The Tronosonic Experience

The Shadow Vol II

Apollon, 2022

8/10

Listen to The Shadow Vol II

The Tronosonic Experience, i.e. Ole Jørgen Bardal (saxophones), Øyvind Nypan (guitars and electronics), Jan Inge Nilsen (drums), and Per Harald Ottesen (bass guitar) sure do impress with this 2nd installment of The Shadow, where retro prog-rock, adventurous jazz moments and even some punk filled bouts are in attendance.

After 22 seconds of the ominous atmosphere that is “Undertow (Slight Return)”, “The Shadow Of The New Pretorian” follows with meticulously plucked bass lines and acrobatic drumming that expands across 12 minutes of prog-rock and iconoclastic jazz exploration.

“Supernova” and “Beehive” land in the middle, where the former showcases soulful sax amid a spacey landscape, and the latter booms brightly and escalates into a thumping and loud jazz rocker. “Dunes” exits the listen, and recruits a mysterious, cinematic quality in a haunting, sci-fi sort of way.

An extremely unpredictable and exciting peek into some experimental and avant-garde songwriting, there just isn’t a moment here that’s not worth revisiting.

Travels well with: The Tronosonic Experience- The Shadow Vol !; Major Parkinson- A Night At The Library

The Tronosonic Experience

The Shadow Vol. 1

Apollon, 2022

8/10

Listen to The Shadow Vol. 1

An Oslo, Norway outfit who are well versed in hard rock, prog-rock, jazz and even modern radio rock, The Tronosonic Experience bring guitar, bass, drums, electronics and saxophone to these highly creative 7 tracks.

“Sheik Pt. 1” and “Sheik Pt. II” open the listen, where frisky drumming, bouncing bass lines and plenty of atmospheric guitar make for adventurous jazz influenced rock, and “The Last Stand” follows with some warm psychedelia entering a very fluid and busy display of retro-rock nods.

On the back half, “Golden Comet” swirls with a punk-jazz meshing that’s sort of like controlled chaos, while “Totak” is quite gentle, even intimate, and finds a nice groove to work with across the 8+ minutes. The final track, “Undertow”, is just 30 seconds of ambient noise, similar to a field recording, and is quite mysterious.

The Tronosonic Experience consists of Ole Jørgen Bardal (saxophones), Øyvind Nypan (guitars and electronics), Jan Inge Nilsen (drums), and Per Harald Ottesen (bass guitar), and their musical vision will appeal to fans of John Coltrane, The Mars Volta, Queens Of The Stone Age or King Crimson, which should include you and everyone you know.

Travels well with: Major Parkinson- A Night At The Library; Gaute Storsve Trio- El Gran Gotzilla

Ariane Racicot

Envolée

MCM, 2022

8/10

Listen to Envolée

The debut album from the pianist and composer Ariane Racicot, the 5 adventurous tunes here showcase the talent of Antoine Rochefort (electric bass), Guillaume Picard (drums), and Martin Plante (drums on the final track), too.

“Vertige” opens the listen with low bass, as warm keys enter alongside the fluid drumming, and “Coffee And Cigarettes” follows with very meticulous piano guiding the rock influenced album highlight.

“Bicycle Ride” arrives in the middle and offers a swift and dynamic version of jazz that’s quite infectious, while “Crépuscule” trims the pace back with Latin flavors mixed into the intimate landscape.

“A ciel ouvert” exits the listen with a more firm approach of thumping drums and agile keys, where progressive rock ideas aren’t in short supply and sure are appreciated.

An exceptional first record, Racicot’s vision is certainly worth a spin for the jazz inclined, and it’s likely you’ll be enamored with her passionate, intense and expressive nature.

Travels well with: Deanne Matley- The Alberta Lounge; Beth McKenna- Beyond Here

Panda Riot

Extra Cosmic

Self-Released, 2022

9/10

Listen to Extra Cosmic

A Chicago outfit who probably own a lot Slowdive and Ride records, Panda Riot bring us swirling melodies and wall of sound pop moments that are spearheaded by Rebecca Scott (vocals, keys) and Brian Cook (drum machine, guitar) on this superb 4th album.

The title track starts the listen and immediately bursts into buzzing dream-pop, where sweet vocals and syrupy pop melodies float with much charm, and “Technicolor” follows with a lush and thick haze of shoegaze friendly ideas that points towards the ‘80s in all the best ways.

