Roomful Of Teeth/Gabriel Kahane

Elevator Songs

Octoverse, 2026

9/10

Listen to Elevator Songs

The Grammy-winning vocal group Roomful of Teeth and singer-songwriter/composer Gabriel Kahane come together for an album that surrounds an interdimensional hotel beyond time and space, where each track spotlights a different member of Roomful of Teeth.

“Prologue: Speaking In Tongues” opens with the harmonizing vocals radiating tremendous beauty sans any instruments, and “Room 304: Newborn Plague” follows with Kahane’s soft synth amid a gentle beat and the expressive singing that welcomes Eliza Bagg’s meticulous violin.

Halfway through, “Room 1801: Rack Of Time” sees some very high notes thanks to Cameron Beauchamp alongside the strategic harmonies and stirring strings, while “Entr’acte: The Machine Room” emits flowing keys from Kahane that suit the graceful violin of the quick instrumental.

Getting close to the end, “Room 1212: Not Even The Dead” injects ambience into the lush and powerful album highlight, and “The Elevator: All That Is Solid” exits with intimacy and emotion via the mature keys, gripping vocals from and spiritual angle.

A listening experience unlike anything else out there, the focusing on an individual singer with each segment helps make for a choral, folk, classical, acoustic and rock influenced effort that’s nothing short of captivating.

Travels well with: Third Coast Percussion- Standard Stoppages; Christopher Cerrone- Beautfort Scales

Dave Mattock

Knucklebox

Self-Released, 2026

8/10

Listen to Knucklebox

The Philadelphia artist, Dave Mattock, continues his trio setting with these 8 new tracks that are never short on rhythm and harmonics.

The title track opens with Mattock’s firm Hammond interacting with Josh Orlando’s punchy drums for the rich grooves, and “JRO” follows with Jason Herrmann’s animated guitar that suits the pounding drums and bright keys.

The middle spot is where “Halfsight” arrives, and it recruits dreamy ideas amid the jazz-rock nods, while “Don’t Touch Me (JRO Reprise)” is a drum focused moment of radiates ambience near the end.

“Meld (Segue)” arrives late has Mattock handling the keys with emotion, as soft guitar enters, and “Bar Fight” exits with plenty of playfulness and energy from the trio, where the colorful guitar and drums complements the meticulous organ that could indeed soundtrack some fisticuffs.

A diverse and memorable effort that balances bebop, jam, funk and post-bop ideas in its jazz focused template, Mattock and company dive headfirst into grooves, improvisation and a sonic appeal that is much appreciated.

Travels well with: Ben Clifton- Overlook; Tim Jago- Time Shift

Paulo Almeida

Love In Motion

Dox, 2026

9/10

Listen to Love In Motion

This 6th recording from the inestimable drummer Paulo Almeida sees the Brazilian aligned with an all star cast for this worldly vision of jazz.

The rhythmic “Burning Skin” opens with Josh Schofield’s rich sax presence that complements the flowing drums, and “Um Sopro” follows with Lorenzo Vitolo’s mesmerizing keys amid the frisky percussion that’s rich with grooves.

In the middle, the dreamy mood of “Nenhum Talvez” welcomes Lisette Spinnier’s lush, wordless vocals that add much beauty, while “Winter Morning’ benefits much from the dizzying dynamics that makes great use of Joan Codina’s meticulous bass.

“Ipé” arrives late and spotlights Jorge Rossy’s animated vibes alongside Almeida’s well timed vocals and playful drumming, and “Saci” exits with the core quartet working together with melodic and warm ideas that radiate care and adventurousness.

A highly technical album that incorporates Brazilian roots, European context and globally embraceable jazz influences, Almeida and his company make every spontaneous moment exciting and enlightening.

Travels well with: Fie Shouten- Open Space; Sam Morrison- Cosmic Trip

Fie Schouten/Vincent Courtois/Sofia Borges/Pierre Baux

Open Space

Relative Pitch, 2026

8/10

Listen to Open Space

The bass clarinetist Fie Schouten is joined by some excellent players for this improvisation that illuminates texts from the book Espéces d’espaces/Species of Spaces by Georges Perec.

“SPACE” opens with Pierre Baux’s unpredictable vocals alongside the bare musicianship that makes for a minimalistic start, and “the bed & the room” follows with the curious clarinet and Sofia Borges’ strategic drums making an impression.

