Take Effect

Breakdown On 20th Ave. South

New West, 2019

8/10

Listen to Breakdown On 20th Ave. South

On their first album together in a decade, Buddy and Julie Miller, who are married, share a chemistry you might expect after 40 years of marriage, though with such strong, timeless talent from both, it’s also a unique formula where the lines of Americana, country and folk are blurred.

The title track starts the album with vocal harmonies and a warm, lifting setting and multifaceted approach where blues and folk are in attendance, and “Feast Of The Dead” follows with Julie’s inimitable vocals in a percussively strong and more bare setting that’s dark spirited.

Further along, “Unused Heart” brings gentle guitars to Julie’s emotive and sweet singing, and “Till The Stardust Comes Apart” offers a duet that resides near balladry with soft keys complementing the mood.

Near the end, “Secret” has Buddy taking the lead on a country influenced moment, and the dusty anthem “War Child” is easily one of the album’s best. “Storm Of Kisses” ends the listen with a gently plucked banjo against the pair’s melodic vocals on a tune about Julie’s late brother.

While Buddy’s been plenty busy in the last decade doing session work and touring, Julie has been plagued with health problems. It’s only fitting, then, that Julie takes the lead on more than half of the album, and actually penned the entire record.

Let’s hope it isn’t another decade before these two record again, and while it’s hard to call this a comeback album from people who live in the same house, it certainly is a great reminder of how fantastic Miller is when it’s plural.

Travels well with: John Hiatt- The Eclipse Sessions; Steve Earle- Guy

I’m The Smile

Self-Released, 2019

8/10

Listen to I’m The Smile

An appropriately titled 8th album, Minnesota troubadour Charlie Roth can’t help but smile when involved in his craft, which had him traveling to Texas to flesh out this warm and expressive folk-rock album with his friends John Inmon, Ray Bonneville, Bill Kirchen and Lloyd Maines, among others.

The title tracks lead the listen with Roth’s warm, comforting vocals as organs help punctuate the mood, and “Good Times” follows a similar path with Bonneville’s spirited harmonica.

Elsewhere, “Serenity” is a warm and playful folk tune with Roth’s soothing, wise pipes, while “Gloves” benefits greatly from Maines’ dobro on the genuine tune about Roth’s father where he alternates between singing and talking.

Some of the best tracks reside on the back half where “Where You’ll Be” recruits a cello and vocal harmonies for a haunting twist on his sparse folk sound, and “Pretty Little Lights Of Town” brings in a pair of telecasters on a snappy, honky tonk rocker you won’t help but want to dance to. Near the end, Roth makes Effron White’s “Yankee Dime” his own with a pensive and sincere execution, and “I’m The Smile (Reprise)” ends the fun with a stripped back version of the opener, where keys and strings are in attendance.

An extremely accomplished collection of originals and covers, Roth and company pen authentic, timeless, rural sounds here, that any fan of blues, folk, country and Americana will adore.

Travels well with: Bob Dylan- The Freewheelin’ Bob Dylan; John Prine- The Missing Years

Evidence

TCBYML, 2019

9/10

Listen to Evidence

A new outfit from Tucson, Arizona who began as a garage-pop quartet in 2018, these days Chateau Chateau are knee deep in synth heavy indie-pop as a 5 piece, and on Evidence they collect their 3 well received singles plus a pair of new tunes in their well crafted arsenal.

The title track leads the listen with bright, shimmering pop, where melodic vocals match the tuneful atmosphere, and “Burn Me Alive” follows with a calmer setting where complex percussion builds the tune into a glowing, summery anthem.

The last 3 tunes are equally strong, including the subdued and buzzing “Times Are Changin’”, the dreamy and agile highlight “Neil’s Song”, and the quirky ‘80s influenced “Driving In Circles”, which closes the listen out as creatively as it started with saxophone fun.

A simply irresistible effort here, it wouldn’t surprise me if Chateau Chateau are a household name a year from now as they know how to pen a tune that won’t escape your mind anytime soon.

Travels well with: The 1975- The 1975 Of Montreal- White Is Relic/Irrealis Mood

The New Industrial Ballads

Turntable Friends, 2019

10/10

Listen to The New Industrial Ballads

A long running English outfit whose early years coincided and were influenced by The Jam, The Kink and The Smiths, here The Claim return with their first new recordings since 1992 that are distinctly their own brand of Brit-pop.

“Johnny Kidd’s Right Hand Man” gets the album started with brief acoustic strumming and warm horns, before “Journey” brings us a louder setting with a full pop-rock template where a anthemic folk spirit is present.

At 14 tracks there’s much to digest here, but with plenty of variety on hand, The Claim never run the same course twice. While “Smoke & Screens” recruits an orchestral backdrop to the affair, “The Haunted Pub” is a bright, jangly moment of punchy pop sounds. Further on, “Light Bending” offers us retro-folk ideas in an upbeat highlight, and “When The Morning Comes” finds a lush, environment of careful instrumentation.

The second half of the record is where some of the best tracks reside, including the hazy, cinematic “Gamma Rays”, the tense and rhythmic “Mrs. Jones”, and the soft and agile picking of “Under Canvas”, which yields plenty of poetic beauty.

It’s been 3 decades since The Claim released their debut, and The New Industrial Ballads proves that they’re only getting better with age, as evidenced by its near perfection. Make sure not to miss this one- it’s going to be one of the best in 2019.

Travels well with: Blur- Parklife; Paul Weller- 22 Dreams

WSTLND

Future Archive, 2019

8/10

Listen to WSTLND

CNJR bring plenty of creative post-rock ideas to their sonic palette on this debut album, where IDM, darkwave, synthwave, downtempo and indie-tronica all reside in very compelling and sometimes mystifying ways.

“INT’ starts the listen with a haunting cinematic quality with sci-fi noises, before “HRS” brings in a spacey dance track with vocals from Lucie Hamzova. Elsewhere, “PPS” yields a futuristic and moody journey of winding energy and fuzzy melody, while “GRN” reels in darker textures that are almost post-punk influenced.

The back half of the listen offers the dark, apocalyptic setting of “MSI”, the multifaceted landscape of “GSI”, and one of the album’s best, the beat heavy and pulsating energy of “NST”. The curious albums ends on the extremely adventurous and eerie yet exhilarating “PNK”.

In a time when so much electronic music finds itself settling into mundanity, WSTLND forges new paths with both stuck in the past and ahead of its time qualities that are emotional- sometimes cathartic- and never short on complicated interplay and strategic minimalism while painting an electro/analog portrait of undeniably exciting art.

Travels well with: Kraftwerk- Computer World; Son Lux- Brighter Wounds

Man Made Machine Made Man

Metalville, 2019

8/10

Listen to Man Made Machine Made Man

Though you might think Germany’s Critical Mess are a new outfit, they’ve actually existed in some form since 2012, though their core line up wasn’t solidified until 2016. On this, their sophomore album, the metal heads bring old school death metal, hardcore/punk and even some current metallic ideas to the affair, resulting in a brutal display of riffs, breakdowns and frontwoman Britta Gortz’s intense vocal performance.

After the atmospheric opening of “Revolution 5” that builds into chugging guitars and guttural vocals, “Echo” follows with an incendiary rhythm section and a blistering pace of throaty metal.

The band stick to their abrasive formula all the way through, and the first single, “Cut The Cord”, puts thundering percussion on display in a furious anthem, and the booming vocals and apocalyptic setting of “Demise” complements the mayhem.

Near the end, Critical Mess injects some hardcore punch into the pit friendly “No Gods”, and the album ends on the dark, hard hitting “Prequel”, where strategic classic metal guitar licks are present.

A listen that will appeal to fans of thrash metal, death metal and even the harsher side of hardcore, these Germans are a band to keep an eye on, as they’re clearly getting better with each subsequent album.

Travels well with: Walls Of Blood- Imperium; Rezet- Deal With It!

Langata

Sweat It Out, 2019

8/10

Listen to Langata

The Australian trio return with a sophomore album, and, much like their debut, it’s full of energetic and creative indie-dance sounds that move with unpredictable fun and calculated rhythm.

Crooked Colours don’t waste anytime getting right into their vivid and detailed song craft with the percussive heavy and clever “I’ll Be There”, and “Do it Like You” follows with dance friendly indie-rock that’s as addictive as it is inventive.

Elsewhere, “Heart String” is a snappy affair of mysterious sounds and refined minimalism, while “Just Breathe” brings a soulful aspect to the electro-pop vibe that’s never short on spirit.

The back half of the album offers us the synth heavy and ‘80s influenced “Hold On”, the hypnotic and guitar focused “Langata”, and the hushed yet proficient “Mirror Ball”. One of the best tracks, “Never Dance Alone”, resides near the end and brings in Ladyhawke on the smooth and stylish duet that beams with indie-dance sensibilities.

An extremely polished and adventurous second outing, it won't be long until these Aussies are seeing worldwide fame with their dynamic interplay between vocals, guitars and synth that’s never short on ingenious ideas.

Travels well with: Vallis Alps- Fable; Sylvan Esso- Sylvan Esso

Lowdown Ways

Yep Roc, 2019

8/10

Listen to Lowdown Ways

The Brooklyn trio return with their 3rd studio album of unclassifiable rock’n’roll sounds that bring punk, blues, jazz and garage rock to the party.

After the warbly and retro “Theme From Daddy Long Legs”, “Pink Lemonade” dives right into retro-rock that’s fuzzy, fun and playful. A record where no 2 songs sound the same, “Ding Dong Dang” is a weirded out country-ish tune, while “Mornin’ Noon & Nite” brings riffs and harmonicas to a swampy rocker.

Later on, the harmonica acrobatics and tambourine work of “Celaphine” howl in all the best ways, and the rock’n’roll spirit and sing-alongs of “Winners Circle” shows us that Daddy Long Legs are capable of more traditional song structures, too. Near the end, “Snagglepuss” is a darker, blues fueled anthem, and “Wrong Side Of The River” ends the listen with a rockabilly offering that shakes, rumbles and unfolds with dusty turbulence.

The band cover a lot of ground here with 12 tunes in under 40 minutes, and their ultra-stylish cowpunk meets soul meets proto-punk mashing keeps us hanging on every unexpected and welcomed moment.

Travels well with: Luther Dickinson- Blues & Ballads; Dex Romweber- Carrboro

Don’t Look Down

Self-Released, 2019

8/10

Listen to Don’t Look Down

The Brooklyn quartet Damn Tall Buildings have come a long way since their busking days, and Don’t Look Down continues their self-described ‘guerilla roots’, where 4 part harmonies are never in short supply, nor are fiddle and banjo acrobatics.

The Berklee grads don’t take long to reel you in to their charming brand of bluegrass with the ambient opening and smooth banjo fun of “Late July”, where vocal harmonies accompany the skilled musicianship. Deeper cuts like the barnyard dancin’ fun of “Had Too Much”, with Sasha Dubyk’s strong, soulful pipes, and the intimate yet playful setting of “Angeline’s Blue Dream” aren’t anything to spit at, either.

The back half of the album is loaded with plenty to skilled song craft, too, with the swift bluegrass friskiness of “Loving Or Leaving”, the warm, soothing balladry of “Allison”, and the rowdy folk tune “Green Grass And Wine” which could easily soundtrack any mountain party. The album ends on “Location”, a gently plucked closer where an orchestral slant and introspective mood exit the album as effectively as it started.

These youngsters are taking the time honored tradition of bluegrass and injecting with some much embraced youthfulness while still retaining all the tenets of the genre that have made it so timeless. For fans of roots rock, Americana and folk, there’s also plenty to enjoy here, although most of us will find every tune here to be exceptional.

Travels well with: The Devil Makes Three- Chains Are Broken;- Greensky Bluesky- Shouted, Written Down & Quoted

Ragnatele

Self-Released, 2019

8/10

Listen to Ragnatele

The sophomore release from the Italian-Brazilian cellist brings us a poetic and classically slanted listen where Daniela Savoldi’s varied past playing rock, pop, folk and Indian music also contributes to the accomplished affair.

The title track starts the 6 track EP with quivering strings in an elegant yet haunting setting of sublime beauty, and “Improvviso” follows with a hazy atmosphere of organic, ambient exploration.

At the halfway point, “Storia Di Un Attentato” turns minimalism into a highly refined art form with plenty of attention to mood that builds into a swift journey, and “Space” follows and brings us into soft and agile areas moving grace.

The EP ends on “Modulatori”, where a hypnotic quality adds greatly to the affair as background manipulation supports the proficient cello playing.

An extremely expressive, emotive and engaging record, Savoldi’s wordless beauty is delivered with unimaginable talent and a timelessness that will make Ragnatele a relevant listen for decades to come.

Travels well with: Zoe Keating- Into The Trees; Julia Kent- Delay

Dawnbreaker

Nonesuch, 2019

9/10

Listen to Dawnbreaker

Probably best known as 1/3 of the folk outfit Mountain Man, Alexandra Sauser-Monnig’s solo vehicle, Daughter Of Swords, began in 2017 when the songstress was in the midst of ending a relationship. Though she has been away from music in recent years, instead deciding to work on a farm, Dawnbreaker and a 2018 album from Mountain Man have her back in fine form and as articulate and expressive as ever.

“Fellows” starts the listen with soft acoustic guitar and raw vocals from Sauser-Monnig, and “Gem” follows with a fuller sound where a drum machine and playful guitar work well with the pretty, soaring vocals.

While Sauser-Monnig is certainly the focus of the tunes, on “Fields Of Gold” she gets plenty of help on guitars and percussion for a lush, indie-folk highlight, and the sparse “Grasses” really illustrates the strong vocal work present, and bares the most resemblance to Mountain Man.

The back half of the album is even better, with the soulful, country influenced “Easy Is Hard”, the frisky, summery setting of “Rising Sun”, and the minimalistic “Long Leaf Pine”, where a pair of backing vocals add greatly to the gentle elegance. The title track ends the listen just as it started, with Sauser-Monnig’s intimate vocals and inviting guitar work reeling us into her radiant beauty.

Though she had been on music hiatus for nearly a decade, Dawnbreaker is a stunning return to her art, that, while on the surface may seem like a hushed break up record, offers plenty of hope, change and even liberation amid her thoughtful, meticulous song craft.

Travels well with: Iron & Wine- Our Endless Numbered Days; The Shins- Chutes Too Narrow

One Night At Chris’

Self-Released, 2019

8/10

Listen to One Night At Chris’

Recorded live in March 2018 at the legendary Chris’ Jazz Cafe in Philadelphia, this 5th album from The Dave Wilson Quartet offers 4 originals and 6 covers, although under the skill of the 4 players here, the reworkings are all reinvented with strategic jazz sensibilities.

“Ocean Blues” gets the album off to an energetic start with crisp percussion, bright horns and a shuffling pace, and this carries over to the playful, romantic “Friend Of The Devil”, a Grateful Dead tune. Elsewhere, The Beatles’ “Norwegian Food (This Bird Has Flown)” brings the pace to a lounge setting, while Creed’s “My Own Prison” moves with a healthy rhythm that you won’t be able to sit still to.