Further down the line, “Glitterati” is a bit more rugged and brings some post-punk ideas into the equation, while “Ultramarine” is particularly noisy, with much atmosphere that enters in a very pretty way.

Closer to the end, “Future Shock” puts more emphasis on drumming as a thumping presence gets more firm, and “Magic Only” exits the listen with the quartet getting quite muscular yet cautious and just might make you revisit your My Bloody Valentine records.

Cook and Scott are now joined by bassist Cory Osborne and drummer Brian Hilderbrand. Together, they create a powerful, emotional and diverse version of dream-gaze that unfolds across these 13 truly exceptional songs you won’t soon forget.

Travels well with: Nocturnal Blonde- Still Gushing; Leland And The Silver Wells- Straight To Your Town

Andrea Brachfeld & Insight

Evolution

Origin, 2022

8/10

Listen to Evolution

An important aritst in New York City’s jazz and Afro-Cuban scene for 5 decades, Andrea Brachfeld spent much time thinking about children’s issues during the pandemic, and that reflection is very apparent in these very diverse and thoughtful songs.

“What’s Up” starts the listen with dreamy flute, crisp drumming and much warm piano in the fluid jazz climate, and “Decimation Of Transformation” follows with firm piano and cultured melodies guiding the playful delivery.

“The Hut Song”, by the Inuit duo Tudjaat, lands in the middle and recruits skilled percussion amid the stylish and bebop friendly album highlight, while “Child Of The Earth” showcases exciting spoken word fueling the swift and dynamic meshing of keys, bass and drums.

Shlomo Carlebach’s “Ko Ribon” arrives close to the end, and trims the pace back with eloquent flute adding much to the reflective nature, and “Being With What Is” exits the listen with a dizzying execution of global influences that touch on jazz in exciting, unconventional ways.

Brachfeld is joined by Bill O’Connell (piano), Harvie S (bass) and Jason Tiemann (drums, percussion), and they help make for a very unique and worldly approach to songwriting that you can’t help but appreciate.

Travels well with: Cathy Segal-Garcia & Phillip Strange- Live In Japan; George Cotsirilos Quartet- Refuge

Major Parkinson

A Night At The Library

Apollon, 2022

8/10

Listen to A Night At The Library

An album recorded live from a streaming concert at the Bergen Public Library in 2020, Major Parkinson deliver a very stripped back listen here, where their prog-rock ways are quite artistic and full of vivid storytelling.

The dense piano of “Lover, Lower Me Down” starts the listen, where stirring strings add much grace to the haunting storytelling, and “Black River” follows with chilling female vocals entering the mysterious atmosphere that’s piano fueled.

In the middle, the very elegant and emotive “Strawberry Suicide” pairs firm piano with soaring backing vocals alongside the raw male voice, while “Baseball” is a swift, sometimes intense display of cinematic song craft that’s darkly prog-influenced.

Advancing towards the end, the dreamy “Jonah” also gets gruff and chunky in between gorgeous moments, and “Heart Of Hickory” exits the listen upbeat and dynamic, before quickly escalating into dizzying strings and keys.

This is the first ever physical release of live music from Major Parkinson, and the band’s unique meshing of rock, pop and psychedelia shines in a very intimate setting. Whether this is your first taste of the band or if you’ve spent quite a bit of time their way, you won’t be disappointed with their distinct songwriting.

Travels well with: Brudini- From Darkness, Light; Pymlico- On This Day

Chris Greene Quartet

PlaySPACE 2: Play Harder

Single Malt, 2022

8/10

Listen to PlaySPACE 2: Play Harder

The saxophonist and bandleader Chris Greene heads up a listen that’s witty, humorous and takes help from Damian Espinosa (piano, keyboards, percussion), Marc Piane (double bass, electric bass, percussion) and Steve Corley (drums, percussion) across these 7 engaging tracks.

“Divers” starts the listen with 2 minutes of comical explanation that segues into 13 minutes of rowdy drumming, adventurous brass and warm keys as a very skilled version of jazz fusion unfolds.

Elsewhere, “Caravans” recruits Latin influences, where grooves aren’t in short supply, and the bass and keys work together dynamically, while “Samba Fu Maga” showcases firm drumming and 7/8 time alongside funk moments and fluid melodies. “You Win Again” exits the listen, and brings a bluesy, soulful cautiousness to the Hank Williams original that we’ve all heard before, but never quite like this.