The midpoint belongs to “the street”, where free jazz exploration unfolds with a rare energy, while “a letter” makes great use of Vincent Courtois’ violoncello amid intimacy and soft vocals.

Arriving late, “the country-borders” builds into a dynamic and hectic album highlight that’s atypically rhythmic, and “UNIVERSE” exits with the harmonic clarinet accenting the crisp drums and aching violoncello.

An often emotional experience that pays close attention to pitch and harmonics, Schouten and company utilize music as a language in abstract and enlightening ways that few others could.

Travels well with: Sam Morrison- Cosmic Trip; John O’Gallagher- Ancestral

Favourite Girl

Favourite Girl

Self-Released, 2026

9/10

Listen to Favourite Girl

A Minneapolis outfit that is spearheaded by the British songwriter Katy Vernon, these 11 songs from Favourite Girl embrace all the hallmarks melodic folk pop that we love.

The retro spirit of “Thank You” opens with Alyse Emanuel’s frisky drums and Paul Odegaard’s animated trumpet that suit Vernon’s bright voice, and “Not Going Back” follows with a charming demeanor that invites singing-along immediately to the colorful melodies.

Moving along, “Confetti” comes with punchy mood that benefits from Allie Pikala’s lively guitar playing amid Vernon’s smooth voice, while “Back Up Plan” allows for Vernon’s ukulele skills to shine alongside the rich trumpet.

Residing close to the end, “Getting Better” makes great use of Daisy Forester’s meticulous bass in both the full and soft gestures, and “Favourite Girl” exits with an anthemic appeal that’s ebullient and memorable.

Perhaps best called ‘Feminist Resistance Rock’, Favourite Girl might just be your new favorite band if you like singing and dancing to empowering songs.

Travels well with: Spike And The Gandy Dancers- What You Gonna Be?; Silver Summer- Die Of Love

The Blasters

Rare Blasts: Studio Outtakes And Movie Music 1979-1985

Liberation Hall, 2026

9/10

Listen to Rare Blasts: Studio Outtakes And Movie Music 1979-1985

This final installment of the standalone releases from the 5 LP box set by The Blasters that arrived last year is this 14 song album that collects rarities from the roots rock legends.

The lively and dance floor ready “21 Days In Jail” starts with Phil Alvin’s inimitable voice alongside Dave Alvin’s speedy guitar and Bill Batemen’s frisky drums, and “Love 24 Hours A Day” follows with a rhythmic swagger thanks to John Bazz’s playful bass.

Moving along, the head bobbin’ and toe tappin’ fun of “Ashamed Of Myself” brings us plenty of retro rock flavor, while “One Bad Stud” welcomes Lee Allen and Steve Berlin’s rich saxophones for the festive spirit.

“Can’t Stop Time” and “Kathleen” exit the listen. The former makes great use of Gene Taylor’s meticulous keyboards that suit Phil’s flowing voice and the driving rhythm section, and the latter illustrates everything we love about The Blasters- raw energy, rockabilly fun and plenty of melodic song craft.

No matter where you start in the The Blasters’ discography, you’re going to impressed, and these tunes are indeed some of their best.

Travels well with: The Blasters- The Blasters; The Blasters- Hard Line

Kristen Mather de Andrade

Sem Fim

Ansonica, 2026

8/10

Listen to Sem Fim

A colorful, orchestral Brazilian record, Kristen Mather de Andrade’s clarinet and vocals are surrounded by many players for the 11 meticulous selections.

“Atraente” opens with Vítor Gonçalves’ mesmerizing keys alongside Andrade’s animated clarinet that helps create a lush ambience, and “Vide Vida Marvada” follows with Andrade’s flowing vocals amid Katrina Owens’ dreamy flute and no lack of melodies.

Halfway through, “Chove lá Fora” makes great use of the Toomai String Quintet’s meticulous interaction via much intimacy, while “Castle Maxixe” is a frisky moment that benefits from Lívio Almeida’s alto saxophone and Bill Owens’ trumpet that adds much color to the liveliness.

