Bob Mintzer & WDR Big Band Cologne

Soundscapes

MCG, 2021

9/10

Listen to Soundscapes

The sax wizard, composer, arranger and conductor Bob Mintzer brings his esteemed band to this precisely textured listen that recruits guitars, woodwinds, saxophones, trumpets, trombones, keys and drums to a big band masterpiece.

“A Reprieve” starts the listen with no shortage of melody and rhythm as playful drumming from Hans Dekker complements Mintzer’s sax acrobatics, and “The Conversation” follows with a busy display of Billy Test’s warm piano alongside plenty of warm brass.

Halfway through, “Whack” emits much soul as playful woodwinds accent the very precise jazz climate, while “Canyon Winds” offers a full and dynamic execution of big band prowess that includes strong trumpet work that won’t go unnoticed. “Herky Jerky” then moves with an irresistible energy of swinging fun amid a timeless landscape of classic jazz spirit.

Residing near the end, “One Music” flows with a swift pace of frisky and stylish musicianship that will get your body moving, and “VM” brings a mature yet adventurous appeal that benefits much from Mintzer’s incredible playing.

Mintzer is in the company of 17 very skilled musicians here, and their collective strength makes for one of the most exciting big band efforts of the year.

Travels well with: Wayne Shorter- Jazz At Lincoln Center Orchestra With Wynton Marsalis; Schapiro 17- Human Qualties

Alex Collins/Ryan Berg/Karl Latham

Together

Dropzonejazz, 2021

8/10

Listen to Together

A collaboration between 3 esteemed musicians, Alex Collins, Ryan Berg and Karl Latham turn in some modern interpretations of timeless standards here, where their exciting interplay and no lack of solos make for a technical and adventurous listen.

“Stella By Starlight” starts the listen with twinkling keys from Collins, as Berg’s playfully plucked bass and Latham’s restrained drumming guide the frisky jazz climate, and “Alone Together” follows with a quicker pace of flawless dynamics between the trio, where flowing melody invades the precise song craft.

Halfway through, “On Green Dolphin Street” allows each player to shine in their own radiant light and which swings with much allure, while “Polka Dots And Moonbeams” takes a calmer approach amid much beauty that showcases keys as subtle drumming adds much to the reflective climate.

At the end, “Night Dreamer”, a Wayne Shorter tune, builds into a dizzying and meticulous display of modern jazz prowess, and “Invitation” exits the listen with fascinating finger acrobatics from Collins, though Berg and Latham’s contributions won’t go unnoticed on the highly intricate finish.

Let’s hope that these 3 aren’t done working together, cause their chemistry and arranging skills put a fresh coat of paint on already great tunes, essentially making them even more enticing in their contemporary jazz vision.

Travels well with: Kendall Carter- Introducing Kendall Carter; Gabor Lesko- Earthway

The Chris Ruben Band

Madness On Repeat

Self-Released, 2021

8/10

Listen to Madness On Repeat

A very diverse New York City outfit, though Chris Ruben and his band might be funk at their core, they flirt with indie-rock, alt-rock, blues and psychedelia on this energetic and exciting album, where comparisons to artists as wide as RHCP, Prince and The Beatles would be appropriate.

“Unsure” starts the listen with Russ Benjamin’s fluid drumming, bouncy bass work thanks to Brendan Allen and smooth vocals in a very funk friendly and lively rock formula, and “Won’t See You” follows with an initially calmer approach that bursts into a gritty yet melodic version of alt-rock.

Further down the line, the soulful and dance friendly “Starfish” recruits spirited, bluesy guitar work, while “Prayer For Sadness” emits a soaring and rhythmic quality in a busy but precise climate. “Tell Me Why”, one of the album’s best, then showcases their keen sense of funk dynamics amid a punchy, harmonic delivery.

Approaching the end, the psychedelic flavored “Give It Up” offers some scrappy garage rock sensibilities, too, and “Hernia” exits the listen with smooth sax from Frank Lovine, complicated drumming and an undeniable chemistry between the six members.

Ruben and company bring us a great time here that just begs to be heard live, and it’s an effort that’s easy to enjoy, difficult to forget, and one that warrants multiple listens.