Greene has been performing with a quartet since 2005, and this version has been consistent since 2011. These tracks were laid down mostly live in 2019 in the band’s hometown of Evanston, Illinois, and embrace the cleverness of Dave Attell mixed with the unpredictable jazz nods to Maceo Parker or even John Coltrane, which I doubt anyone is going to have a problem with.

Travels well with: Marcus Strickland Twi-Life- People Of The Sun; Jane Ira Bloom- Wild Lines: Improvising Emily Dickinson

Mike Stevens

Breathe In The World, Breathe Out Music

Stony Plain, 2022

8/10

Listen to Breathe In The World, Breathe Out Music

Mike Stevens knows his way around a harmonica, and here along with a small handful of musicians and a choir, he navigates around many genres and even lends his vocals to 4 tracks, something he’s been hesitant to do in the past.

“Like A Little Bird” opens the listen with gorgeous vocals from Polly Harris to complement the soulful harmonica and acoustic guitar from Jeff Getty, and “Watermelon Pie” follows with a swift display of spirited harmonica and Kevin Breit’s meticulous electric guitar guiding the cozy Americana.

Further on, “Bad In A Good Way” benefits much from Art Hratchian’s skilled drumming as plenty of rhythm unfolds in a swampy climate, while “Jesse’s Request” allows Stevens’ moody harmonica to guide the more haunting delivery.

Near to the end, “Devil’s Ride” is quite rugged and full of gritty singing from Stevens, and “Put Your Phone Down” welcomes mandolin from Andrew Collins in the jam band style finish that meshes drums, harmonica and subtle vocals, too.

Stevens has recently been fighting late stage Lyme disease, which came with troubles such as walking and functioning cognitively. This forced him to play music differently, and this reactionary approach to his craft and makes for a highlight release in a 35 year career, which is no easy task.

Travels well with: Ryan Lee Crosby- Winter Hill Blues; Jefferson Ross- Southern Currency

Michael Orenstein

Aperture

Origin, 2022

9/10

Listen to Aperture

The Los Angeles pianist and composer/arranger Michael Orenstein makes quite an impression with this debut recording, where Logan Kane plays bass, Myles Martin handles drums and several esteemed guests contribute their inimitable skills.

“Opposite World” starts the listen with the meticulous keys and warm bass, as Sam Klein-Markman’s glowing guitar helps illuminate the flowing jazz climate, and “Not Today” follows with a swift and busy display of swirling melodies that benefits from “Chase Jackson’s vibes and Nicole McCabe’s alto sax.

“Sharing The Mirror/Eye Of The One Fingered Sorcerer” arrives in the middle, and showcases Seah Harrison’s alto sax complementing the agile keys, while “21 Rabid Realtors” recruits Sean Harrsion on soprano sax and Barclay Moffitt on tenor sax for the cautious album highlight.

Deeper still, “Reminder” finds itself intimate and expressive with the rhythm section particularly luminous, and “To Come Full Triangle” exits the listen with bass acrobatics and Klein-Markman’s guitar interacting playfully amid the dreamy vibes and radiant brass.

A listen that’s heavily influenced by Herbie Hancock and Billy Childs, Aperture is full of dynamic musicianship that weaves in and out of exceptional jazz textures on this superb first album.

Travels well with: George Cotsirilos Quartet- Refuge; Randy Napoleon- Puppets: The Music Of Gregg Hill

Cathy Segal-Garcia & Phillip Strange

Live In Japan

Origin, 2022

8/10

Listen to Live In Japan

The superb voice of Cathy Segal-Garcia meets the fluid piano prowess of Phillip Strange here, where their dynamic chemistry is highlighted across two discs of tunes that were recorded in Osaka, Japan way back in December of 1992.

"I’m In The Mood For Love” starts the musical portion of the set with the pair interacting with much grace and playfulness in the cozy, classic tune that incorporates some charming scatting, and “You’ve Changed” follows with the ballad turned into Bossa Nova with incredible singing from Segal-Garcia.

Further along, “Day By Day” showcases Strange’s meticulous keys alongside the infectious scatting, while their version of “Alice In Wonderland” flows with much beauty and warmth. “I’ve Got Rhythm” exits this disc, and bounces and shakes with plenty of rhythm.

The back half of the listen offers the frisky musicianship and expressive singing of “This Can’t Be Love”, as well as the intimate and stirring “When You Wish Upon A Star”. “Sentimental Journey”, the best selection from this portion of the listen, then showcases Segal-Garcia’s impressive range in the adventurous climate.

