Scriptura

Deep Stoned

Bitume, 2025

9/10

Listen to Deep Stoned

Scriptura got underway in 2007 thanks to Dale Nixon’s vision, and this album, originally released in 2008, features all the covers the band has done via their thrash, punk and grunge approach.

After the quick flash of the sounds of birds and gunshots of “Birds Land Of Death”, “Slow Death” brings Chris Laroute’s skilled bass to Dave Channing’s hard hitting drums for the chugging, thrash metal.

Further on, “React” showcases Nixon’s raw vocals and meticulous guitar amid the charged and intense climate, while “Deep Throat” opens with ambience before the grungy guitars and abrasive rhythm section enter the shades of melody behind the firmness.

Closer to the end, the less dense and punk fueled “Set The World On Fire” places Laroute on vocals and Steve Urkel on drums, and “Final Boss (Sonic 3)” exits with Kevin Orliange’s swift bass complementing the driving pace and scrappy instrumentation.

Scriptura broke up in 2014, and it’s really too bad cause their old school approach and nods death metal, thrash, hardcore, punk and grunge sure do sound great in 2026.

Travels well with: Kokkiniá- The Last Are Lost From The List; Casademoni- 64

J.S. Bach

The Well-Tempered Clavier Book II

Navona, 2025

9/10

Listen to The Well-Tempered Clavier Book II

Christopher O’Riley brings his inimitable keys to this 2nd installment of Bach’s masterpiece, where 2 discs of texture, intricacy and timelessness are present.

The warm and fluid keys of “Prelude & Fugue in C Major, BWV 870” opens the listen with strong attention to tonality, and it isn’t long until “Prelude in C Minor, BWV 871” showcases tremendous skill via the dancing keys that are melodic.

Deeper into disc 1, “Prelude in E-Flat Major, BWV 876” showcases restraint and beauty in an intimate fashion, while “Fugue in F Minor, BWV 881” exits the first half with upbeat and animated keys.

The 2nd disc leads with the colorful presence of “Prelude in F-Sharp Major, BWV 882”, and further on “Fugue in G Major, BWV 884” displays playful and rhythmic gestures. “Fugue in B Minor, BWV 893” exits, and is a busy and meticulous finish to a tremendous and fascinating body of work.

An extremely detailed solo piano affair, O’Riley’s skills certainly do justice to the classic, and the expressive nature is highly articulate.

Travels well with: Reza Vali- The Darkness Of Fury; Trace Johnson- Works For Cello

Le Concorde

Second Mansions

Kecharitomene, 2025

9/10

Listen to Second Mansions

After nearly a decade and a half on hiatus, the Los Angeles synth-pop outfit, Le Concorde (the recording project of Stephen Becker), returns with plenty of help for 13 tracks of ‘80s sophistipop fun.

“Corpus Christi” leads with thumping drums and bright synth that suits the animated singing and bright mood, and “Morning By Morning” follows with cozy bass and pretty keys that illuminate the emotive vocals and romantic demeanor.

Landing in the middle, “Memorare” comes with some more muscular moments amid the light melodies and dreamy atmosphere, while “We Are The Songs” is a lush and hazy bout of soft keys, intimate singing and cinematic qualities.

Close to the end, the thumping drums of “Saint Jude” help the tune land in alt-rock territory that invites singing-along or even dancing, and “The Devil Is A Mad Dog On A Chain”, the last track before another version of an earlier track and bonus tune, embraces post-punk nods via the dynamic instrumentation, many vocalists and shimmering harmonics.

A comeback album that carries a nostalgic feel, Roger Joseph Manning, Pino Palladino, Liam Bradley, Ken Stringfellow and many others lend their talents to this artistic and pop influenced experience that’s soaked in melody.

Travels well with: Wonderlick- Wonderlick Goes To War; Toy City- Toy City

Webber/Morris Big Band

Unseparate

Out Of Your Head, 2025

9/10

Listen to Unseparate

Anna Webber and Angela Morris' big band come together for these adventurous and unpredictable free jazz selections that never sit in one place for long.

“Just Intonation Etudes For Big Band” opens the listen with 4 segments, where the layered saxophones, Marta Sánchez’s animated keys and rowdy trumpets make for an exciting Big Band appeal.