The back half of the album brings us the soulful and frisky “Movin’ On”, the spirited rendition of “God Only Knows” (The Beach Boys), and the swift keys of the ultra jazzy “Untitled Modal Tune”. The album ends on “Spiral”, a lengthy tune that’s percussively upbeat and glides with a quick tempo and beautiful interplay between the instruments.

A flawless recording with no overdubs, second takes, or studio manipulation, this set captures jazz at its finest, and Wilson’s choice of rock covers only adds to the appeal of their addictive energy.

Travels well with: Joe Lovano- From The Soul; Stan Getz- Serenity

Carib

Ropeadope/Stretch, 2019

8/10

Listen to Carib

A Grammy Award winning saxophonist with a penchant for rhythm and groove, David Sanchez’s new album, Carib, draws inspiration from the sounds of the Afro Puerto Rican and Haiitan Traditions where he pays tribute to the Afro dependent communities, as well as his late father and wife, who all shaped his art.

“Morning Mist” starts the affair with playful horns before setting into a nice jazz groove, and “Wave Under Silk” leads with keys across an elegant, melodic 7+ minutes of beautiful interplay between the noisemakers.

Although Sanchez makes full use of longer tunes- most hovering around the 6-7 minute mark- the brief “Prelude To Canto” is a sparse offering of warm guitars while the short lived “Iwa (Contemplation)” offers tumbling percussion and cozy brass.

Of the fuller tracks, “Mirage” is exceptionally radiant, as acrobatic percussion contrasts against the restraint of the rest of the tune, and “Iwa (Spirit Going Back Home)” brings countless ideas to the table on a busy journey of cautious musicianship and timeless melody. The album exits on “A Thousand Yesterdays”, where soft keys build into a quick tempo of sublime beauty.

A listen that is very much suited to the islands in which Sanchez draws influence, his tenor playing is top notch here, and with his esteemed band helping the tunes flow in and out of each other with Latin and World Fusion nods, it’s quite clear that after two and a half decades, David Sanchez’s work sounds better than ever.

Travels well with: Paul Austerlitz- Dr. Merengue; William Cepeda- My Roots & Beyond

My Tiny Twilight

Yep Roc, 2019

8/10

Listen to My Tiny Twilight

The Nashville songstress penned these 6 tunes out of exhaustion, bewilderment and pure love during the early period of motherhood, so it’s not surprising that there’s plenty of kid friendly ideas here, though adults will find plenty to enjoy in these feel good tunes.

“Hello” starts out the quick listen with acoustic folk prowess with Landes’ rich pipes guiding the way, before the handicapping and vocally expressive “I’m Your Mama”, which relies on body percussion as an instrument.

Elsewhere, Landes returns to twang on the summery “Everybody Dream”, while “I’m Wishing Upon A Star” puts her guitar melodies on display with great results. The last two tracks are certainly geared towards mom life, with the lullaby “Baby Please” and “Hushabye” finishing out the EP with calm piano and a soothing setting.

Landes has already done excellent work in the area of folk, pop, rock and country in her decade and a half career, and here there’s traces of all those genres in a playful and memorable listen that embraces motherhood with her creative and warm spirit.

Travels well with: Sara Watkins- Young In All The Wrong Ways; Shannon Wright- In Film Sound

Life Of Strife

Digital Warfare, 2019

9/10

Listen to Life Of Strife

It’s been two and a half decades since the last album from The Derelicts, and here the legendary ‘80s punk outfit return with 5 new tunes as well as several tracks pulled from past 7”’s.

“Life Of Strife” starts the listen with charged guitars, thundering percussion and biting vocals in the abrasive opening, and “Wrong With This” follows with a buzzing and incendiary setting of melodic punk rock.

In the grand tradition of punk, most of the tunes aren’t very long- a couple don’t even reach a minute- but The Derelicts leave an indelible mark on the gritty punk’n’roll of “I Walk Alone”, while the blistering “Mr Fuckerman” will have you searching for the nearest pit to leap into.

Near the end, “You Loose” recruits bouncy bass lines in the punchy and jagged rocker, and the most vocally melodic of the bunch, “Don’t Wanna Live”, is classic Southern California influenced punk. Near the end, “Final Fall” offers a rowdy, unrestrained tune with fluid guitar work, and “Time To Fuck Up” ends the album on a 14 second blast of their timeless fury.

An album that grabs you by the throat and doesn’t ease up, The Derelicts were punk before mainstream watered it down, and they remain true to their roots with this visceral, raw display of power and melody. As far as comebacks go, it just didn’t get much better than this.

Travels well with: The Dwarves- The Dwarves Must Die; Gas Huffer- Just Beautiful Music

A Higher Place

Pravda, 2019

8/10

Listen to A Higher Place

The Iowa City groove enthusiasts return with a 6th album of funk and soul sounds where the 8 players contribute their respective talents to a listen that will have you heading straight for the dance floor.

“Common Ground” starts the album with soft horns, harmonic group vocals and a soulful R&B setting, and this continues to the groove filled and melodic “Crazy About You”, as well as the guitar fueled retro sounds of “Sometimes”.

The middle of the album offers the restrained yet playful “Gotta Find That Man”, the big, festive setting of “Already Gone”, where finger snappin’ and organs ensure a good time, and the percussively strong “Brave New World”, where extremely elegant vocals help make this one of the album’s best.

Near the end, “Hole In Your Sole” will easily get anyone’s body in motion with its upbeat feeling and bouncy Motown spirit, and “Dry Land” ends the listen with emotive, soaring beauty that’s instantly memorable.

If you’re in the market for some neo-soul and an irresistible listen that you won’t be able to sit still while listening to, Diplomats Of Solid Sound will be your new infatuation.

Travels well with: Andre Williams- I Wanna Go Back To Detroit City; Sharon Jones & The Dap Kings- Give The People What They Want

Stand Of Tide

Self-Released, 2019

9/10

Listen to Stand Of Tide

A Canadian indie-rock vehicle spearheaded by Mitch Bowden that has blossomed into a full band in a ten year existence, Don Vail is in its best configuration yet, as evidenced by the dynamic, eclectic and charming sounds of Stand Of Tide.

After the brief guitar “Intro”, the band get right into pulsating indie-rock with the shimmering rhythm of “Pulse Of Disappearing”, and “On The Wire” continues with cautious melody in a subdued alt-rocker that takes subtle nods to post-punk.

An album where each tune is the stand out track, the warm keys of “Basement Therapy” bring a cinematic and instrumental moment, while ‘If We Both Start Young” takes the keys in another direction with punchy pop-rock fun.

The back half of the album is just as luminous with the fuzzy yet cautious “New Danger”, the booming alt-rock of “Stand Of Tide”, and the ambient, hazy “Institutionalized”, which bursts into clever indie-pop. “Fireflies” ends the listen as strong as it started, with a glorious display of multifaceted rock that’s spacey, chamber-influenced and beaming with radiant energy.

An extremely inviting record, Don Vail are well versed in infectious power pop as they are the dreamier side of rock, and while the tunes here remind us of some of the greatest songwriters of this generation, they still very much belong to Don Vail.

Travels well with: The New Pornographers-Challengers; Elliott Smith- Figure 8

Califournia Quartet

DMac, 2019

8/10

Listen to Califournia Quartet

Some of the best of the best in Los Angeles come together on this accomplished listen as Harvey Newmark, Paul Kreibich, Kim Richmond and, of course, Doug MacDonald combine their respective talents on 6 originals and 4 covers where many forms of jazz are covered.

“A Beautiful Friend” gets the album right into tumbling percussion, soothing alto sax and winding melodies, and “Malapropisms” follows with a stylish, warm, blues spirit. Further along, “San Rafael” offers us a classic, waltz jazz feel with sweeping rhythm, while “Lakeside Drive” makes the most out of calming guitar lines and agile percussion.

The backside of the album offers us the playful, soulful “E Spot”, the brief, introspective “The Things We Did Last Summer”, and the swift and dynamic “Tenderly”. The album closes on the bop fun and brushed percussion of “I Want It”,

An enthralling journey of lovely solos, swinging sounds and proficient interplay, all players here have done fine work on their own and in other ensembles, but this debut together brings them into unparalleled chemistry that will hopefully continue.

Travels well with: Charlie Parker- The Charlie Parker Story; Jim Hall- Textures

Songs For Birds And Bats

Self-Released, 2019

9/10

Listen to Songs For Birds And Bats

An Oklahoma City outfit consisting of husband wife duo Allan and Barb Vest, Allan’s had much success already as frontman for the orchestral indie-pop darlings Starlight Mints as well as soundtracking film, and Barb’s varied and lengthy career in the arts and singing allow the couple’s rich history to complement each other well.

“Map The Channels” gets the EP off to a rhythmic and groove filled start with vocal harmonies against quirky, upbeat indie-rock, and “Ladder For The People” follows with an ‘80s New Wave feeling as Barb’s pipes take center stage on a buzzing and pop fueled frenzy of synth and percussion.

The remaining songs are equally creative, with the tense, complicated “Goldstar Redux”, and the mysterious and subdued “Landlord Of The Flies”, while “Last Castaways” ends the quick listen recruiting acoustic guitars and a shimmering, cinematic quality of timeless folk ideas.

An extremely intricate affair that’s both highly textured and highly inventive, don’t let yourself try too hard to figure out what’s going on here, and instead just absorb the wealth of influences from the ‘80s on and the unpredictable and enthralling way these 5 tunes are put together. If names like Martsch, Malkmus and Brock mean anything to you, well, then, so should doubleVee.

Travels well with: Built To Spill- Keep It Like A Secret; Modest Mouse- The Moon & Antarctica

The Curtis Session

Bimperl, 2019

9/10

Listen to The Curtis Session

These esteemed youngsters have already picked up several awards in their short existence as the Dover Quartet, and just in the last year have played over 100 concerts on North America. Composed by Dr. Eric Sessler, The Curtis Session has the quartet offering 4 movements here in 30 minutes, as they bring Sessler’s Dreams From Life Awake to life in an engaging, mesmerizing performance.

“Reverberation-Exploration-Flow” starts the album with strong collisions of strings in a melodic yet tense setting of exquisite interplay, and “Tenderness-Love-Warmth” follows with gentle, agile musicianship amid a light atmosphere and timeless beauty.

The back half offers us the playful and cinematic “Evolution-Growth-Transformation”, where calm ebbs are met with fleeting moments of rapid intensity, while “Determination-Energy-Resolve” ends the gracefulness with an adventurous spirt where it almost appears that all 4 instruments are on their own journey, but somehow coalesce into an awe inspiring display of sublime beauty.

Amazingly recorded with no edits and just two microphones, it’s no surprise that Dover Quartet have so quickly moved into international stardom as their artistic approach is mature, immediately gripping and unfolds with a skill that seems well beyond their years.

Travels well with: Escher String Quartet- Stony Brook Surroundings, Vol 1; David Shifrin- Shifrin Plays Shifrin

Fast Faster Disaster

Yep Roc, 2019

9/10

Listen to Fast Faster Disaster

The long running Denver indie rockers return with a 20th Anniversary album, and much like everything they’ve done in their lengthy and esteemed career, it’s dripping in gritty yet sweet lo-fi rock genius.

“It’s Not That Hard” starts the album on a high note with hook filled and ultra-catchy pop fun, and “I’ve Fallen In Love” continues on with fuzzed out melodies and an irresistible chorus.

Further along the luminaries bring us more greatness, as “Fearless” moves with a sassy, jangly spirit full of garage rock influences, while backing vocals add greatly to the punky, fiesty “Stay True”.

The back half is stacked with gems, including the rowdy and bouncy “Sweet Medicine”, the ‘80s friendly synth of “Freedoms”, and the quirky, charming “What It Is”. The album ends on “What Do I Get?”, a propulsive closer of driving guitars and punk fueled energy as The Buzzcocks cover serves as a tribute to the late Pete Shelley.

Front woman Tammy Ealom cites Fast Faster Disaster as Dressy Bessy’s best work to date, and it’s hard to disagree with that as the lyrical forthrightness and songwriting that’s as bright as the cover art sounds better than ever.

Travels well with: Tiger Trap- Sour Grass; Le Tigre- This Island

Earnhardt

Self-Released, 2019

9/10

Listen to Earnhardt

A Brooklyn 5 piece who emits sounds that seem from much further south and often from earlier decades, too, Earnhardt embrace a genuine, rustic approach where variations of country and rock reside in compelling ways.

“Drywall” starts the debut album with rich riffs and a formidable southern rock feel with heartfelt vocals, and “Neversink” follows and carries a hypnotic tone where power-pop influences invade the smooth Americana ways.

At 9 tunes, this is a quick album, but each tracks leave an indelible mark, such as the cautious rock of “Digoxin”, as well as the fluid and thoughtful “Nature”, while the turbulent yet calculated “Transmissions” shows an intimate chemistry between the members.

Near the end, “Women Without Whiskey” is an alt-country gem with guitar solos and pedal steel from the always impressive Mike Mogis, and “KT” ends the listen with proficient melodies and an undeniable lasting quality that’s on par with Tom Petty or Drive-By Truckers.

As far as debut albums go, this one is gold, and let’s go ahead and put Earnhardt in a category of up and coming Americana outfits that we should all be paying attention to.

Travels well with: Steve Earle- Guy; Hiss Golden Messenger- Virgo Fool

The Storyteller’s Suitcase

Rosella, 2019

8/10

Listen to The Storyteller’s Suitcase

Ellis Paul has a lengthy and esteemed career going all the way back to the late ‘80s, and he’s even produced children’s music, poetry books and still plays 200 days of shows a year.

The Storyteller’s Suitcase, the 20th album from Paul, has the artist getting as intimate as ever, and he’s even taking on producer status for the first time, so we know that we’re getting 100% of Paul’s vision.

“I Ain’t No Jesus” starts the album with soft acoustic guitar and warm, hushed vocals from Paul, and “You’ll Never Be This Young Again” follows with an upbeat spirit where backing vocals and crisp percussion complement the affair. Further along, “Kiss Me ‘Cause I’m Gone” and “Scarecrow In A Corn Maze” are cautious folk inspired tunes, the latter recruiting calm keys, and the former carrying an easily accessible pop-rock setting.

The back half of the listen remains strong with the acoustic guitar fueled “How You Say Goodbye”, the sparse “Five Alarm Fire On The 4th Of July”, and the introspective “Mammoth”, where subtle piano adds greatly to the mood. “Election Day” ends on an optimistic note, as Paul’s singing hints at hope in the rhythmic protest song.

An album with vivid storytelling and an eloquent execution, Paul proves that he’s as relevant as ever here, and his songwriting chops appear to only get better with age.