Travels well with: George Porter Jr. & Runnin’ Pardners- Crying For Hope; Dumpstaphunk- Where Do We Go From Here

Keeton Coffman

Hard Times

Self-Released, 2021

8/10

Listen to Hard Times

A Texas heartland rocker with a strong storytelling ability, the aptly titled Hard Times from Keeton Coffman presents us with 10 tracks that were often penned when his bipolar and OCD diagnoses were at their peak.

Coffman starts the listen with the breezy and melodic, acoustic guitar fueled “Midland”, where his smooth yet gritty vocals are met with flowing rural rock, and “Wounded Heart” follows with a soaring and swift display of emotive and bright Americana influenced ideas.

At the midpoint, “Rumors” enter balladry, where much cautious beauty builds into a piano friendly, ebullient landscape, while “Rivertown” moves swiftly, amid soulful keys, thumping drums and fluid guitar work.

Approaching the end, “Hurricane” mixes a rugged roots climate with Coffman’s strong pipes being complemented by firm piano, and “Back Roads” exits the listen with a pretty duet, where dreamy guitar and charming intimacy make for a finish that comes much too soon.

It’s hard not to think of names like Springsteen and Mellencamp when listening to Hard Times, which could never be a bad thing, as the former gymnast sets himself up for a remarkable solo career with his heartfelt, memorable and timeless song craft.

Travels well with: Trapper Schoepp- May Day; Steve Marriner- Hope Dies Last

Jeff Stadelman

Signaling

Infrasonic Press, 2021

8/10

Listen to Signaling

The veteran musician Jeff Stadelman is well versed in orchestral sounds, and here goes the opposite direction and brings us his first album entirely of electronic music.

“Elektron Boxes” starts the listen with warm keys as buzzing synth enters the playful and bright atmosphere, and “Hawaiian Radio” follows with a nearly sci-fi climate that’s mysterious, unpredictable and approaches videogame-esque territory.

There’s 15 tracks present, and all are quite fun. The middle tracks are among the best, including the dance friendly feel of “Exercise”, while the carnival spirit of “Milwaukee” is a pleasant surprise. “Whelmer”, one of the best tracks, then spends 8 minutes mesmerizing us with its bare moments versus busy manipulation of analog ideas.

Close to the end, “West Of Pound” offers dense synth acrobatics amid charming, frisky percussive sounds, and “Monophony, Michigan” exits the listen with a brief, calm finish of synthetic drumming, faint keys and a surreal backdrop of warmth.

Recorded during the onset of Covid, Stadelman tinkered with these technology based sounds while sequestered away from the world, seemingly reaching out with his minimalistic and artistic formula of looping, beats and hip-hop nods that you’re not likely to forget anytime soon.

Travels well with: Gilles Poizat- Champignon Flamme; Submarine FM- Crawl

Mirabai Ceiba

The Quiet Hour

Spirit Voyage, 2021

8/10

Listen to The Quiet Hour

The duo of Markus Sieber and Angelika Baumbach, as Mirabai Ceiba the pair deliver a drum and percussion free listen with the appropriately The Quiet Hour, where contributions on strings help illuminate their meditative formula.

“Ma” starts the listen with no shortage of atmosphere as precisely plucked strings and wordless vocals float in a dreamy, meditative climate, and “She” follows with soft, expressive singing in a bare, poetic delivery.

In the middle, “Take On A Thousand Forms” recruits Margéta Irglová on vocals for the light and harmonic delivery, while “Que Quede Escrito” takes on a emotive quality, where sparse keys complement the moody strings amid the Spanish ballad.

Approaching the end, “Ra Ma” uses repetition strategically in a hypnotic and absorbing 11 minutes, and “The Time Given To Us” exits the listen with much beauty alongside a sublime intimacy that’s both charming and surreal.

Baumbach wrote some of this album while on a solitary retreat, and it certainly lends itself to a tranquil affair, where well placed harp, cello, lovely singing and guitar from both members make for a uniquely serene body of work that is much needed in these often abrasive times.