In the middle, “Mist/Missed” blends the strategic drums from Jeff Davis with rich and hazy winds and brass via much attention to mood and tonality, while “Microchimera” benefits from Adam Hopkins playful bass and Yuhan Su’s frisky vibraphone amid the busy versus intimate gestures.

Near the end, “Habitual” enlists Lisa Parrott’s animated baritone sax for the colorful and cinematic album highlight, and “Spur 7: Metamorphosis” exits with Jay Rattman’s firm alto sax and Dusting Carlson’s meticulous guitar giving the finisher a darker hint of mystery.

A very striking effort that pulls from modern classical, improvised music and experimental jazz. every moment here is creative, unclassifiable and warrants revisiting.

Travels well with: The Hemphill Stringtet- Plays The Music Of Julius Hemphill; Adam O’Farrill- For These Streets

Enigmatic Sound Machines

Imperfect Silence

Self-Released, 2025

9/10

Listen to Imperfect Silence

The Montreal prog-rock outfit, Enigmatic Sound Machines, are back with a 3rd album, where the 8 songs unfold with much attention to detail from the 2 members, Jeremie Arrobas and Thomas Szirmay.

“In Perfect Silence” starts the listen with a warm ambience that’s cinematic and pretty at times, and “The Distance Between Here And Now” follows with a hint of mystery surrounding the adventurous synth, dense drums and warm vocal effects.

“Wrapped In Black” and “Hallow” land in the middle. The former drones a bit before intimacy and beauty enters the dreamy keys, while the latter is a stylish and rhythmic moment that recruits grooves in spades.

Near the end, “Endless Beginning” makes great use of animated sax amid the firm gestures and soft singing, and “Red Forest” exits with a gentle and melodic version of prog-sounds that are heartfelt.

Both Arrobas and Szirmay have excellent resumes, and the use of sax, flute and mellotron adds even more appeal to their jazz, electronic and fusion fueled version of prog-rock that makes an indelible impression.

Travels well with: PryZme- True Stories… And Other Lies; Hoopy Frood- Mostly Harmless

Grant-Lee Phillips

In The Hour Of Dust

Yep Roc, 2025

9/10

Listen to In The Hour Of Dust

The inimitable artist, Grant-Lee Phillips, pens his most introspective and poetic album yet, where both solo and collaborative settings unfold with his always sincere song craft.

The flowing acoustic guitar and expressive singing of “Little Men” opens and builds into a powerful folk climate, and “Did You Make It Through The Night Okay” follows with Patrick Warren’s warm keys amid Jay Bellerose’s crisp drumming.

Moving into the middle, “Stories We Tell” comes with country ideas and a dreaminess that’s heartfelt, while “She Knows Me” has Phillips playing guitar alongside a hint of grit buried in the breezy melodies and lush backdrop.

Getting close to the end, “Dark Ages” emits much emotion via the mature keys, cozy guitar and distinct singing, and “Last Corner Of The Earth” exits with eloquence and beauty thanks to the poetic singing and soft instrumentation.

This installment was inspired by a painting from India discovered while wandering the Norton Simon Art Museum in Pasadena, CA, and like everything Phillips has done, it’s full of thoughtful wordplay and vulnerable music, where an overwhelming mood of contemplation draws us in from beginning to end.

Travels well with: Grant-Lee Phillips- All That You Can Dream; Grant-Lee Phillips- Lightning, Show Us Your Stuff

Hilary Hawke

Lift Up This Old World

Adhyâropa, 2025

9/10

Listen to Lift Up This Old World

A very raw and forthright effort from the Brooklyn artist Hilary Hawke, the 11 songs present explore bluegrass and Old Time sounds with some excellent guests in attendance.

Hawke’s swift banjo opens the rich “Liza Jane”, where Camie Howes’ lively fiddle adds much to the organic spirit, and “All I’ve Ever Known” follows with Jacob Joliff’s colorful mandolin and Ross Martin’s warm guitar complementing Hawke’s flowing voice.

Moving into the middle, “Never Take Me With You When You Leave” benefits from Ruth Merenda’s harmonies that suits the rich bluegrass, while “NYC Waltz” places Bobby Hawke on fiddle via the intimate mood of beauty and poeticism.

