JW-Jones

Sonic Departures

VizzTone, 2020

8/10

Listen to Sonic Departures

A veteran blues musician from Canada who has a long list of accolades including a Juno Nomination, JW- Jones made the best of the pandemic isolation by putting much work into the aptly titled Sonic Departures.

Jones starts the album with the punchy landscape and bright horns of “Blue Jean Jacket”, and “Same Mistakes” continues with spirited guitar work in a more subdued setting of flowing blues rock where his wife, Brit, adds harmony.

Even though there’s just 9 tracks, each one radiates in its own light, including the playful, energetic reworking of “Bye Bye Love”, while “Snatchin’ It Back” moves swiftly and with plenty of melodic funk. ”It’s Obdacious”, the album’s best, then swings with loads of frisky fun that will get your body moving.

The album winds down with the soulful and dynamic approach of “The Things That I Used To Do”, and “When It All Comes Down” finishes off the listen with timeless blues delivered from one of the best to ever do it.

Although Sonic Departures was recorded before the pandemic, during lock down Jones re-recorded the vocals, added a guitar solo to a track, as well as bass and drum overdubs here and there. Considering the album features a 17 piece band and 13 piece horn section, it’s quite apparent that a lot of work went into what is easily the biggest production yet for Jones. It also just might just be his best work to date, which is saying a lot considering the magnitude of his catalog.

Travels well with: The Lucky Losers- Godless Land; Tony Holiday- Soul Service

Unifony

II

Butler, 2020

9/10

Listen to II

A project initiated by Dutch musicians Minco Eggersman and Theodoor Borger, the duo invite Aaron Parks and his piano prowess as well as Óscar Gudjónsson’s saxophone skills to this installment of neo-classical and jazz ideas.

“Observe” starts the listen with much attention to mood as light keys complement the hazy setting, and this maturity continues to the soft and agile “Discovery”, which benefits from Gudjónsson’s warm saxophone, as well as the jazz influenced “Fever”.

Further along, “Dusk” is an ambient album highlight that’s both reflective and emotive, while “Updown” dives further into lighter textures with a minimal yet impactful approach. “Mercy”, another strong tune, then manipulates space and tension well in its subdued, cascading beauty.

At the end, “Move” moves a bit quicker with a shimmering quality in a busier display of dynamic precision, and “Abide” exits the listen with much attention to detail amid the introspective climate that leaves the listener in awe.

Unifony’s first album was nothing short of fascinating, and this sophomore effort exceeds expectations and then some with its experimental, cinematic and inimitable presence. With so much talent at their disposal, I can only imagine what the 3rd Unifony record will bring.

Travels well with: James Lentini- Through Time And Place; Kirk O’Riordan- Autumn Winds

The Lucky Losers

Godless Land

VizzTone, 2020

8/10

Listen to Godless Land

A San Francisco outfit fronted by Cathy Lemons and Phil Berkowitz, along with their all-star band and the legendary Kid Andersen handling production/engineering duties, this 4th album from The Lucky Losers brings sounds that span several decades across 12 adventurous tunes.

“Half A Nothing” starts the listen perfectly with guitars and organs working together as a harmonica and warm vocals from both members are present in the groove filled setting, and the title track follows with a warm delivery of vivid storytelling alongside timeless, bouncy blues where a harp solo makes a big impression.

Further along, “Be You” brings plenty of soul to the dynamic album highlight, while “Catch Desire By The Tail” offers a playful execution of keys and rhythmic percussion. “Can’t Keep Pretending”, another album standout, then recruits a retro, stylish approach that brings us back 100 years or so with much skill.

At the end, “The Good Fight” and “The Ragged Heart” close out the album, where the former burns slow with plenty of emotion, and the latter finishes the effort with gorgeous vocals from Lemon amid strategic harmonica and brushed percussion as Americana influences are present and appreciated.

A versatile outing where jazz, R&B, swing and funk are also in attendance, The Lucky Losers again prove why they’re one of the most exciting groups in the Bay Area who is picking up much deserved awards for their vintage song craft.