Close to the end, “Clarinete Dengoso” carries a cinematic quality, where Eduardo Belo’s strategic bass won’t go unnoticed alongside the vibrant horns, and “Só o Tempo” exits with Vinícius Gomes’ cozy guitar and Dennis Bulhões’ drums complementing the cultured spirit of the timeless finish.

An elegant and comforting effort, Andrade uses classical and jazz ideas for this worldly affair that will resonate far and wide with those who appreciate a sophisticated and smooth formula.

Travels well with: Hevreh Ensemble- A Path Of Light; J.A. Kawarsky- Dancing In The Palm Of God’s Hand

Laura Choi Stuart and Tanya Blaich

Rituals: Art Songs By Charles Ives, Reynaldo Hahn, and William Bolcom

Acis, 2026

9/10

Listen to Rituals: Art Songs By Charles Ives, Reynaldo Hahn, and William Bolcom

The soprano Laura Choi Stuart and pianist Tanya Blaich come together for these sublime pieces that were recorded in the New England Conservatory’s famed Jordan Hall, where the technical and powerful selections surround many aspects of human life.

Ives’ “The Things our Fathers Loved” starts the listen with the soaring vocals and intimate keys meeting at a very warm place the builds into an emotive delivery, and “West London”, also by Ives, arrive soon after with expressive singing and a charming balance of firm and cozy piano playing.

Further along, “Études latines”, by Hahn, unfolds across 7 movements of adaptable keys that suit the heartfelt singing and timeless storytelling, while Bolcom’s “Briefly It Ends” spans 9 chapters and has Stuart hitting some pretty high notes amid the precise and rich key progressions.

“Cabaret Songs” exits, whic is also by Bolcom, and it illustrates the duo’s distinct interaction that’s timeless and cautious.

A highly calculated effort with tremendous clarity, Stuart and Blaich explore love, life and death with attentiveness to the American and Parisian songs that are nothing short of elegant.

Travels well with: James Limerick Kerr- Lute Fantasias Of Molinaro; Reena Esmail- Exaltations

Romeo Void

Live ‘81-’85

Liberation Hall, 2026

9/10

Listen to Live ‘81-’85

The San Francisco-based post-punk/new wave legends Romeo Void assemble some of their best performances from their personal recording archives here, where the 17 songs span their 3 excellent albums.

The first 8 tracks are from Ann Arbor, Michigan at Second Chance on 10/25/1982. “In The Dark” opens with Benjamin Bossi’s rich sax bouts that suit the driving rhythm section and Debora Iyall’s distinct vocals, and it isn’t long until “Not Safe” uses thumping drums and Frank Zincavage’s playful bass lines for the post-punk and New Wave nods that also flirt with jazz.

The lone track captured in Albany, New York at J.B. Scott’s on 7/2/1981,“I Mean It, brings a darker spirit with its chunky bass and mysterious singing, while “Billy’s Birthday” is taken from The Loft in Berlin, Germany on 2/5/1985 and allows for Larry Carter’s fluid drumming to mix with the animated wind.

“Instincts” arrives late and slows the pace down with introspective textures that illustrate the depth of the band at The Marquee in London, England on 1/29/1985, and “Chinatown” is even deeper and radiates a scrappy and timeless ‘80s presence that still sounds great all these decades later.

If you’re like me and never got to see Romeo Void live and learned of their existence much too late, this first official concert release from one of the most original bands from the early days of New Wave/post-punk is a must.

Travels well with: Romeo Void- Live From Mabuhay Gardens: November 14, 1980; Vivabeat- The House Is Burning: The Best Of Vivabeat 1979-1986

Spike And The Gandy Dancers

What You Gonna Be?

Self-Released, 2025

8/10

Listen to What You Gonna Be?

A Minneapolis outfit spearheaded by Peter VanDusartz (i.e. Spike), on this debut album the singer and guitarist injects both pop and rock ideas into these 11 diverse tracks.

“Be Here Now Now” starts with Spike’s warm acoustic guitar and expressive singing alongside Alan Goldberg’s mature piano, and “Crazy Blue” follows with John Munson’s spirited electric guitar and Richard Medek’s punchy drums that make for a charming folk-rock presence.

“Believe” lands in the middle, and brings a thicker template to the layered melodies, while “Sing” trims the pace back thanks to Peter VanDusartz IV’s cozy bass amid the harmonic singing.