Closer to the end, Brian Gellner’s strategic drums and Hawkes’ clarinet and emotive singing makes for a very unique version of the Radiohead classic,”No Surprises”, and “Dreaming Of You” recruits Dana Lyn’s violin/viola, Leah Coloff’s cello and Tristan Kasten-Krause’s bass that help cultivate much dreaminess and grace.

The very eloquent listen explores self-belief, resilience and heartbreak, where every moment is sincere, stirring and inspiring, and will appeal to fans of Nickel Creek or Gillian Welch.

Travels well with: Anna & Elizabeth- Anna & Elizabeth; Ezra- Froggy’s Demise

Catina DeLuna & Otmaro Ruiz

Lado B Brazilian Project 2

Sunnyside, 2025

9/10

Listen to Lado B Brazilian Project 2

Catina DeLuna’s vocals and Otmaro Ruiz’s keys are joined by an all star band and many guests for these 10 obscure Brazilian tunes and creative interpretations of some classics.

“Passarim” opens with DeLuna’s expressive voice alongside Larry Koonse’s warm guitar and Ruiz’s graceful keys, and “Mar E Lua” follows with Bob Sheppard’s dreamy winds that suit the poetic singing and intimate mood.

Halfway through, “Choro Das Águas” welcomes Bruno Mangueira’s cozy acoustic guitar to the soft melodies, while “Águas de Marco” enlists Jimmy Branly’s Udu Clay Pot via the rich and charming delivery that employs scatting, too.

Further still, “Aluviao” benefits from Portuguese backing vocals that complement DeLuna’s emotive pipes and Ruiz’s meticulous keys, and “Vatapá” exits both talking and singing amid the animated piano.

A highly memorable effort that balances simple versus complex ideas, DeLuna and Ruiz illuminate these B-side cuts with a timeless, cultured and infectious spirit.

Travels well with: Antonio Adolfo- Carnaval- The Songs Were So Beautiful; Saul Dautch- Music For The People

Debi Derryberry

Go To Sleep

Self-Released, 2025

9/10

Listen to Go To Sleep

The long running singer-songwriter, Debi Derryberry, fleshes out her first lullaby album and 5th record overall, and it consists of 8 originals and 1 traditional performed with much serenity.

The title track opens with cozy acoustic guitar and soft singing that’s pretty and comforting, and “Slumberland” follows with a similar approach, where Derryberry’s soothing voice is met with gentle guitar.

Later on, “What Does A Good Night Feel Like” welcomes melodic keys and well timed backing vocals, while “Sail Away” brings aquatic themes to the charming and upbeat album highlight.

“In The Arms Of My Rocking Chair” and “Hush Little Baby” exit the record. The former is a fuller moment that invites singing-along to the folk-pop fun, and the latter is Derryberry’s interpretation of the classic that’s heartfelt and emotive.

In most situations, calling an album a sleeper isn’t high praise, but here Derryberry gives parents another tool for getting a child to bed via this sweet pop, jazz and folk soundtrack to slumber.

Travels well with: Debi Derryberry- Gotta Go Green; Little Coyotes- Songs To Howl & Sing

Custard Flux

Enter Xenon

Self-Released, 2025

9/10

Listen to Enter Xenon

The Detroit outfit Custard Flux defy classification, and their unique brand of prog and psyche-rock makes an immediate impression across these 9 new tracks.

“The Escape” opens with playful, ambient ideas that are cinematic, before the driving pace of the melodic “Winter”, where Nick Pruett’s animated drums suit Curvey’s expressive singing.

In the middle, “The Oblivion Capsule” leads with a cryptic mood thanks to the strategic mellotron and the swirling warmth, while “Ice Tranquility” thumps and buzzes via Timothy Prettyman’s skilled bass and the fuzzy guitars.

The title track arrives late and is a dreamy, intimate bout of serenity, and “The Floating Chamber” exits with a dense and flowing rocker that enlists Vito Greco’s radiant guitar amid Curvey’s inviting voice and a nice balance of power and harmonics.

A really creative outing where each song takes on its own identity, there exits no dull spot in Custard Flux’s catalog, and this one just might be their best yet.