Travels well with: Peter Mulvey- There Is Another World; Patty Griffin- American Kid

Electric Darlin’

Splice, 2019

8/10

Listen to Electric Darlin’

The Houston based band of brothers return with their always thrilling, unpredictable sounds, and this time around the quartet are headed straight into experimental ideas on a live recorded album that tells the story of 2 fictional characters.

After the cautious guitar “Intro”, the album makes its way into the percussively rhythmic and warm vocals of “Fresh Water” that builds into a danceable folk tune with Samba influences. Elsewhere, “Hecla Hill” brings a darker spirit and louder setting, while “Pro And The Con” recruits acoustic strumming amid a busy display of incredible skill.

The back half of the album radiates a light and bouncy atmosphere with the hand clapping fun of “Here Comes The Night”, and the vocally expressive and musically sparse “Sing Your Praise”. Near the end, “Why The Chicken Crossed The Road” is a soulful, bluesy moment, and the title track uses strategic guitars on one of the album’s best, though, really, each song present radiates massive creativity.

A rapidly rising outfit who are much more than folk music, the Lankford brothers and adopted brother Caleb Pace are well versed in psyche-rock, classic rock, blues, country and Americana, but never unfolds in predictable patterns, and leaves an indelible impact.

Travels well with: Adam Carroll- I Walked In Them Shoes; The Waco Brothers- Going Down In History

Gold Past Life

Merge, 2019

8/10

Listen to Gold Past Life

Fruits Bats are embarking on a new chapter with this 8th album and first for the Merge label, and not so surprisingly, themes about moving on make up the bulk of Gold Past Life, both literally and metaphorically.

“The Bottom Of It” starts the album strong with ambiance, breezy melodies and Eric Johnson’s inimitable vocals guiding us through a dreamy brand of indie-pop, and “Gold Past Life” follows with strummed acoustic guitars and ‘70s influences that are soulful, almost psyche-rock flavored.

Moving along, “Drawn Away” moves with a quick pace and warm, retro-rock influences, while “Cazadera” brings the atmosphere down to calmer territory with a punchy folk-rock spirit where keys complement the affair.

The second half of the album offers the strong beat and pedal steel of “Your Dead Grandfather”, the piano balladry of “Barely Living Room”, and the album highlight, “Mandy From Mohawk (Wherever You May Be)”, where elegant yet playful indie-rock resides. The album ends on “Two Babies In Michigan”, a synth fueled exit where Johnson strategically uses reverb and nostalgia.

A record most closely rooted in folk-rock, there’s surf moments, psychedelic stabs, and plenty of pop sensibilities to be had on this reflective, thoughtful effort from the always creative mind of Johnson. Now 20+ years old, if Fruit Bats are going to expand their audience significantly outside of indie-rock circles, Gold Past Life will be the impetus and rightfully so as it’s a standout in a glowing catalog.

Travels well with: Ages And Ages- Me You They We; The Shins- Oh, Inverted World

Broke In Two

Grant Central, 2019

8/10

Listen to Broke In Two

The quartet Grant Farm, spearheaded by Tyler Grant, have found a very unique place to reside somewhere between country, rock’n’roll, bluegrass and folk music. Now with keyboardist/singer Kevin McHugh added to their esteemed line up, Broke In Two has the outfit at a career high with inimitable songwriting prowess on this lengthy and detailed 5th album.

“Morning Train” starts the listen with playful gospel feelings and jam band stylings, and “The Golden Charioteer” follows with a dreamy, psyche-rock setting. “Arjuna The Believer” then brings us to quick paced Americana shuffling, while “Forward On” unfolds with lush, retro-rock that’s impossible not to enjoy.

The second half excels with the rhythmic atmosphere of “Nester”, the howling, bluesy guitars of “Love And Pain”, where crashing percussion and solos invade the tune, and the soft, folky keys of “Tumbleweed”, as spirited guitar licks really complement the affair. The album ends on the organ fun of “Broke in Two”, where melodic vocals and a hazy setting span 10 minutes of dynamic interplay between the 4 artists, who all bring their respective talents to the exit.

Forging a sound sometimes referred to as ‘Cosmic Americana’, Grant Farm’s arsenal of sounds keeps the listener constantly surprised and awed by their seemingly endless ideas and boundless talent. If you haven’t joined the ‘farmily’ of admirers yet, Broke in Two would be a fine introduction.

Travels well with: Ryan Adams & The Cardinals- Cold Roses; The Grateful Dead- American Beauty

Made Of Strings

New Neighborhood, 2019

10/10

Listen to Made Of Strings

It’s hard to believe that this is Greg Felden’s first formal release, cause the guitarist, singer-songwriter manages to resemble some of the most legendary folk and Americana artists past and present on Made Of Strings.

“Every Time” starts the album with Felden’s smooth and intimate pipes against keys and acoustic guitar as he delivers warm, upbeat Americana, and “When The Change Comes” follows with breezy melodies and jangly guitars which takes nods to the early days of alt-country.

Felden’s got a knack for storytelling that is captured well in the vivid lyrical imagery of the pedal steel friendly “Man Like Me”, and the emotive “Take You Back Home”, a tune dedicated to Felden’s girlfriend who passed way shortly after this album was finished, is another example of sublime songwriting matched with thoughtful wordplay.

The second half offers some surprises with the loud rock of “Tell Me What’s Broken”, where organs add greatly to the setting, though it doesn’t take long for the rootsy feelings to return on “Better This Way”. “Ghosts” ends the album in a sparse setting where a haunting backdrop complements the raw beauty and heartfelt delivery from Felden.

An extremely sincere and soulful debut with strong, memorable songwriting, while the genres that Felden floats around are quite populated these days, his voice and skill put him right at the top of the long list. This is truly a record you won’t want to miss out on.

Travels well with: Ryan Adams- Demolition; Rocky Votolato- Burning My Travels Clean

Without You

Estile, 2019

8/10

Listen to Without You

A violin enthusiast from Dublin, Gregory Harrington now resides in New York City and has kept himself busy playing well received pop, rock and jazz covers all over the world. Without You, dedicated to his late father, brings us 11 renditions of tunes from some legendary songwriters- both past and present- and Harrington reinvents them all with his keen attention to ambiance.

“Hallelujah” starts the album sweet and tender with a gorgeous rendition of the Cohen classic, and “Autumn Leaves” follows with a waltz spirit as light keys and brushed percussion dance around Harrington’s violin.

Further along, “Emmanuel” moves with an emotive spirit, while “Summertime” finds itself in a playful mood of dynamic interaction between the instruments. “It Never Entered My Mind”, the highlight from the first half, brings a cinematic spirit to the affair with meticulous musicianship.

The back half of the listen has some great selections including a fantastic version of “With Or Without You”, the sublime grace of “Oblivion” and the multifaceted “Caruso”, that unfolds with tense beauty. The album ends on “When I Fall In Love”, which punctuates the highly accomplished instrumentation that exists on the album.

This 4th record from Harrington recruits Simon Mulligan on keys, Matt Scarano behind the drum kit, Leon Boykins handling bass, Eleanor Norton on cello and Ric Molina on guitar, and together the ensemble pay much attention to every detail on this instantly enjoyable listen of classic songs

Travels well with: Lindsey Stirling- Shatter Me; Andrea Bocelli- Amore

Dream The Currents

Topsy, 2019

9/10

Listen to Dream The Currents

Another thriving Seattle outfit, this 3rd EP from Guest Directors is chocked full of rhythm, reverb and plenty of sonic beauty amid a shoegazey and gritty pop setting, where each track embraces nostalgic, timeless and captivating musicianship.

After the shimmering and hazy opener “Parachute On” leads with plenty of melody and swirling guitar work, '“For A Day” heads right into ‘90s influenced college rock, where intricate drumming and an intense but calculated approach quickly reel us in as lifelong fans of the quartet.

The last 3 tunes are just as enchanting, with the lengthy, nearly prog-rockish “Minor Mendings” that pokes and prods with moody and tense variations of blues and post-rock, and the punchy alt-rock of “Where You Belong”, where post-punk ideas reside and are executed flawlessly. The quick listen ends on “Twinkle, Twinkle Bete Noire” as power and melody unfold with much sophistication.

A very accomplishing outing, the tunes here all embrace dream-pop, psyche-pop and the adventurous side of indie-rock in the most mature ways, and the only real flaw to be found is that 5 tracks from Guest Directors is just not enough. An LP, please?

Travels well with: Teenage Fanclub- Bandwagonesque; Sloan- The Double Cross

Rise From The Flames

VizzTone, 2019

8/10

Listen to Rise From The Flames

Heather Newman made some serious waves with her 2017 debut Burn Me Alive, which helped her secure a pair of Blue Blast Awards, and this sophomore effort has the songstress sounding more confident than ever on a post-breakup album.

“I’m Coming For You” gets the listen off to a bluesy, soulful start with Newman’s strong vocals and equally strong guitar work as organs complement the affair, and “Zakary” follows with horns in a lively, groove filled setting.

Thankfully, the rest of the record is more of the same degree of song craft, including the deep riffs and emotive “She Sure Looks A Lot Like Me”, the nearly R&B stylings of “You Mean To Tell Me”, and the percussion heavy and powerful “Water And Wine”.

The second half of the listen offers us the pop influenced “Take It Slow”, the piano acrobatics of “What Goes Around”, and “That’s All” ends the listen with Newman stepping into gospel territory with fantastic results aided by keys.

Newman handles songwriting duties as well as bass and vocals here and she delivers like a seasoned vet along with her Kansas City band who help put a genuine, powerful and gritty yet pretty gloss over the record. If you’re a fan of blues in any capacity, this is a woman who needs to be on your radar.

Travels well with: Alastair Greene- Live From The 805; Bob Margolin- Bob Margolin

A Path Of Light

Ansonica, 2019

8/10

Listen to A Path Of Light

On their first release with the Ansonica Label, the well respected quartet Hevreh Ensemble bring their unique blend of jazz, classical and chamber sounds where flutes, clarinets, oboes and keys collide with calculated, accomplished interplay.

“Sima De Los Huesos” opens the album with quick cello and flute fun, where acrobatic percussion then enters and leaves an indelible mark, and “A Path Of Light” follows with keys and emotive flute in a mysterious, calming setting.

Elsewhere, “Hawk Sightings” offers us a full display of deft instrumentation, while “Sweetgrass, Cedar And Sage” sits comfortably in jazz sounds with plenty of charming exploration.

Near the end, “Speed Of Dark” switches gears into an intimidating, cinematic excursion into ominous areas of intrigue, and “Epilogue” finishes out the listen on a melancholic tinged exit of oboes, keys and dynamic musicianship.

Some esteemed guests are on hand here, as the string quartet ETHEL, Shane Shanahan on percussion, George Rush on double bass and Naren Budhkar on tabla lend their talents for the unclassifiable experience, where the energy of Hevreh Ensemble’s acclaimed live show is captured well.

Travels well with: Craig Pedersen & Joel Kerr- It’s A Free Country ; Verederos- In Common

Collective Thoughts

Self- Released, 2019

8/10

Listen to Collective Thoughts

An accomplished academic in musical studies and an active guitar player since the age of 13, Ian Wardenski brings along 5 additional musicians on this debut album where chamber influences meet jazz improvisation with grand results.

“Collective Thoughts” starts the album with energetic jazz sounds, where Tamara Tucker adds her wordless vocals to playful interaction between the band, and the instrumental “Captain Tea Leaf & The Dodecaphonic Explosion” follows with bright sax work from Tim Powell amid the skilled musicianship.

Though there’s just 9 track included, more than half sit above the 5 minute mark, and the 10+ minutes of “Morning Silence” never out welcomes its stay with engaging keys and soulful brass, while the shortest tune, “Boccato’s Influence”, allows Amy Shook’s bass to resonate as well as vocal acrobatics from Tucker.

Near the end, “Cycle, Stop, & Cycle” gets nearly operatic vocally and the marching band style drumming adds greatly to one of the most lively offerings, and “Until” closes the listen with a mysterious cinematic quality that pushes and pulls with elegance, exploration and timelessness.

Armed with a PHD in music, Wardenski brings a wealth of knowledge and experience to this highly intriguing and smartly delivered listen that will absolutely appeal to all fans of adventurous jazz sounds.

Travels well with: Pat Metheny- One Quiet Night; Dave Liebman- The Opal Heart

Chasing Lights

Thirty Tigers, 2019

9/10

Listen to Chasing Lights

The husband and wife duo of Chris Turpin and Stephanie Jean don’t disappoint on this debut album, where rawness and spontaneity collide with a skill set that seems well beyond their years as Ida Mae mesh blues, alt-rock and Americana in a very compelling fashion.

“Boom Boom” starts out the album sparse, but quickly builds into a riff heavy, bluesy rocker where Dweezil Zappa lends a hand, and “My Girl Is A Heartbreak” follows with a funky spirit amid some soulful, restrained swampy grooves.

Further along, “Chasing Lights” stays soft and agile with emotive vocals, a touch of twang and a lot of beauty, and “Higher Than The Light” offers a loud, rhythmic explosion of sonically charged melody.

Near the end, “Sick In Love” yields a folk-rock spirit with multiple vocals, and “Feel Them Getting Closer” is a cautious yet compelling moment of retro-rock. The album exits on the gorgeous acoustic balladry of “Baby Be Mine”, illustrating massive talent in their eclectic ways.

Formerly of the band Kill It Kid, these Brits now reside in Nashville and have already made quite an impression opening up for Greta Van Fleet. If the thriving grit, slide guitar fun and mix of synth in their propulsive formula is any indication, it won’t be long until Ida Mae are selling out stadiums on their own.

Travels well with: The Lone Bellow- Walks Into A Storm; The Civil Wars- Barton Hollow

Boys By Girls

Self-Released, 2019

8/10

Listen to Boys By Girls

The recording moniker of Aidan Peterson, as Instupendo the young artist meshes melancholic songwriting with textured electronica on this calming and genuine EP.

“Entrance” starts the listen with dreamy pop sounds and hushed vocals before “Cinderella” blends a strong beat with strings, synth and soulful vocals. Elsewhere, “Earring” brings a chilling atmosphere and funk nods to the affair, while “Pinch” offers instrumental playfulness with moody introspection.

The last 3 tunes don’t deviate too much from the first 4, with the soft, calming and bare “Talk”, the more electronica tinted and psyche-friendly “Antidote”, and “Sugar” weaves in and out of elegant, exploratory ideas of power and melody.

At just 19 years old, Instupendo delivers like a seasoned vet, and his layered bedroom pop comes with an ambient environment and skilled production that brings the most out of each tune present.

Travels well with: Toro y Moi- Boo Boo; Vinyl Williams- Into

Live From Niles City

Self-Released, 2019

8/10

Listen to Live From Niles City

Not too many artists can say they were releasing albums in high school, much less junior high, but Fort Worth, Texas youngster Jack Barksdale has them all beat as he’s just 11 years old.

