DL Rossi

Lonesome Kind

Self-Released, 2021

8/10

Listen to Lonesome Kind

A Michigan native who now calls Nashville home, DL Rossi trekked back to his home state for a family emergency before returning to Music City to pen this very personal and heartfelt record.

“True Blue” starts the album with soft guitar and gentle drumming from Ross McReynolds as keys from Tyler Chester add much to the emotive and expressive landscape, and “Don’t Wait Up” follows with a fuller approach that’s got much soul in its ‘70s nods and Americana influences.

Closer to the middle, “Tumbling” benefits from Felicity Williams and Laura Jean Anderson on backing vocals as folk qualities enter the imaginative version of jangly indie-rock, while “Whiskey” is a stylish and more pop focused landscape of playful drumming and soothing singing. “Hangs”, one of the best tunes present, is then textured beautifully, and flows with a poetic presence where plenty of atmosphere is present.

The final two tracks, “Gold” and “Oak Tree”, continue the thoughtful approach to Rossi’s song craft, as the former moves calmly amid a pensive delivery, and the latter builds into a horn friendly display of retro rock that’s as unpredictable as it is absorbing.

A very forthright and genuine album, Rossi’s rich and introspective vision lands somewhere between nostalgic folk-pop and melancholic Americana, as he tips his hat to legends like Springsteen and Petty across these soul stirring 10 tracks.

Travels well with: Damien Jurado- In The Shape Of A Storm; David Ramirez- We’re Not Going Anywhere

Dan Pitt Quintet

Wrongs

Self-Released, 2021

9/10

Listen to Wrongs

A guitarist, composer, educator and improviser, the Toronto artist Dan Pitt returns with his 3rd album as leader, where Naomi McCarrol-Butler, Patrick Smith, Alex Fournier and Nick Fraser accompany him on the creative jazz effort.

“Two Part” starts the album with Pitt’s alluring guitar work as precise drumming from Fraser complements the soothing brass, and “BroOke” follows with a soft and warm spirit where Fournier’s double bass prowess adds much to the reflective tone.

In the middle, “Hunter’s Dream” recruits a haunting quality as bowed strings and McCarroll-Butler’s quivering clarinet help cultivate the mysterious atmosphere, while “What Is” benefits from Pitt’s electric guitar amid blurry sax from Smith that’s very much in the area of modern jazz.

Approaching the end, “Wrongs” offers a busy display of avant-garde jazz that’s controlled chaos at its finest and not short on harmonies, and “Change Is Imminent” finishes the listen subdued yet experimental, as melody and adventurousness meet at a very glorious intersection.

Pitt has an impressive resume that includes playing with Dave Young, Pat Collins and Tim Berne, among many others, and this strong and innovative outing certainly places him near the top of the list of artists in today’s contemporary jazz scene.

Travels well with: Al Muirhead Quintet- Live From Frankie’s & The Yardbird; TuneTown- Entering Utopia

Joe Strummer

Assembly

Dark Horse, 2021

9/10

Listen to Assembly

A career spanning Best Of album that focuses on Joe Strummer’s exceptional solo career, Assembly curates singles, fan favorites, rarities, live tracks, and, perhaps most important for fans of The Clash, 3 previously unreleased versions of their classic tunes.

“Coma Girl” starts the listen with Strummer’s inimitable growl as warm guitars and agile percussion highlight the grit and melody, and “Johnny Appleseed” follows some folk spirit imbedded in the busy, festive climate.

There’s a couple live tracks included, and of course one of them is “I Fought The Law”, where a gruff delivery and bouncy performance is quite memorable, while “Rudie Can’t Fail” is a playful documentation of the classic. Both of these tunes were recorded a year before Strummer’s death, and even though he probably played each one thousands of times before, you can tell he enjoyed every second playing them in 2001, too.

