Willie Nile

Uncovered

Paradiddle, 2020

9/10

Listen to Uncovered

Now 4 decades into his illustrious career, the New Yorker Willie Nile celebrates by having 26 of his tunes covered by some very prominent names on the aptly titled Uncovered.

“Hell Yeah” starts the listen with a gospel influence amid soft guitar and a tambourine by Emily Duff, and “When Levon Sings”, performed by Quarter Horse, continues the warm climate with spirited, rootsy sounds, as does the vocally strong “American Ride”, where Gene Casey channels his inner Springsteen.

Other highlights from disc 1 include Iridesencse’s electric guitar rock of “History 101”, while “On Some Rainy Day” is a versatile folk tune that’s both rugged and melodic and precisely executed by The Four Amigos. “One Guitar”, by Graham Parker, then jangles a bit with tuneful grit on the exceptional exit of the 1st disc.

The 2nd disc is just as excellent, and includes Nil Lofgren’s bare acoustic guitar prowess on “I Can’t Do Crazy (Anymore)”, and “Lookin’ For Someone” flows with emotion and beauty by Caroline Doctorow. “Everybody Needs A Hammer”, the best tune across both discs, then recruits banjo amid smooth female vocals from Annie Mark that abruptly moves into a bouncy, bar rocker with an organ. Deeper into the listen, “House Of Thousand Guitars” brings in a call and response strategy amid breezy Americana as Allen Santoriello contributes a top notch track.

An effort with something for everyone, Americana, rock, folk, country and roots rock are all explored here and interpreted in thoughtful, exciting ways that certainly puts Nile’s work at the highest regard, which is where it belongs as he’s undeniably one of the most extraordinary songwriters that exists today.

Travels well with: John Hiatt- The Eclipse Sessions; Jesse Malin- Outsiders

Fawn Fritzen

How To Say Sorry And Other Lessons

Chronograph, 2020

8/10

Listen to How To Say Sorry And Other Lessons

A Canadian vocalist who is well versed in Chinese, French and German, Fawn Fritzen was raised on folk, classical and theater, but here she’s knee deep in jazz- a genre she became fascinated with later in life- where David Restivo accompanies her on piano, and there’s plenty of guests, too.

Fritzen starts the album with a pair of live tracks, where “I Saw The Sun Today” highlights Fritzen’s radiant, soaring vocals alongside warm piano and calm percussion, while “Bittersweet Goodbye” embraces some pop ideas in the romantic jazz setting.

Near the middle, “Kintsugi” offers eloquent wordplay as Fritzen and company birth timeless jazz, while “Gaslight”, a studio track, recruits playful bass from Doug Stephenson and proficient percussion from Tony Ferraro as Melody Diachun and Laura Landsberg contribute backing vocals to the more forceful landscape.

Close to the end, “Show Me Your Heart” displays David Restivo’s piano acrobatics in a gospel friendly version of Fritzen’s vocal jazz prowess, and “Dragonfly” exits the listen with sublime piano balladry as Fritzen’s delicate, expressive pipes leave an indelible mark.

This is Fritzen’s first album of all original material, and it’s an accomplished and varied effort where funk, reggae and swing are also touched on with intimate stories and exceptional delivery from all the talent involved.

Travels well with: Sue Anne Gershenzon- You Must Believe In Spring; Sharon Isbin- Affinity

Lorraine Jordan & Carolina Road

Bill Monroe’s Ol’ Mandolin

Pinecastle, 2020

9/10

Listen to Bill Monroe’s Ol’ Mandolin

I think it’s pretty safe to say that Lorraine Jordan & Carolina Road have reached legendary status at this point in their decade and a half career, and this installment of timeless bluegrass only solidifies their place at the top in today’s rural rock scene.

The title track starts the listen with beautiful picking as harmonizing vocals highlight the sublime bluegrass sounds, and “They Call It Bluegrass” follows with a swift pace of string acrobatics amid the flowing melodies with Allen Dyer’s sturdy pipes at the helm.

Near the halfway point, “He Stopped Loving Her Today” resides deep into emotive balladry with smooth singing and proficient fiddle from Matt Hooper, while “Boogie Grass Band” puts a playful spin on a Conway Twitty tune with Ben Greene’s banjo making an impression. “Living Like I’m Dying”, one of the album highlights, then has Jordan taking the lead on vocals with a breezy, dreamy approach that might be one of their best tracks to date.