The young Barksdale starts out the album strong with “Niles City Blues”, where unpredictable guitar playing certainly doesn’t sound like a pre-teen playing, but when Barksdale’s squeaky vocals come in on “Widow Of The Wind”, a tune influenced by Townes Van Zandt, we can hear his age as Barksdale manipulates mood with cautious strumming on the haunting tune.

Moving along, “Until The End” uses a somber picking technique that brings to mind Elliott Smith, although the song is certainly indebted to the south, and “My Mother” is a sweet country tune that’s folk inspired. One of the best efforts, “Somber Sundown”, resides near the middle, and brings warm blues sparseness with an exceptional delivery.

Near the end, we are treated to two covers. “White Freightliner Blues” is a playful, swift strummer that will get your body moving, and the album exits on “Folsom Prison Blues”, where Barksdale does justice to the classic with his youthful spirit.

Having already played SXSW and with festival appearances on the horizon, Barksdale tells stories in song that are wise beyond his years, and he plays guitar, mandolin, ukulele, piano and harmonica fluidly. Most importantly, though, he can write a tune you won’t forget anytime soon. We could very well be looking at the next Jonny Lang here, as there’s a wealth of talent present.

Travels well with: Townes Van Zandt- At My Window; Jonny Lang- Wander This World

Sorte!

Green Flash, 2019

8/10

Listen to Sorte!

The award winning composer John Finbury is in great company here, as singer/lyricist Thalma De Freitas contributes her top notch vocal work on an EP of Brazilian flavored Latin Jazz where a small handful of esteemed players help out on percussion, bass and keys.

The title tracks gets the affair off to a busy and upbeat start of dynamic interplay and beaming vocals from de Freitas, and “Filha” follows with sublime elegance and careful strings while the energetic “Ondas” brings in guitar solos to the frisky setting.

The second half of the listen offers the soft and wistful “Maio”, the nature led and acoustic bass focused “Oracao” and the very much plugged in and groove heavy “Surrealismo Tropical”, which ends the quick record with a gem of a closer.

A household name in Brazil for not only her music, de Freitas is also an actress, but here she’s aligned with much musical talent on a listen that flows with cultural rhythm, substantial lyrical themes and engaging jazz and Brazilian sounds.

Travels well with: Los Hermanos- Ventura; Orquestra Imperial- Carnaval So No Ano Que Vem

On!

Self-Released, 2019

8/10

Listen to On!

A rising star armed with a tenor saxophone, Jordon Dixon brings his soulful delivery across 9 originals where Allyn Johnson handles keys, Herman Burney takes up bass, J.S. Williams holds down trumpet, and Carroll V. Dashiell III contributes drums on 2 tracks.

“Notes From The Nook” starts out the album with alluring horns and a playful yet soothing backdrop, and “Way Too Serious” follows with flowing melody in a cozy, friendly atmosphere.

Further along, “What You've Done For Me (Alternate Version)”, brings spirited keys to the romantic mood, and “We Kin” recruits plenty of rhythmic percussion to the glowing jazz tune with a lovely piano solo from Johnson.

Later in the album, “Lee Lee Dee (Alternate Version)” offers us one of the best tunes, where gorgeous interplay between the keys and horns yield a hard bop gem, while the punchy keys of “Fake Flowers” will certainly get your body moving with its New Orleans vibe. The record exits on “Notes From The Nook (Alternate Version)”, a more cautious version of the opening tune that’s just as glorious and memorable.

A lifelong musician who was already playing clubs in his early teens, Dixon was finally able to focus solely on his music after serving 10+ years in the Marines, and his thriving brand of bluesy, swinging, soulful jazz and hard bop are quickly making him a driving force in today’s jazz scene.

Travels well with: Dexter Gordon- Sophisticated Giant; Sonny Rollins- The Bridge

Stella Bella Strada

Stony Plain, 2019

9/10

Listen to Stella Bella Strada

A Canadian guitarist and singer-songwriter, Kevin Breit has an impressive resume playing with Norah Jones and K.D. Lang, among others, and here he takes center stage as 20+ musicians lend their talents on this very eclectic and sharply delivered album.

“A Common Vow” starts the listen with elegant strings before Breit’s warm slider guitar enters the graceful affair, and “Buttons And Zippers” follows with a festive spirit where horns, guitars and plenty of other noisemakers collide. Elsewhere, “Vegas Address” has the ensemble getting soulful and funky with great results, while “Mother’s Cupboard” finds the pace trimmed back to a cozy groove.

The back half of the album has surprises with the rockin’ polka of the title track, the cinematic, Mariachi influenced “Of Silk And Honey” and the swift party feeling of “Marcello Loren”, where a 15 piece choir complements the tune. “Kick At The Grape” ends the affair with a hectic barrage of countless ideas where jazz, swing, marching band sounds and Frank Zappa nods exit on a high note.

A truly unique experience that sometimes sounds like a film score and other times sounds like a wild gathering you’d want to attend, Breit and company come through with one of the most interesting and addictive records of the year.

Travels well with: Harry Manx- West Eats Meet; Buddy & Julie Miller- Written In Chalk

Glitz

Self-Released, 2019

8/10

Listen to Glitz

These days, the best indie-rock bands seem to exist in Canada, and Toronto’s Kingdom Of Birds are not only on that growing list, but reside on a much shorter list of bands whose members are barely even old enough to legally drive.

Though all 3 members here are between 11 and 16 years old, you wouldn’t know it from the impressive sounds present, and the lo-fi, jangly rock of “Dotted Lines” let’s us know right away that these kids are the real deal. From there, “Goodbye” brings strummed acoustic guitars and Asa Berezay’s sweet and pretty vocals to a more indie-folk tune, though it isn’t long until things get loud and hypnotic with the roaring “Unknown”.

The last 2 tracks don’t disappoint, with the soft and melodic “Waiting”, where psyche-rock and folk meet in all sorts of great ways, and “Your Friends” ends the listen with the most sparse moment, as breathy and expressive vocals dominate the thoughtful closer.

Sometimes noisey and experimental and other times direct and melodic, these 3 kids are onto something truly special here, with sharp songwriting prowess and a fluid delivery that far exceeds their age. If this is the future of indie-rock, well, we should all consider ourselves very lucky.

Travels well with: Chaos Chaos- Committed To The Crime; The Hidden Cameras- Age

Dovetale

Rock Ridge, 2019

9/10

Listen to Dovetale

The songwriting vehicle of Patrick Krief, the Canadian troubadour plays all the instruments here and mixed and recorded everything, too. An artist with a vast amount of influences, we are treated to shoegaze, dream-pop, rock and folk sounds in his thoughtful craft that encompasses vivid storytelling and plenty of melody.

“Daydream Lover” starts with an orchestral ambiance, as Krief blends indie-pop with haze with great results, and “The Autumn” follows with gentle strumming as his intimate vocals integrate well with the strings.

Elsewhere, “Idols” finds an ultra-memorable spot that’s somewhat reminiscent of The Smiths with an updated feel, and “Bless Modern Love” flirts with all sorts of creative pop influences.

The second half of the listen offers us the soft, agile, psyche-rock influenced “Million Star”, the darker, contemplative “Take The Night”, and the buzzing pop melodica of “Tonight”, a track so strong that it alone is worth the price of admission. “Venus” ends the listen with warm keys and playful synth that builds into a guitar acrobatic rocker that oozes with ebuillience.

Formerly the guitarist and co-writer of Montreal’s esteemed indie outfit The Dears, Krief brings much experience to the affair and parlays it into a captivating listen of vulnerable love songs where optimism is still very much intact, and memorableness is never a question.

Travels well with: Black Diamond Bay- Calm Awaits; The Dears- No Cities Left

Emergence

Nabroc, 2019

8/10

Listen to Emergence

A New York City jazz guitarist and composer now with 5 albums under his belt as bandleader, on Emergence Larry Corban is again aligned with the Aperturistic Trio as well as saxophonist Jerry Bergonzi for 8 tunes of upbeat fun as well as moving balladry.

“Sea Of Fire” gets the album off to lively, up tempo, swinging fun, before the playful “Table Steaks” follows with an intricate solo from pianist James Weidman. Elsewhere, “Observer Effect” brings bossa influences to the dynamic interplay, while “Soon To Be” finds the ensemble in contemplative waters with much adventurous beauty.

The second half of the album is equally glorious, with the highly rhythmic “Never Let Me Go”, the rich guitar work and keys of “On The Fly”, and the emotive balladry of “Non-Determinism”. “You And The Night And The Music” ends the album strong with adept drumming and the kind of chemistry that comes from playing together for years.

An extremely well fleshed out listen with plenty of hard bop ideas, all fans of jazz should be captivated by not only Corban’s skill here, but his all star cast who have proved time and again that they’re the best in the business.

Travels well with: Pat Martino- Nightwings; John Scofield- Bar Talk

Outside Looking In

Mountain Home, 2019

8/10

Listen to Outside Looking In

The long running bluegrass outfit return with another batch of their traditional sounds, as they put new twists on old songs with their soaring, harmonic and upbeat approach at an all time high.

“Generosity Killed This Cat” gets the album off to a grand start with warm grooves and spirited musicianship, and this theme continues to the highly melodic and timeless “New Ballards Branch”, as well as the acrobatic picking of “Outside Looking In”, which settles into a cozy atmosphere on this murder ballad.

Near the middle, “Cassidy’s Prayer Book” offers an emotive and heartfelt banjo fueled highlight, while “Little Magnolia” and “Circle Of Lies” are further evidence of the ensemble’s unparalleled chemistry and strong sense of songwriting prowess.

The end brings us the swift bluegrass fun of “Home Of The Red Fox”, and “Calling Elvis” exits the listen on a jam band influenced interpretation of Mark Knopfler’s classic tune.

For nearly 4 decades now the Lonesome River Band have been behind quality, authentic bluegrass sounds and Outside Looking In continues their legacy with sharp, memorable songwriting that brought this album straight to #1 on the Bluegrass Billboard Charts.

Travels well with: Steep Canyon Rangers- Out In The Open; Balsam Range- Aeonic

Rambling Stranger

Self-Released, 2019

9/10

Listen to Rambling Stranger

A New Jersey native now residing in Nashville, Lucy Isabel knows her way around a tune where Americana, rock, roots and folk ideas are never in short supply, and her strong lyrical imagery helps shape this debut album into a display of stunning creativity.

“How It Goes” starts the listen strong with rich guitar work and a thundering rhythm section before shifting to a sparse setting with Isabel’s expressive and soaring vocals, and “Something New” follows with banjo plucking and a pensive, very literate atmosphere. Moving along, “The Road Ahead” offers a swift folk song with much attention to mood, and the title track brings us into country influenced balladry.

The second half of the album is equally compelling and includes the pretty, lush “False Prophet”, the elegant yet playful “Little Bird”, and the bare beauty of “Lucky Stars”. The album exits on the key friendly and orchestral influenced “Don’t Ask Me How”, which is yet another display of Isabel’s sublime beauty.

An assembly of 10 tunes that were recorded live, Rambling Stranger is an intricate, soulful and adventurous outing, where each song is a journey of its own, and we should all be grateful we’re along for the lovely, heartfelt ride.

Travels well with: Courtney Marie Andrews- Honest Life; Brandy Carlile- Bear Creek

The Maes

Self-Released, 2019

8/10

Listen to The Maes

The award winning Melbourne, Australia outfit are back with a return to their folk roots, where intimate, forthright and powerful song craft flows from the ladies, who are now trimmed down to the duo of sisters Maggie and Elsie Rigby.

“Treat You Better” starts the listen with cozy guitars and vocals with a timeless folk spirit, and “Half Moon Bay” follows and brings an upbeat feeling to sparse, playful beauty. Elsewhere, “Head Over Heels” moves with a ballad like feeling as higher notes are hit and the instrumentation becomes emotive with banjos and fiddles in attendance, while “Driving Ali Through Mining Towns” weaves with melody and pretty vocal harmonizing as shades of bluegrass are present.

The back half of the album, thankfully, is more of the same, as “Sunrise” yields a tender, longing moment and “When I Found You” glows with a romantic spirit. Near the end, “February Bride” is a calm track of sublime beauty and strategic mandolin, and “Stay Home” exits the listen with some charming indie-pop influences.

Although The Maes are now without Anita Hillman, their songwriting doesn’t appear to be impacted by the departure, as this debut as a pair is full of alluring minimalism, gorgeous storytelling and wistful beauty.

Travels well with: The Lucky Wonders- Thirteen O’Clock; The Northern Folk- Watermark

Colours. Reflect. Time .Loss.

Mute, 2019

9/10

Listen to Colours. Reflect. Time. Loss.

Maps is the brainchild of James Chapman, and on his 4th album the British bedroom composer brought in live musicians, an ensemble known as the Echo Collective, as well as many guest vocalists to flesh out his most adventurous work to date.

“Surveil” sets the pace for the album with its cinematic grace and cascading beauty where horns and orchestral ideas enter the equation, and “Both Sides” continues the sophistication with an upbeat and breathy indie-rock appeal.

A listen with much exploration, “Howl Around” is a lush and rhythmic offering, while the pop-influenced “Wildfire” moves with plenty of melody. The back half of the listen offers the dreamy “She Sand To Me”, the accessible, ultra-sleek “Sophia” and the bright and glowing “New Star”, where the hooks arrive in spades. “You Exist In Everything” ends the listen with a spacey, calculated execution that puts the exclamation point on the entire listen with its dynamic integration of several genres.

An album that took 3 years to finish, it’s quite clear much thought, work and time went into the layered harmonies, organic vs. synthetic ideas, and stunning classical, orchestral and electronic hybrid that no one else could replicate.

Travels well with: onDeadwaves- Black Bird; Young Galaxy- Down Time

King Of The Crows

Self-Released, 2019

8/10

Listen to King Of The Crows

Though he’s lived in both Los Angeles and Nashville, these days Mark Cline Bates calls the mountains of West Virginia his home, and it suits his organic, soulful and very genuine brand of folk inspired Americana.

“Animals” starts the listen with gentle keys and the strong vocal work from Bates, whose vivid storytelling and emotive delivery are key on this warm album.

Though the core of the album are the vocals and piano from Bates, deeper tracks like the fuller rock sounds of “Self Control” benefit greatly from the percussion supplied by Jim Brock, while “Apathetic Moon” recruits strategic guitars for the light Americana highlight.

Near the end, “Highway Signs” brings a more rugged spirit to the calm listen with timeless folk ideas, and “Don’t Worry” switches gears into an upbeat, danceable gem where horns complement the frisky setting. “My Heart Is Good” ends the record with expressive singing from Bates and agile melodies, and puts a firm exclamation point on this very accomplished and thoughtful album.

Even though Bates is only 30, his work comes off as the intimate delivery of an old soul, and while he may not be a well known name in today’s Americana scene, I feel pretty confident this very memorable and often touching listen will bring him legions of new fans, including myself.