The duo had spent many years traveling together through Japan and Europe when these songs were recorded, and the familiarity and musical bond is certainly evident as they make for a very rich and timeless vocal jazz listen that, despite being 30 years old, sounds quite modern.

Travels well with: George Cotsirilos Quartet- Refuge; Randy Napoleon- Puppets: The Music Of Gregg Hill

George Cotsirilos Quartet

Refuge

OA2, 2022

8/10

Listen to Refuge

The exceptional guitarist George Cotsirilos is in the company of Keith Saunders (piano), Robb Fisher (bass) and Ron Marabuto (drums) for a lively 10 originals that swing playfully and embrace traditional jazz ideas.

“Devolution” starts the listen with a warm energy, where swift keys and agile guitar lines populate the adventurous jazz spirit, and the title track follows with skilled drumming complementing the very meticulous guitar work

“The Three Doves” lands in the middle and emits much beauty in its reflective nature, while “Slacker” recruits plenty of grooves and melody for the album highlight.

Moving towards the end, “Smoke Signal” benefits much from the proficient rhythm section, and “Let’s Make A Break For It” exits with an upbeat climate of dynamic and rhythmic song craft.

A listen that will appeal to fans of jazz from any era, Cotsirilos and company play with much authenticity and skill, and it’s quite likely you’ll find yourself enamored pretty quickly with Refuge.

Travels well with: Randy Napoleon- Puppets: The Music Of Gregg Hill; Rich Pellegrin- Passage

Lily Henley

Oras Dezaoradas

Lior Éditions, 2022

8/10

Listen Oras Dezaoradas

Even though the fiddler, singer and songwriter Lily Henley might best be known in the area of roots and Americana, here she shifts into Jewish Sephardic music, where she sings and writes songs in Ladino, the endangered Sephardic language.

“Duermite Mi Alma” starts the listen with Duncan Wickel’s violin, cello and guitar interacting with much warmth as Henley’s gorgeous, expressive pipes guide the elegance, and “Avre Tu Puerta Serrada” follows with Henley’s violin acrobatics alongside Wickel’s intricate guitar in the cultured spirit.

At the halfway point, “Arvoles Yoran Por Luvya” benefits much from Wickel’s mandolin and Haggia Cohen-Milo’s bass amid the quick singing, while “Oras Dezaoradas” flows with a cautiousness that showcases Henley’s sublime guitar and Wickel’s cello.

Close to the end, “La Galud”, the best track present, displays so much beauty in its poetic demeanor, and “Porke Yorach Blanka Ninya” exits the listen with a darker approach of bare, haunting cello paired with Henley’s stunning pipes.

Henley, along with Wickel and Haggai Cohen-Milo, births new melodies to suit her vision of song craft here, and it makes for a Judeo-Spanish and world music focused affair that turns these time honored ballads into new pieces of art.

Travels well with: Allison de Groot & Tatiana Hargreaves- Hurricane Clarice; Sarah Aroeste- Monastir

String Noise

Way

New Focus, 2022

8/10

Listen to Way

Pauline Kim Harris and Conrad Harris, i.e. String Noise, bring their inimitable violin prowess to these avant-garde compositions that are as versatile as they are creative.

Alex Mincek’s “Way” starts the listen very bare, with faint atmosphere, before the violins drone via strong attention to timbral techniques. Further on, polyrhythmic ideas enter, as higher registers help end the 28+ minutes.

In the middle, “Field”, by Lou Bunk, unfolds across 5 movements, and turns silence into a refined science that embraces the dynamic interaction between the pair, and concludes with half-pitched bow sounds and stirring textures.

The final track, Catherine Lamb’s “(in) tone”, dissects pitch meticulously, and in expressive, subtle ways thanks to its delicate and cinematic nature.

String Noise’s last release, Eric Lyon’s Giga Concerto, spotlighted the pair as soloists alongside the International Contemporary Ensemble. Here, they interpret these esteemed composers with a fascinating understanding of their craft, and it’s a vision that is entirely their own and very much appreciated by the listener.

Travels well with: Marti Epstein- Nebraska Impromptu; Wilfrido Terrazas- The Torres Cycle

Tray Wellington

Black Banjo

Mountain Home, 2022

8/10

Listen to Black Banjo

Although he’s still a youngster, Tray Wellington plays banjo like a seasoned vet on this debut album, where some exceptional talent help him flesh out a modern bluegrass approach that flirts with jazz, too.