Travels well with: Chrystal Für- Elusion; Orions Belte- Villa Amorini

Steve Dawson

at the bottom of a canyon in the branches of a tree

Pravda, 2021

8/10

Listen to at the bottom of a canyon in the branches of a tree

The frontman for Dolly Varden, the multi-instrumentalist and singer-songwriter Steve Dawson puts his vivid storytelling to good use here, where tales of faith lost and artistry reborn unfold in his powerful and rich song craft on this very eloquent solo effort.

“This Is All There Is” starts the listen with a soulful, ‘70s angle where Dawson’s smooth pipes glide alongside warm keys and spirited, bluesy guitar work, and “Forgiveness Is Nothing Like I Thought It Would Be” follows with a calm display of delicate folk ideas amid subtle lap steel and Dawson’s poetic singing.

Closer to the middle, “She Knew” offers a sparse, expressive display of intricate acoustic guitar in a dreamy setting, while “Hard Time Friend” takes help from Alton Smith on piano as moving and memorable soft rock radiates an emotive timelessness. Smith then returns on “I Will Never Stop Being Sorry”, as much beauty enters an accordion flavored waltz.

Landing close to the end, “We Are Walking In A Forest” recruits Diane Christiansen on the charming harmonic duet, and the title track finishes the listen with a lush, breezy climate while showcasing Dawson’s strong acoustic and electric guitar work.

Dawson retains the Americana sensibilities of Dolly Varden while also taking nods to his folk inspired work in Funeral Bonsai Wedding, and his use of guitars, drums, keys, lap steel, accordion, dulcimer and harmonium spotlights his many talents on this retro-pop and Chicago soul tinted peek into a very creative mind.

Travels well with: Tim Foljahn- I Dreamed A Dream; Spencer Cullum- Coin Collection

Rochelle Sennet

Bach To Black

Albany, 2021

8/10

Listen to Bach To Black

The pianist Rochelle Black interprets works from J.S. Bach and several black composers on this 3 disc release, where the varied selections possess similarities in key and rhythmic energy, and her incredible manipulation of the piano keeps the listener enthralled for the entire 76 minutes.

“English Suite No. 5 in E Minor, BWV 810” starts the listen with Sennet’s dancing keys moving so flawlessly and with plenty of grace and melody in the spellbinding opener, and “Four Characteristic Waltzes, Op. 22” follows with a cautious, very warm spirit as much intimacy develops.

Further on, “four dances for Boris” glides with playful, jumpy keys that radiate much talent, while “Contrasts” strings together several chapters that span romantic to mysterious and even bare amid much beauty. “English Suite No. 1 in A Major, BWV 806”, one of the record’s best, then showcases an inimitable talent as the piano work is quite complicated but universally enjoyable.

At the end, “English Suite No. 4 in F Major, BWV 809” moves with a profound energy of daring finger acrobatics, and “Three Movements For Piano” exits the listen with a very diverse and reflective tone that’s capable of atypical, almost jarring moments, as well as sublime, delicate song craft.

An album with the purpose of stimulating conversation revolving around inclusion in the classical music scene, Sennet enlightens us with her timeless, flexible and stirring vision.

Travels well with: David Maslanka- The Red Door; Doug Bielmeier- Ambient Works

Keith Curtis

Happiness Is Hard

Self-Released, 2021

8/10

Listen to Happiness Is Hard

A Minneapolis singer-songwriter who’s been plugging away for a decade now, this first EP from Keith Curtis showcases his indie-folk and Americana influenced vision across 3 warm and eloquent acoustic tracks.

“Taking Off And Landing” starts the listen with flowing, warm and intricate acoustic guitar as Curtis’ poetic and expressive vocals emit much beauty in the folk influenced climate, and “Read Good Love” follows with a slower pace and more rugged singing that recruits restrained drumming, picked guitar and strategic harmonica.

“Calculate” exits the listen with aching pedal steel from Kenny Wilson in a sublime delivery of dreamy, emotive song craft that puts a firm exclamation point on the timeless and thoughtful appeal of the entire EP.

A versatile effort that touches on blues, country, indie-rock, roots and folk, Keith Curtis knows his way around a song you won’t soon forget, and let’s hope an album is on its way, cause it has the potential to be monumental.