Travels well with: Jason Isbell- Sirens Of The Ditch; Neil Young- Prairie Wind

Brasil!

Jazz Forum, 2019

8/10

Listen to Brasil!

A well known figure in the New York jazz scene for decades now, Mark Morganelli’s 5th album, Brasil!, has the trumpet and flugelhorn extraordinaire and his fine band reinterpreting Brazilian tunes both known and obscure composers with much attention to rhythm and sharp, attentive musicianship.

At 28 tracks across 2 discs, there’s much to enjoy here, and many of the tunes were originally penned by the Antonio Carlos Jobim, one of Brazil’s most revered artists. Fortunately, Morganelli and company bring an immense talent to the affair, and do a great job of mixing instrumentals with vocal friendly tracks, and shift focus from guitars to keys to brass with fluidity and inventiveness.

The disc 1 highlights include the tropical melodies and breezy fun of “Rua Dona Margarida”, the soulful female vocals and tumbling percusson of “Deixa” and the cultured, jazz spirited “A Ra”.

Disc 2 offers us the strong rhythm and subtle organs of “Samba de Verao”, the beautiful balladry of the elegant “Dindi”, and the sophisticated interplay of horns and keys of “Corcovado. The listen exits on the muffled horns and bright piano of the playful “Aquarela do Brasil”, which exits the album much like it started, with grace and plenty of detail in the arrangement.

With nearly 2 hours of music, anyone with an affinity for Brazilian sounds will find much to enjoy here, as will jazz enthusiasts from any period of genre.

Travels well with: Clark Terry- Spanish Rice; Chuck Mangione- Main Squeeze

Am I Dead Yet?

Wire-Sound, 2019

9/10

Listen to Am I Dead Yet?

This is quite the collaboration with Mary Byker of Pop Will Eat Itself, Gaye Bykers On Acid, and Pigface and Noko440 of Apollo 440 coming together to debut a project of the highest artistic merit, where electronic, cinematic and experimental ideas collide with much sophistication.

Opening track “Leaving Me Behind” makes an indelible impression with textured grace and flowing chamber rock sounds that are tense and melodic, and “Solid Gone” unfolds with a dramatic setting that seems theatric with plenty of symphonic pop. Elsewhere, keys and strings make “Ghosted” a gothic, orchestral mashing, while “Joe Meek Shall Inherit The Earth” has the duo getting into retro balladry that few could imitate.

Near the end, “Futuristic Paranoia” leads with an ominous start before settling into soft and agile pop with expressive vocals, and “Master Of Disguise” yields an interesting foundation with graceful keys amid modern day electronica. “Thanks For Sharing” ends the album with countless ideas in a full exit of desert rock that’s lush, dark and highly adventurous.

Byker handles vocal duties here and does so quite well and fits both the gloomy and glorious moments, while Noko, who has an extensive background in film scoring, provides music that can be orchestral, electronic and recruits plenty of guitar hooks along the way.

Sometimes haunting, other times sonically noisey, Am I Dead Yet? examines life, death and today’s reliance on technology in a way that no one else could, but that we would all benefit from paying attention to.

Travels well with: Pulp- Separations; David Lynch- Crazy Clown Time

Vitality

Self-Released, 2019

8/10

Listen to Vitality

Denver is never short on impressive outfits playing very skilled music, and this time it’s Vitality, the 4th album from the Matt Skellenger Group. An ensemble of top notch musicians who bring instruments like tabla, edu, ghatam, cajon and even a conch shell to the worldly listen, Skellenger’s electric bass steers the fusion affair with much precision.

“Showtime” starts out the album with rich guitar lines and smooth horns, and “Vitality” follows with a calm, meditative tone that carries an island flavor. There’s a lot of lengthy tracks present- more than half being 6 minutes plus- and it allows the lengthy contributors to shine, such as the spirited trumpets from Matt Ried on the bluesy “13 Past 11”, and on the moody “Fibre” Ried handles cornet with much sophistication.

Later in the disc, “Peyton’s Piece” offers us grooves amid a reflective setting, and “Floating” is all sorts of inventiveness with acrobatic bass picking from Skellenger and a splendid conch shell solo from Adam Bartczak. The 9 track album exits on “Alt Facts”, which carries a more ambient feel with punchy horns and a general haziness that solidifies the unparalleled creativity present.

Skellenger, a music teacher, has two and a half decades playing in various bands under his belt and is well versed in several genres, though here he’s sticking primarily with jazz, although it’s full of artistic and experimental ideas, and flows with engaging, pleasant, timeless beauty.

Travels well with: Victor Wooten- Soul Circus, Les Claypool- Of Whales And Woe

Modern World

Marathon, 2019

8/10

Listen to Modern World

At just 26 years old, Max Jury has already made quite a name for himself with his solo career as well as co-writing Kendrick Lamar’s “Bitch Don’t Kill My Vibe”, and this sophomore album continues his strong songwriting with soul and jazz influences amid a very slick, pop fueled affair.

“Sweet lie” starts the album with soft keys and Jury’s calm vocals as the music fills with grooves in a crisp, mature pop sort of way, and “Modern World” brings a nearly Motown sophistication to the polished dance tune.

Elsewhere, Jury finds himself in hazy balladry with “Gone”, while “Burning Through You” is another cautious moment where warm instrumentation flows under his breathy pipes.

The back half of the listen offers us the subtle island soothing sounds of “Stillness”, the romantic “Primrose Hill”, where backing vocals complement the wispy tone, and “Fading Out Of You” ends the album with a jazz inspired opener that breaks into chilling, darker areas of pop.

Jury trimmed 100 tunes down to 10 for Modern World, and it’s pretty safe to say that the 10 that made the cut will only propel this now Paris resident into further fame. An artist that’s varied enough to tour with both Lana Del Ray and Rufus Wainwright, this youngster is clearly coming into his own, and it’s likely we’ll all be hearing a lot more from this Iowa native.

Travels well with: Pieta Brown- Postcards; Thundercat- Apocalypse

Seen Enough Leavers

Cranky Heartburn, 2019

10/10

Listen to Seen Enough Leavers

If you’re trying to infer a theme based on a title, well, East Nashville songstress Meghan Hayes sings songs about pain and loss stemming from a recent divorce on Seen Enough Leavers, but she writes and delivers with so much beauty, we sometimes forget she’s just split with a 20 year partner.

“Georgette” gets the album off to a sparse and vocally strong start with Hayes taking a poetic approach to the bare beauty, and the title track follows with a busier atmosphere of rustic rhythm and warm Americana shuffling. With a good mix of soft and fuller tunes, “Burley” sticks with the former where elegant grace yields a moving track, while “Cora” is filled with an emotive country spirit.

Near the end, “A Birthday In The Pawnshop (Morristown)” offers a playful folk tune that is full of universal appeal, and “Next Time Around” is an intimate and gorgeous look into her thoughtful song craft. The album ends on “Story Of My Life”, where accordions set the introspective mood as Hayes exists just as she started, with gripping, relatable storytelling and sublime allurement.

An unimaginable talent, how Hayes has managed to remain in relative obscurity so far is beyond me, as this is one of the best Americana albums in recent history.

Travels well with: Kate Bush- 50 Words For Snow; Shawn Colvin- A Few Small Repairs

Back To The Country

Pinecastle, 2019

8/10

Listen to Back To The Country

A new outfit where no one is named Merle Monroe, Tim Raybon and Daniel Grindstaff put together this talented ensemble that combines the country influences of Merle Haggard as well as the traditional bluegrass sounds of Bill Monroe on a very accomplished concept album.

“Movin’ On” gets the album started with mandolin, banjo and guitar acrobatics as melodic vocals weave in and out of the bluegrass tune, and the warm formula just keeps flowing through the fiddle heavy and introspective “Back Where It’s At”, as well as the more bare, soothing banjo sounds of “Beautiful, Kentucky”.

In the middle , “Hungry Eyes”, a Merle Haggard tune, is delivered with much grace and beauty, while “Singing Crazy (Like Patsy Cline)”, one of the album’s best, truly displays the immense talent present here with extremely careful musicianship and harmonic vocals.

Near the end, “I’ll Follow You” recruits some country rock influences to the setting and “He Will Roll You Over The Tide” brings the volume and pace back to near balladry with incredible vocal harmonies. “This Town” ends the album with a swift tempo and multiple voices on a lush, expansive exit.

With a good mix of covers and originals, these 12 tracks are stuffed full of skilled bluegrass, country and even gospel sounds, where the inspiration from Haggard and Monroe is very present and, most importantly, very well delivered.

Travels well with: Ray Cardwell- Stand On My Own; Scot Slay- The Rail

Driver

Blind Justice, 2019

8/10

Listen to Driver

A storyteller with a knack for timeless songwriting, Michael Braunfeld and his band, The Boneyard Hounds, utilize lap steel, mandolin, keys, percussion and guitars to their advantage on this carefully crafted sophomore album.

“Driver” gets the listen off to a warm, emotive start and “Breathe” follows with a busier spirit that’s full of genuine country rock. “Maline” then brings the volume down a shuffling pace, and the moody “Stay” recruits tender acoustic strumming for an immediately memorable experience.

Back half highlights include the soft and agile “Philip Hoffman Is Dead (Nika)”, the wise and subdued Americana of “A Winter’s Wish”, and one of the album’s best, the forthright “Fear” that builds into a cathartic soft-rocker. The album exits on the brief “You Go On”, where nimble guitars reside near Braunfeld’s sincere pipes.

A record full of working class anthems, Americana, folk and country sounds mesh together here with a lasting effect that will resonate with all fans of thinking person’s music.

Travels well with: Jason Isbell- Southeastern; Bruce Springsteen- Nebraska

Alive & Blue

VizzTone/Direct Hit, 2019

8/10

Listen to Alive & Blue

The veteran and esteemed saxophone virtuoso Nancy Wright returns with a 12 tune set recorded at San Francisco’s The Saloon, and it includes 5 of her originals as her all-star band help flesh out the sophisticated mix of vocal and instrumental tracks.

The instrumental, funk friendly “Bugalu” starts the affair with warm keys from Tony Lufrano and skilled sax from Wright, as the tune finds itself winding between playful blues, and the restrained “Been Waiting That Long” follows, where Wright’s soulful pipes enter the equation.

Even though every tune here was recorded live, the sound is incredible, as the bright sax and frisky rhythm of “I Don’t Want No Man” illustrate, while “Sugar Coated Love” flows with bouncy melodies and fantastic key solos in a powerful setting.

The back half of the set brings the pace down with the thoughtful mood and guitar acrobatics of “Bernie’s Blues”, and the ultra soulful and introspective “Soul Serenade”. The album exits on the upbeat “Rutabagas”, where Wright’s sax prowess is on full display alongside the proficient rhythm section.

It’s only fitting that this release was recorded at a venue that Wright started playing at in the early ‘80s, and she seems quite comfortable in the environment, delivering one spirited song after another with the Rhythm And Roots Band helping to ensure a good time will be had by all who offer an ear.

Travels well with: Bonnie Raitt- Luck Of The Draw; Ruth Brown- Sweet Baby Of Mine

Debris

Self-Released, 2019

9/10

Listen to Debris

The Seattle shoegazers return with their 3rd album, and while there’s certainly plenty of shoegaze to be found on Debris, we’re also treated to variations of punk, nods to earlier decades of rock and even some touches of goth.

“A Message From The Past” starts the album with a dreamy, psyche-influenced setting of melodic haze, and “Calling” follows with an initially more forceful approach where dense guitars complement the sonic warmness.

A listen where several genres are touched upon (and New Age isn’t one of them), songs like “Hang On” are full of distorted pop influences in a fuzzy rocker, while “Satellites” brings some modern day alt-rock ideas into a memorable chorus.

The back half of the listen is equally strong with the darker post-punk approach of “Valentine’s Day Massacre”, the psych-rock spirited “I Followed A Sound”, and the proto-punk, garage rock, orchestral pop and ‘60s influences of “The Souls Of Lost And Found”, which closes out the album with countless ideas in a stunning exit.

Though New Age Healers began as the solo project of vocalist and multi-instrumentalist Owen Murphy, these days the band are composed of members of Lemuria, Modern Athletics, The Wannabes, and The Midnight Snackers, and it’s pretty safe to say that their collective talent is yielding some of the most exciting sounds in today’s unconventional rock.

Travels well with: Girls Against Boys- You Can’t Fight What You Can’t See; The Jesus And Mary Chain- Psychocandy

Surrender

Self-Released, 2019

8/10

Listen to Surrender

An Oakland artist with a penchant for electronica and accordions, Onah Indigo, i.e. Noaccordion, delivers a new effort that was born out of pain- both physically and emotionally- and it sure did produce some incredible art from this always iconoclastic songstress.

“Ready” starts out the album with plenty of layered voices on a quirky pop tune, and “Goodness Rise Again”, with Indubious, brings reggae and funk into the creative formula. Elsewhere, “Allies” is a busy and unclassifiable excursion with some semblance of pop, while “Mars” recruits accordions in a spacey journey of distorted landscapes.

Deeper cuts like “Another Way” stay mysterious with moody, adventurous accordions, while “The Cure”, featuring Miraculah, is a soulful dance track with dense beats. Near the end, “Lessons” leads like a sci-fi thriller before moving with unpredictable versions of electro-pop, and “Response (Soohan Remix)” ends the affair with Eastern influenced sounds.

A powerful, atypical and substantial release, Surrender is a complicated, inventive and compelling journey into the mind of an imagination that continues to take the road less travelled and find new ways to impress.

Travels well with: DeVotchKa- This Night Falls Forever; The Gypsy Nomads- Eternal Summer

Kings And Queens/Knaves And Thieves

Korda, 2019

9/10

Listen to Kings And Queens Knaves And Thieves

If you were milling around the college rock scene in the late ‘80s you might remember The Ocean Blue and their hit “Between Something And Nothing”. After some heavy MTV rotation and plenty of units sold, the Pennsylvania dream-poppers were becoming quite well known. However, when grunge moved in the band’s sound wasn’t as marketable.

Thankfully, The Ocean Blue never broke up, although line up changes have occurred, and this 7th album finds the band still very much indebted to the influences from their early days (The Smiths, New Order, Echo & The Bunnymen), and their songwriting prowess seems as fluid as ever.

“Kings And Queens” starts the album with a warm, hypnotic quality as the dynamic instrumentation builds into pensive alt-rock, and “It Takes So Long” follows with a swift pace and jangly acoustic guitars in a firm modern rocker.

The band take a break from their timeless rock formula for the subdued “Love Doesn’t Make It Easy On Us”, while “All The Way Blue” moves into a haunting atmosphere where much attention is paid to mood.

The back half of the album offers us the playful instrumental “F Major 7”, the push and pull tension of the rugged “The Limit”, and the Brit-rock, Morrissey-ish flavor of “Therein Lies The Problem With My Life”. Near the end, “Step Into The Light” brings us sweeping melodica in a lush filled highlight, and “Frozen” finishes the album with gentle keys and expressive vocals amid the beautiful melancholy.