Elsewhere of the studio tracks, the percussively strong and rhythmic “Tony Adams” brings plenty of saxophone fun, while “Love Kills”, taken from the soundtrack Sid & Nancy, recruits some ‘80s New Wave nods that you could dance to. “X-Ray Style” then displays Strummer’s diverse skill set as World Music ideas meet at a groove friendly place.

Nearing the end, the wise folk tune “Long Shadow” is full of alluring acoustic strumming and vivid storytelling, and “Junco Partner (Acoustic)” finishes the listen with a raw and poetic finish to another previously unreleased recording.

We are now approaching twenty years since Strummer passed away, and his influence is just as prevalent today as it was in his time fronting The Clash and leading The Mescaleros. A fantastic package that even comes with liner notes from lifelong fan Jakob Dylan, these 16 tracks really do a great job of illustrating just how talented, insightful and creative Strummer was right up until his final year.

Travels well with: Bob Mould- Blue Hearts; Matthew Sweet- Catspaw

Teen Creeps

Forever

Pias, 2021

10/10

Listen to Forever

Belgium’s Teen Creeps might not be a band you’ve heard of before (I sure hadn’t), but it won’t take you long to be infatuated with this sophomore album that embraces the best parts of ‘90s alt-rock and even some traces of ‘80s post-punk as the trio blast through 10 exceptional tracks.

“Seeing Shapes” starts the listen thick and busy as angular guitar work and crisp drumming guide the alt-rock meets post-punk climate that benefits from smooth singing, and “Signal Dream” follows with a more subdued approach where power and melody meet at a fuzzed out place that’s got ‘90s emo written all over it.

At the halfway point, “Hideway” charges with furious drumming and a dreamy quality that’s got some of the most forceful vocals amid a dense foundation, while “Toughen Up” is actually initially one of the softer songs before erupting into a bitting delivery of tense musicianship. “Defender”, one of the record’s best, then displays thick walls of guitars as an early Weezer on steroids presence draws us in to their timeless formula.

Close to the end, the swift and scrappy “Tourist” is a jangly and ultra tuneful rocker where crashing drums and guitar acrobatics swirl with a fascinating execution, and “Crash/Land” exits the listen gentle and agile as first, before Dinosaur Jr. level fuzz enters a multifaceted, nostalgic rock’n’roll journey you’ll want to experience again and again.

You can put Forever on a shelf next to Candy Apple Grey, Slanted And Enchanted and Harmacy , where perfect records in the area of indie/punk/alt-rock reside, cause it deserves to be there. We’re looking at record of the year material here, folks.

Travels well with: Bob Mould- Blue Hearts; The Persian Leaps- Bicycle Face

The Streetwalkin' Cheetahs

One More Drink

Dead Beat, 2021

9/10

Listen to One More Drink

The Los Angeles rockers The Streetwalkin’ Cheetahs are back with their first record in nearly two decades, and they’ve brought along guests like John Easdale (Dramarama), Rikk Agnew (Adolescents) and Paul Roessler (Screamers/ 45 Grave) for the diverse set of rock’n’roll anthems.

“Ain’t It Summer” starts the listen with some atmosphere and layered vocals before bursting into a loud, raw display of old school punk that’s power-pop influenced and full of bouncy bass lines from Dino Everett, and this energy continues to the fuzzed out and swift pace of the throaty “Fast, Fucked & Furious”, as well as the garage rock fun of “Bad Vacation”.

The middle tracks offer us the blistering punk rock of “The Rejected”, where Mike Sessa’s acrobatic drumming and guitar solos from Agnew add much to the gritty landscape, while “Let Me Out” flirts with metal ideas while recruiting brass from Geoff Yeaton into the powerful yet melodic climate. “Scorpio Rising”, the album standout, then balances a punchy pop approach amid tuneful punk nods in its highly memorable delivery.

Near the end, “Warzone” produces thick riffs in its rough and hard hitting formula that brings to mind AC/DC and the Stooges in a knife fight, and “Switchblade Knights” exits the listen with a thumping rhythm section and keys from Roessler complementing the retro rock setting that’s got plenty of soul alongside its thundering execution.

