Boots 'n Booze Comic w/Swingin' Utters 7"

Live At Ritchie’s New Years Eve Party 7”

Pirates Press, 2020

9/10

Listen to Live At Ritchie’s New Years Eve Party 7”

Now here’s a novel package, a 48 page comic book from Boots ‘N Booze that comes with a Swingin’ Utters 7” that was recorded at a house show during their infancy when they were still known as Johnny Peebucks & The Swingin’ Utters.

The literate portion of the project is the first edition of an autobiographical graphic novel that’s set in a small California beach town in the ‘80s. The adventure follows some teenage hooligans as they eventually run into their neo-nazi skinhead enemies and end up at a party where, wouldn’t you know it, Johnny Peebucks & The Swingin’ Utters are playing.

Which brings us to the music aspect of the release. Side A offers us “Tell Us The Truth”, where a raw and furious pace unfolds with the band’s signature gritty melody underlying the crashing drums and often throaty vocals. The B-side, “Sorry”, offers rumbling bass and plenty of punk spirited energy to the sing-alongs and old school flavor that has thankfully been carried by the band during their entire existence.

If you’re an unwavering Swingin’ Utters fan and/or comic junkie, you better act quick cause there’s only 2000 of these made/pressed, and considering the quality of the printed matter and content of the music, I doubt they’re going to last long.

Travels well with: Territories- When The Day Is Done; Crim- Sense Excuses

The Crossing

Rising w/ The Crossing

New Focus, 2020

8/10

Listen to Rising w/The Crossing

A Philadelphia based outfit who are under the direction of Donald Nally, The Crossing deliver an ideal listen during a pandemic, where a hopeful and joyous environment radiates across their 22nd commercial recording.

David Lang’s “Protect Yourself From Infection” starts the listen vocally strong as harmony vocals emit a warm, gospel execution, and “Lost Forever”, by Jody Talbot, follows with soft piano guiding the expressive, ethereal singing.

Closer to the middle, Paul Fowler’s “First Pink” is an exciting display of vocal acrobatics that range from sparse and soothing to vibrant and powerful, while “Lincoln” illustrates Alex Berko’s talent in both firm, soaring atmospheres as well as bare moments of beauty. One of the best selections is Ted Hearne’s “What It Might Say”, where the singers reach a spiritual level with their combined tonality amid a highly melodic landscape.

At the end, Eriks Esenvalds’ “Earth Teach Me Quiet” finds itself in sublime, dreamy territory, and Santa Ratniece exits the listen with the atmospheric “Hora Hora Hata Hata”, which illustrates the ensemble’s varied, timeless skill.

It’s of little surprise that The Crossing have won a pair of Grammy Awards across 5 nominations, as their contemporary approach and unparalleled group singing leaves an indelible mark on anyone willing to lend an ear, as evidenced by this remarkable live effort.

Travels well with: Kenneth Gaburo- New Music Choral Ensemble; Harmony Of Dissonance- Traces Of Croatian Traditional Singing

Roman Miroshnichenko

The Sixth Sense

Self-Released, 2020

9/10

Listen to Sixth Sense

A jazz fusion guitarist from Russia who has understandably been seeing much attention lately, Roman Miroshnichenko returns with The Sixth Sense, where his long running band of Val Chernoók (drums) and Oleg Kanakov (bass), as well as a handful of esteemed guests are on hand for this exciting, instrumental effort.

“Flying Dragon” starts the album with fluid guitar acrobatics as Bunny Brunel’s fretless bass and Daniel Figueiredo’s key prowess adds much to the soaring, fusion rock opener, and “Night In June” follows with Miroshnichenko’s eclectic guitar work being complemented by Gumbi Ortiz’s playful percussion amid a cultured delivery.

In the middle, “Bodhrán’s Magic” is particularly inviting as the dynamic guitar work is met with an orchestral slant in the form of Charlie Bisharat’s fascinating violin, while “Planar” takes the orchestral ideas a step further with the St. Petersburg Studio Orchestra in attendance, as well as piano from Rannieri Oliveira yielding much sublime beauty.

Closer to the end, “Olé!” benefits greatly from Gary Husband’s deft keyboards as prog-rock textures are explored in the varied climate, and “Breathe Groove” exits the listen on a calmer note of much grace as precise, mature songwriting enters the diverse finish.

Certainly an ideal listen for those with an ear for guitar music in the area of jazz and the many genres related to rock, with 6 string chops like this, it won’t be long until Miroshnichenko is a name familiar around the globe.

Travels well with: Frank Colon- Latin Lounge; Guillaume Muller- Sketches Of Sound

Jaap Nico Hamburger

Chamber Symphonies Nos. 1 & 2

Leaf, 2020

8/10

Listen Chamber Symphonies Nos. 1 & 2

It’s been a busy year for the composer Jaap Nico Hamburger, as this is his 2nd release of 2020, where “Remember To Forget” is presented by Ensemble Caprice with Matthias Maute, while “Children’s War Diaries” brings the Orchestre Metropolitain De Montreal and Vincent de Kort together, who were the subject of Piano Concerto.

The Chamber Symphony No. 1 starts the listen and unfolds over 2 chapters, where chamber and classical ideas run alongside each other as a rich atmosphere of strings and keys is not afraid to burst into bouts of fury just as it to calmly simmer with beauty and grace.