“Crooked Mind” opens the listen with Wellington’s banjo acrobatics front and center alongside Avery Merritt’s fiddle in the warm climate, and “Port Of Manzanita” follows with stunning strings, where Wayne Benson’s glowing mandolin won’t go unnoticed.

In the middle, “Half Past Four”, by Ed Haley, showcases Carley Arrowood on fiddle, as much beauty is emitted in the timeless bluegrass, while “Saw A Little Boat” places Wellington on vocals amid Jon Stickley’s precise guitar and Kevin Kehrberg’s well timed bass.

“Pond Mountain Breakaway” arrives near the end, where Lyndsay Pruett’s glowing fiddle is nothing short of stunning, and “Nightfall Rendezvous” exits the listen with Arrowhead back on fiddle to complement Wellington’s swift banjo.

Wellington glides through newgrass, old-time fiddle tunes, jazz fueled moments, and, of course, harmonic bluegrass here, and it makes for a superb first record.

Travels well with: The Little Roy And Lizzy Show- Welcome To The Show; The Grascals- Up All Night

Randy Napoleon

Puppets: The Music Of Gregg Hill

OA2, 2022

8/10

Listen to Puppets: The Music Of Gregg Hill

Randy Napoleon sure does put an inimitable spin on the work Gregg Hill, where he employs vocals, many different instruments, and a versatile approach to jazz across these 11 diverse tracks.

“Andy’s Lament” starts the listen with warm vocal scatting from Aubrey Johnson, as crisp drumming from Quincy Davis and Napoleon’s fluid guitar lines make an indelible impression, and “Fan-O-Gram” follows with a swift and swingin’ pace of playful bass from Brandon Rose and skilled drumming from Will Crandell.

Further down the line, “Moonscape” recruits a dreamy quality thanks to Seth Ebersole’s proficient bass clarinet and airy flute, while “Puppets” showcases Johnson’s sublime pipes amid the cozy textures from Rick Roe’s elegant piano and Napoleon’s soulful guitar.

“Truck Driver’s Blues” arrives near the end, and benefits from Gregg Hill’s lyricism as an intimate climate unfolds, and “Wide River” exits the listen with Napoleon’s lyrics helping make for a cautious and thoughtful duet that just might be the best selection present.

A lively affair that touches on the blues and soul and bops and waltzes playfully, Napoleon and company sure do justice to Hill’s work on this radiant body of work.

Travels well with: Ben Markley Big Band With Ari Hoenig- Ari’s Funhouse; Rich Pellegrin- Passage

The Little Roy And Lizzy Show

Welcome To The Show

Mountain Home, 2022

8/10

Listen to Welcome To The Show

Lizzy Long and Little Roy Lewis return with their first new music in nearly three years, and their gospel influenced, bluegrass sounds better than ever as both originals and covers unfold with an esteemed band at their side.

The title track opens the listen with Matthew Songmaker’s harmony vocals and mandolin adding much to Lizzy’s sublime pipes and Roy’s banjo acrobatics, and “God’s Been Good” follows with a calm demeanor as Sally Sandker’s harmony vocals and Gordon Mote’s graceful piano add that much more beauty.

Halfway through, “Give Me The Roses While I Live” benefits much from Holger Olesen’s bass fiddle in the poetic climate, while “Till The Sun Goes Down” moves swiftly with Lizzy handling rhythm guitar and fiddle on the timeless bluegrass.

“Rainbow Stew” arrives near the end and showcases Lizzy’s expressive pipes amid the precise banjo, fiddle and mandolin, and “Let Me Go, Wicked World” exits the listen upbeat, harmonic and with infectious vocals and dobro thanks to Olesen.

An album with no lack of sing-alongs, fluid harmonies and dynamic interaction between the players, they even toss in an excellent cover of REO Speedwagon’s “Time For Me To Fly”. For fans of both traditional and modern bluegrass, you won’t be disappointed here.

Travels well with: Carley Arrowood- Goin’ Home Comin On; The Grascals- Up All Night

Dopapod

Dopapod

Self-Released, 2022

8/10

Listen to Dopapod

A cosmic quartet consisting of Eli Winderman (keys, vocals), Rob Compa (guitar, vocals), Chuck Jones (bass), and Neal “Fro” Evans (drums), Dopapod produce a very enticing brand of fusion-rock on this 7th album, where instrumentals and vocal led tunes unfold with much precision.