The CD version comes with a pair of bonus tracks, “Escape From New York City” and “Fuck The Future (I Want Now)”, which both illustrate the band’s visceral roots in the underground punk scene, where frontman Frank Meyer’s robust vocals don’t disappoint and Bruce Duff’s guitar skills lead the charged, and, in the case of the former, harmonic song craft.

Comeback records are rarely this good, and let’s hope that these guys keep the drinks flowing, as their Stooges, Cheap Trick and Dead Boys nods make for a rock’n’roll adventure that will have you reflecting on your days in the pit and your most triumphant bar fights.

Travels well with: Foxy- Can’t Stop Us/X-Ray Spex Tribute; Professor And The Madman- Live At The 100 Club

The Rough & Tumble

We’re Only Family If You Say So

Self-Released, 2021

9/10

Listen to We’re Only Family If You Say So

A now nomadic duo who used to call Nashville home, Mallory Graham and Scott Tyler, i.e. The Rough & Tumble, each play multiple instruments and sing on these 12 diverse songs that host many contributors to their self-described ‘dumpster folk’ and ‘thriftstore Americana’ ways.

“You Took Your Turn” starts the listen with cozy, spirited Americana as Graham’s soaring, gritty vocals glide alongside the carefully strummed guitars, and “You’re Not Going Alone” follows with more traditional country ideas present in the vocally strong climate that benefits much from Chris Benelli’s proficient drumming.

Near the middle, the rugged “Too Much” displays playful roots rock where Ron Selly’s harmonica makes an appearance, while “I Must Be The Sun” offers no shortage of melody in the dynamic, organic landscape. “Love Of God”, one of the album’s best, then moves with a gospel slant where Tyler’s expressive vocals take the lead on the sublime and moving song craft.

Approaching the end, Marc Herring’s pedal steel won’t go unnoticed in the twang friendly delivery of “Nothing Broke My Heart”, and “Old Kentucky” exits the listen with hints of folk music amid the mountain-esque songwriting that’s as timeless as it is memorable.

An album that carries themes of familial trouble and the subsequent heartbreak, We’re Only Family If You Say So is all substance and no flash, where instruments like accordion, glockenspiel, nose flute and many others make for a unique and absorbing listen that warrants repeated visits.

Travels well with: Zoe Fitzgerald Carter- Waterlines; Claire Kelly- The Scenic Route

James Holvay

Sweet Soul Song EP

Mob Town, 2021

9/10

Listen to Sweet Soul Song EP

James Holvay has a lengthy and esteemed history in the music industry that goes back to the ‘60s when he spearheaded the MOB, as well as writing songs for legends like The Buckinghams. After a lengthy break from music, he’s back with 5 new, original tunes that pick up right where left off in the area of soul, R&B and rock’n’roll.

“Working On It” starts the quick listen off right with firm drumming as warm guitar lines and Holvay’s inviting vocals emit much soul and warmth in the upbeat climate, and “Sweet Soul Song” follows with bright horns as playful and melodic R&B flows with much grace.

“Still The Fool” occupies the middle spot, and moves with plenty of emotion as a more subdued approach enters where orchestral strings provide a soothing backdrop to the balladry, while “Love Has Found A Way’ produces an infectious energy that’s dance friendly and welcomes strategic brass and frisky percussion. “Talking About” exits the listen calmer, sugary sweet and with Holvay’s versatile pipes and spry guitar work making a lasting impression.

The impetus for Holvay’s return to music came when he recognized that the sounds of the ‘60s were becoming popular again, and, taking into account his inestimable contributions from that time, it only makes sense that Sweet Soul Song is a triumphant come back effort that could very well be the best 16 minutes of your day.