At the end, “Thank God For Kids” trims the pace back to an eloquent, country influenced track where Jordan’s mandolin is aglow, and “Rolling In My Sweet Baby’s Arms” exits the listen with a rugged yet tuneful anthem where guitars, banjo, mandolin, fiddle and 3 sets of pipes interact dynamically.

An outfit where all 6 members are nothing short of exceptional, there’s also a handful of guests on hand, and though it’s a lofty assertion considering their luminous catalog, Bill Monroe’s Ol’ Mandolin might be a career high for Lorraine Jordan & Carolina Road.

Travels well with: Garrett Newton Band- Bluegrass Barn; Merle Monroe- Back To The Country

Xanthe Alexis

The Offering

Self-Released, 2020

9/10

Listen to The Offering

A Colorado resident and activist who by day is a trauma therapist, the songstress Xanthe Alexis brings soaring vocals and slow burning melodies to the 8 tracks of the very well thought out song craft of The Offering.

The title track starts the listen with pretty, expressive vocals from Alexis on the powerful and melodic folk and country influenced tune that makes an immediate impression with its subtle twang, and “Sullen One” follows with warm piano guiding the ballad setting that also recruits electric guitar near the end.

At the midpoint, "Compass” enlists some electro-pop ideas into the cautious, mysterious landscape, while “Moon” takes this a step further with strong percussion amid a healthy dose of chilling song craft. “Siren”, one of the album’s best, than turns minimalism into a refined art as Alexis explores her vocals with incredible range alongside a firm beat and delicate guitar.

The record is bookended by “Watch Him Fall” and “Home”, where the former offers soft horns and a playful quality amid the thoughtful landscape, and the latter moves with a soulful, emotive delivery you won’t forget anytime soon.

Although Alexis penned this effort in pre-Covid times, it sure seems like it could soundtrack isolation, self-examination and just wanting to mull things over with its compelling brand of Americana that’s eloquent, stark, sometimes intense and entirely captivating.

Travels well with: Thin Lear- Wooden Cave; Alias Wayne- Faux Pas

Pat Keen

Cells Remain

Birdwatcher, 2020

8/10

Listen to Cells Remain

A Wisconsin native now residing in Minneapolis, the multi-instrumentalist and songwriter Pat Keen packs folks and jazz influences in his rich, poetic song craft on this 3rd album.

Keen starts the listen on the lighter side of indie-rock with the soft and soothing “Cell Song”, as intricate guitar work flows with seeming ease and delicate backing female are in attendance, and “Lost And Found” continues the elegant landscape with some folk influences amid synth ambience for the balladesque mood.

Near the middle, “Torch” displays lush instrumentation with plenty of rhythm in the quicker pace, while “Settler” recruits a dreamy quality alongside smooth clarinet that punctuates the delicate finger picking. “Fishbowl”, one of the album’s best, then uses strategic percussion lightly but much impact on the agile and minimal execution.

Deeper into the listen, “All Along” is a playful yet gentle moment with much beauty, and “Hot Face” exits the listen with a slow burning peek into Keen’s meticulous attention to detail where jazz nods enter the formula.

Keen puts a unique spin on modern indie-folk here, where sampling, banjo, mellotron, and a bodhran are also present, and it helps make Cells Remain a very digestible listen that warrants repeated listens.

Travels well with: Buck Meek- Buck Meek; Jessica Pratt- Quiet Signs

Puerto

Portugal

Blind Owl, 2020

8/10

Listen to Portugal

A duo comprised of Zach Polletta and Sean Nowland, as Puerto the pair bring us 6 tracks of highly tuneful, extremely sunny and pop friendly surf rock that borrows from jazz and classic rock, too.

“Call The Doctor” starts the listen with precise guitar from Polletta and Nowland’s proficient drumming interacting playfully with a laid back groove, and “It’s Too Late” follows with a scrappy garage-rock feeling amid a shimmering quality that’s as memorable as it is frisky.

In the middle, “Playday” moves calmly with an undeniably retro feel, while “On The Lawn” births melodies that would make even Brian Wilson smile. At the end, “Lineas” exits with an ambitious instrumental that sounds indebted to the ‘60s as the two work together dynamically and meticulously.