“Voyageur” and “What You Gonna Be?” exit the listen. The former finds itself in darker territory via the firm acoustic guitar, mesmerizing keys and mysterious vocals, and the latter recruits saxophone courtesy of Max Ray that suits the dense, multi-faceted version of rock which flirts with jazz.

A record with no lack of hooks, solos and cinematic nods, Spike and company are all over the rock spectrum, and it makes for an unpredictable and exciting listening experience.

Travels well with: Seven Crows- Powers Of Observation; Stone Arch Rivals- That’s What They Say

Trey Hensley

Can’t Outrun The Blues

Pinecastle, 2026

9/10

Listen to Can’t Outrun The Blues

The roots artist Trey Hensley uses blues, Americana, country and bluegrass to his advantage across these 10 timeless tracks that enlist an all star group of players.

The title track opens with Hensley’s meticulous guitar and John Cowan’s harmony vocals that suit the detailed string interaction, and “High Cost Of Goodbye” follows with Jaelee Roberts’ guest pipes adding much to the heartfelt climate and Hensley’s poetic storytelling.

Halfway through, “Drown” makes great use of John Alvey’s strategic drumming and Kim Fleming’s harmony singing, while “Unknown Legend” reels in Vince Gill’s unmistakable voice amid Fats Kaplins’ emotive pedal for the album’s best.

Getting close to the end, “Silverthorn Mountain”, a Merle Haggard tune, is an upbeat and playful moment that allows for Ilya Toshinsky’s animated banjo to shine, and “Off To Sea” exits with intimacy and grace in the gentle and stirring finish.

Hensley’s unparalleled guitar playing won’t go unnoticed, nor will his distinct baritone voice, and the excellent company he brings with makes this his best solo outing to date.

Travels well with: Jim Hurst- Travels & Time; Daniel Grindstaff & The Uptown Troubadours- Daniel Grindstaff & The Uptown Troubadours

Jim Hurst

Travels & Time

Pinecastle, 2026

9/10

Listen to Travels & Time

The inimitable guitarist, Jim Hurst, fleshes out both originals and interpretations, where some excellent players accompany him for the bluegrass climate.

The warm spirit of “Mile Marker 203” starts with Christian Ward’s meticulous fiddle adding much to Hurst’s expressive baritone vocals and flowing guitar, and “She’s Your Problem Now” follows with Chris Wade’s frisky banjo that complements the playful, even humorous lyrics.

Moving towards the middle, “Back Home Again In Indiana” welcomes Justin Ameral’s lively drums and a meticulous guitar solo via Alan Munde, while “Procrastination Boogie” will get your body moving thanks to Wyly Bigger’s colorful keys and Mark Schatz’s quick bass.

Closer to the end, “The Boys Who Left Prince Station” makes great use of Matt Wingate’s skilled mandolin and Tim O’Brien’s tenor vocals amid the breezy melodies, and “Last Song I Sang For Mother” exits with just Hurst’s guitar and voice in the intimate and heartfelt finish.

Hurst is just as good at storytelling and interpreting as he is playing a guitar, and the incredible company he’s surrounded by makes for another top notch bluegrass record.

Travels well with: Danny Paisley- Bluegrass State Of Mind; Ashleigh Graham- I’ll Just Drive

Vytautas Smetona

Piano Sonata in F Minor

Navona, 2026

8/10

Listen to Piano Sonata In F Minor

The pianist-composer Vytautas Smetona brings a strong sense of detail to these Romantic-era selections, where the 4 movements were penned across 5 years and tips its hat to the harmonic language from the world of Brahms.

“Andante-Allegro” opens with the tuneful keys radiating tremendous warmth and eloquence thanks to Smetona’s agile fingers, and “Andante Con Moto” follows with a frisky mood, as the playful keys don’t take long to charm us.

The back half leads with the animated presence of the colorful “Allegro”, which later on finds itself in more reflective areas, and “Moderato” exits with rich and dynamic playing that mesmerizes us for 13+ minutes.

Smetona makes the most out of a four-note motif, strategic rhythm and structural awareness for a large-scale piano statement that’s rooted in conviction and artistry.