Travels well with: Rick Holmstrom- See That Light; Allbut6ix- Like A River

Cole Quest And The City Pickers

Self [En]titled EP

Omnivore, 2021

8/10

Listen to Self [En]titled EP

A New York City bluegrass outfit spearheaded by Cole Quest, who happens to be the grandson of Woody Guthrie, on this EP he’s aligned with some serious pickers who have made their mark in the local scene, and whose contributions make for an energetic and intimate quick listen.

“Ostrich Therapy” starts the listen with banjo acrobatics from Mike Mulhollan as Matheus Verardino’s harmonica and harmony vocals populate the bluegrass climate, and “The Bitcoin Gambler” follows with playful storytelling as warm strumming and no shortage of melody are present in the Americana setting.

Some of the best tracks land in the middle, including the cautious and emotive “Way Over Yonder In The Minor Key”, where they turn in a particularly soulful interpretation of the Guthrie and Bragg classic, while “7-11/Foggy Mountain Rock” moves with swift guitars as Sean Trischka’s drums impress and Sam Reider’s Hammond B3 adds much to the lush atmosphere of the instrumental.

The final two tracks offers us the soft beauty of “My Sweet Little Girl”, where Quest’s versatile pipes shine alongside Christian Apuzzo’s sublime guitar playing, and “If I Still Had You” exits the listen and highlights Larry Cook’s bass and harmony vocals and Quest’s resonator guitar skills that illuminate the traditional bluegrass structure of the timeless finish.

An effort that tips it hat to legends like Bill Monroe or Earl Scruggs, Quest and company prove that urban bluegrass can be just as genuine as its rural counterparts, and their knack for progressive ideas certainly only adds more appeal to their craft.

Travels well with: Ida Mae- Chasing Lights; Son Of The Velvet Rat- Solitary Company

The Ladles

Springville Sessions

Self-Released, 2021

9/10

Listen to Springville Sessions

A trio of females consisting of Katie Martucci, Caroline Kuhn, and Lucia Pontoniere, who possess a penchant for gorgeous vocal harmonies, as The Ladles the artists embrace folk, pop, jazz, choral and chamber sounds across these very well thought out 9 tracks.

“Sunset Pink” starts the listen with warm banjo from Kuhn, as soft, expressive singing flows with much grace in the dreamy, folk friendly climate, and “Crushin’” follows with agile acoustic guitar as the three harmonize with much beauty lining the poetic delivery.

Elsewhere, “Thank You” benefits much from Pontoniere’s fiddle as intimacy and exploration enter the pop nods, while “Sugarcoat” is initially even more bare but no less pretty in its dreamy delivery. “Pages”, one of the album’s best, then emits a particularly reflective tone amid more forceful strumming as the three display their respective strengths in spades.

Landing near the end, the chunky banjo and soaring vocals of “T.O.B.S.” showcases sublime vocal layering in its mesmerizing presence, and “The Friends You Had” exits the listen with a rich, lush performance that finishes the absorbing listen much too early.

What began as a three week residency that was cancelled due to Covid, The Ladles made the best of the situation by penning this spontaneous album that often carries the demeanor of a live set. While this sort of timeless song craft often takes decades for a band to reach, The Ladles have done it on their sophomore LP, and let’s hope it’s part of a long list of future records, too.

Travels well with: Natalie Schlabs- Don’t Look Too Close; Sarah Morris- All Mine

Elise Davis

Anxious Happy Chill

Tone Tree, 2021

10/10

Listen to Anxious Happy Chill

The Nashville songstress Elise Davis returns with her 3rd studio album, and it comes with a different mindset than her earlier work. Now married, she recorded Anxious Happy Chill after her honeymoon, and, understandably, it’s her happiest record yet, not to mention her best work to date, too.

“Ladybug” starts the listen with plenty of energy as Davis’ smooth vocals set the tone of the record with pop friendly melodies amid some fuzzy grit, and “Yellow Bed” follows with a much calmer pace of poetic beauty amid soft guitar and bare drumming from Fred Eltringham.

