Thanks to the LA Punk Film Festival for including “Doomscrolling in Paradise.”
And congrats to the festival on their 10th anniversary of Punk Film Awesomeness.

Thanks to the LA Punk Film Festival for including “Doomscrolling in Paradise.”
And congrats to the festival on their 10th anniversary of Punk Film Awesomeness.

Thanks to the Desert Waves Film & Music Festival for selecting “Doomscrolling in Paradise” for their event. Coming to StarBase Las Vegas on Oct 17 – 18, 2026.

Big thanks to the folks on Cleveland Street for inviting me to the annual block party. This time around I was joined by the incomparable duo of Jules Leyhe (guitar) and Jason Slota (drums) for a run through of the new London Session songs and some old and new covers.
SET 1: I Walked for Miles, Devil on Your Shoulder, Insomnia, Heaven (Talking Heads), Babar and Rita, Umbrella World, Cortez (Neil Young), Little Party Dress, Out in the Street, Angel from Montgomery (John Prine).
SET 2: Morning Dew (Bonnie Dobson), Magnolia (JJ Cale), Woodstock (Joni Mitchell), Chaos Is Come Again, Captain America, Movie Night, Moon and Stars, Blue Suede Shoes* (Carl Perkins), Money* (That’s What I Want) (Berry Gordy / Janie Bradford), Gloria* (Van Morrison), What Is It You See.

* vocals: PC
‘Round about the early 2000s, a group of friends in the San Francisco Bay Area formed a band called StationWagon. We played good-time-garage-band-wall-of-sound-rock-n-roll cover tunes at house parties, block parties, fundraisers, and weddings.
Though we haven’t played together in years, we kept in touch and had to opportunity to meet at Tiny Telephone studio for one day in 2026 to run through and record a set of StationWagon favorites.
Could we shake off the rust? Could we remember the songs? And, the most existential question of all, could we still rock? Take a listen for yourself to see how we sounded when we came together for “The Day of the Wagon.”

Thanks to the ISC for the gear – and for naming “Eating in My Car Again” a 2025 Music Video Promotion winner. Woohoo.
Thanks also to the awesome crew who worked on the project.
Time to make another video!!!

Thanks to Mesmerized for sharing some cool observations about the album. Like this…
“Roensch builds something that moves unpredictably but still makes sense once you sit with it. It’s an album that invites you to linger a bit, the same way you might in a place where the night stretches longer than you planned.”
Thanks to The Musical Road for the review. I especially like this observation.
“What truly elevates the album is the sense of collaboration. The musicians—many of whom had not previously worked together—bring a spontaneity and chemistry that feels organic rather than overly rehearsed. This gives the record a lived-in quality, as though it’s being performed in real time.”
Super-huge thanks to all the amazing collaborators on the record.
Thanks to Illustrate Magazine for their review of “Down at the Polystereophonic Dive Bar.” I appreciate the thoughtful words, like this:
“There’s a lived-in, almost literary charm to Greg Roensch’s Down at the Polystereophonic Dive Bar, an album that feels less like a playlist and more like a place you wander into and stay awhile. A songwriter with roots in poetry and flash fiction, Roensch builds songs the way a storyteller builds scenes: with detail, pacing, and a knack for shifting between humor and quiet emotional weight. The result is a genre-blurring mix, indie rock, pop hooks, Americana textures, that invites you to lean in. It’s not a concept album on paper, but play it front to back and it starts to feel like one long, late-night conversation in a dimly lit bar where every voice has something to say.”

I’m super grateful to everyone who worked on this album with me. Any positive reviews wouldn’t be possible without their support. Here are a couple excerpts from a generous review from The Big Takeover.
Opening Paragraph: “The fact that Greg Roensch is, as well as a singer-songwriter, also a poet, a fiction writer, and a filmmaker, makes perfect sense when you listen to his latest album, the intriguingly named Down at the Polystereophonic Dive Bar. For while it is full of pop-aware hooks and rock and roll riffs, addictive chops and intriguing sonic lines, it is essentially the sound of the artist having a direct dialogue with the listener. As the title suggests, these songs are designed to be one half of a conversation taking place in that titular bar.”
Conclusion: “Greg Roensch is a master storyteller, and Down at the Polystereophonic Dive Bar feels like the most rewarding conversation you could ever have leaning on the bar and sharing a few drinks with someone who has been there, seen it, done it, and survived to share his thoughts and stories with you.”
Thanks to Flex for their cool take on the record. I especially like this exerpt.
“What unfolds here is a series of lived-in vignettes, stitched together with the sensibility of a writer who understands pacing as much as melody. The artist approaches songwriting like a storyteller first, allowing scenes to breathe, characters to linger, and ideas to develop with patience. The result is an album that feels like a late-night conversation that drifts between humour, confession, and something heavier just beneath the surface.”