Travels well with: Laurie Altman- Songs And Poems Briefly; Patrick Moore- Four Generations

Daniel Grindstaff & The Uptown Troubadours

Daniel Grindstaff & The Uptown Troubadours

Pinecastle, 2026

8/10

Listen to Daniel Grindstaff & The Uptown Troubadours

The banjo player and vocalist Daniel Grindstaff is surrounded by an exceptional band for these 10 sincere and powerful bluegrass tunes.

The heartfelt “Angel Dream” opens with the emotive singing and intimate string interaction that emits a spiritual beauty, and “Denver” follows with playful fiddles and lively mandolins that suit the harmonic vocals.

Halfway through, the speedy “Castlerock Turnpike” benefits much from Kent Blanton’s swift upright bass, while “A Little Goes A Long Way” radiates tremendous warmth via the vocal harmonies and playful picking.

“Walk On John” arrives late and it’s a colorful and gospel fueled album highlight, and “Goodbye Little Darlin’” exits with the group singing and meticulous string dynamics illuminating all the hallmarks of bluegrass we could never tire of.

A timeless blend of instrumentals and inimitable singing from many players, with several mandolin and fiddle players on hand, Grindstaff and company leave an indelible impression.

Travels well with: Danny Paisley- Bluegrass State Of Mind; Wilson Banjo Co.- Lonely As It Gets

John Sweenie

Mysticism For Intellectuals

Bent River, 2026

9/10

Listen to Mysticism For Intellectuals

The Montreal tenor saxophonist John Sweenie captured these 7 tracks across 2 nights at Canada’s The Yardbird Suite, where Jean-Michel Pilc, Rémi-Jean Leblanc and Richard Irwin are in an attendance.

The frisky “In Memory Of Roy Batty” opens with Irwin’s crisp drums alongside Leblanc’s buzzing bass and Sweenie’s animated sax, and “Additive” follows with an initially bare presence, as the soulful sax enters amid the dynamic and loose climate.

“Through The Clouds” arrives halfway through and comes with a stylish demeanor that allows for Pilc’s strategic keys to shine, while “Darling, We’ve Grown Apart” blends the wind, bass, keys and drums into a rich and spontaneous setting of warmth. “The Heartford Line” exits, and it’s got grooves and melodies that carry an infectious spirit.

An adventurous set that blends indie-rock with modern jazz, the songs here are technical, harmonic and exciting from beginning to end.

Travels well with: Dave Mossing- Homesteaders; RJ Leblanc- Heyday

Molto Ohm

Reality Pills

Soap Library, 2026

8/10

Listen to Reality Pills

The Italian native and American resident Molto Ohm returns with a 2nd album, where his unconventional approach to pop never sits in one place too long.

The soft ambience of “Vantorinex” opens with Jachary’s contributions for the dreamy climate, and “Zorvitol” follows with layered vocals and mesmerizing beat that guides the experimental ideas.

In the middle, “Lunovarine” drones with intrigue via the darker spirit, while “Trivaxon” buzzes with glitchiness amid the melodic versus abstract gestures.

“Nezovyl” arrives late and enlists Aditya Chatterjee and Tanners for the introspective and lush album highlight, and “Velmirine” exits with a cosmic appeal that’s creative and universally enjoyable.

Every song is named after a fictional medicine, as Molto Ohm addresses how digital representations have become more compelling than reality itself, and his artistic and club rooted approach makes for blurry and avant-garde fun.

Travels well with: Babe Report- Did You Get Better; Somni- Gravity

Stephen Becker

Gravity Blanket

One Is Three, 2026

8/10

Listen to Gravity Blanket

The New York songwriter and multi-instrumentalist Stephen Becker returns with a 4th album, where some guests are on hand for the diverse songs that pull from childhood memories.

The cozy and folk friendly climate of “Bad Idea” starts with soft melodies and Jason Burger’s agile drumming, and “Careless” follows with a playful buzzing and Joanna Schubert’s well timed vocals adding much to the harmonic nature.

“Bike” arrives in the middle and offers a scrappy delivery that’s very much in tune with today’s version of indie-rock, while “Sinking” enlists Adam Hirsch’s strategic Lyricon via the waves of graceful ideas and gentle songwriting.

Moving close to the end, “I’ll See You Around” benefits from Hirsch’s clarinet and Michael Coleman’s piano across the rich and atmospheric album highlight, and “Now, But Not Forever” exits with Becker’s eloquent voice and acoustic guitar in a heartfelt and sincere finish.