Closer to the middle, “Honeymoon” emits much warmth alongside a driving pace of ‘60s tinted garage rock, while “Flame Color” displays strong acoustic guitar prowess as Davis’ expressive pipes shine in the sublime balladry. “Summertime”, another very strong track, then certainly seems like a summer anthem with its reflective mood and soaring spirit that welcomes reverb.

Further yet, “Empty Rooms” brings back the acoustic guitar as a folksy strummer unfolds with eloquence, and “Another Year” exits the listen with a playful country rock display that’s a party anthem in its brief fun.

An album that rocks pretty hard but also has the capacity for stirring intimacy, Davis has always hinted at penning the perfect album, and now it’s here. An enormous talent, if you haven’t familiarized yourself with Elise Davis yet, you’re missing out, cause few artists today are writing songs this memorable.

Travels well with: Lydia Luce- Dark River; Lilly Hiatt- Walking Proof

Agnese Toniutti

Subtle Matters

Neuma, 2021

8/10

Listen to Subtle Matters

The Italian pianist Agnese Toniutti is no stranger to innovation in the area of atypical song craft, and here she offers plenty of sounds from a piano where many are not the actual keys across imaginations from 3 different composers.

 Lucia Dlugoszewski’s “Exacerbated Subtlety Concert (Why Does a Woman Love a Man?) starts the listen and unfolds over 4 parts that are generally sparse, where quivering manipulation is used in often ominous and very challenging ways for timbre piano, and Tan Dun’s  “C-A-G-E” follows and blends both Eastern and Western ideas into its very pitch oriented delivery that showcases fingering for piano.

The remaining tracks are all Phillip Corner selections, where “Toy Piano” is a brief look at the potential such a simple instrument can provide, while “Man In Field (The Sound As Hero)” recruits a cinematic presence as space and tension are manipulated flawlessly. “A Really Lovely Piece Made For & By Agnese” exits the listen, and settles into a poetic landscape where the key acrobatics are nothing short of stunning.

A very exciting album that nearly redefines how one interprets the piano, Toniutti’s dedication to her art is only proving to be more gripping with each subsequent project, and it be will be interesting to see what happens next.

Travels well with: Erik Griswold- Four Places In Queensland; James Caldwell- Pocket Music

Harry Partch

The Bewitched

Neuma, 2021

8/10

Listen to The Bewitched

Harry Partch possessed a very creative mind, as he not only was a composer and theorist, but also made musical instruments. Written in the ‘50s, this version of The Bewitched was recorded live in Berlin in 1980, and hosts Danlee Mitchell as conductor and Isabella Tercero as the Witch

“Prologue” starts the listen, and is a percussively strong display of inimitable talent as airy flutes add much to the dynamic climate, and “Scene 1. Background for the Transfiguration of American Undergrads in a Hong Kong Music Hall” follows and continues the unpredictable delivery of percussion where a firm execution and clarinets and cloud chamber bowls are in attendance.

Further on, “Background for the Alchemy of a Soul Tormented by Contemporary Music” leads soft and mysterious, as bare moments collide with furious bouts of calculated song craft, while “Scene 6. Background for the Euphoria on a Sausalito Stairway” benefits greatly from strong, soaring vocals. “Scene 7. Background for the Transmutation of Detectives on the Trail of a Culprit” then recruits a cinematic quality amid its busy and marimba friendly climate.

Landing near the end, “Scene 10. Background for the Demonic Descent of the Cognoscenti While Shouting Over Cocktails” is a creatively textured and dizzying display of fascinating interaction between the many players, and “Epilogue” finishes with two minutes of cautious, absorbing musicianship.

A true outsider his entire life, Partch’s art is preserved here via a binaural head microphone set up, which allows for a natural balance of the many instruments, and also documents the sounds of footsteps, coughs and basketballs whizzing around the performance. Though he passed away in 1974, the daring and adventurous players here do a fantastic job of keeping his spirit alive.