Amazingly, Puerto have only been a band for 2 years, and they’re off to a fantastic start with this rhythmic, feel good debut that sounds just like where they reside- the Southern California coast. Whether you’re a surf enthusiast or just enjoy reverb, soaring guitars solos and a firm beat, Portugal will be a nice fit.

Travels well with: Dry Reef- Daychange; Slightly Stoopid- Everyday Life, Everyday People

Eli Winter

Unbecoming

American Dreams, 2020

8/10

Listen to Unbecoming

Even though the Chicago resident Eli Winter is just 23 years old, the musician and songwriter already has a wealth of experience under his belt, and this sophomore album might be his most adventurous work yet, where just 3 tracks comprise the experimental folk listen where several different guitars are explored with much depth.

The album leads with the nearly 23 minutes of “Either I Would Become Ash”, where exploratory acoustic strumming guides a very careful solo piece as Winter shifts from soft and strategically spaced out to quicker, hypnotic moments of sophisticated melody.

“Maroon” follows and brings pedal steel from Sam Wagster, Tyler Damon on drums, and Cameron Knowler on guitar into the warm formula that’s immediately memorable and dances around an Americana feeling with much grace. “Dark Light” exits the listen, and it’s a live track where a bare and raw quality enter the intricate delivery as Winter uses an electric baritone and manipulates feedback with precision.

Winter again cements himself as a top notch guitarist and composer on this 2nd record, and the contributions from the esteemed players on the middle track help make the effort a fascinating and glorious display of instrumental prowess.

Travels well with: William Tyler- Goes West; Damien Jurado- In The Shape Of A Storm;

Fair Visions

A Way Out

Hatchet Head, 2020

9/10

Listen to A Way Out

A trio from Brooklyn who have both feet firmly planted in the early days of New Wave and post-punk, Fair Visions offer us 6 tracks on this debut EP where plenty of reverb and firm beats enter the energetic landscape.

“Shitty Love Songs” starts the listen with loads of ‘80s influenced synth in the dreamy, fuzzy setting that takes nods to the early days of post-punk, and “Feels Right” follows with a brighter approach that’s dance friendly in a Joy Division on prozac sort of way.

The back half of the listen is just as excellent, with the bouncy and playful “Coming On”, while “Lay Out In The Sun” benefits greatly from percussion amid a hazy, indeed summery melody that jangles a bit, too. “A Goodbye” then exits the listen awash in synth and dynamic nods to New Wave that an ‘80s kid like myself will never tire of.

If names like Bowie and bands like New Order and Depeche Mode resonate with you, Fair Visions will be your new infatuation, and rightfully so, as A Way Out holds its own against the best of the best of the genre.

Travels well with: The Psychedelic Furs- Made Of Rain; Dexys- One Day I’m Going To Soar

Jeannie Seely

An American Classic

Curb, 2020

8/10

Listen to An American Classic

A veteran country music star and Grand Ole Opry regular for over 50 years, Jeannie Seely just turned 80, and to celebrate she gifted us this strong, timeless album where several legends are on hand to help her flesh out the song craft.

“So Far So Good” starts the album with The Whites on an upbeat and playful opener with jumpy keys, frisky percussion and Seely’s smooth, strong pipes, and “If You Could Call It That” follows with an emotive delivery of warm, melodic balladry.

Deeper into the listen, the soothing pedal steel of “Can I Sleep In Your Arms Tonight” punctuates the cautious landscape, while the string beauty of “All Through Crying Over You” brings in the bluegrass songstress Rhonda Vincent on the gentle country rocker. Willie Nelson is on hand for the album’s best, the sublime duet “Not A Dry Eye In The House”, where Nelson’s husky delivery works well against Seely’s pretty pipes.

Close to the end, “Dance Tonight” is a busy effort with group vocals and a festive feeling where Ray Stevens is in attendance, and the aptly titled “Peaceful Waters” exits with a gospel feeling of soaring, yet haunting balladry.

An American Classic proves that Seely’s talent has not waned one bit, and that her nickname, ‘Miss Country Soul’ is as appropriate as ever on this indeed classic album that will sound as good 50 years from now as it does today.