Travels well with: Terry Hanck- I Still Get Excited; Too Slim And The Taildraggers- The Remedy

Professor Tip Top

Tomorrow Is Delayed

Apollon, 2020

8/10

Listen to Tomorrow Is Delayed

A Norwegian band with an affinity for legends like Pink Floyd, Professor Tip Top are well versed in progressive, psychedelic sounds from decade’s past on this very exploratory 6th album.

“Erebus” starts the listen with a retro-rock approach where smooth vocals from new front woman Sonja Otto guide the nostalgic opener, and “In The Mirror” follows with a bit of mystery amid a darker setting that swirls with pretty tension.

At the halfway point, “The Ghost Within” enters calmer territory, where a dreamy delivery and spirited guitar work is present, as are Abbey Road hints are present, while the title track is an agile and cautious rocker where keys leave an impression amid the cosmic rhythm.

Deep into the listen, “Objet Petit a” offers a psychedelic, minimal approach complete with soaring vocals and spacey nods in an almost New Age like fashion, and “Earth” exits the listen with a ballad as beautiful singing alongside gorgeous melancholy finishes out the affair.

Professor Tip Top sure made a wise choice by bringing Otto into the band, as her vocals are nothing short of stunning and her work behind the keyboards isn’t anything to spit at either. Add the rhythm section of Charles Wise (drums) and Stein Hogseth (bass), as well as Sam Fossbakk’s guitar, keys, synth and vocals and you’ve got a fine psyche/prog/throwback rock record that will sound just as good 20 years from now as it does today.

Travels well with: The Opium Cartel- Valor; Weserbergland- Am Ende der Welt

The Thank Yous

Good Times Killing Us

Apollon, 2020

8/10

Listen to Good Times Killing Us

An outfit spearheaded by Petter Folkedal, aka Sergeant Petter, and Lars Lundevall, the pair are in Frode Unneland’s company on drums and Tommyhaltbakk on bass as they tear through 10 tracks of upbeat and lively rock’n’roll on this debut album.

“Just Mine” starts the listen with some timeless power-pop with bright vocals and a dreamy setting, and “All The Way” continues the fun with top notch guitar work in the anthemic delivery that tips it hat to classic rock, too.

At the halfway point the ‘90s alt-rock sounds of “The Indiepop Demon” would play well alongside a Teenage Fanclub tune, while “Say You Didn’t Know” trims the pace back with a jangly indie-rocker. “Feel A Whole Lot Bitter” then takes a more soulful approach with a busy display of incredible, precise musicianship.

Deeper into the album, “These Things Happen” has the band tapping into their inner Lemonheads with a hooky, tuneful setting, and “O.M.G.!” exits the listen loud, adventurous and with a contagious spirit along for the ride.

There’s certainly no shortage of excellent music coming out of Norway these days, and The Thank Yous are absolutely at the top of that list with this powerful blend of indie-rock and power-pop.

Travels well with: Savoy- Savoy; deLillos- Stakkars

The Opium Cartel

Valor

Apollon, 2020

9/10

Listen to Valor

The moniker of multi-instrumentalist and songwriter Jacob Holm-Lupo, who is also a member of White Willow and Telepath, the artist brings all sorts of pop influences to this 3rd album, where themes of dreams, childhood and youth are explored with much creativity.

“In The Streets” starts the listen with a melodic, adventurous approach to pop as soft vocals meet an ‘80s influenced setting, and “Slow Run” continues the tuneful formula with soulful singing in a more restrained atmosphere.

Near the halfway point, “Nightwings” glows with bright synth that just might make you dig out your roller skates for the dreamy delivery where Holm-Lupo’s 13 year old daughter makes her singing debut, while “Fairground Sunday” finds itself in ballad territory with a delicate and hazy display of beauty. Though there isn’t a dud present, “The Curfew Bell” is exceptionally executed, as a bit of mystery enters a moodier environment that certainly isn’t short on innovation as Leah Marcu of Tillian fames handles vocals.

Close to the end, “A Maelstrom Of Stars” moves with an agile, spirited approach where some spacey moments comprise the artistic, nearly prog-rock instrumental, and “What’s It Gonna Be”, a Ratt cover, is an extremely unexpected surprise where the band reinvent the glam metal tune into a lush indie-pop stunner with Alexander Stenerud, of Zuma, lending his pipes.