A thoughtful effort that’s full of reflection, Becker pens an atypical version of indie-folk that reminded me of late period Elliott Smith, which is never a bad thing.

Travels well with: Fugue State- After Nothing Comes; Babe Report- Did You Get Better

Samuel Torres

Trio Libre

Blue Conga, 2026

9/10

Listen to Trio Libre

The percussionist and composer Samuel Torres is joined by Carmen Staaf and Felipe Fournier for these originals that surround our current sociopolitical environment.

The 6 chapters of “We The People” starts the listen with Staaf’s mesmerizing keys and Fournier’s playful vibes amid Torres’ unpredictable percussion that radiates a lush and reflective mood of grace and sophistication.

“Libre” arrives on the back half and blends the keys, vibes and drums with no lack of melodic gestures, while “Tu, Mi Vida Entera” finds a more intimate place to reside via the cautious piano, cozy vibes and cozy drumming that eventually invites harmonic singing.

“J.S. Bach: Duet No. 1 in E minor, (BWV 802)” exits, and it’s a meticulous and dynamic display of strong chemistry between the trio that puts a fresh coat of paint on the Baroque sounds.

Torres already has an exceptional resume with plenty of awards under his belt, and this enlightening effort will gain him even more attention, where chamber music and Afro Latin-American rhythmic ideas meet at a very exciting intersection.

Travels well with: Audrey Ochoa- The Sorceress; Jimmy Farace- Big Shoulders, Big Sounds

Fugue State

After Nothing Comes

Switch Hit, 2026

8/10

Listen to After Nothing Comes

This debut album from Fugue State, which is spearheaded by Dan Langa, recruits plenty of friends along for the indie, alt and experimental 10 tracks.

The ambient and reflective “Warmer” starts the listen with rich sax alongside a backdrop of hazy synth, and “In This Moment” follows with meticulous keys and radiant guitar that unfolds with a cinematic quality.

In the middle, “We Are Lasting” leads soft before the unpredictable voices and jarring bouts enter a cosmic mood, while “Dark” employs voices as an instrument amid the dreaminess.

Getting close to the end, “He Was Always So Precise” finds itself in free jazz territory via the firm keys, sax stabs and frisky guitar, and “Reflections” exits with waves of beauty weaved in between the many voices and lush instrumentation.

An artistic outing that relies much on processing, the collage of sounds present are reharmonized, sampled and distorted in exciting and unclassifiable ways.

Travels well with: Babe Report- Did You Get Better; Somni- Gravity

Daughter Of Swords

Dawnbreaker

Nonesuch, 2019

9/10

Listen to Dawnbreaker

Probably best known as 1/3 of the folk outfit Mountain Man, Alexandra Sauser-Monnig’s solo vehicle, Daughter Of Swords, began in 2017 when the songstress was in the midst of ending a relationship. Though she has been away from music in recent years, instead deciding to work on a farm, Dawnbreaker and a 2018 album from Mountain Man have her back in fine form and as articulate and expressive as ever.

“Fellows” starts the listen with soft acoustic guitar and raw vocals from Sauser-Monnig, and “Gem” follows with a fuller sound where a drum machine and playful guitar work well with the pretty, soaring vocals.

While Sauser-Monnig is certainly the focus of the tunes, on “Fields Of Gold” she gets plenty of help on guitars and percussion for a lush, indie-folk highlight, and the sparse “Grasses” really illustrates the strong vocal work present, and bares the most resemblance to Mountain Man.

The back half of the album is even better, with the soulful, country influenced “Easy Is Hard”, the frisky, summery setting of “Rising Sun”, and the minimalistic “Long Leaf Pine”, where a pair of backing vocals add greatly to the gentle elegance. The title track ends the listen just as it started, with Sauser-Monnig’s intimate vocals and inviting guitar work reeling us into her radiant beauty.

Though she had been on music hiatus for nearly a decade, Dawnbreaker is a stunning return to her art, that, while on the surface may seem like a hushed break up record, offers plenty of hope, change and even liberation amid her thoughtful, meticulous song craft.

Travels well with: Iron & Wine- Our Endless Numbered Days; The Shins- Chutes Too Narrow