Travels well with: Jeannie C. Riley- The Music City Sessions; Rhonda Vincent- Destination Life

The Moore-McColl Jazz Society

Electric Fantastic

Self-Released, 2020

8/10

Listen to Electric Fantastic

Beth Moore and Chance McColl know their way around a blues and jazz tune, and this debut brings ‘70s influences into the live recording where Joel Morris sits behind the drum kit, Tim Aucoin holds down bass, and Caleb Lattimore, Christopher Alpiar, and Declan Ward take up brass.

“Electric Fantastic” starts the album with lively organ and spirited sax in the highly rhythmic setting, and “Like A Symphony” follows with strong, expressive singing from Moore on the timeless and melodic jazz that benefits from Jordan Alyssa and Devynn Phoenix Robinson’s backing vocals.

Near the middle, “Beth’s Bounce” moves playfully, where several solos enter the mature atmosphere, while “The Logical Song”, the sole cover, recruits a powerful, emotive landscape guided by piano, where sweeping melodies populate the sublime climate that brings in Scott Rasher on trombone. “If You Really Loved Me”, one of the album’s best, then benefits greatly from organ and McColl’s smooth, enticing pipes

The record is bookended by “Blues For Lonnie Williams” and “Words”, where the former illustrates dynamic musicianship in the soothing instrumental, and the latter displays incredible singing from Moore on the calm and memorable exit to an excellent first effort.

A very versatile listen, there’s also moments of R&B, funk and pop to be found here, as instrumentals and a classic rock cover are also in attendance on this first rate adventure in contemporary jazz.

Travels well with: Kenny Kotwitz & The LA Jazz Quintet- When Lights Are Low; Zen Zadravec- Human Evolution

Blues Pills

Holy Moly!

Nuclear Blast, 2020

8/10

Listen to Holy Moly!

The midwestern outfit Blues Pills return with a 3rd album, where the band’s founding members, Elin Larsson and Zach Anderson, are in top form on these hard hitting and very impactful blues rockers.

“Proud Woman” starts the listen with spirited guitar work and a soulful, powerful delivery on the throwback rocker, and “Low Road” follows with a swift pace of bristling, melodic blues-rock that’s executed precisely and makes an immediate impression.

Elsewhere, “Rhythm In The Blood” pairs a fiery rhythm section with guitar acrobatics from Anderson on the psychedelic album highlight, while “Dust” trims the pace back with initially soft vocals that builds into an ebullient display, as the music pushes and pulls with lush tension anchored by the rhythm section of Kristoffer Schander (bass) and André Kvarnström (drums). Another strong track, “Wish I’d Known”, then radiates sublime beauty in the ballad atmosphere that ends up in fuller gospel territory.

Near the end, warm piano enters “Song From A Mourning Dove”, as some pretty high notes are hit by Larsson in the loud versus quiet dynamics, and “Longest Lasting Friend” exits the listen with bare beauty amid incredibly versatile singing.

Although they are certainly blues focused, there’s also funk, garage rock, soul, gospel and psyche-rock that’s drenched in retro fuzz on this exciting album that grabs you by the throat and holds on tight for the entire ride.

Travels well with: Crown Lands- Crown Lands; Greta Van Fleet- Anthem Of The Peaceful Army

Crown Lands

Crown Lands

Universal, 2020

8/10

Listen to Crown Lands

The debut album from the Canadian duo Crown Lands is an impressive one, where strong lyrical content circulates around blues, folk, psyche, classic and prog-rock as the pair deliver muscular and ambitious song craft.

“Spit It Out” starts the listen with charged, retro rock where howling vocals align with the fuzzed out guitars and a chorus that could fill stadiums, and “River” follows with plenty of nostalgic energy that’s part classic rock and part psychedelic fun.

Even though there’s just 7 tunes, each one makes a dent, including the appropriately titled, slide guitar friendly “Howlin’ Back”, where fiery drumming is complemented by exceptional singing, while the dynamic “End Of The Road” addresses indigenous womxn, girls and two-spirits who have gone missing or been murdered along Yellowhead Highway 16 in British Columbia. “Sun Dance” exits the listen in calmer territory, where acoustic, folk prowess is explored and proves the pair shine in gentler settings, too.

