, the city, and desire with a skillfully constructed nonchalance. It's Not Over plays the disco hope card, Technicolor Dream explodes into a new wave rainbow, and I Hate The City delivers ironic venom with a smile on its lips.

But it's in "Night Ride" that the album reaches its hallucinatory peak. We encounter a woman with incandescent gestures, hidden in the shadows of the subway, punctuated by the movement of the train and the frantic beating of an all-too-alive heart. An urban, sexual trip, driven by sweaty bass and a narrative worthy of a VHS music video. Westen becomes a nocturnal storyteller, somewhere between Prince and Pet Shop Boys on acid.

There's something deeply anachronistic about Music For My Friends — and that's its charm. Geoff Westen writes songs like they don't make anymore: with choruses meant to be sung at full blast in the car, synths that glow like neon lights in an empty parking lot, and a naive sincerity we thought was lost. It's retro, yes. But above all, it's furiously free.

And in this world where everything seems to want to take itself seriously, hearing someone dare to write a song called "Wut U Gon Do Bout It" or sing "You're Too Good For Me" with adolescent aplomb is a rare treat. Geoff Westen isn't trying to be trendy. He's somewhere else. And that's a good thing.

EXTRAVAFRENCH / France

Geoff Westen isn't here to ask permission. With Music For My Friends, the veteran drops a 10-track grenade that detonates with the force of a leather-jacketed revolt against the soul-sucking, algorithm-driven monotony of modern music This isn't your grandma's easy-listening playlist — it's a lovely attack on the eardrums, flipping the bird to all that algorithm-driven crap clogging up your Spotify. Buckle up.

A stalwart of the underground scene, Westen cut his teeth in bands like The Other Half and C.K. Strong before going rogue with his label, Disturbing Music. Known for his "aural assaults" (his words, not ours), he's the kind of artist who'd rather chew glass than dilute a melody for streaming stats. Music For My Friends continues his "hard-pop" crusade — a fusion of grungy guitars, neon-lit synths, and choruses so massive they'd make Bon Jovi blush. This ain't background music for scrolling TikTok; it's a full-speed, windows-down, volume-at-11 thesis.

Westen not just recycling from the '80s — he hijacks its spirit, straps it to a rocket, and launches it into 2025. Tracks like Bye Bye Bebe kick things off with a jolt of adrenaline, all pounding drums and snarling vocals that'll transport you straight back to those late-night radio binges of your youth. But don't think for a second this is some tired rehash — the production's sharp as a tack, with synths that sparkle like a disco ball in a seedy bar and guitars that growl like a garage band on Red Bull.

It's Not Over really takes you to some dark places. Picture yourself wandering through Berlin at 3 AM, lights reflecting off puddles while synths and beats echo from underground clubs. Then Technicolor Dream hits you like a brick wall of sound — Westen's throwing alt-rock riffs into the electronic mix, and somehow it all works. It's chaotic, but in that good way, like when you're in a packed venue and everyone's moving as one sweaty, happy mass.

Standout Tracks:

Headed For A Fantasy: This is the song your cooler-than-you uncle would've blasted while peeling out of the driveway in his Camaro. All bouncy and stupidly optimistic, dripping with synths — you can practically see Molly Ringwald dancing to this in some 80s teen movie.

Night Ride: The album's left-field gem. The bass just doesn't quit, the vocals sound like they're coming through some creepy old radio, and the synths? Pure John Carpenter horror vibes. It's unsettling but weirdly makes you want to dance. Westen's showing us he's got range.

You're Too Good For Me: Closes things out with a bang. It's big, it's loud, it's got that fist-in-the-air energy. Imagine if Eddie Van Halen decided to join forces with A Flock of Seagulls — that's the vibe here, and we're all for it.

Don't let the glossy exterior fool you. Dig a little deeper, and "Music For My Friends" is dealing with some heavy stuff. Rejection, escape, trying to find real connections in a world that feels increasingly fake. Songs like "I Hate The City" and "Living On The Metro" really capture that feeling of being alone in a crowd — you know, when you're surrounded by people on the subway but feel completely invisible. Westen's lyrics bounce from defiant ("You will stay!") to disheartened, like a guy who's danced through heartbreak but still believes in the magic of a killer riff.