Travels well with: Jay Stott- Wreckage Of Now; Joe Bourdet- Meadow Rock

David Maslanka

The Red Door

Albany, 2021

8/10

Listen to The Red Door

The clarinet wizard Jeremy Reynolds brings us the complete works of David Maslanka for clarinet, where he takes help from Heidi Brende Leathwood on piano, Yumi Hwang-Wiliams on violin and Basil Vendryes handing viola on the 2 disc effort that’s been in the making since 2008.

“Three Pieces For Clarinet And Piano” starts the listen with 3 movements that display playful, unpredictable and even cinematic moments that can be sparse with just light keys, as well as busy, even jarring, with squealing clarinet and firm playing from Leathwood.

The middle portion of disc 1 brings the tense “Fourth Piece For Clarinet And Piano”, as well as the bare and sublime “Little Symphony For Solo Clarinet”, both of which display Reynolds’ vast clarinet skills. “Eternal Garden For Clarinet And Piano” exits the first half of the listen, and quickly builds from a calm introduction into a firm, ebullient execution of precise yet intense musicianship.

Disc 2 leads with “Trio No. 1 For Clarinet, Violin And Piano”, where Hwang-Williams’ strings add much to the diverse climate, and “Images From ‘The Old Gringo’ For Clarinet, Violin And Piano” finishes off the listen with a frisky and fascinating interaction between the 3 players.

Though the musicians had the benefit of Maslanka collaborating with them up until 2017, he then passed away, and this very articulate and meticulous recording, which collects some pieces being heard for the first time, pays homage to his spirit with much care and talent.

Travels well with: Doug Bielmeier- Ambient Works; Dave Walther- Distance

Helsinki-Cotonou Ensemble

Helsinki-Cotonou Ensemble

Self-Released, 2021

9/10

Listen to Helsinki Cotonou Ensemble

A 5th album that spans countries, continents and cultures, the Helsinki-Cotonou Ensemble deliver a record that advises us to stay strong during these unusual times, and their inimitable brand of West African Voodoo and Afrobeat is as diverse as ever.

“Min He Mon Égbé - The One Who Sees Today” starts the listen percussively strong, as soulful and smooth vocals from Noel Saizonou and rhythm and melody guide the cultured, dreamy landscape, and “The Craft” follows with Synik’s hip-hop prowess adding much energy to the light brass bouts and Visa Oscar’s keyboard acrobatics.

In the middle, “The Transition” benefits much from Mikko Pettinen’s trumpet and Joakim Berghall’s saxphone in the brief, sublime, jazz influenced instrumental, while “Aya Djidjè Na Minkpo - Happiness for All” places well timed keys amid playful percussion and expressive singing that builds into a punchy and soaring landscape.

Further yet, the snappy, “Hou Heto Alôkpa Homin - The Palm Lines” emits a pop flavor alongside dance friendly nods, and “Do Akon Kpikpan - Stay Strong” exits the listen in piano balladry, where soft, emotive singing builds into a nearly cathartic display of drums, brass and guitars- the latter superbly delivered by one of the founders, Janne Halonen.

An 8 piece who have been at it since 2012, Helsinki-Cotonou Ensemble have released consistently great albums every 2 years, and this self-titled adventure is yet another must hear record for those who enjoy funk, jazz, soul, hip-hop and traditional African ideas meshed into one very inviting formula.

Travels well with: Avishai Cohen- Two Roses; N.O.A.- Afterallogy

John Amadon

Monarchs Of The Spukhaus

Self-Released, 2021

8/10

Listen to Monarchs Of The Spukhaus

The singer-songwriter and multi-instrumentalist John Amadon is now 5 albums deep, and his throwback pop and rock formula unfolds here across a dozen tracks where he takes help from Scott McPherson (drums), Paul Brainard (pedal steel, vibrato guitar) and William Slater (piano).

Amadon starts the listen with the retro-folk melodies of “Poor Teresa”, where crisp drumming and jangly guitars make an immediate impression, and “Entering A Northwest Town” follows with a calmer pace of keys, soft vocals and a dreaminess that’s full of beauty and breeziness.

Further down the line, “Harvest The Clones” recruits a nostalgic pop-rock spirit amid intricate guitar playing, while “Lighthouse Keeper” is a buzzing and busy folk rocker that’s quite in line with today’s indie-rock scene. “Parable Of The Lone Mare”, one of the record’s best, then emits a thicker display, where psychedelic nods are appreciated alongside the firm rock’n’roll.