Cody Bowles handles drums and vocals, while Kevin Comeau holds down guitar here, and their immense skill draws comparisons to Led Zeppelin, ZZ Top, Queens Of The Stone Age, and Jack White. Really, though, the instant best friends are carving a path entirely their own, and it’s a journey we should all be glad they’re sharing with us.

Travels well with: Greta Van Fleet- Anthem Of The Peaceful Army; Danko Jones- A Rock Supreme

Kat Riggins

Cry Out

Gulf Coast, 2020

9/10

Listen to Cry Out

Kat Riggins pulled out all the stops on this debut album for the Gulf Coast Label, where her robust version of blues comes with plenty of grit, melody, grooves and a whole lot of varied influences from R&B to country to gospel and so much more.

Riggins makes an immediate impression with the bluesy riffs and soaring vocals of the opener, “Son Of A Gun”, which is all power and melody, and “Cry Out” follows with soulful harmonica from Johnny Sansone as the warm guitar acrobatics mesmerize.

Further on, “Truth” really displays the strong vocal prowess of Riggins in an emotive yet playful atmosphere, while the stripped back “Hand In Hand” takes this a step further into gospel territory sans instruments. “Can You See Me Now”, one of the album’s best, then offers plenty of rhythm and precise melody in the bright setting where Brian Zielle displays incredible drumming.

Close to the end, “No Sale” recruits a bouncy, frisky tone that’s lively and rockin’, and “The Storm” finishes the listen with an ebullient outpouring of incredible singing amid a bare delivery that’s tense and sublime.

The always impressive Mike Zito is in attendance here as both producer and guitarist, as comparisons to Etta James and Koko Taylor are warranted about Riggins’ exceptional delivery. If you’re like me, and this is your first experience with Riggins, you’ll quickly want to explore her other 3 albums, cause Cry Out is nothing short of stunning.

Travels well with: Mike Zito & Friends- Rock’n’roll: A Tribute To Chuck Berry; Albert Castiglia- Wild And Free

Kenny Washington

What’s The Hurry

Lower 9th, 2020

8/10

Listen to What’s The Hurry

Amazingly, this is the jazz vocalist Kenny Washington’s first studio album, and he makes the wait worth it as 10 esteemed musicians are on hand to document Washington’s versions of standards that are reinvented in his inimitable formula.

“The Best Is Yet To Come” starts the album with fluid piano, soft percussion and Washington’s smooth pipes guiding the timeless jazz opener, and this continues to the soft and expressive “S’Wonderful”, where warm guitar lines from Jeff Massanari illuminate the mood.

Deeper into the record, “Bewitched, Bothered And Bewildered” offers a romantic setting of emotive song craft, while “Invitation” is a percussively strong and adventurous album highlight where bongos from Peter Michael Escovedo adds much to the formula.

Near the end, “No More Blues (Chega De Saudade)” shuffles playfully with piano acrobatics from Josh Nelson, bright clarinet from Victor Goines and, of course, Washington’s versatile vocals, and “Smile” exits the listen in ballad territory with bare instrumentation alongside delicate singing.

Washington has made plenty of appearances on other albums, and this effort with him at the helm is an easily embraceable debut as the veteran sure has a knack for putting his charismatic stamp on timeless songs that can result in even better versions than the originals.

Travels well with: Alberto Pibiri- Jazz Legacy; Denise Mangiardi- Brown Book

Adrian Knight

Pleasure Center

Galtta, 2020

9/10

Listen to Pleasure Center

Adrian Knight is a constant source of creativity as he’s consistently exploring various avenues of experimental pop ideas with his song craft. This time around, the artist has outdone himself, as he dishes out large helpings of synth amid the extremely mature melodies of the aptly titled Pleasure Center.

“Airport” starts the listen with the soothing sounds of the ‘70s with soft, soulful vocals alongside pop melodies, and the title track follows with drums from Michael Advensky and woodwinds from David Lackner, who also mastered the record, on the hazy, layered, throwback pop formula.

Further along, “Invisible Man”moves with a smooth beat as Knight’s versatile pipes illuminate the disco friendly atmosphere, while “Lasertown” benefits greatly from Lackner’s contributions on the album highlight that’s swift, rhythmic and retro in all the best ways.