In a period where "vibes" trump melodic style and tracks are engineered to fade out before your attention span dies, Westen doubles down on structure. Verse-chorus-bridge? Hell yeah. Key changes? Bring Õem. This is music that moves, shifting from sugary highs to brooding lows without apology. The drums on "Why? Why Not"! aren't just keeping time — they're a character in the story, clashing with vocals in a way that feels live-wire spontaneous.

And let's talk sincerity. There's zero irony here. When Westen sings "You're Too Good For Me," he means it. In 2025, that level of earnestness isn't just refreshing — it's radical.

Music For My Friends isn't trying to be the next big thing. It's here to remind us why rock 'n' roll is timeless: because it rolls, it rips, and it leaves tread marks on anyone in its path. Geoff Westen has mixed the carefree spirit of '80s pop with the grit of someone who's seen the music biz's dark side and still believes in its magic. Is it over-the-top? Absolutely. Glorious? You bet your ass. Play it loud, play it messy, and for god's sakeÑdonÕt skip the solos. Music For My Friends is out now on Disturbing Music. Stream it, wind it, and join the rebellion.

BUZZYBAND / USA

Geoff Westen's MUSIC FOR MY FRIENDS is one of those records that shows up, entirely uninvited, kicks down the door of your carefully curated lo-fi playlist, and loudly declares, "Remember when songs used to be songs?" And before you can reply, it's already halfway through a synth solo. It's loud. It's glossy. It's borderline ridiculous. And yes, it's glorious.

Westen calls it "Hard Pop for our new world order," which sounds like something a lesser artist would use to name a crypto project, but in this case, it's actually…accurate? Imagine the musical lovechild of late-night MTV, the Tron soundtrack, and a midlife crisis wrapped in a leather jacket and aviators. This isn't music for passive listening while you do your taxes. This is music that bursts through your headphones like it's auditioning for Top Gun 3: Goose's Revenge.

The vibe? Think '80s, but not the corporate, beige, "let's slap a synth on this for Stranger Things" version of the '80s we're currently being fed. No, this is the real stuff. The high-octane, over-the-top, earnestly emotional, weirdly theatrical wave of pop that believed in the power of hooks so massive they needed their own zip code. Westen doesn't just imitate that era; he builds a time machine out of MIDI and lives in it.

Let's be clear: this album isn't chasing trends. It's chasing structure, and not in a boring, "let's follow the formula" kind of way. No, this is structure as defiance. Verse, chorus, bridge, key change. Westen remembers that a song can have dynamics. It can start in one emotional place and end up somewhere completely different without needing a Spotify-friendly fadeout after two minutes and thirty seconds. Shocking, I know.

Take It's Not Over; this track is like being handed a cassette tape by your coolest friend in 1984 who insists that you listen to it immediately. It sounds like Thomas Dolby and The Buggles got locked in a room with a stack of vintage drum machines and a shared existential crisis, and somehow emerged with a perfect synth-pop banger. It's the soundtrack to a montage of you learning how to rollerblade again after a bad breakup, blasting through your emotional baggage at 30 miles per hour. Glossy, punchy, and full of those razor-sharp synth stabs that make you want to drive too fast in a video game.

And then there's Headed For A Fantasy, which I can only describe as the theme song to a cartoon that never existed but somehow shaped your entire personality. It's got that cartoonish optimism, that sense of stakes and wonder you used to feel as a kid when the hero finally powered up for the last battle. It's sweet without being saccharine, nostalgic without being patronizing.

Closing out the album is You're Too Good For Me, which should be ridiculous but also manages to land with surprising emotional weight. It's like Eddie Winter woke up in the middle of an arena show, found out he was fronting A Flock of Seagulls, and just went with it. It's all soaring vocals, dramatic synths, and a genuine ache beneath the glitz. There's no ironic distance here. Westen means it. And that sincerity, in 2025, feels almost revolutionary.