“Think” opens the listen with 6 minutes of initially soft and soothing prog sounds that occasionally burst into louder swells of classic and hard-rock moments, and “Building A Time Machine” follows with firm versus delicate moments that mix crisp drumming with warm keys and plenty of soaring guitar work in an off kilter sort of way.

Deeper into the listen, things get pretty funky with the groove friendly bass of “Grow”, while “Nuff” brings soulful singing into some slight bluegrass nods that are unexpected but quite interesting.

Approaching the end, “Happy Accident”, the album’s best track, then shimmers with a cozy spirit of timeless prog-rock, and “Time Is Funny” exits the listen with breezy melodies and a swift pace of retro-rock that will always be relevant.

A listen that’s truly unclassifiable, which is certainly part of Dopapod’s charm, there’s a nice balance between energetic and calm song craft, and the band’s unpredictable nature makes for plenty of surprises along the way.

Travels well with: Calling Cadence- Calling Cadence; Dave Potter And Retro Groove- Dave Potter And Retro Groove

No Metal In This Battle

Disco dans ta cave/Fano

Don’t Trust A Bear, 2022

9/10

Listen to Disco dans ta cave/Fano

A very unique outfit from Luxembourg, no metal in this battle uses post-rock, math-rock, kraut-rock and afrobeat to their advantage, and these 2 new tunes further defy classification while leaving the listener in awe of their exciting formula.

“Disco dans ta cave” gets the listen off to a rhythmic and laid back start, where precise drumming, post-punk guitars and bouncy bass meet at a place where jazz, funk and Afro-beat reside.

“Fano” exits the listen, and thumps a bit more firm, where thundering post-rock, throbbing bass and plenty of calmer moments reside between the groove filled moments that flirt with psychedelia and funk.

A band who may remind you of Fugazi, Soft Machine, Maserati or even Fela Kuti, 2 songs just isn’t enough of no metal in this battle’s eclectic version of rock. Fortunately, repeated plays settle in quite nicely and never out welcome their stay.

Travels well with: Unik Ubik- I’m Not Feng Shui; Serena Ferrara & Simone Mor- Kemana

Blue Amber

Rockland’s Workshop

Self-Released, 2022

8/10

Listen to Rockland’s Workshop

A debut album inspired by their Beat Generation heroes, the multi-instrumentalist Drew Noel brings in a large cast of players for this very atypical listen, where his bandmates Kumar Chopra (guitar) and Freyja Elsy (keyboards, samples, vocals) provide invaluable help, too.

“Blue Hour/Ystwyth” opens the listen and brings the sounds of water into warm acoustic guitar and background talking that cultivates an atmosphere that leads into the soft vocal harmonies and anti-folk ideas of “The Jerk”.

“University Jesus” occupies the middle spot and brings crashing drums and thick trombone to the firm spoken word, while “Old Breed, Pt. II” manipulates mood with darker moments amid the precise drums, well timed saxophone and mysterious speaking parts.

Close to the end, “Oxford” showcases field recordings amid the strategic bells, and “Fencing” exits the listen with beautifully strummed guitar and poetic singing from the many voices present.

A truly unclassifiable listen, shards of post-punk, hip-hop, beat poetry and folk-rock can all be found here, as Noel and company document 20-something life in their Britain home.

Travels well with: St. Arnaud- Love And The Front Lawn; Thirsty Eyes- A Certain Regard

Katey Brooks

Revolute

Self-Released, 2019

9/10

Listen to Revolute

The UK songstress Katey Brooks hasn’t had the easiest life so far, but she’s quite set on turning tragedy into great art on the cathartic, touching and eclectic sounds of Revolute.

A record where each tune is a standout, songs like “Never Gonna Let Her Go” display Brooks’ inimitable and fluid vocals alongside a gospel feel, and her pop prowess is evident all over the melodic and memorable “We The People”, where mood is certainly key to her formula.

Deeper cuts like the subdued and emotive “The Sweetest Things” illustrate her folk tendencies in calmer areas with adept finger picking, while “Call Out” recruits keys for balladry that’s both delicate and powerful. “Trouble So Hard” exits the listen with a soulful and vocally expressive delivery that truly drives home just how talented this young woman is.

A listen that surpasses mere entertainment, Brooks aims to inspire, grow, communicate and perhaps even heal through these forthright songs that embrace blues, country, folk, gospel and soul. My guess is that we’re going to hear much more about this rising artist very soon- her stirring songcraft is unparalleled.

Travels well with: Evi Vine- Black Light White Dark; Marissa Nadler- The Sister