Holm-Lupo is in fine company here beyond the guest vocalists, too, including Ilia Skibinsky, Maria Grigoryeva, and Bjørn Riis, among others, and it all ends in a delightful and fascinating listen, especially if legends like Japan and Prefab Sprout mean anything to you.

Travels well with: Weserbergland- Am Ende der Welt; Christopher Sky- What It Is, It Isn’t

Weserbergland

Am Ende der Welt

Apollon, 2020

8/10

Listen Am Ende der Welt

An outfit from Norway who are extremely unclassifiable and rarely stay in place for too long, Weserbergland brings just 1 track to this album, and it’s over 40 minutes of uniquely textured playfulness.

A very reflective and layered track, Am Ende der Welt has computer, guitar, piano, saxophone, strings and turntables working together with much attention to detail as the setting shifts from unconventionally classical to dizzying with a club like feel. While there’s certainly plenty of krautrock influence in the tune, there’s just as much experimental and progressive prowess to the very atypical landscape that’s as likely to get bare and pretty with keys just as it is to get busy and abrasive with a noisey appeal.

This is the sophomore album from Weserbergland and it’s a departure from their earlier work that was knee deep in German krautrock. Somewhere between electronic music and modern classical, Am Ende der Welt finds a very unorthodox place to exist as bandleader Ketil Vestrum Einarsen constructs an impressive listen.

Travels well with: Christopher Sky- What It Is,, It Isn’t; CNJR- WSTLND

Joe Bonamassa

A New Day Now

J&R Adventures, 2020

9/10

Listen to A New Day Now

The last two decades have been pretty good to Joe Bonamassa, whose debut album, A New Day Yesterday, sees the 20th Anniversary reissue treatment with a new title, 3 unreleased demos tracks, a 24 page booklet in a very crisp remixed, remastered and resung edition.

“Cradle Rock” starts the listen with Bonamassa’s signature slide guitar acrobatics and soulful, bluesy vocals in the anthemic opener, and this continues to the spirited and warm atmosphere of “Walk In The Shadow”, as well as the Jethro Tull cover, “A New Day Yesterday”, where a powerful, emotive delivery really mesmerizes, and, if you were wondering, is without a flute.

Further along, “Colour And Shape” moves with a calmer pace that’s no less impactful and showcases deft bass playing, while “Headaches To Heartbreaks” pushes and pulls with dynamic musicianship amid a soaring climate where keys from Dave Borden really shine. “If Heartaches Were Nickels” then displays a very soulful aspect to Bonamassa’s esteemed and timeless song craft.

“Don’t Burn That Bridge” exits the formal album with a percussively strong and lively blues rocker, and 3 bonus tracks (all written by Steven Van Zandt), are included, with “I Want You” being the highlight with its driving pace of punk spirit in the roaring setting that actually reminds us of Mike Ness more than Joe Bonamassa.

If for some reason you’re still not spending time with Bonamassa’s music, well, there really isn’t a bad place to start in his massive catalog of music. While I’m sure some purists might not agree with the new vocals laid down here, in 20 years Bonamassa has learned much about his voice, and it certainly doesn’t do a disservice to the tunes to put a new finish on them.

Travels well with: Mike Zito- Rock’n’Roll: A Tribute To Chuck Berry; North Mississippi Allstars- Up And Rolling

Vincent Cross

The Life And Times Of James ‘The Rooster’ Corcoran

Rescue Dog, 2020

8/10

Listen to The Life And Times Of James ‘The Rooster’ Corcoran

A very unique effort, Vincent Cross pens a record about a relative, James Corcoran, who emigrated from Ireland to New York in the 19th century, got married and fronted a gang. To do this, Cross brings an English concertina, bouzouki, minstrel banjo, bodhran, and plenty of other noisemakers steeped in Irish and American traditions.

“A Man After Me Own Heart” starts the listen with an original Irish folk-tune that’s musically bare but vocally strong, and the traditional “Creole Girl” follows with warm plucking alongside a darker atmosphere with much mystery.