Travels well with: Ken Field- Transmitter; Gina Biver- Nimbus

Erik Griswold

Four Places In Queensland

Neuma, 2021

8/10

Listen to Four Places In Queensland

An Australian-American composer/pianist who is half of the Clocked Out Duo, Erik Griswold takes on a very creative journey here, where four works, four places, and four different performers populate the diverse and highly artistic recording.

“Mt. Nebo”, performed by Anna Grinberg, starts the listen with 4 chapters, as skilled and unpredictable keys unfold in mysterious, even haunting ways, where playfulness and beauty meet at a very exciting intersection that suits the dense rainforest of the town the track is named after, and “Cunningham’s Gap” follows and glides gently, with no shortage of melody in the waltz, very firm and gentle delivery from Stephen Emmerson.

The back half of the listen offers the only single chapter tune, “Condamine”, where 14 minutes of strategic and almost sci-fi piano sounds are illuminated with a cinematic appeal thanks to Griswold’s skills, while “Girraween” exits the listen in 3 segments that range from intricate finger acrobatics to moments of loud rumbling keys that finish the effort on a very exciting, even fascinating, stand out performance.

Griswold spent time in each setting that these songs were named after, absorbing the ambience of each environment, and this firsthand experience with the landscapes, combined with his tailoring each composition to the respective performer’s strengths, results in a very lush and expressive peek into the Australian terrain that will likely make you want to see these sights for yourself.

Travels well with: James Caldwell- Pocket Things; Robert Moran- Buddha Goes Back To Bayreuth

Ryanhood

Under The Leaves

Four Miles, 2021

9/10

Listen to Under The Leaves

A quickly rising duo from Arizona comprised of Cameron Hood and Ryan David Green, the acoustic guitar fueled songs on Under The Leaves are never short on harmonies, as plenty of guests offer strings, keys and percussion.

The title track starts the listen with swift guitars as Hood’s warm pipes steer the folk and Americana influenced landscape, and “The Fight” follows with an upbeat and rock tinted adventure of breezy melodies amid some grit, too.

Halfway through, “Appy Returns” displays strong guitar acrobatics in the jam band friendly instrumental that recruits percussion from Ben Aylon and Ken Chastain, while “Gone Before I Go” resides in calmer territory that illustrates a diverse set of pipes as pretty folk-pop benefits from Jamie Bishop’s bass. “Not Alone”, a particularly noteworthy tune, then brings strings to an orchestral backdrop and dreamy landscape of moving song craft.

Further yet, “Ruins” is a bare and emotive display of cautious and intricate musicianship, and “Morning Breaking” exits the listen with piano balladry that’s both stirring and powerful, as the record finishes with as much appeal as it began.

A very rich effort that’s meticulously crafted and authentic, it’s no surprise that Ryanhood were named Best Folk Band and Best Rock Band in their hometown, and Under The Leaves will certainly gain them even more praise as the pair are working with a timeless formula that’s executed flawlessly.

Travels well with: Jackson Scribner- Jackson Scribner; Mackenzie Shivers- Rejection Letter

Misty Coast

When I Fall From The Sky

Fysisk, 2021

9/10

Listen to When I Fall From The Sky

The Norwegian duo Misty Coast made quite an impression with 2019’s Melodaze, and this follow up record is sure to garner them even more new fans as Linn Frøkedal and Richard Myklebust offer even more absorbing avenues of their ethereal and guitar hook filled formula.

“Switch Off” starts the listen with a dreamy and psychedelic version of indie rock, where pop ideas and plenty of grit enter the busy, playful climate, and “Transparent” follows with lush, rich textures that are both retro and modern, where precise melodies and spacey sounds reside.

Halfway through, “Jet Lag” is a pretty track that emits gentle singing amid hypnotic, repetitive ideas, while “92” shifts into a fuzzy and hazy display of shoegaze like qualities with a cameo from Hilma Nikolaisen. “Sugar Pill”, one of the album’s best tracks, then recruits vocals from Myklebust amid fluent drumming as much mysterious beauty radiates alongside their dynamic chemistry.