Had The Ocean Blue existed 5 years earlier, there’s little doubt they would have impacted the post-punk and New Wave scene in similar ways to The Cure and The Church. Since that wasn’t the case, we get the next best thing,i.e. some middle aged guys playing fantastic songs that take nods to one of the best eras of music yet.

Travels well with: The Smiths- Hatful Of Hollow; New Order- Brotherhood

Orchid

Self-Released, 2019

8/10

Listen to Orchid

A rising artist who has racked up 5 songwriting awards before she’s even finished college, Olivia Frances isn’t your typical pop artist, and this 3rd album furthers her self-described ‘sunshine story pop’ into a mature setting with her carefully plucked guitar.

The title track starts with Frances’ bright and sturdy pipes on a country influenced tune that’s dripping with pop sensibilities, and “Moon To My Sun” follows with a dreamy setting of warm beauty.

Elsewhere, “Porcelain” brings fluid storytelling with a fuller atmosphere of percussion heavy indie-rock, while “It Just Takes One” is a charming Americana tune that’s full of optimism and upbeat sounds.

The second half of the album offers the sunny guitar licks of “Lettin’ Summer Shine”, where a sing-along chorus makes it immediately memorable, and “The Bee & The Rose”, a tune so full of universal melody it could easily be the break out tune for Frances. “Makin’ Room For You” ends the album with calm grooves and graceful keys, as Frances exists on a sophisticated, sweet closer.

A Cincinnati native who will be calling Nashville home very soon, this is a young talent with a bright future, who writes songs with the skill of a veteran while bring a unique creativity to a genre that will benefit greatly from her vision.

Travels well with: Joni Mitchell- Shine; Florence And The Machine- How Big, How Blue, How Beautiful

Opelousified

Origin, 2019

8/10

Listen to Opelousified

An Australian trio who take their name from a Louisiana town, Opelousas the band retain the swampy blues of Opelousas the town alive on this debut album, where rawness, rhythm and riffs are never in short supply.

“Maw Maw’ gets the album off to a warm start with calm guitar work and rich vocals that simmer with much emotion, and “i Never Kissed Her” follows and picks up the pace into jangly garage rock that’s retro and a lot of fun.

An album where no two tracks resemble each other all that much, “Dear John” brings us into tense areas of rock, while “James Dean” simmers with a cautious mood and gritty yet elegant musicianship.

The back half of the listen also impresses with the wild “Good Love Bad”, where the vocals howl as the charged tempo tumbles and shakes, and “Sugar Baby” spits out the blues with much precision and timelessness where pretty female vocals highlight the affair. Near the end, “Opelousas Baby” recruits’ '‘70s influences into the soulful offering, and “You’ll Never Know” exits with nostalgic pop ideas into the thoughtful closer.

Kerri Simpson and Alison Ferrier handle guitar and vocal duties here, and their powerful combination combined with the expertise from Anthony Shortte behind the drum kit make this first album from Opelousas a must for fans of all things blues related.

Travels well with: Collard Greens & Gravy- Devil In The Woodpile; Kerri Simpson- Confessin’ The Blues

Eclectico

Self-Released, 2019

8/10

Listen to Eclectico

An esteemed bassist and composer, Pablo Lanouguere, an Argentina native, blends world fusion, modern jazz, tango and classical sounds on this debut with his quintet.

“Mi Grullas De Papel” gets the listen off to an eclectic and festive start with keys, strings and horns, and that ingenuity continues to the dramatic and emotive tango energy of “Piano Piano” and the brief “Rotin”, where the mood turns somber and tense.

Further along, “Gatito De La Fiesta” could certainly soundtrack a party to a low key affair with its grooves and calm instrumentation, while “Introspection” certainly does give us something to think about as it moves with careful detail and sparse musicianship that’s never short on beauty.

Near the end, “Era Hora” takes a turn into reckless territory with crashing keys, charged strings and plenty of playfulness, and “Hacia Donde Vamos” ends the listen with a cinematic quality that could soundtrack an action film with its rambunctious melody and shifting tempos.

An artist who is well versed in swing, salsa, Latin Jazz and many other genres, with Eclectico he brings countless ideas to his creative arsenal with rich songwriting and flowing, unpredictable melodies to an inimitable listen.

Travels well with: Shai Maestro- Untold Stories; Tigran Hamasyan- Red Hail

China

Ok Good, 2019

9/10

Listen to China

Although the South African indie-rock giants The Parlotones started out heavily indebted to Brit-rock, these days their inventive formula encompasses so many styles and genres, this 10th album is unclassifiable in all the best ways.

“Antidote” leads the record off with warm synth and mysterious vocals in a calm, beat driven setting of ‘90s rock sensibilities, and “Leave A Light On” finds the ensemble in acoustic strumming with a giant chorus of anthemic rock that would make Coldplay jealous.

Elsewhere, “Can You Feel It?” brings us a tense atmosphere of melodic pop-rock, while “Beautiful Life” offers us gentle balladry that builds into glorious, breezy pop ideas.

At 14 tracks, there’s much to absorb here, but the band’s diversity keeps us entertained for the whole ride. Songs like the sparse keys and touching balladry of “Downtown Love” sit well with the louder alt-rock sounds of “Young & The Guilty”, and further along, the dreamy, hazy “Welcome The Wonderful” could have been in a John Hughes film in 1986. The eclectic album ends on “Goodbye To The Show”, where a swirling blend of chamber, folk and cinematic qualities exit the record as skillfully as it started.

China coincides with the band’s 20 year anniversary, and with 900,000+ records sold, it’s pretty safe to say they’re one of the biggest outfits from their home continent ever, both in sales and lasting impact. While many of us in the west aren’t privy to these stars, we’d be wise to familiarize ourselves with them, as their unparalleled talent makes for an enlightening, captivating experience.

Travels well with: Editors- The Weight Of Your Love; Muse- Drones

The Last Taxi: New Destinations

Leo, 2019

8/10

Listen to New Destinations

A professional rocker since the age of 14, Pat Battstone knows his way around a tune you won’t soon forget, and here his piano acrobatics guide The Last Taxi band through artistic and highly exploratory variations of jazz sounds.

“Twilight Departure” gets the listen off to a flute fueled start, where very subtle vocals from Chiara Liuzzi help set the mood, and “Attraverso la Citta” follows with a mysterious, ambient and percussive approach that builds into a busy mashing of experimental ideas.

A listen that is very heavy on detail and atmosphere, “All The Birds Have Flown” is a turbulent and energetic display of dizzying talent, while “Escape Syndrome” puts guitars out front with warbling vocal manipulation.

The band don't get close to running out of ideas on this lengthy listen, and deeper cuts like “Rewind” are full of abstract sounds that are as perplexing as they are captivating, and “Absyinte” recruits a cinematic quality with gentle singing amid meditative instrumentation. The record ends with “L’Amore Reve”, where a lullaby-esque setting builds into a avant garde explosion of gorgeous tension.

Battstone’s 8th album is a monumental experience, where the Italian contributors offer unparalleled skill and the electronic and acoustic musicianship and free improvisation unfolds like a journey we all want to be a part of.

Travels well with: Giorgia Santoro- Entrance; Chiara Liuzzi- Elica

The Past Came Callin’

Hound Gawd!, 2019

10/10

Listen to The Past Came Callin’

You might remember Pat Todd from his seminal LA punk outfit The Lazy Cowgirls, who were very active and admired in the underground scene from 1983 to 2004. Since 2004, Todd has been at the helm of the Pat Todd & The Rankoutsiders, and their 5th album, The Past Came Callin’, keeps their punk rock roots intact while touching on outlaw country, blues and honky tonk, too.

“If Only I Could Fly Backwards In Time” gets the record off to a roaring start with charged riffs, a fiery rhythm section and gritty vocals from Todd, and this continues with the anthemic “The Ballad Of Crystal Valladares” and the more restrained “Call You On Sunday Night”.

Further along, harmonicas make a big impact on the country spirited “Down In Old Boerne” while “Goin’ Nowhere” gets right to their punk rock heritage with biting energy and contagious rock’n’roll that is complemented well by “A New Pair Of Eyes”.

Near the end, “Any Other Way” might be the closest they get to balladry with a warm, bluesy spirit, and “Somewhere Down The Line” is rock’n’roll at its finest, and could very well be the best tune of 2019. The album ends on “Just Between You & Me”, a cautious exit of heartfelt singing that Bob Dylan fans will fawn over.

A perfect album from beginning to end, The Past Came Callin’ has everything you’d want in a record- sincerity, volume, timelessness and one hell of a good time that you’ll want to relive again and again.

Travels well with: Barrence Whitfield & The Savages- Soul Flowers Of Titan; Lazy Cowgirls- Ragged Soul

Everything So Far

Turntable Friends, 2019

9/10

Listen to Everything So Far

If you were paying close attention to college rock in the early ‘90s, you may remember Paul Den Heyer from his band Fishmonkeyman, whose breakout hit “If I Told You Once” propelled the band to worldwide fame.

These days Den Heyer is a member of The Red Sided Garter Snakes and spends time producing as well, and Everything So Far, his first solo release, proves that his songwriting expertise hasn’t waned one bit.

“Technicolor Summer Sunshine” gets the album off to a warm, strumming start with harmonicas and a hazy atmosphere of dreamy melodica, and “Clear Sunlight View” follows with an aching spirit where Americana ideas unfold with much thoughtfulness.

Elsewhere, “Illusions Shine Like Gold” offers mysterious and moody instrumentation while “Unfolding (Revisited)” recruits summery guitars in a blurry pop formula that’s almost shoegazey in its delivery.

The back half of the listen gifts us the full, lush “Passing Of The Season”, which tips its hat to ‘60s rock, and the vocally expressive “Home Song”, which somehow manages to mesh retro-folk with today’s indie-rock. The record ends on “Everything So Far”, a brief flash of alt-pop with a smattering of all the varied influences that make Everything So Far so grand.

Den Heyer refers to his music as ‘Britanicana’, and he does indeed bring strong Brit-pop sensibilities into American throwback sounds, and though the impetus for these songs was a health scare, they unfold with gloriousness, surreal landscapes and a penchant for cozy folk and psyche-pop, too.

Travels well with: Slowdive- Catch The Breeze; Mojave 3- Puzzles Like You

Humanworld

Domino, 2019

9/10

Listen to Humanworld

Peter Perrett makes quite an impression on Humanworld with the opening track, “I Want Your Dreams”, where a mysterious and meticulous version of haunting alt-rock is present, and by time we get to the forthright and dark post-punk nods of “Once Is Enough” it’s pretty clear that this is his best work to date.

The former frontman for the seminal outfit the Only Ones, Perrett is well versed in many genres, as evident on the emotive and chamber influenced “The Power Is In You”, while his punk rock roots are apparent on the Brit-rock energy and crashing melody of “48 Crash”.

Near the end, “Love’s Inferno” moves with flowing melodica in the varied highlight, and the power-pop punch of “Master Of Destruction” has Perrett sounding as youthful as ever. “Carousel” ends the album with warm balladry where strings complement Perrett’s imperfectly gritty vocals that remind us of Tom Waits, Lou Reed and Nick Cave.

Now approaching 70 years old, Perrett’s comeback from the grips of drug addiction is nothing short of inspiring, and he’s quickly making up for lost time with another poetic, charged and engaging record.

Travels well with: The Libertines- Up The Bracket; England’s Glory- The First And Last

Be My Non-Friend Friend

Self-Released, 2019

9/10

Listen to Be My Non-Friend Friend

Now a decade old, Miami’s Pocket Of Lollipops decided to celebrate the milestone with this 6th album, where their unique posh-punk formula recruits noise, garage, electronica, and even spoken word moments for the husband and wife duo.

“The Cow & The Clown” gets things off to an unusual start with droning post-punk and a lo-fi setting of experimental noise, and “Lavender Carry” follows with fuzz, spacey sounds and changing tempos amid talking and singing.

Things only get more unpredictable as the record progresses, with the bouncy bass lines of “Elsewhere”, while “Tiny Pants” stays calm and mysterious with keys, ambient texturing and again much emphasis on bass.

Near the end, “Non-Friend Friend” offers call and response vocals in a haunting environment, and “Anise Blvd.”, the longest tune by far, is a journey of clamorous, aberrant poking and prodding. The curious listen ends with “All Fixed & Then Some”, a punchy rocker where crunchy sounds and jangly guitars are met with pretty female vocals and male robot-esque singing.

Highly artistic, entirely iconoclastic and undeniably creative, there isn’t anything out there that sounds like Pocket Of Lollipops, and the unorthodox chemistry present ensures an engaging, fulfilling and awe-inspiring experience.

Travels well with: Huggy Bear- Taking The Rough With The Smooch; Frumpies- Frumpies Forever

Resist

Self-Released, 2019

8/10

Listen to Resist

A soulful pop vocalist from New York with a highly expressive set of pipes, this first EP from Rachel Norman brings along jazz pianist Jason Leonhard and Kris Wong of the Canvas Collective for an impressive debut.

After the brief “Intro (Packing Tape)”, where music is minimal as Norman’s vocals are complemented with backing harmonies. “Good” dives right into rhythmic pop sounds with strong percussion and even stronger singing from Norman.

Moving down the line, “Sadness” recruits a folk spirit to the reflective atmosphere, while “Resist” hosts elegant keys and a graceful setting of beauty and playfulness. “Verified” ends the quick listen with finger snapping amid classic pop ideas, where a multifaceted approach yields a timeless closer.

A grand introduction to the world, Norman knows her way around universally embraceable song craft, and the hints of jazz, textured melodies, and soothing grooves make each tune present a candidate for becoming the next household name pop artist.

Travels well with: Tori Kelly- Hiding Place; Ariana Grande- My Everything

Stand On My Own

Bonfire, 2019

8/10

Listen to Stand On My Own

A Missouri native who now resides in Nashville, Ray Cardwell has played many different genres of music in his lengthy and esteemed career, and with Stand On My Own he’s focused on bluegrass and Americana sounds with his 4 octave voice taking center stage.

“Time To Drive” gets the album off to a swift beginning with acoustic prowess and Cardwell’s smooth yet rugged vocals, and the lush vocal harmonies of “Hurricane Rain” follows with timeless melody that’s immediately memorable.

Elsewhere, the title track brings impressive fiddle work to the cautious, modern tune, and “Change In My Life” is an A cappella offering where instruments are unnecessary as Cardwell harmonizes with himself in 4 distinct tones.

The back half of the album brings us the country spirit of “New Set Of Problems”, and the bluegrass acrobatics of “Alright”, which prove just how much talent is on hand here. “Love Each Other” ends the listen on pretty display of dynamic interplay that’s emotive, agile and a perfect conclusion to the warm listen.