Halfway through, “King Corcoran” offers vivid storytelling amid spirited and organic instrumentation, while “Red Haired Mary Corcoran” soars with exceptional singing as the music is nothing short of gorgeous. “A Stranger I Came”, one of the album’s best, then displays intricate manipulation and accordion in a slow burning climate.

The album exits with 2 traditionals, the nearly a cappella “LCaoineadh dTri Muire”, and the indeed lovely “Farewell Sweet Lovely Katherine”, where Corcoran’s sorrow over the loss of his wife is portrayed in song with much grace.

This is the 3rd album from Cross, and it’s an impressive project where he learned to play some instruments just for this recording. Extremely detailed, highly exploratory, and often fascinating in its execution, you’re not likely to hear a folk record like this anytime soon, but you’ll certainly want to hear this one again.

Travels well with: Rufus Wainwright- Unfollow The Rules; Brian Wilson & Van Dyke Parks- Orange Crate Art

Eric Anders/Mark O'Bitz

American Bardo

Baggage Room, 2020

8/10

Listen to American Bardo

Though they’ve only been releasing music together since 2018, Eric Anders and Mark O’Blitz have been collaborating since 2003, and this concept album inspired by George Saunders’ novel, Lincoln in the Bardo, might be their best work to date.

“Matterbloomlight” starts the listen with a very mature version of indie-folk where warm vocals guide a hazy opener, and “Bury Me’ continues the sophistication with a bare approach that takes on a darker quality as very graceful strings enter the climate.

At the halfway point, “Holding Will” displays incredible vocal work alongside a sublime setting, while “Haunting Abraham” is a more percussively strong tune with breezy Americana melodies. “And One Love”, one of the album’s best, then brings spirited electric guitar to a rootsy, blues, pensive rocker.

Near the end, “Bardo Coins” finds a dreamy place to reside amid cautious instrumentation, and “Won’t Live It Down” exits the listen and finds itself comfortably in timeless folk-rock territory.

A very thoughtful record that’s also quite poetic, this 3rd album from Eric Anders and Mark O’Bitz showcases their respective songwriting talents well, with a very careful and memorable execution of gorgeous melancholy.

Travels well with: Will Stewart- County Seat; Rufus Wainwright- Unfollow The Rules

The Trend

Bella Vega

Self-Released, 2020

8/10

Listen to Bella Vega

A Manchester outfit whose inception goes back to the late ‘70s, after a reunion gig in 2016 was successful, the wheels were in motion for The Trend continue on and release Bella Vega.

“Good Friend” starts the listen with crisp and nostalgic rock where the vocals show range as the rhythm section holds down the melodic opener, and “Twist Slowly (Theme)” follows with a short lived, vocally strong and piano friendly landscape.

Deeper into the listen, “Tune In” offers a power pop influence to the retro climate, while “Keep On Running” recruits vocal harmonies and a playful, almost quirky ‘80s atmosphere. “September Daze”, one of the record’s best, then illustrates restraint and plenty of dynamic musicianship between the members.

At the end, “Loving A Life” displays fluid and timeless rock’n’roll, and “Don’t Throw It Away” exits with 7 minutes of exploration that incorporates sounds from the ‘70s on and with plenty of guitar solos, too.

A triumphant return indeed, The Trend are still very much attached to the throwback sounds of their early days, but certainly aren’t afraid of experimenting with their formula across these adventurous and instantly memorable tunes.

Travels well with: The Bangs- Last Of The Big Shots; This Time- Two

Lindley Creek

Freedom, Love And The Open Road

Pinecastle, 2020

8/10

Listen to Freedom, Love And The Open Road

Although this is the debut from the quickly rising bluegrass family band Lindley Creek, you certainly wouldn’t know it based on the top notch songwriting of the Americana and gospel influences present on these 11 timeless tracks.

“I Gotta Go” starts the listen with dynamic instrumentation between the upright bass, fiddle, mandolin, guitar and banjo as harmony vocals highlight the very melodic, rural beauty, and “The Mockingbird’s Voice” follows with soaring vocals from Katie Greer as the warm bluegrass sounds move with deft precision.