Travels well with: Custard Flux- Einsteinium Delirium; Custard Flux- Phosphorus

Bill Scorzari

Sidereal Days (Day 1)

Self-Released, 2025

9/10

Listen to Sidereal Days (Day 1)

The New York singer-songwriter, Bill Scorzari, never disappoints, and this 5th album sees him playing guitar and piano across 10 sincere songs that draw parallels to Cash, Springsteen and Cohen.

The graceful guitar and warm piano of “All This Time” starts with Chelsea McGough’s lovely cello amid Scorzari’s gravely voice, and “And Carries Me Away” follows with Eamon McLoughlin’s stirring violin adding much beauty to the poetic delivery.

Halfway through, the crisp “Can’t Break This Fall” benefits from Michael Rinne’s electric bass and Cindy Richardson Walker’s soulful backing vocals, while “End Game” is a dreamy moment via Juan Solorzano’s hazy pedal steel and spoken word that segues into melodic singing.

Close to the end, “Grace” welcomes Marie Lewey’s soft backing vocals to the intimate and moving album highlight that uses Scorzari’s keys sublimely, and “Breathe” exits with Joshua Britt’s strategic mandolin and Brad Talley’s skilled dobro surrounding to the emotive singing that’s wise and enlightening.

Scorzari’s voice is gruffly charming and his songs relatable and timeless. His poetic appeal and personal wordplay is illuminated by an excellent cast for another authentic and engaging album.

Travels well with: Bill Scorzari- The Crosswinds Of Kansas; Greg Copeland- Empire State

Jon Hines

Memphis Sun

Self-Released, 2025

9/10

Listen to Memphis Sun

The Canadian blues artist, Jon Hines, brings an excellent band to these 7 authentic tracks that illuminate his storytelling abilities.

The title track leads with Hines’ muscular guitar and Kevin Fletcher’s spirited harmonica that suits the gritty blues rock, and “Me & The Devil” follows with an intimate mood thanks to the gentle guitar, Cameron Palmer’s soft drums and soulful backing vocals.

“Holy Ground” and “Pitter Patter” land in the middle. The former recruits plenty of rhythm for the rootsy flavor, and the latter showcases Hines’ meticulous guitar alongside George Wolf’s playful bass via a subdued blues appeal.

“Working Man” exits the listen, and it’s a thick and animated album highlight that showcases the powerful rhythm section as well as Hines’ sturdy guitar and raw pipes.

Hines has enjoyed an esteemed solo career, and this first record with a band produces some swampy, rugged and timeless blues that’s quite impressive and memorable.

Travels well with: Larry Kurtz & The Law Breakers- Take A Ride; Alfie Smith- Every Rome Needs A Nero

Larry Keel & Jon Stickley

Larry Keel & Jon Stickley

Self-Released, 2025

10/10

Listen to Larry Keel & Jon Stickley

The inimitable musicians Larry Keel and Jon Stickley bring their guitars and vocals to these 5 flatpicking and detailed tracks.

"Future Ghost” opens with the pair’s meticulous guitars dancing around each other with melody and plenty of colorful dynamics, and “Sailor Suit” follows with warm acoustic strumming amid Keel and Stickley’s bright storytelling that’s heartfelt and soaring.

The middle spot belongs to “Pioneers”, where Keel’s pipes guide the timeless folk qualities and humble songwriting, while “Take The Air” is a flowing instrumental where the duo’s flawless guitar playing is both exciting and fascinating.

“Starborn” exits and comes with a hint of grit via Keel’s animated voice that suits the busy versus calm gestures.

Very few people can play guitar like Keel and Stickley, and their combined strengths make for a rhythmic, rootsy and organic masterpiece.

Travels well with: Hannah Delynn- Trustfall; John Mailander’s Forecast- Let The World In

Darol Anger

Diary Of A Fiddler #2: The Empty Nest

Adhyâropa, 2025

9/10

Listen to Diary Of A Fiddler #2: The Empty Nest

The esteemed multi-instrumentalist, Darol Anger, is joined by some excellent players for these 16 tracks that unfold in duo and trio settings with Anger playing violin and baritone violin.

“Liza Jane Parade” opens with the layered strings making for a rich and melodic start, and “Ouditarus Rez” follows with Enion Pelta’s meticulous violin adding much to the playful spirit.