What sets MUSIC FOR MY FRIENDS apart is its complete lack of self-consciousness. This isn't "pop music but sad" or "pop music but on purpose bad." This is pop music that believes in itself. It's not posturing. It's not chasing TikTok trends. It's not pretending to be low-effort while secretly being run by a team of brand consultants. It's just a guy, some massive melodies, and a belief that music should do something.

This album doesn't care about being cool. That's what makes it cool.

Ian Ureta - ANTI POP PUNK POP PUNK CLUB / Philippines

Music For My Friends by GEOFF WESTEN is an indie rock project about stripping back the nonsense in an ever changing world. The energy this album brings to the table from beginning to end is impressive. The boldness and confidence manifests from the first track. Bye Bye Bebe is passionate and bold. The vocals are aggressive and excitable while managing to convey emotion at the same time. It's a beautiful combination of energy and meticulous attention to detail.

The drums crash with a bold hiss and intense distortion. They create a sound that introduces you to the energy of the project beautifully. The vocals prioritise raw authenticity over perfect technique and breath control. That rebellious spirit feels like a core part of the project's DNA Overall. It's Not Over, the next track on the project takes the sound and evolves it into a more positive direction with an ethereal melody that morphs and evolves throughout the track. The vocals are de-emphasised here, allowing the sonic tapestry of the music to take centre stage.

The next track that stood out to me was Why? Why Not!. With a title that perfectly encapsulates the rebellious nature of the project as a whole, this one is off to a good start. The vocals here are also confident and expressive, getting their point across effectively and heightening the groove with their infectious energy. The drums are also fantastic. Instead of simply acting as the backbone and structure of the track's rhythm, they add texturally to its landscape and evolve a personality of their own that exists in the same world as the other melodic elements. It is incredibly cathartic to see the aggressive and animated personality of the drums interact with the vocals, both elements bouncing off one another and heightening the energy with their contrast.

The level of musical chemistry in this project is commendable and the energy is infectious. Music For My Friends is a deeply personal and raw exploration of the indie rock genre from GEOFF WESTEN.

George - MUSIC TASTE / UK

GEOFF WESTEN'S MUSIC FOR MY FRIENDS FEELS LIKE OPENING A TIME CAPSULE PACKED WITH SYNTHS, NEON FLASHES, AND FUTURE-FACING INSTINCTS.

IT'S A COLLECTION OF TRACKS THAT DRAW INSPIRATION FROM THE PAST, ESPECIALLY THE NEON-GLOW PULSE OF THE 1980S, WHILE NEVER SOUNDING DATED. THERE'S A SENSE OF FUN, YES, BUT ALSO INTENTION. THIS IS THE WORK OF AN ARTIST WHO KNOWS EXACTLY WHAT HE'S DOING.

The album kicks off with "Bye Bye Bebe," a brisk track with an upbeat groove that instantly recalls vintage pop-radio anthems. It rides.a catchy vocal melody that flirts with nostalgia without leaning on it too heavily. There's a warmth to the synths, a brightness to the drums — like a mirrorball spinning under pink and blue lights.

"It's Not Over" pushes things toward darker territory. Driven by a Berlin-club-style rhythm, it plays like the soundtrack to a neon-drenched dystopia, blending dance floor momentum with a feeling of simmering tension.

Then comes "Technicolor Dream," which adds crunchy guitars and steps confidently into alt-rock territory, yet still retains that electronic backbone that runs through the record. It's playful and strange in all the right ways.

"Wut U Gon Do Bout It?" Takes a sharp turn into arcade-land, conjuring memories of retro video games while keeping the beat sharp and the mood light. It's the kind of track that feels built for late nights and flashing lights. Meanwhile, "Headed For A Fantasy" stays upbeat and bouncy another showcase of Westen's knack for melody and rhythmic precision.

But it's "Night Ride" that steals the spotlight. There's something off-kilter about it — in the best way. The bass pulses with menace, the vocals drift like transmissions from a forgotten sci-fi broadcast, and the synth work suggests an avant-garde bent. It wouldn't feel out of place in a John Carpenter score, yet it still feels undeniably pop.

The album closes with "You're Too Good For Me," a track that bounces along with freshness and hooks that practically invite a sing-along. It ties up the record with a satisfying wink — playful, sharp, and addictive.