Approaching the end, “To Get Back Home” is a folksy strummer that touches on Americana in its poetic delivery, and “Here You Are” exits with a cautious, eloquent and heartfelt take on Amadon’s brand of pop.

Amadon mixed and recorded the album, a first for him, and he did a great job documenting his timeless song craft. An artist who doesn’t spend much time playing shows or promoting his work, this humble body of work speaks for itself and radiates much charm and memorableness.

Travels well with: Reuben And The Dark- un/love; Birdtalker- One

Wild Earp And The Free For Alls

Dyin’ For Easy Livin’

Western Myth, 2021

8/10

Listen to Dyin’ For Easy Livin’

Although they hail from Chicago, Wild Earp and his band certainly sound they should be riding horses along a dusty gravel road, as their classic country and cowboy rock formula spreads out across 12 very unpredictable and exciting tracks.

“Ain’t It A Shame (When Your Horse Goes Lame)” starts the listen swiftly, where energetic country rock and soothing, backing female vocals as Felipe Tobar’s agile fiddle complements the radiant opener, and “Livin’ The Life” follows with Alan Maniacek’s precise drumming anchoring the swingin’ fun.

Closer to the middle, “Ain’t Nobody’s Business But My Own” showcases Sweet Sassy Molassey’s lovely pipes amid an upbeat and infectious honky tonk climate, while “Big Mistake On Daddy’s Dime” gets a bit gritty with Jed Taylor’s spirited guitar work highlighting the southern rock atmosphere that welcomes pedal steel from Robert Daniels. “Playin’ With House Money”, another superb track, then puts Taylor on vocals alongside a busy, rural rocker that you could dance to or that might even incite a bar room brawl.

The last two tracks don’t disappoint either, as Sweet Sassy Molassey takes the lead on the sublime “Two ‘Til Midnight” alongside Brian Wilkie’s pedal steel, and “I Wanna Go” exits the listen on a playful yet cautious alt-country setting that’s universally enjoyable.

Earp and company are nothing if not a good time, and whether you’re looking to go line dancing, drown your sorrows or just want to be enamored with some timeless, country tinted, indie-rock, you won’t be disappointed here.

Travels well with: Annie Keating- Bristol County Tides; Ted Russell Kamp- Solitaire

Jazz From Planet Flippo

Dedications

Oppilf, 2021

8/10

Listen to Dedications

Dr. Dave Flippo and his band bring us a very collaborative effort here, where Donn De Santo, Dan Hesler, Heath Chappell and occasionally Aras Biskis lay down 8 originals and 3 covers that are quite diverse and never short on melodies.

“Too High” gets the album off to a lively start with Hesker’s bright sax and Flippo’s agile keys adding much playfulness to the free jazz spirit, and “Finch House” follows with dreamy flute thanks to Hesler, as Chappell’s skilled drumming anchors the warm and melodic climate.

Arriving in the middle, the infectious and groove filled “Rehab” benefits much from Flippo’s diverse keys and Hesler’s meticulous sax, while “Freewheelin’” brings a very modern jazz approach to the Flippo original. “Karma Police”, an absolute brilliant track, then puts a clever spin on the Radiohead classic with precise bass work from De Santo.

The finals two tracks, both of which are originals, include “Spring Joy” and “Metamorphosis”, where the former glides swiftly with fascinating dynamics between the quartet, and the latter exits with 10 minutes of sometimes busy and other times calm and intricate songwriting.

An active outfit since 1992, Flippo’s current version of the band includes some of Chicago’s finest players, and their vast skill along with Flippo’s inimitable vision make Dedications an imaginative and really fun listening experience for the jazz inclined.

Travels well with: The Chris Saunders- Dancing With The Widow St. James; Francesco Amenta- Midtown Walk

James

All The Colours Of You

Virgin, 2021

9/10

Listen to All The Colours Of You

A band for nearly 40 years now and 16 albums deep, James starts this meticulous record with the line ‘We’re all gonna die’, which gives you a good idea of where things are heading thematically with All The Colours Of You.