Further along, “The Coal Burnin’ Grease Fire” welcomes Avery Merritt’s lively fiddle that helps give the tune some bluegrass flavor, while “The Gravel Shore” enlists Kathleen Shore’s strings for the hazy, ambient mood.

Deeper yet, “The Unbearable Gift” benefits from John Mailander and Ella Jordan’s contributions via the animated and upbeat rootsy album highlight, and “The Crooked Road To Emy” exits with eloquence and grace thanks to the thoughtful interplay with Tristan Clarridge.

A body of work that coincides with the 50th anniversary of the hugely influential David Grisman Quintet recordings, which featured Anger, there’s 3 generations of fiddlers present for this diverse effort that emits harmony and gospel bouts, too.

Travels well with: Wes Corbett- Drift; Joel Arnow- Woken Up In Broken Places

The Third Mind

Right Now!

Yep Roc, 2025

9/10

Listen to Right Now!

This 3rd studio album from the psychedelic collective Third Mind continues their unclassifiable ways with 7 collaborative and unclassifiable tracks.

The warm mood of “Shake Sugaree” opens with Jesse Sykes’ intimate voice alongside cozy acoustic guitar before David Immergluck’s stirring pedal steel enters, and “Pretty Polly” follows with Willie Aron’s light keys and Michael Jerome’s gentle drums complementing the eloquent delivery.

“Reno, Nevada” and “Reap What You Sow” land in the middle. The former is upbeat and playful, where Dave Alvin lends his pipes to the frisky, retro-rock ideas, while the latter showcases Alvin’s meticulous guitar licks amid Victor Krummenacher’s skilled bass and plenty of prog and jam band nods.

“The Creator Has A Master Plan” exits, and it’s a melodic bout of lively keys, plenty of charming guitar sounds and heartfelt singing that’s got some folk sensibilities included.

Another fascinating and timeless effort, the songs were fleshed out live over four days and embrace improvisation from an incredible line up for a psyche, blues, folk, jazz, Americana, prog and jam band mashing that you’re not going to hear anywhere else.

Travels well with: The Third Mind- Live Mind; Sloan- Steady

Wes Corbett

Drift

Adhyâropa, 2025

9/10

Listen to Drift

The bluegrass luminary, Wes Corbett, is joined by some excellent players for these 10 rootsy and progressive tracks.

“Case Of The Mundes” opens with Justin Moses’ flowing mandolin and Sierra Hull’s animated mandolin making for an infectious energy, and “Salmon Run” follows with Bryan Sutton’s meticulous guitar that suits the busy and rhythmic climate.

The middle track belongs to “The Tide Pool Jigs”, where cautiousness and fluid instrumentation meet thanks to Brittany Haas’ fiddle, while “Stratford Blues” recruits Darol Anger’s fiddle and Paul Kowert’s bass via a rare intimacy.

“Shapeshifter” and “Crane Island” exit the listen. The former places Casey Campbell on mandolin and Chris Eldridge on guitar for a textured and colorful album highlight, and the latter benefits from Todd Phillips’ bass and Sam Bush’s mandolin that illuminates a timeless bluegrass mood.

A truly exceptional example of modern bluegrass, Corbett’s fusion, progressive and folk influences are fleshed out with incredible attention to detail.

Travels well with: Joel Arnow- Woken Up In Broken Places; Lenny Pickett & John Hadfield- Heard By Others II

Marshall Crenshaw

From ‘The Hellhole’

Yep Roc, 2025

9/10

Listen to From ‘The Hellhole’

The always impressive singer-songwriter Marshall Crenshaw returns with a 14-track collection of handpicked, remixed, and remastered songs featuring tracks from a series of EPs, plus rare deep cuts.

The thumping “I Don’t See You Laughing Now” leads with Crenshaw’s inimitable pipes alongside warm guitar and playful percussion, and “(They Long To) Be Close To You” follows with a heartfelt delivery and well timed keys that illuminate the classic tune.

Moving along, the spirited guitar of “Move Now” comes with some grit and no lack of melody, while “Walkin’ Around” carries a rhythmic appeal and harmonic bouts that are very much appreciated.

Further still, “Stranger And Stranger” welcomes dreamy vibes and meticulous guitar amid the emotive and driving album highlight, and “Never To Be Forgotten” exits with a jangly, power-pop spirit that’s both timeless and memorable.