Deeper into the listen, “Four Men Walkin’ Around” benefits greatly from Jase Greer’s rugged yet tuneful vocals in the very playful setting, while “Home To You” offers a very emotive and cautious landscape with gorgeous balladry. “Old Soul”, one of the album’s best, then recruits lap steel from David Spires into the soothing and agile climate.

Near the end, “Grounded” flows with thoughtful and universally embraceable musicianship, and “Sunshine Song” exits the listen with an upbeat approach amid crisp, intricate song craft.

It wouldn’t surprise me one bit if the Greer family, i.e. Lindley Creek, become the next big sensation in bluegrass, as they clearly have the chops and strong sense of song craft to make fans worldwide, as evidenced by this exceptional first record.

Travels well with: Gary Brewer & The Kentucky Ramblers- 40th Anniversary Celebration; Daryl Mosley- The Secret Of Life

Xoe Wise

Air

Self-Released, 2020

9/10

Listen to Air

A singer-songwriter and multi-instrumentalist who now calls Chicago home, Xoe Wise knows her way around an indie-folk tune that’s not short on intimacy and eloquence on this 3rd album.

The title track starts with warm guitar before soft percussion enters the dreamy indie-folk setting, and “Cloud” continues the landscape with expressive singing alongside pretty strummed guitar and slight programming.

Near the middle, “Cross Eyed Rose” brings keys and viola into the emotive setting, while “Park Too Close” benefits greatly from Pat McKillen’s backing vocals on the mature, lush atmosphere that doesn’t shy away from pop influences, too. “Bad Idea”, the album highlight, then pairs agile melody with Wise’s spellbinding vocals on what might be the best tune of 2020.

The album exits with “Holiday” and “Late Parade”, where the former moves with hazy beauty amid multiple vocals, and the latter brings orchestral nods and horns from Martin Wenk into the sophisticated yet adventurous finish.

Wise has also dabbled in rock and electronic sounds, but she seems to have found a very comfortable place to reside in via folk territory here, as she delivers with a graceful, heartfelt and timeless appeal that will, or at least should, bring her plenty of new fans.

Travels well with: The Lucky Valentines- Horses; Sarah Morris- All Mine

Jobs

Endless Birthdays

Ramp Local, 2020

8/10

Listen to Endless Birthdays

This 3rd album from Jobs brings in some serious talent in addition to the experimental and minimalist quartet as members of Deerhoof and Skeletons are on hand to flesh out these techno, rock and electro-pop tinted tunes that defy convention in all sorts of creative ways.

“A Toast” starts the album with playful electronica alongside plenty of adventurous ideas, strong riffs and calm vocals, and “Brian” continues the innovation with a mix of hushed versus busy multifaceted indie-rock that recruits a shtar.

Deeper into the listen, “Self-Replicating No. 2” gets a bit blurry with a darker spirit of glitchy sounds and well timed vocals, while “Words About Shapes” moves cautiously yet also with frisky, strategic and minimal instrumentation that takes on a cinematic quality.

Closer to the end, “Self- Replicated No. 3” recruits an artistic approach with repetition making an impression, while “3 Being 2”, the album highlight, exits the listen with subtle indie-folk nods alongside muted guitar and some pop inclinations.

Certainly eccentric and avant-garde in all the best ways, Jobs cover many genres amid nods to several decades with their unique vision, and even if it’s not easy to classify, it’s impossible not to admire and enjoy.

Travels well with: Albert Hammond Jr.- Momentary Masters; Squarepusher- Go Plastic

Jason Molina

Eight Gates

Secretly Canadian, 2020

8/10

Listen to Eight Gates

Posthumous albums are never easy to digest, especially when it’s a life cut way too short from such an exceptional talent like Jason Molina. His last solo recording before his death in 2013 due to complications from alcoholism, Molina laid down these tunes while in London and recovering from a rare spider bite that may or may have not happened.

“Whisper Away” starts the listen with birds chirping before warm electric guitar enters the vocally gentle, moving delivery, and “Shadow Answers The Wall” follows with more emphasis on percussion as Molina delivers an ominous tone amid the vulnerable landscape.