With Music For My Friends, Geoff Westen has crafted a record that nods to club nights, VHS memories, and synth nostalgia, all without losing sight of modern production and crisp arrangements. It's retro-futurism done right — personal, eccentric, and fun.

Chris Mariotti - EDGAR ALLAN POETS

Geoff Westen's album, "Music For My Friends", thumps onto the scene like a dropped box of heavy disco balls — all shiny potential energy and the slight threat of chaos. It aims for that classic pop song euphoria, the kind designed to rattle car speakers and fuel late-night dance floors, an "aural assault" as Westen puts it. And it does pulse with energy, a insistent, hard-pop beat pushing relentlessly forward.

With Music For My Friends, Geoff Westen has crafted a record that nods to club nights, VHS memories, and synth nostalgia, all without losing sight of modern production and crisp arrangements. It's retro-futurism done right — personal, eccentric, and fun.

But peel back the chrome plating, and the lyrical heart is pumping something darker, something almost bruisingly human. We're thrown headfirst into a whirlwind of obsessive clinging ("You will stay!"), followed by the sharp, glass-shattering sound of rejection and blame. It's an emotional U-turn performed at speed, leaving you momentarily disoriented. Where did that sweet melody just go? Oh, it's now twisting around a lyric that feels like a slammed door.

From that wreckage, the album scrabbles towards escape. It chases impulsive joy, ducks into dreamlike romances that feel hazy, maybe unreliable. There's this peculiar fascination with the city's flow, particularly the subway — seeking anonymity or perhaps connection in that underground river of strangers. It reminds me, oddly, of the specific smell of ozone and damp concrete before a train arrives, a scent that always feels pregnant with possibility or just… mundane delay. This search escalates, craving transcendence through snatched encounters, altered states, a frantic dance against dissatisfaction. Even love, when seemingly captured, feels viewed through thick, rose-tinted glass, hyper-idealized, almost alien.

The effect is bracing, like mainlining sugar while reading someone's diary. The rock-pop chassis is sturdy, built for movement, yet the narrative running through it is all jagged edges and feverish searching. It makes you want to move, absolutely, but you're left wondering: are we dancing towards something ecstatic, or just furiously away from the wreckage?

Christian - VIVIPLAY / MUSIC ARENA / Ghana

I've been a fan of Geoffs from the beginning. Every few years he releases another musical gem. I say "gem" because I really connect with his music. He is very clever with how he puts his music together and how perfect (to my ears) it all is.

As for his newest release, "MUSIC FOR MY FRIENDS," - without sounding like a broken record - although I don't think they exist anymore - I just love it. Right from the start with BYE BYE BEBE, it's 100% Westen. The minute I heard the first few seconds of that track - I knew who it was.

IT'S NOT OVER sucked me in right away and hypnotized me. I didn't want it to end. Same for NIGHT RIDE. The vocal stood out to me. And the storyline is very cool. I also connected with a few rockers like TECHNICOLOR DREAM and I HATE THE CITY and YOU'RE TOO GOOD FOR ME.

One thing I noticed after the first hearing is that this album is very much uptempo - not a ballad in the batch. OK with me. I'm into the idea of an album that gets me on my feet and keeps me there. I think Geoff did exactly that.

Also, let me point out that I have always admired Geoff's lead guitar work. His solos are well thought out. Kind of "old school" a la Harrison. They always lift the track and have a melodic "soar" going on - not a thousand notes of doodling dribble.

LIVING ON THE METRO. Come on! Is that not cool or what. Who is this "Lady in Gray"? She shows up in more than one song. Hmmm. WUT U GON DO BOUT IT is a slight deparure having intertwining melodies and background discussions. You have to listen closely to pick out what is being said in this song. And the track rocks in it's own chaotic way. Good stuff. Love it.

BTW - On second listening - I got into the bassist and drummer on this album. I don't know if they are real or machines - but their combined partnership really is impressive.

And while I'm thinking about it, and since I have the floor, there is one area where Geoff seems to get little comment - and that is his lyrics. I think he is a brilliant lyricist and let me be the first to recommend checking out his writing. The lyrics are inside the booklet of every CD he has produced. Really - check it out.