Stand On My Own is Cardwell’s sophomore album after taking time off from music to raise a family, and several tunes here have already climbed up the Grassicana charts. While the traditional spirit of bluegrass is still very much alive, there’s also progressive ideas to be found across this eloquent and intricate record that is delivered so proficiently.

Travels well with: Jim and Lynna Woolsey- Long Ago; Williamson Branch- Free

Chez Nous

Summit, 2019

8/10

Listen to Chez Nous

The always impressive Rebecca DuMaine aligns her flawless pipes with keys from her father, Dave Miller, as well as Chuck Bennett on bass, Bill Belasco on drums and Brad Buethe on guitar on 8 of the 14 tunes here.

“When In Rome” gets the album off to a elegant start with brushed percussion, jumpy keys and DuMaine’s pretty and graceful vocals, and this continues to the playful “I’ve Never Been In Love Before”, and the soothing title track, where Dumaine sings in French as the music skips and tumbles with friskiness.

Further along, “Yesterday” brings us to calm balladry with a father-daughter duet, while “You’re Getting To Be A Habit With Me” is an upbeat and melodic swing highlight. Near the end, “Do It The Hard Way” reinforces Dumain’s incredible vocals, while “Que Reste-T-II/i Wish You Love” ends the affair with much sophistication as the keys move along fluidly as the singing and guitars are executed flawlessly in both English and French.

A light and joyful listen of really crisp and energetic covers, Dumaine and company make all of these reworkings their own with a cozy, pleasant jazz spirit that can’t help but leave you smiling.

Travels well with: Jasmine Tommaso- Listening Party!; Maureen Budway- Sweet Candor

Bulletproof Live

Thirty Tigers, 2019

9/10

Listen to Bulletproof Live

If you were a fan of Reckless Kelly’s 2008 album, Bulletproof, well, you’re in luck since the long running roots rockers recorded that entire album live in 2018 for this installment of their Americana and country rock inclinations.

“Ragged” starts the set with gritty Americana where melody is certainly present amid the crisp instrumentation, and “Love In Her Eyes” isn’t far behind with a sturdier rock feeling and a great chorus.

Further along, “Never Had” brings us warm, gentle balladry that’s romantic and orchestral influenced. while “One False” builds into fuller folk-rock with fantastic guitar work.

The second half of the album brings some great moments, like the ultra-memorable “American Blood”, the soulful setting and elegant strings of “Mirage”, and the subdued “God Forsaken”. The album ends on the punchy southern rock of “Bulletproof”, a fan favorite for good reason as its one of the strongest tunes in their catalog.

Even if you’ve never heard the studio album or Reckless Kelly at all, I’d wager that you’re still in luck for tuning in, as they’re one of the most exciting outfits in country inspired sounds that exists today, and Bulletproof Live, with its incredible sound that used no overdubs, further cements their status as one of the best of the best.

Travels well with: Dwight Yoakam- 21st Century Hits; Steve Earle- Guy

Down & Dirty

Wise Cat, 2019

9/10

Listen to Down & Dirty

Rich Willey has some deep roots in the jazz scene, going back to the early ‘80s in Philadelphia and New York, and after returning to his home state of Florida to continue his education he went back on tour and released some solo work.

Here, Willey has 11 of his compositions scored for an 18 piece big band, where many genres are touched upon and several solos are unleashed in this 70+ minute listen where Willey takes up trumpet, bass trumpet and flugelhorn.

“Boogie Beast” starts the listen with a big presence, where plenty of horns infiltrate the playful setting of reggae influence, and this continues to the busy, cinematic feel of the soaring “Down & Dirty”.

Elsewhere, “Eyes All For You” brings a bit of mystery to the sophistication, while “Dancing Hippo” starts with warm keys and builds into a fun atmosphere you certainly will want to move your body to.

Late in the listen, “Little Treasures” recruits some Latin flavor to the equation, and “Funk Heap” indeed brings heaps of funk to the soulful energy that even jams in a guitar solo. The album ends on “But For The Grace Of God”, where an orchestral presence illuminates the exit as solos from piano and flugelhorn are in important attendance.

Big band sounds just don’t much better than this, and Willey’s ability to steer the ship so meticulously is certainly much of this reason why Down & Dirty will be one of the best jazz records this year.

Travels well with: Wayne Bergeron- Plays Well With Others; Rob McConnell & The Boss Brass- Don’t Get Around Much Anymore

Quiet River Of Dust Vol. 2: That Side Of The River

ANTI-, 2019

8/10

Listen to Quiet River Of Dust Vol. 2: That Side Of The River

Perhaps better known as an integral part of Arcade Fire, Richard Reed Parry has been racking up quite an impressive solo catalog lately, and here he turns layering and a nature inspired, experimental vision into a highly refined art form.

“The Fiddlers Play” gets the album started off with a calming atmosphere of accordions and Celtic influences, and “Lost In The Waves” follows with a mysterious setting where soothing vocals set the mood.

Elsewhere, “In A Moment” flows with a meditative spirit while bringing guitars to the affair, while “Where Did I Go” is 8+ minutes of exploration that’s percussively strong, cinematic and vocally emotive as synth really complements the creativity.

The back half of the album offers us the blurry “Cups In The Ocean”, the soft pop sensibilities and glowing harmonies of “Throw A Cup Of Water”, and “Heaeven For Meg”, where acoustic guitar picking adds to the etherealness of the soaring, wispy vocals. “Long Way Back” ends the listen on one of the loudest tunes, where many voices, pounding drums, and horns build into a majestic display of power and melody that resembles Arcade Fire more than anything else present.

Capable of getting haunting and emotional enough to draw parallels to Elliott Smith while flirting heavily with psyche and prog-rock across this highly detailed outing, while no one would hope that Parry leaves his full time gig, let’s hope he still finds time for projects like this to exist.

Travels well with: Nils Frahm- All Melody; Animal Collective- Here Comes The Indian

Pop Circles

Turn-Up, 2019

9/10

Listen to Pop Circles

Richard X. Heyman has been in the game for a long time now, and the multi-instrumentalist with unwavering DIY ethics returns with his 13th album where his power-pop prowess is never in short supply and the melodies arrive in spades.

“Guess You Had To Be There” starts out with warm, summery strumming, where orchestral ideas complement Heyman’s tuneful yet gritty vocals, and “If You’re So Inclined” follows with vocal harmonizing in a breezy pop-rock sort of way.

After a pair of impressive tunes, “Everything Must Go” continues with a subdued pensive rocker where elegant strings are in attendance, and “Marlena” offers jumpy keys in a cautious outing of massive creativity and thriving energy.

The second half of the album offers the anthemic and sing-along friendly “Hope”, the ultra-harmonic “About Time”, where vocal layering really adds to the tune, and “Where Circles End” ends the listen on a quieter moment of lush beauty.

The last 5 tunes fall under ‘Richie’s Three-Chord Garage’, and are reworked tunes intended for The Doughboys, and not so surprisingly consists of driving garage rockers, including the playful setting of “Long Way Down”, and the more aggressive rock’n’roll spirit of “Until The Clock Strikes Doom”.

Heyman’s impressive resume includes being a founder of the legendary outfit The Doughboys, and here the veteran artist proves he’s only getting better with age as he plays most of the instruments here (his wife Nancy helps out on bass, and strings are taken up by Julia Kent and Chris Jenkins) on a jangly, melodic and varied excursion into power-pop genius.

Travels well with: Todd Rundgren- Runt; Matthew Sweet- Inside

The Who’s Tommy Orchestral

Polydor/UMe, 2019

8/10

Listen to The Who’s Tommy Orchestral

It’s been half a century since The Who released their seminal album Tommy, and here we’re treated to an anniversary version of the record backed by an orchestra spearheaded by David Campbell. If you’ve been following Roger Daltrey lately, you know that he’s been touring and playing Tommy with an orchestra, an experience that Daltrey has described as ‘magical’, and here that magic is captured for those unable to attend the performances.

“Overture” makes a grand entrance with soaring instrumentation and a cinematic quality- a common theme across the entire record- as Daltrey and The Who Band stay consistent with the original tunes. Daltrey’s pipes, despite being 75 years old, sound great- maybe better than ever- as he clearly very much enjoyed this project.

The orchestral additions, conducted by Keith Levenson, are loud, vibrant and put a sophisticated twist on classic tunes like “Pinball Wizard” and “Amazing Journey” that is easy to embrace, especially for diehard fans of The Who. And though Pete Townshend isn’t present on the recordings, his younger brother Simon handles guitar and vocals with much precision.

Recorded in Budapest and Bethel, NY (the site of Woodstock), classic rock rarely gets the classical reworking, and here it’s done with incredible skill and a very full, energetic live sound.

Travels well with: The Who- Quadrophenia; Pete Townshend- Who Came First

The Brown Beatnik Tomes- Live At BRIC House

Blue Note, 2019

8/10

Listen to The Brown Beatnik Tomes- Live At BRIC House

An all star duo here, bassist extraordinaire Ron Carter has teamed up with Tony winning co-founder of Def Comedy Jam, novelist, poet, and artist Danny Simmons. Together, the pair produce plucked bass supporting incendiary poetry where Simmons was imagining himself as a Beat Generation poet from the ‘50s but delivers with themes that surround the modern African-American population.

“For A Pistol” starts the set with intriguing poetry from Simmons against the low bass of Carter, and “The Final Stand Of Two Dick Willie” follows with insightful and true words from Simmons as Carter explores his vast expertise. Elsewhere, “Tender” has Carter shifting gears into soothing as Simmons takes on a romantic tone where parallels are drawn between Africa and modern day America.

While the focus here is very much Simmons and his linguistics, there are 2 music oriented tracks on hand with Donald Vega on keys and guitarist Russell Malone, as “Here’s To Oscar” brings a breezy, playful moment, while “there Will Never Be Another You” is sublime balladry where gentle keys are contrasted against agile bass plucking. Another welcomed surprise is Liza Jessie Peterson’s guest vocals on the relevant and scathing “Where Do I Begin”, where victims of recent injustice are cited as beats and stylish sounds complement the affair.

There’s much historical and modern significance in what Simmons (and Peterson) have to say here, and with rising racial injustice it’s more an issue today than ever, as these 2 luminaries adapt their art to one another perfectly on a very important and creative display of communication that hopefully can also serve as an agent of change, too.

Travels well with: Allen Ginsberg- Live In London; Jack Kerouac- Blues And Haikus

Omnidirectional

Bar None, 2019

9/10

Listen to Omnidirectional

On their 7th album and first in a decade, The Schramms, who are spearheaded by Dave Schramm (lead guitarist and original member in Yo La Tengo many moons ago), enlist longtime Schramms fixtures Ron Metz and Al Greller, as well as JD Foster (Calexico, Lucinda Williams) and plenty of other friends, too.

“Honestly Now” starts the album with an ambient clarinet before soft strumming and hushed vocals invade the soothing opener that also bursts into louder exploration, and “Spent” follows with keys, adventurous percussion and a mysterious mood with fuzzed out guitars.

An album where no two songs resemble each other all that much, “Faith Is A Dusty Word” emanates with a playful folk feeling mixed with retro-pop, while “Not Calling” recruits viola, cello and accordions for an interesting version of chamber-rock.

On the back half of the record we are treated to the sparse setting and multiple vocals, soft acoustic guitars and tambourines of “New England”, the eclectic and melodic building of “Still Standing Still”, and the warm grooves of “Won’t Fall Down”. The album ends on the intricate guitar picking of the instrumental “Two A.M. Slant”, a fitting end as Schramm is the only player which reminds us that first and foremost Omnidirectonal is a guitar record.

Even though it was recorded in random sessions over ten years, the album flows together quite nicely, emitting a seamless delivery of raw, honest and meticulous songwriting that Schramm has built his career on. There aren’t too many records I’ll wait multiple years to hear, but this is one of them.

Travels well with: Richard Buckner- Surrounded; Yo La Tengo- Fakebook

Ragged Heart

Self-Released, 2019

9/10

Listen to Ragged Heart

This sophomore album from Maria Francis and Jeff Overbo, AKA Silver Lake 66, brings more of their country sounds and rock influences, where vivid lyrics and dynamic chemistry between the pair make Ragged Heart one of the best Americana albums of 2019 so far.

“Blue Earth County” gets the album off to a snappy Americana start with harmonic vocals and a warm rustic quality, and “Ragged Heart” follows with quick shuffling and gorgeous vocals from Francis that brings to mind legends like Emmylou Harris or Dolly Parton. Elsewhere, the pair stick closer to classic country sounds on the ballad “Broken”, while “Faded Tattoo” plunges deep into roosty, alt-country on a glorious tune that brings to mind the best work of Whiskeytown.

The remainder of the album is just as impressive, with the subdued strummer “Check Out To Cash”, the vocally soaring “Hard Thing To Do”, where Francis shows us the full capacity of her strong pipes, and the rugged yet tuneful “Like A River”. The thoughtful record ends on “Such A Mess”, a sparse ballad where aching pedal steel and folk ideas close with much grace.

With both players taking turns on vocals, handling guitars and some percussion, too, they’re in great company with backing strings and horns and together they illuminate the twang, southern rock and heartfelt tunes with an immediate memorableness that shines with genuine, honest song craft.

Travels well with: Gram Parsons- GP; Lucinda Williams- Little Honey

Sweet Candy Power

Good Charamel, 2019

9/10

Listen to Sweet Candy Power

This 19th studio album from the long running Japanese trio is just as good as the 18 before it, and even brings Shonen Knife alumni Ritsuko and Naru back for the occasion.

“Party” starts the album and indeed brings us to the party of driving guitars, melodic vocals and their patented buzzing pop punk formula, and “‘Dizzy” continues the fun with hand clapping, sing-alongs and the trio’s head bobbin’, toe tappin’ irresistibleness.

The band don’t stray too far from their time honored formula, as the power-pop hooks of “Sweet Candy Power” and the anthemic “My Independent Country” illustrate, and by the time the half way point of “New Wave Rock” arrives, we’re into cautious areas of ‘90s alt-rock.

The back half of the album offers us the almost kids’ music oriented “Ice Cream Cookie Sandwiches”, the introspective and subdued “Never-Never Land”, which is about as close to a ballad as they’ll get, and the retro-rock of “Peppermint Attack”, which points heavily to the ‘60s and ‘70s influences that the album is themed around. “Match 3” ends the listen in typical Shonen Knife fashion- quick, dripping in melody, and with bouncy guitar work you can’t help but smile to.

Now getting near the 40 year mark of their career, these ladies are having as great a time as ever, as are their fans, and their bubblegum pop, pogo punk and ‘60s girl groups influences are as sharp as ever, making this a must hear for the longtime fan as well as a decent starting point for the first time listener.