With 9 tracks included and most hovering around the 2 minute mark, this isn’t a long listen but a very cathartic one, as Molina displays heartfelt song craft on the bare “The Mission’s End”, while the subtle viola of “Old Worry” helps showcase his expressive singing.

Back half highlights include the darker spirited “Fire On The Rail”, which carries a very poetic appeal, while “Be Told The Truth”, the album standout, takes on a cinematic quality to its somber template. “The Crossroad + The Emptiness” exits the listen spontaneous, stripped back and full of the intimate beauty that defined his career.

While some of these tunes seem unfinished, they all illustrate the creative sorrow that Molina was known for across hundreds of songs and several monikers. Though he never saw any commercial success while alive, recently his songs have been covered by people more known than him, and let’s hope that brings more visibility to his underappreciated output.

As far as this collection, for long time fans it’s a must, though for first time listeners Let Me Go, Let Me Go, Let Me Go might be a better starting point. Really, though, there is no such thing as dull spot in Molina’s catalog, and now that he’s gone, we can unfortunately place him alongside legends like Elliott Smith and Jeff Buckley in terms of skill and impact.

Travels well with: Damien Jurado- In The Shape Of A Storm; Ben De La Cour- Shadow Land

Video Age

Pleasure Line

Winspear, 2020

8/10

Listen to Pleasure Line

A New Orleans outfit spearheaded by Ross Farbe and Ray Micarelli, Video Age’s 3rd album is very much indebted to the pop of the ‘80s, where synth is used lavishly, as a more optimistic approach is taken versus their earlier albums.

The title track starts with ‘80s shimmering synth with some New Age appeal in the quirky approach that’s quite romantic, and “Maybe Just Once’ continues the setting with plenty of syrupy sweet melody in the throwback fun that just might make you want to dig out your roller skates.

With 10 tracks present, the band don’t stray too far from their formula, thankfully, and offer the percussively strong, futuristic and eloquent “Comic Relief”, while the warbly sounds and unique progression of “Sweet Marie” adds variety to the listen with some ‘70s soft-rock ideas, too. “That Can’t Be”, one of the album’s best, then finds all sorts of grooves to reside in, which draws the listener in immediately.

Deeper cuts bring us “Meet Me In My Heart”, which includes some of the best singing on the record, and “Good To Be Back” exits the listen upbeat and frisky with some experimental playfulness to cap off the retro festivities.

It’s not hard to imagine Video Age soundtracking your favorite ‘80s movie with their electronic, funk and disco nods, and for anyone who grew up during the decade or who just appreciates the simpler moments of pop, Pleasure Line should be mandatory listening.

Travels well with: Misty Moon- Nu-Moon; Adrian Knight- Vacation Man

Market Junction

Burning Bridges

Self-Released, 2020

9/10

Listen to Burning Bridges

An outfit spearheaded by Matt Parrish (vocals, guitar) and Justin Lofton (backing vocals, several instruments), Market Junction return with 10 new tracks that tell the story of a young man learning about love and its repercussions on this very thoughtful and often heartbreaking listen that illustrates an introspective and mature vision.

“When Your Heart Begins To Ache” starts the listen with heartfelt acoustic song craft that makes an immediate impact with its very moving delivery, and “Out Of Love” follows with warm keys guiding the initially bare folk song that builds into a soaring display of organic beauty.

Elsewhere, “Nebraska” flows with soothing rural melody and exceptional banjo playing, while “Western Coast” offers a bare but powerful execution of country influences. “Hello My Dear”, an album standout, then tugs on the heartstrings with meticulous and pensive songwriting.

Close to the end, “Livin’ A Lie” includes some of the most expressive singing that’s more indebted to country sounds, and the title track exits the listen with delicate Americana that’s a bit more somber.

An extremely intimate and vulnerable listen, Market Junction have admittedly taken much time trying to find their identity (they’ve been together for nearly a decade now), but Burning Bridges is the clearly the sound of a band coming into their own, and we’re all better off for it.