The songs were recorded in Crenshaw’s home studio and he played most of the instruments. Like everything he’s done, there’s a New Wave and power-pop component that’s infectious, but he also floats around Americana, indie and alt-rock with the best of them, too.

Travels well with: Graham Parker & The Goldtops- Last Chance To Learn The Twist; The Rubinoos- The CBS Tapes

Tim Olsen Big Band

Obsidian

Jazz/Latino, 2024

9/10

Listen to Obsidian

The composer/pianist/educator Tim Olsen has been busy in upstate New York for 3 decades now, and these 9 original tunes and lone arrangement span five decades and showcase his eclectic brand of jazz.

The rhythmic “Leonine” opens with Dylan Canterbury’s bright trumpet and Ken Olsen’s animated trombone adding much energy to the Big Band appeal, and the title track follows with David Gleason’s fluid piano and Tom Gerbino’s baritone sax emitting intimacy and warmth.

In the middle, the lively spirit of “Winter Journey” allows for Elias Assimakopoulos’ well timed trombone and Eric Walentowicz’s dense tenor sax to radiate, while “No Parsley (Only Pears)” benefits much from Pete Sweeney’s cautious drums and Lou Smaldone’s cozy bass.

“Morning In Morocco” and “Portnoy’s Complaint” exit the listen. The former is a busy yet meticulous album highlight that bops and shakes with infectious chemistry, and the latter recruits Jim Corigliano’s alto sax and Steve Lambert’s trumpet for the reserved yet adventurous finish.

A highly precise, exciting and cultured effort, Olsen guides the ensemble through songs inspired by Duke Ellington, Thad Jones and Gil Evans, and it will be sure to impress jazz fans around the globe.

Travels well with: Tim Olsen Band- Creature Of Habit; Saul Dautch- Music For The People

Tim Olsen Band

Creature Of Habit

Planet Arts, 2015

8/10

Listen to Creature Of Habit

The New York pianist Tim Olsen is joined by several players for these diverse jazz songs that emit bebob, swing and Latin ideas in a variety of settings.

“Barely Blues” begins with Eric Walentowicz’s bright alto sax amid the dense keys and Lou Smaldone’s dancing bass lines, and “The Way” follows with a swift delivery thanks to the rich sax, flowing keys and playful bass.

The middle spot belongs to “Morning In Morocco”, where Walentowicz handles tenor sax alongside Olsen’s animated keys, while “Park Avenue” focuses on piano and spotlights the warm and eloquent key playing.

Closer to the end, “Noche Azul” welcomes Dylan Canterbury’s cozy flugelhorn and Pete Toigo’s meticulous bass via the intimate climate, and the extended version of “Park Avenue” finishes with Canterbury’s radiant trumpet complementing Walentowicz’s alto sax and Olsen’s keys that emit a timeless jazz spirit.

A really memorable and collaborative outing, anyone with an interest in jazz from any era will appreciate Olsen’s vision.

Travels well with: Tim Olsen Band- Obsidian; Adam Glaser- Excursions

Skye Wallace

Skye Wallace

Self-Released, 2019

9/10

Listen to Skye Wallace

A Canadian songstress who plays loud, driving and often emotional songs on this self-titled album, though Wallace might be known as someone with a penchant for folk sounds, here the Toronto resident shows vast influences across the rock spectrum.

“Death Of Me” starts the album and isn’t quite as stark as the title implies, as Wallace brings a dense approach to the cautious alt-rocker, and “There Is A Wall” follows with a thumping setting of busy rock and quieter ebbs of fuzzy beauty.

Near the middle, quieter ideas infiltrate the powerful yet subdued “Stand Back”, where Wallace’s guitar and voice are the only tools, while “Body Lights The Way” recruits all sorts of grooves in a retro tune that could fill arenas.

Deeper cuts offer the mysterious “Swing Batter”, that pushes and pulls with tense moments, and “Suffering For You” ends the listen on a dirge like exit of deep bass and raw drumming on a cathartic highlight.

Often times unfolding like a grunge album with much depth, Wallace’s version of folk-rock is laced with punk rock sensibilities, and her classically trained pipes radiate sincerity and warmth on this stunning record.

Travels well with: Jeen- Modern Life; Des Ark- Loose Lips Sink Ships