Travels well with: Ramones- Road To Ruin; Fastbacks- The Question Is No

I Walk Alone

Self-Released, 2019

8/10

Listen to I Walk Alone

New York City musician Steven Blane takes on the entire process of his music here by playing, mixing and mastering everything on I Walk Alone, where ‘60s rock’n’roll influences and jazz ideas run rampant, among countless other creative impulses from the esteemed veteran.

“Look Who’s Crying Now” gets things off to a vocally expressive start with finger snappin’ fun and upbeat pop-rock, and “Bottom’s Up” follows with vocal manipulations in a Billy Joel sort of way with jazzy keys complementing the affair.

While Blane is certainly adept at swift, catchy moments, “Incredible” trims the pace back to balladry with an emotive spirit and “I Walk Alone” offers a subdued moment with a strong backing beat for an unusual but captivating twist.

Later on, “My Baby’s Comin’ Home” brings us back to the ‘70s with some funk and soul, while “Dressed In Blue” is a fun acoustic strummer you won’t soon forget. “Sacred Chain” finishes out the affair with flowing melody, strong keys and gospel influenced FM friendly rock, the sort that Blane cultivates so well across this exceptional album.

Blane’s been behind a handful of releases already (most recently with So New York), and they’ve all done a great job of illustrating his timeless nature where few genres are off limits, and this time his lively tenor voice guides us through bluesy, jazzy, folky, retro-rock that’s undeniably charming and contains much lasting power.

Travels well with: Roy Orbison- In Dreams; Elvis Presley- Pot Luck With Elvis

Deeper Roots: Where The Bluegrass Grows

SCSEE, 2019

8/10

Listen to Deeper Roots: Where The Bluegrass Grows

The 5 time Grammy Winner Steven Curtis Chapman returns with Deeper Roots: Where The Bluegrass Grows, and much like his previous work, it didn’t take long to climb up to the top of the charts on both the bluegrass and country divisions.

The title track gets the record started off with warm, smooth vocal harmonies before the swift banjo acrobatics and upbeat melodies seep in, and “Dive” follows suit with timeless interplay and mountain-esque picking.

Elsewhere, the pace is trimmed back on the soothing balladry of “‘Til The Blue”, and “Cinderella” also takes a stripped back approach with aching strings and emotive vocals in a soft yet agile setting.

Some of the best tracks reside near the end, as “I’ll Fly Away” recruits a country rock bite with a busy, gorgeous atmosphere, and the last 2 tunes “Without Him” and “I’d Rather Have Jesus”, are acoustic guitar focused with a trio of tuneful voices guiding the religious themes.

Chapman’s in great company here with contributions from Gary LeVox (Rascal Flatts) and the legendary Ricky Skaggs, among plenty of others, and together they recreate classics and hymns with a soulful, gospel and easy going, universally enjoyable bluegrass and country spirit.

Travels well with: Bruce Carroll- Big World; Jeremy Camp- I Will Follow

Tanbark

Self-Released, 2019

9/10

Listen to Tanbark

The self-titled sophomore album from the New York duo of Tanbark, who traded Minneapolis for Brooklyn, Chloe Nelson and James Jannicelli bring pedal steel and piano to their authentic and warm song craft on this very forthright listen.

“Promise To Send” gets the album off to a warm and elegant start with soft keys against Nelson’s expressive pipes, and “Chatelet” follows with a cozy country spirit that’s very clearly influenced by the Laurel Canyon scene.

Elsewhere, “Heart Shaped Locket” brings a pop influence into the cautious rhythms, while “Worth The Charm” offers us lush folk ideas where pedal steel aches in all the best ways.

The second half of the album graces us the pretty duet “The Bridge”, where organs add greatly to the emotive landscape, and the playful retro sounds of “Testing My Luck”, which is one of the best tunes present. “Like One” ends the listen with sparse beauty on a breathy and dreamy exit where keys support Nelson’s sublime delivery.

Somewhat like a modern day version of Fleetwood Mac, the chemistry between the pair is undeniable, and their country, folk and Americana influences come through with a memorable, lasting appeal. This is a duo to keep an eye on and to expect more exceptional art from.

Travels well with: Hand Habits- Placeholder; Phoebe Bridgers- Stranger In The Alps

Double Release

Self-Released, 2019

8/10

Listen to Double Release

A collaborative performance outfit spearheaded by Connor McCampbell, TC Superstar take much influence from the 80s with bright synth sounds and the ‘70s with spirited dance rock, and their performance art has quickly made them heroes in their hometown of Austin.

Here, we get TC Superstar’s first 2 releases on a cassette, i.e. their 2017 album Masc and 2018’s Heat Death EP. Side A, Masc, offers us playful synth and groove filled guitar work across beat heavy tunes like “Toyota Corolla”, the dreamy synth-pop of “Closer” and the darker post-punk ideas of “Don’t Wanna Be”.

Heat Death is a shorter but no less interesting display of TC Superstar’s glowing songwriting prowess that puts the club friendly “Denial” in the lead of position, while the light and airy “Bargaining” and the addictive electro-pop of “Anger” could easily make this Austin sextet a household name. The warm energy of “Acceptance” ends the EP with crisp, proficient musicianship and memorable song craft that puts the exclamation point on this glorious release.

TC Superstar’s new album, R&D, is out now, and if Masc and Heat Death are any indication, it should solidify the ensemble as one of the most exciting entities in today’s indie-rock.

Travels well with: Moving Panoramas- In Two; Wild Moccasins- 88 92

An Obelisk

Merge, 2019

9/10

Listen to An Obelisk

The 6th album from these New Jersey stars has the legendary Bob Mould turning the knobs on an often visceral affair that, in typical Titus Andronicus fashion, offers plenty of welcomed surprises along the way.

“Just Like Ringing A Bell” starts with crunchy alt-rock that’s tinted with slight Americana before the raspy vocals from Patrick Stickles set in to the driving opener, and “Troubleman Unlimited” brings the pace down as the vocals seem extra gritty in a working class anthem sort of way.

Elsewhere, “(I Blame) Society” is a rowdy punk tune with all the hallmarks of the genre- bouncy melody and biting atmosphere that swirls with barely containable energy- while “My Body And Me” flows with a reserved turbulence where guitar solos infiltrate the bluesy setting.

The back half rages, too, with the anthemic, fist pumping “Beneath The Boot”, the quick blast of rock’n’roll on “On The Street”, and the varied delivery of “Within The Gravitron”. The album exits on “Tumult Around The World”, a power-pop influenced finish that brings another avenue of energy to a brlstling listen.

Coming in at under 40 minutes, this might be a short outing for Titus Andronicus, but it’s one of the more impactful in their large catalog. Though they’ve taken on many variations of their sound, An Obelisk proves that there’s still plenty of punk spirit lingering from their early days, as traces of Springsteen, Strummer , Ness and Costello help this one radiate with live, raw and urgent feel.

Travels well with: Rye Coalition- On Top; The Everymen- These Mad Dogs Need Heroes

Arguably Ok

Mama Bird, 2019

9/10

Listen to Arguably On

The Portland, Oregon outfit TK & The Holy Know-Nothings deliver in spades on this debut album that was recorded in a mere 3 days and required no overdubs from the live setting. Self-described as psychedelic doom boogie, Arguably Ok indeed finds new subgenres in their unique and honest formula that’s part bar band, part retro-rock and entirely atypical.

“Alone” gets things started off with vocal harmonies where a quiet atmosphere lets in rich guitar lines and “Emmanuel” follows with a throwback folk sound as frontman Taylor Kingman’s inimitable vocals guide the way. Further along, “Good Stuff” brings us shuffling Americana with a Fogerty-esque hint in the singing, and “The Devil’s Point” offers us country balladry with some honky tonk spirit.

At just 9 songs it would seem like a quick LP, but 6+ minute tunes like the soulful, harmonica friendly “Tunnel Of A Dream” and the chilling indie-folk of “Hard Times” add bulk to the affair, and “Lord, Why’d Ya Make Me?” ends with a gospel influenced rocker where fuzz and twang meet with grand results.

Kingman’s armed with a hell of a band that features members of Fruition and Shook Twins, and together their colorful and creative variations of folk and country come together under forthright stories, as plenty of rhythm and groove are present in this detailed, varied and charming album.

Travels well with: Deer Tick- War Elephant; Justin Townes Earle- The Saint Of The Lost Causes

Songs For Spike

Self-Released, 2019

8/10

Listen to Songs For Spike

Formerly known as the Hummingbyrds, these days Steve McWilliams and Debra Buonaccorsi are The Truehearts, and their Americana sounds are at an all time high where members of Calexico and Steeldrivers are on board.

“Won’t It Be Something” starts the album with warm rootsy rock that’s horn friendly, and “Sunshine And Violets” follows with a pretty duet of memorable folk-rock and an irresistible chorus. Elsewhere, banjo acrobatics infiltrate the upbeat “PFC Frankie Walker”, while “Mamzelle Marie” recruits spirited guitars for a retro-rocker that’s plenty frisky.

The second half of the album offers the soothing balladry of “Let It Sing”, where Buonaccorsi’s vocals soar high, the ultra melodic and jangly “32nd Street”, and the emotive, gentler sensibilities of “Late July”. The album ends on “Goodbye”, a beautiful display of dynamic interplay with Debra steering the ship.

Now residing in Nashville, this D.C./Baltimore duo display a superb formula of vocal harmonies, varied instrumentation and playful pop ideas in their country and folk spirit that’s impossible not to enjoy.

Travels well with: Steve Earle & The Dukes- Terraplane; Elvis Costello- Almost Blue

Where The Action Is

Cooking Vinyl, 2019

8/10

Listen to Where The Action Is

One of the longest running, most eclectic and highly revered outfits from Britain, The Waterboys return with their 13 album, and much like their back catalog, it’s a mixed bag of sounds and ideas from the always creative mind of Mike Scott.

The title track starts the listen and indeed does bring the action with organs, a punchy rhythm section and rugged yet soulful vocals in the glam-rock influenced anthem, and “London Mick” follows with punk rock spirit in the melodic atmosphere that tips it hat to Mick Jones (The Clash).

A band known for their alt-rock and later on folk-rock ways, “Out Of All This Blue” shifts gears into warm balladry, while “Right Side Of Heartbreak (Wrong Side Of Love)” stays calm and groove friendly in a stylish pop-rock setting.

The second half of the album offers more surprises in the danceable, jazz tinted “Ladbroke Groove Symphony”, the club friendly “Take Me There I Will Follow You”, which recruits hip-hop influences, and the cinematic, experimental quality of “And There’s Love”. “Piper At The Gates Of Dawn” finishes out the album with soft piano, poetry and chamber-folk in an exit that doesn’t out welcome its stay despite being 9 minutes.

Scott has been quite prolific in recent years as this is the 3rd Waterboys album since 2015, and he’s clearly proving that he’s only getting better with age as his art is constantly becoming more refined, sophisticated and unpredictable, while still retaining a semblance of the grittiness that made The Waterboys a treasure.

Travels well with: The Jam- The Gift; Jesse Malin- Sunset Kids

Skeleton

Self-Released, 2019

8/10

Listen to Skeleton

A New York City composer, arranger and academic with a penchant for jazz and classical sounds, here Wayne Alpern aligns himself with a small army of trombones as well as a pair of trumpet/flugelhorn players and a trio to handle down the rhythm section of these 14 tunes.

“Domino” gets the album off to a horn fueled and hand clapping start with much energy and beautiful interplay between the many players, and “Anthropology” follows with a playful groove and light percussion on the Charlie Parker classic.

Elsewhere, the finger snapping fun of Richard Rogers’ “Blue Moon” and the moody, emotive “I’ve Never Been In Love Before” (Frank Loesser) makes for a lush, accomplished first half of the listen.

Further on, the pop hit “Happy” is reinvented with the esteemed brass prowess on hand, and Clifford Brown’s “Joy Spring” recruits dynamic, soft horns in one of the album’s best. “Handle With Care”, by GF Handel, offers agile percussion in a busy array of massive skill.

A record that has already cracked the top 20 on the Jazz Charts, Alpern and company make all these songs their own (there is one original) with calculated delivery. gorgeous layering and a timeless spirit that will never tire.

Travels well with: Evan Hause- Trumpet Concerto; Du Yun- Dinosaur Scar

Queen Of Insecurity

I’m Not From London, 2019

9/10

Listen to Queen Of Insecurity

The solo project of Aeris Houlihan, after leaving Chambers last year, the songstress penned this album that touches on grunge, industrial and pop in a dark spirited concept album that’s as mysterious as it is captivating.

“Pandora’s Box” starts the listen out calm and cryptic with ambient screeching, before the thumping, scuzzy rock of “First Degree Murder (Suicide)”, which introduces us to the ominous, booming vocals.

Elsewhere, the gentle guitars and eery setting of “When You Fuck Me” brings goth ideas to the table, while the roaring alt-rock of “Chest Vomit” takes us back to all the things we miss about the ‘90s.

The back half of the record offers us the least intimidating tune in “Fairy Tale Ending”, where acoustic strumming builds into buzzing rock, though the dirgelike, sinister “Hexenhaus” brings us right back to the creative abyss. “Bye Bye” ends the listen much like it started, with a quick flash of experimental noise to complement the mood of the magnetizing debut.

Houlihan took help from members of White Miles, Middleman, Minatore on this first solo record, and together the ensemble explore many textures while manipulating the atmosphere in unpredictable, sometimes aggressive and often beautifully rugged ways.

Travels well with: Baby In Vain- More Nothing; Dilly Dally- Sore

Drone Butch Blues

Sofaburn, 2019

9/10

Listen to Drone Butch Blues

Yet another exciting, under appreciated band from Seattle, since 1999 Your Heart Breaks has played worldwide with as few people as the driving force, Clyde Peterson, or sometimes with much larger ensembles. This time, Peterson steers the acoustic folk listen, but there’s plenty of appearances from members of The Moldy Peaches, Earth, Dear Nora and Little Wings, among others.

“Our Forbidden Country” starts the album with acoustic and ambient texturing that relies heavily on Peterson’s soft yet expressive vocals, and “Late Nights In The Lab” follows with agile rhythm and vivid storytelling about the misguided days of youth. Elsewhere, “Wanting To Stay” is a brief folk tune with a timeless spirt where backing vocals complement the beauty, while “Deceit And Deceive” brings an orchestral slant to a group effort of much grace.

The second half of the album brings surprises with the dance friendly “Somewhere In Between”, the moody keys and emotive “ The Party’s Over” and the pop influenced duet of “When Home Was A Blue Sky”, where an instant memorableness makes this one of the record’s best. The album ends on “Keep On Livin’”, where forthright lyrical matter addresses queer issues head on as the music finds a dreamy place to reside with a simple but very wise chorus.

A concept album based on the writings of various GLBTQI authors past and present, Peterson and company touch on many personal topics within gay culture, and while it’s often very upfront, it’s also poetic, sophisticated and delivered with much thoughtfulness.

Travels well with: Kimya Dawson- Hidden Vagenda; Ani DiFranco- Not A Pretty Girl