The final two tracks are “Night Falls” and “Waiting For A Ride”, where the former glides with a busier display of layered vocals, and funky instrumentation, and the latter might soundtrack a roller skating experience in another decade with its nostalgic arrangements and feel good delivery.

For fans of outsider pop, it just doesn’t get any better than this 6th album from Knight, where well developed lyrics, pristine production and atypical harmonies ensure a good time from beginning to end.

Travels well with: Purelle- Gotta Have It!; Alice Cohen- Artificial Fairytales

Ross Bellenoit

Where Does The Light Go?

Self-Released, 2020

8/10

Listen to Where Does The Light Go?

A guitarist, composer and producer, Philadelphia’s Ross Bellenoit is in fine company here as members of The Stray Birds and Amos Lee help him flesh out 11 Americana influenced tunes where themes of love, loss and secrets are present and delivered thoughtfully.

Bellenoit starts the album with the energetic and warm acoustic strumming of the title track, where Americana meets some pop influences, and “For Friends” follows with plenty of rhythm present in the folk inspired setting that’s festive and not short on vocal harmonies, too.

Closer to the middle, “Seventy Two” enters ballad territory where soft piano and pedal steel set the mood, while “Let My Love Be Free” benefits greatly from trombone and clarinet as well as Bellenoit’s falsetto in the romantic atmosphere. “Secret”, one of the album’s best, then recruits a string section in the sophisticated, poetic, sublime delivery.

Near the exit, “Forgiveness” displays excellent guitar work in Bellenoit’s moving Americana formula, and “The Perfect Parade” finishes out the listen soft and expressive and is both cautious and playful.

Bellenoit has an impressive resume, including studying jazz guitar, and he also plays in the funk trio Muscle Tough, as well as the kid’s band Alex And The Kaleidoscope. Let’s hope he still finds plenty of time for his solo work, too, as his formula is one that resonates well and is easy to absorb.

Travels well with: Wilco- Sky Blue Sky; Richard Thompson- 13 Rivers

John Finbury

American Nocturnes- Final Days Of July

Green Flash, 2020

8/10

Listen to American Nocturnes-Final Days Of July

The Grammy and Latin Grammy Nominated composer John Finbury returns with 10 new pieces, where Tim Ray, Eugene Friesen, Roni Eytan, Claudio Ragazzi, Roberto Cassan, Vitor Goncalves and Peter Eldridge help flesh out the intimate tunes in a small ensemble setting.

“Lay Me Down” starts the album with piano and harmonica interacting with much warmth and playfulness, as graceful strings sweep in, and “Final Days Of July” follows with a very soothing classical feel as the cello, piano and accordion all flow together seamlessly.

Closer to the middle, “Fantasma”, the only track with vocals (although they’re wordless), recruits a cinematic quality, while “Halfway There” benefits greatly from intricate guitar work as the accordion mesmerizes in the lush atmosphere. “Storybook Ending”, one of the album’s best, then finds a dreamy place to reside amid dynamic musicianship between the esteemed players.

Near the end, “My Hometown” dishes out exceptional melody in the piano focused climate, and “Waltz For Patty” exits with just Finbury’s piano prowess that gets both swift and frisky as well as soft and introspective.

Finbury uses no percussive instruments on American Nocturnes, as he births a very unique version of classical music where jazz and chamber ideas are never in short supply. With an all star cast on hand, including accordionist Roberto Cassan, who tragically passed away within a week of playing on these sessions, Finbury adds another relative and timeless chapter of inimitable song craft to his catalog.

Travels well with: Dave Stryker With Bob Mintzer And The WDR Big Band- Blue Soul; David Sanchez- Carib

EEP

Death Of A Very Good Machine

Self-Released, 2020

9/10

Listen to Death Of A Very Good Machine

Even though they’ve only been a band since January 2019, El Paso’s EEP play music that sounds like they’ve been together for decades, as the quintet weave timeless melody amid an extremely varied outing that’s rooted in shoegaze on this incredible first album.

“Hogar” starts the listen with a sonically engaging wall of sound where pretty, soaring vocals align with the swift melodica that’s dreamy, psychedelic and oozing with an infectious quality, and “Canal” continues the impressive landscape with a darker approach, as ‘80s post-punk nods enter the loud versus quiet dynamics.