What's left? WHY? WHY NOT! and HEADED FOR A FANTASY. HFAF is so Westen Sounding. Give it a listen and you'll hear what I mean. And I really like the way the song steam-rolls far into the depths of the fade.

There really isn't a weak performance on this disc. But, I'm a fan and I expect brilliance. I believe he got it this time around. Maybe that's because I KNOW his music. I actually listen to (now 8) his CDs all the time. Not just at "release time." Hey folks - I think you owe it to yourself to check out MUSIC FOR MY FRIENDS.

Left Elbow - BODY PARTS

Geoff Westen's album Music For My Friends is a conceptually integrated and emotionally compelling exploration of disillusionment, escape, self-reclaiming, and romance. Far from a collection of disparate songs, the disc is an overall emotional journey that charts the complexity of relations, interpersonal and otherwise, and the struggle between fantasy and reality. From start to finish in its lyrics, the disc is like a person's diary with all the resultant confessions, regret, and defiant surges of resolve coupled with glimmers of hope — all bound together with Westen's frank honesty and emotional resonance.

At its core, Music For My Friends is a collection of how romantic and intimate relationships construct self-image and identity. Much of the lyrics document the aftermath of emotional involvement — love as both empowering and crushing in both ways. Westen writes with the urgency of the heart with vulnerability placed against the context of a brave facade. Love in this lyrical world is rarely stable. It is a force that distorts time, memory, and conduct. The way he sings of contact — as in being not worthy of being loved or trapped in self-sabotaging patterns — is a thread of lyrics that links songs by common emotional vulnerability rather than narrative continuity.

One of the most recurring lyrical subjects of the record is the interplay between confrontation and self-reflective searching. The lyrics oscillate between self-blame and questioning one's self. There is an oscillation between anger and self-reproach, as when relationships fray and longings go unmet. That tension creates a richly drawn image of romantic and emotional struggle. Accusatory verses ("You're too crazy") crop up next to self-castigating ones ("I hate who I used to be"), suggesting a universally human pattern of projecting misery before internalizing it. That emotional tug-of-war becomes one of the most compelling recurring threads of the record.

Another compelling element is the preoccupation of the album with escape — into dreams, fantasy, or bodily movement across space. Westen uses images of the Metro ride, nighttime driving, and beaches to evoke movement and transition even when emotional movement is immobilized. These recurring images are not stylistic mannerism &mdash: they're the articulation of the need to escape discontent, to go after someone else, something else. The dream narratives in particular are lyrical metaphors for idealized longings and love, in which the artist reconfigures emotional reality in rich, nearly-surreal terrain. Fantasy is not distraction but necessary respite from the turbulence of emotional reality.

For all the melodrama and emotional histrionics that pervade most of the record, there is an underground current of toughness there as well. Westen's lyrics never fully give way to desperation; they pivot on a dime into combative humor or battle-tested optimism instead. The insistence of "Why?" answered with a matter-of-fact "Why not?" is the ideal example of that refusal of cynicism getting the better of it. Viewed that way, the record is not one of romantic breakdown or personal defeat but of the fight to get control and joy back in the aftermath.

Lyrically, and with the way that the artist positions himself within them, Music For My Friends is in search of a sense of self. There is a growth that is taking place, a sense of self-consciousness that expands track by track. The artist shifts from rejecting others to reaching out in search of contact, from being smothered by love to learning to accept his own emotional leanings. This is not explicitly set out in the lyrics but suggested by shifts in tone and recurring emotional tropes. Love is painful, but it is one that is transformative as well — and it is this transformation that makes the record cohere as an emotional statement. In the end, the lyrics on Music For My Friends owe a debt of gratitude to a combination of honesty, contradiction, and fleeting poetry. They refuse to offer closure or perfection but emerge instead from the muck of real life. Geoff Westen's world of lyrics is filled with messy people struggling to make sense of the world and reaching out for love, comprehension, or escape. With that emotional honesty, the record is not a collection of songs but a reflection of that human existence expressed with humor, heart, and vulnerability.

Derek - ANALYZE MY LYRICS