Approaching the end, “Do You Still Remember Me?” bridges indie-pop with psyche-rock in a very creative setting, and “When I Fall From The Sky” exits the listen with bouts of dense buzzing that borders on alt-rock as well as calm moments of bare, sublime song craft.

The pair are joined by Kim Age and Emil Nikolaisen on this 3rd album, where themes surround loneliness, insomnia and social anxiety, as Misty Coast craft songs very capable of blending in with today’s pop sounds as well as neo-psychedelic and late ‘80s shoegaze sensibilities that you won’t forget anytime soon.

Travels well with: Goan Dogs- Call Your Mum; Kidsmoke- A Vision In The Dark

Alan Hovhaness

Selected Piano Compositions

Kalan, 2019

8/10

Listen to Selected Piano Compositions

The exceptional pianist Sahan Arzruni interprets the work of his friend, Alan Hovhaness, where much of the compositions were unpublished, and culled from handwritten manuscripts that were influenced by Hovhaness’ Armenian heritage.

“Invocations To Vahakn” starts the listen with tumbling keys, as glorious piano acrobatics unfold across 5 movements that embrace strategic percussion and plenty of mood, and “Yenovk” follows and moves calmly, where much grace is present as it evolves into a mysterious setting that’s never short on beauty.

Further along, “Journey Into Dawn” is nothing short of sublime as both bare and busy moments populate the timeless climate, while “Lake Of Van Sonata” rumbles and glides with fascinating key prowess that few could replicate. “Hakhpat” finishes the listen, and spreads out across 8 chapters that are absorbing, awe inspiring and radiate much creativity.

A collection of songs the date from the 1940’s and early ‘50s and illustrates Hovhaness’ link between the physical and metaphysical worlds, the liner notes include extensive photos, historical information, and analysis in English, Armenian and Turkish, written by Arzruni. Although this was released in 2019, it’s only become available in the United States now, and is a must hear effort for those with an affinity for piano work.

Travels well with: Zixiang Wang- First Piano Sonatas; Jaap Nico Hamburger- Piano Concerto/Concerto Pour Piano

Voluptas Mors

Infinite

Self-Released, 2021

8/10

Listen to Infinite

A very accomplished outfit from Barcelona, Voluptas Mors are well versed in electronica, pop, trip-hop, chill-wave, and even modern jazz ideas, as evidenced by this very diverse and exciting album that’s spearheaded by Ramon (keys, production, guitars) and Laura (production, electronic drums, percussion).

“Go Back Home” starts the album with playful keys as breathy vocals guide the soothing trip-hop setting that’s mysterious and radiates much beauty, and “Not Strong Enough” follows with atmospheric synth as pop qualities add much appeal to the cautious landscape.

At the halfway point, “Come Back Down” benefits from soulful male vocals in a haunting delivery that’s sparse yet very effective at establishing mood, while “Touch Me” buzzes with both electronic and pop ideas meshed with much timeless creativity.

Nearing the end, “Never Let Me Go” displays some of the best singing as a more glossy approach unfolds amid a textured and soaring formula you could find on the FM dial, and “My Way Out” exits the listen dreamy, pretty and with no shortage precisely executed instrumentation.

I’m sure that Voluptas Mors are stars in their home country, as they should be, and there’s little doubt they’d see worldwide fame if enough people would take the time to listen to their very absorbing and easily embraceable version of modern pop ideas.

Travels well with: Lorenzo Wolff- Down Where The Valleys Are Low; Lydmor- Capacity

Hope Dunbar

Sweetheartland

Self-Released, 2021

9/10

Listen to Sweetheartland

A Nebraska resident who is well versed in folk and Americana sounds, this sophomore album from Hope Dunbar spans many different moods and textures, where you’re as likely to laugh out loud just as you are mull things over alongside her well thought out version of Prairie rock.