“Zero” leads the listen with much atmosphere and light keys as a dreaminess enters the expressive and even prog-like climate, and the title track follows with a quicker pace of tense and melodic indie-rock and ‘80s pop that very insightfully discusses today’s social and political climate.

Further on, “Whatever It Takes” recruits playful synth buzzing and electro-pop nods in a club friendly display that alternates between singing and talking, while “Hush” blends much beauty and style into a mesmerizing and warm climate of cautious, even surreal song craft. “Getting Myself Into”, one of the album highlights, then brings bright piano and some of the best singing to a lively rocker that could fill arenas.

Deeper yet, “Isabella” offers a fuzzy and post-punk indebted execution that points toward their Manchester roots, and “XYST” exits the listen with a thumping and meticulous mashing of beats, harmonic singing and eccentric guitar work.

A very topical listen, while the subject matter is often bleak (not surprising considering the state of the world right now), All The Colours Of You contains plenty of optimism as James layers their music heavily and steps into avenues previously unexplored. Few bands will ever be as consistently good as James, as evidenced by this substantial record.

Travels well with: Paul Weller- Fat Pop (Volume 1); Joe Strummer- Assembly

Mars Hall

Is Anybody Out There?

Self-Released, 2020

8/10

Listen to Is Anybody Out There?

A midwest outfit with an affinity for guitar rock, the quartet Mars Hall embrace nostalgic rock but certainly aren’t strangers to modern ideas, too, as all 4 members sing across these powerful and carefully crafted tunes.

“Get In The Car” starts the record with thumping drums from Tim Karbowski and strong riffs thanks to Jef Hinds as both grit and melody meet with a thick rock’n’roll presence, and “Love Is A Road” follows with both calm and firm moments of diverse, rhythmic sounds that balance rawness with tunefulness.

In the middle, “One Chance” highlights Jon Scott’s throbbing bass work alongside smooth singing that welcomes an anthemic quality, while “Overkill (The Ballad of Sid & Nancy)” trims the pace back with ‘80s nods as well thought out lyrics follow suit to the precise instrumentation that’s rugged and pretty. “Amnesia”, the album’s best, then recruits crunchy guitar and an irresistible energy to a grungy alt-rocker.

Landing near the end, the dreamy cover of “Eleanor Rigby” is a playful and soaring adventure into retro fun, and “Is Anybody Out There” exits the listen with a prime example of all the things we love about rock music- emotion, a meticulous rhythm section and memorable song craft.

Mars Hall have already played some of the biggest stages in their home state of Wisconsin, and with top notch records like this, it won’t be long until they’re making fans across the globe.

Travels well with: Dizzy Box Nine- Radio Fiction; The Guilty Lenses- Somewhat Romance, Somewhat Poetry

Al Hammerman

Just A Dance

Self-Released, 2021

8/10

Listen to Just A Dance

A veteran composer who has penned some well known songs for TV and commercials, Al Hammerman returns with his 5th album, and he’s got pop, jazz, blues and Latin influences in his arsenal that are fleshed out by an all star cast of musicians and vocalists.

“What Else” starts the listen with Alan Ox’s smooth, bright vocals guiding Miles Vandiver’s precise drumming and Jason Swagler’s alto sax prowess, and “Everybody Knows” follows with Erin Bode’s expressive pipes alongside Phil Ring’s melodic guitar and solos on alto sax thanks to Ben Reece, as the setting touches on pop influences.

Deeper into the listen, “In LA” displays R. Scott Bryan’s playful percussion amid Arvell Keithley’s soulful singing and Garrett Schmidt’s trumpet solo that won’t go unnoticed, either, while “Just A Dance” recruits Abbie Steiling’s stirring violin into a calm setting of orchestral qualities that benefit much from Feyza Eren’s poetic vocals. “Sad Sunny Day”, one of the album’s best, then brings back Bode’s pretty singing and plants a keyboard solo from Mark Maher in the middle of the mature, jazz friendly climate.

As we enter the end, “Keep Keep’n On” showcases Owens’ fluid voice in an upbeat and glorious atmosphere of radiant brass and soothing backing vocals, and a 2nd version of “Just A Dance” exits the listen with Eren’s emotive singing accented by warm piano and moving violin.