At the mid point, “When It Was Over” pushes and pulls with lush, hypnotic tension, while “Outlast You” recruits some early ‘90s alt-rock tendencies that bristles with much intrigue. Though there isn’t a bad tune present, “Breathless” is especially noteworthy with its soothing haze and elegant mystery where a flute even makes an appearance.

Deep into the record, “Can’t Stop Hurting” brings a busy, blurry climate with precise instrumentation, and the aptly titled “Closer” exits the listen soft and surreal, where a minimalist quality makes a maximum impression.

An effort that’s dripping in reverb and fuzz, all five band members sing, too, and with the age of the members spanning up to 24 years and hints of jazz, blues and classic rock, Death Of A Very Good Machine might just be the most eclectic and best debut album of the year.

Travels well with: My Bloody Valentine- Loveless; Swervedriver- I Wasn’t Born To Lose You

Niels Lyhne Lokkegaard

Sound X Sound (7” Box Set)

Hiatus, 2016

8/10

Listen to Sound X Sound (7” Box Set)

Just when you think you've heard of every idea of a concept album, Denmark's Niels Lyhne Lokkegaard comes up with something no one has thought of.

In this 7” box series he multiplies instruments repeatedly to birth an entirely new, pristine sound. On each 7” a different instrument is run through this vision, and the results are quite unexpected. With a background in jazz, improvisation, and classical music, on the Sound X Sound project he brings science into the equation as he manipulates how the human body interprets music.

Music For Chromatic Tuners uses 30 KORG CA-1 Tuners, and succeeds in manipulating 6 tuners in an experimental fashion on the “Ensemble Piece”, while “Solo Piece” is just Lokkegaard's quivering tuner.

Music For 8 Recorders highlights both alto and soprano recorders, illuminating them in a way that sounds electronic, yet is still very much from an organic source.

Music For 9 Pianos offers the deep, intense spirit of “Descending Piece”, and the antipodal “Partial Piece”, which is a more unorthodox approach that unfolds in a trance like state.

Music For 18 Clarinets unites the sounds of all the clarinets into a surreal, almost harrowing pattern, while the the B side, “Bass Clarinet”, gives us a deep, low vibration reminiscent of a fleet of low steam boats.

For the percussion minded, Music for 10 Hi-Hats offers “The Outside”, where dark and isolated builds into an army of swift motion, and “The Inside” is a more crisp arrangement that's executed flawlessly.

Probably the most unusual of the installment is Music For 15 Shakers. “Fine Grain” is a soothing affair, where the nearly meditative sounds could almost be therapeutic, while “Coarse Grain” is a more rattling effort, like a set of snakes rustling in grass.

Music For 16 Triangles illustrates what the somewhat limited triangle can offer, from the robust, wind chimes on steroids feel of “Triangles” to the less abrasive “Muted Triangles”.

A project that was originally released as 7 individual 7” records, having them all together in one place here really adds to the listening experience. For those adventurous enough to listen, this is really an enlightening journey into an ultra-creative mind.

Travels well with: Tutankhamun- The Art Ensemble Of Chicago; Cinema Cinema- CCXMD

Matthew Snow

Iridescence

Self-Released, 2019

8/10

Listen to Iridescence

A young talent in the jazz scene, Matthew Snow brings his strong bass prowess and composing skills to the 8 originals here, as the sextet flesh out a variety of sounds from hard bop to balladry.

“Amber Glow” starts the listen with bright alto saxophone, spirited trombone and frisky percussion on the jazz flavored fun, and “Blitz” continues that theme with a quick, shuffling pace of dynamic chemistry between the players on hand.

Further along, “Brood” brings the setting to a warm, contemplative tone, while “Jealousy” offers some of the best percussion alongside careful brass work that even gets funky.

Near the end, “The Change Agent” will have you lacing up your dancing shows with its swift tempo and infectious melodies, and “Venus” ends the listen soulful and trombone heavy on a cautious and thoughtful exit.

Now 7 years into his career in New York City jazz, Snow appears determined to make a name for himself, and Iridescence is certainly a step in the right direction with its fluent and memorable modern jazz.

Travels well with: Roger Kellaway- The Many Open Minds Of Roger Kellaway; Fostina Dixon- Vertical Alignment