The title track starts the listen with warm twang as Dunbar’s radiant, soaring pipes guide the emotive roots rocker, and this approach continues to the spirited harmonica and upbeat pace of the gritty “What Were You Thinking?”, as well as the organ friendly and gospel influenced climate of “Woman Like Me”.

Deeper still, the playful grooves of “Dog Like You” help cultivate a bluesy atmosphere as Dunbar displays an impressive vocal range, while “Evacuate” benefits from vivid storytelling as a darker presence enters the folk tinted and ebullient album highlight.

Further yet, the bare keys of “Dust” build into a country rocker that’s not short on melody and an anthemic appeal, and “More” finishes the listen with a charming Americana rocker that’s also soulful, playful and unforgettable- much like the entire listen.

Recorded in Nashville with Zack Smith (Smooth Hound Smith), this is the sound of an artist coming into her own, and her midwestern influence to songs that can parallel the greatness of those that inspire her- Patty Griffin, Joni Mitchell and Simon & Garfunkel- will make a fan out anyone willing to listen.

Travels well with: Melody Duncan- Wolf Song; Julian Taylor- The Ridge

Dan Rose & Claudine Francois

New Leaves

Ride Symbol, 2021

8/10

Listen to New Leaves

The guitar extraordinaire Dan Rose is in the company of Claudine Francois here, whose inimitable piano work helps illuminate the diverse mix of covers and originals.

The album leads with “The New Leaf”, where Francois' elegant keys and Rose’s sublime guitar interact in a soothing, warm and inviting landscape, and “Monk’s Dream” follows with a quicker pace of playful melodies that dance around the spirited instrumentation of the Thelonious Monk tune.

Close to the middle, “Le Désert” flows with a dreamy quality, as the guitar and keys both display much beauty, while “Senor Blues” emits an upbeat and indeed bluesy display of exceptional skill. “Lawns”, a particularly noteworthy tune, is then full of complicated progressions amid a nostalgic climate.

“Mr. Slaint”, a late album highlight, then flirts with the blues in an exciting delivery, and “The Seagulls Of Kristiansund” finishes the listen gentle and full of dynamic chemistry between the pair, who have been playing together on and off for 30 years.

Francois has a background in classical sounds, which is quite prevalent here, as is her jazz leanings, and Rose’s unparalleled guitar playing only further solidifies New Leaves as a first rate fusion listen for the jazz lovers.

Travels well with: Dan Rose- Last Night; Reza Khan- Imaginary Road

The Channel

Multigoods & Services

C-Side, 2019

9/10

Listen to Multigoods & Services

An Austin outfit with an affinity for recording in various rooms of the members’ homes, this 4th album from The Channel brings influences from the ‘60s on, in an extremely diverse and exciting delivery.

“Trumpet Trick In Tempo” gets the album off to a vocally harmonic and subdued start of horn filled haze, before “Days Ind” jumps right into bright and summery instrumentation that’s immediately infectious and fun.

Elsewhere, “She Sea Monster” brings some lo-fi, garage rock sensibilities to the affair, while “When By The Light” recruits a multifaceted approach of pop, rock and retro qualities to the melodic setting. The best tune, “Reason For The Feeling”, then emits lively organs and a full atmosphere and buzzing, gritty rock’n’roll.

Near the end, “Everything’s Disappeared” uses banjos and percussion strategically on the festive romping, and “The Deserted” utilizes strings and keys for a moody instrumental. “Anywhere We Go” ends the listen and continues the orchestral slant with a restrained, warm exit of dynamic instrumentation between the family band.

It isn’t very often that you’ll find me thinking that a 16 track album isn’t enough, but in this case I didn’t want the album to end. The Channel may have an identity crisis, but we’re all better off for it on this fantastically unique record.

Travels well with: They Might Be Giants- Idlewild: A Compilation; Sebadoh- Harmacy