Travels well with: Adam Carroll- I Walked In Them Shoes; Will Stewart- County Seat

JD Taylor

The Coldwater Sessions

VizzTone, 2020

8/10

Listen to The Coldwater Sessions

Perhaps best known as the frontman for Little Boys Blue for over two decades, JD Taylor brings his veteran status and incredible skills to this first solo album, where his accomplished song craft takes help from some of the best players Memphis has to offer.

“Got Me Where You Want Me” starts the listen with plenty of energy as fluid blues guitar and warm organ work together alongside the gritty vocals, and “Ooh Wee” continues the atmosphere with spirited harmonica, plenty of vibrant brass and a harp solo, too.

Close to the middle, “At First Glance” trims the pace back with much raw emotion in the slow burner, while “By All Means” offers all sorts of rhythm in the bluesy swagger with contagious rock’n’roll spirit. “Hanging On”, one of the album’s best, then bounces with a timeless appeal that’s so well done, it alone is worth the price of admission.

Near the end, “Anastasia” enters darker territory with cautious instrumentation as Mikey Junior lends a hand (he also wrote the tune), and “The Coldwater Swing” exits the listen and is indeed swing friendly as it shakes with an infectious flavor that will leave your body unable to sit still.

Taylor’s harmonica prowess and soulful pipes serve these blues, roots and Americana originals well, as it appears that he’s going to achieve a similar level of greatness solo that he accomplished with his full band work.

Travels well with: Tony Holiday- Soul Service; Tyler Morris- Living In The Shadows

The Furious Seasons

La Fonda

Self-Released, 2020

8/10

Listen to La Fonda

The acoustic folk-pop trio The Furious Seasons return with 10 thoughtful and varied new tunes on La Fonda, where contributors Aubrey Richmond brings violin, Edoardo Tancredi handles drums/percussion and Arlan Oscar offer accordion on a record inspired by love and heartbreak.

“As A Matter Of Fact” starts the listen with delicate folk-rock in a bare setting of much beauty, and “Burn Clean” follows with an orchestral angel as sweeping strings enter the cautious atmosphere.

Halfway through, “Slide Into Sadness” offers much grace in a sparse atmosphere, while “Statistically Speaking” benefits greatly from sublime acoustic guitar. “The Vast Divide”, an album highlight, then glides with rootsy melody in the instantly memorable delivery where well done vocal harmonies won’t go unnoticed.

“Your Irish Funeral” and “I Want To Be Sure” bookend the listen, as the former references Jeff Buckley lyrically and also in spirit with graceful song craft, and the latter finishes vocally expressive and introspective.

Jeff Steinhart, Paul Nelson and David Steinhart, i.e. The Furious Seasons, deliver their most personal album to date here, and their very relatable and vivid storytelling helps make La Fonda a standout in an already impressive catalog of folk based sounds.

Travels well with: Lee Gallagher And The Hallelujah- L.A. Yesterday; Ted Russell Kamp- Down In The Den

Mikarimba

Tapereba

Big Round, 2019

8/10

Listen to Tapereba

The Japanese moniker of marimba extraordinaire Mika Stolzman, here she returns with Tapereba, as a handful of guest accompany her on an extremely diverse and exciting listen.

The title track starts with marimba, clarinet and a 10 string Brazilian mandolin in the cultured, rhythmic setting of polyphonic delivery, and “Return To Bahia” follows with violin, viola and cellos in an orchestral and playful environment that’s textured creatively.

Elsewhere, “Afro Blue” flows with a subdued, cinematic quality that’s slightly darker in scope, while “Spain” again brings in the Sybarite 5 String Quartet for a dynamic album highlight that’s packed with beautiful tension.

Near the end, “Rhapsody” in blue offers a piano heavy adventure where the clarinet really complements the execution, and “Letter From Home” exits the listen bare and gorgeous as just 2 instruments breed soothing interplay with plenty of emotion.

An extremely skilled record (there’s 25 Grammy Awards between the players present), Tapereba presents a fusion listen that’s innovative, artistic and mesmerizing from beginning to end.

Travels well with: Sirius Quartet- Playing On The Edge; Arcadian Winds- Windswept