Thankfully, Hammerman doesn’t hide his influences from Gershwin, Porter and Jobim, and his vision certainly runs parallel to the Great American Songbook across this timeless and exceptional body of work.

Travels well with: Joel Frahm- The Bright Side; Winnipeg Jazz Orchestra- Twisting Ways

Alwanzatar

Den Glemte Dalen

Apollon, 2021

9/10

Listen to Den Glemte Dalen

The solo project of Krizla, who might be better known as a member of the Norwegian legends Tusmørke, on this 4th album on his own the multi-instrumentalist balance flutes and synthesizers with plenty of electronic manipulation in psychedelic and fascinating ways.

“Krystallenes forhekselse” starts the listen with dreamy flutes before a very atypical electronic presence enters with spacey, videogame-esque sounds alongside an almost meditative quality, and “Byen leggus i grus” follows with a mysterious, even ominous appeal of experimental prog-like prowess.

The middle track, “Tveita boogie”, buzzes with an inviting sci-fi energy that even flirts with New Age tendencies, while “Supermane over Orion” gets a little funky before transitioning into a busy and club friendly atmosphere. “Maskinbansull”, the final track, then brings much ambience to a precise and charming display of cinematic, droning exploration.

It’s pretty unlikely you’ve heard anything before that resembles Alwanzatar’s mashing of flutes and beats buried in between prog, psychedelia and even Krautrock, but you’ll probably want to devote even more time to the adventure, cause it’s quite alluring in its diverse nature.

Travels well with: Tusmørke- Nordisk Krim; Meer- Playing House

Anders Buaas

Tarot

Apollon, 2021

9/10

Listen to Tarot

A veteran musician who has been a touring guitarist for Paul DiAnno and Tim Ripper Owens and who also plays solo under the name The Witches of Finnmark, here Anders Buaas offers us 22 very unconventional pieces that describe the 22 cards in Tarots Major Arcana.

“The Fool” starts the listen with swift acoustic guitar before a firm drum beat and spirited electric guitar enter a folk, blues and prog-friendly climate, and this creativity continues to the playful string acrobatics of “The Magician”, as well as the reserved, cinematic “The Empress”.

The middle tracks don’t disappoint either, and include the percussively strong and intricate guitars of the dreamy “The Chariot”, while the bright and sunny “The Hermit” recruits some post-rock nods amid its agile melodies. “Justice”, one of the record’s best, then gets a bit more rugged as thick layers of rock, prog and folk enter the very eclectic landscape.

Closer to the end, “The Moon” offers much beauty in a poetic and meticulous display, and “The World” exits the listen with both busier moments and calm, sparse ebbs of beauty.

A very daring listen that touches on folk, rock, jazz and all sorts of prog-rock ideas, Buaas plays bass, several guitars, drums, mandolin, keys, percussion and theremin on this highly imaginative and carefully crafted effort.

Travels well with: Ole Teigen- Aske og Jord; Pymlico- On This Day

Zachary Lucky

Midwestern

Wroxton, 2019

9/10

Listen to Midwestern

A Canadian road warrior who embraces all the hallmarks of Classic Country sounds, Zachary Lucky is now a family man, and Midwestern surrounds those themes as the troubadour delivers heartfelt and genuine song craft.

“There Was A Time When I Used To Run” starts the listen with a timeless country delivery of warmth and rustic beauty, where Lucky does some talking, too, and “No Shame In Working Hard” follows with soothing pedal steel and brushed percussion on the authentic, rural feel.

Elsewhere, “Moments Of Time” moves with an emotive delivery of forthrightness and gentle strumming, while “Sunday Mornings At The Dragstrip” delivers vivid storytelling amid a rugged execution of Lucky’s organic formula.

Near the end, “Raining In December” keeps the setting bare with subtle power, and “Sometimes I Wonder (How I Got This Far)” ends the affair sophisticated and dreamy with precise instrumentation.

A record with a very spontaneous feel, Midwestern was recorded live off the floor and straight to tape, and Ontario’s finest help Lucky with dobro, pedal steel, fiddle and upright bass. Ultimately a listen about reflection and responsibility, it’s a mature and sincere outing, and one that warrants repeated listens.

Travels well with: Kacy & Clayton- Carrying On; Terra Lightfoot- New Mistakes