Chamber Symphony No 2, the shorter and more experimental of the compositions, is where abrasive moments are met with moody strings, emotive keys and much atypical instrumentation that’s all at once soothing, intriguing and mesmerizing.

Another relatively short album that comes in around 30 minutes, Hamburger leaves us hanging on every melody, every abrupt shift in tempo and every timeless note delivered on this expressive listen.

Travels well with: Orli Shaham- Mozart Complete Piano Sonatas; Jaap Nico Hamburger- Piano Concerto

Jaap Nico Hamburger

Piano Concerto/Concerto Pour Piano

Leaf, 2020

8/10

Listen Piano Concerto/Concerto Pour Piano

A project composed by the always impressive Jaap Nico Hamburger and performed by pianist Assaff Weisman and l’Orchestre Metropolitain de Montreal under the direction of Vincent de Kort, in 22 minutes the ensemble cover a lot of ground in a classically influenced setting.

“Adagio” starts the quick listen with soft, soothing ambience that erupts into cinematic swells of brass and strings in a highly dextrous environment, and “Molto allegro” follows with swift piano acrobatics as flashes of dynamic urgency unfold with a dynamic quality that parallels the soundtrack of an action flick, complete with sirens.

“Molto adagio” finishes the listen, where stirring strings and lulls of atmosphere are later met with firm, nearly jarring, keys as the setting gets a bit haunting in its very precise, deliberate execution.

Hamburger’s compositions certainly takes nods to names like Mahler, Feinberg and Prokofiev, but of course at this point his work resides in a league all its own, as Weisman, the orchestra and de Kort certainly do justice to his vision on this varied and unpredictable effort.

Travels well with: Orli Shaham-Mozart Complete Piano Sonatas; Beth Levin- Hammerklavier Live

Beth Levin

Hammerklavier Live

Aldi Lá, 2020

8/10

Listen to Hammerklavier Live

A Brooklyn based pianist who debuted with the Philadelphia Orchestra at age 12, Beth Levin has enjoyed an accomplished career and here she returns with her 4th live album, where she performs Beethoven, Handel and Eliasson live.

Handel’s “Suite In D Minor” starts the listen as Levin’s poetic keys dance around playful melodies as well as calm ebbs of grace and beauty that occasionally burst into cathartic swells of emotion. “Disegno No. 3”, by Eliasson, follows and brings a dynamic, artistic quality to the listen where a poetic delivery unfolds with eloquence.

The bulk of the listen is Beethoven’s “Piano Sonata No. 29 in B-Flat Major Op. 106”, which Levin executes with plenty of flair and a tremendous amount of skill as she navigates the highs and lows of the interpretation that is so well done, it alone is worth the price of admission.

If your interests revolve around piano sounds and the rich history of classical music, Levin won’t disappoint you on this meticulous and fascinating performance.

Travels well with: Orli Shaham- Mozart Complete Piano Sonatas; Ludwig Van Beethoven- Complete Sonatas For Piano & Violin On Historic Instruments

Eric Heilner

Modern Sounds In Classical Music

Self-Released, 2020

8/10

Listen to Modern Sounds In Classical Music

Eric Heilner didn’t take the usual route to finding classical music, as he spent most of time playing blues, rock and R&B. Not until he was in his 60’s did he start studying classical sounds, and this well thought out first album arrives after 6 years of work in the genre.

“Exercise For Viola & Piano” starts the listen with the 2 instruments interacting together for 9 minutes as classical ideas are explored with both sophistication and playfulness, and “Bounce #3” follows with flute, clarinet, viola, guitar and piano in the sublimely layered display of melody amid hypnotic flourishes that even recruits some rock influences in the guitar.

In the middle, “SQrt- Season 1 Episode” comes in 3 installments that vary from busy, almost hectic, to soft and pensive, and, ultimately, finishing upbeat and dynamic as violin, viola and cello dance around each other with awe. “The Source Of The Beat” exits the listen with a flurry of 4 saxophones as each one still finds a place to shine amid the crowded, unpredictable delivery.

An aptly titled debut, although Heilner has spent his life playing keyboards, it turns out that he’s talented at composing, too, as evidenced by this eclectic and adventurous effort.

Travels well with: Edward Smaldone- Once And Again; Jorma Tapio & Kaski- Aliseen

Graber Gryass

Late Bloom

Self-Released, 2020

9/10

Listen to Late Bloom

A Memphis bluegrass collective spearheaded by Michael Graber, the aptly titled Late Bloom (this is first record of all original material for the 50 year old) brings in esteemed musicians from outfits like Public Enemy, Rumpke Mountain Boys, Devil Train, and Dagnabbits to an album that is really about Graber’s entire existence.

“Drifting Away” starts the album with some bluegrass spirit as vocal harmonies and string acrobatics highlight the rural melodies, and “Devil’s Got Your Name” follows with a calmer approach of country ideas as plenty of melody flows amid the inviting banjo.

Near the middle, “Wind That Shakes The Cotton” displays some of the best singing on the album alongside dynamic interaction between the organic musicianship, while “When The Water’s This Low” benefits from precise finger picking in its soulful delivery that gets a little haunting, too. “Drinking 40s”, one of the most raw tunes, then sounds like it was performed after tossing a few back, but still retains plenty of fluid, bluesy prowess.

Towards the end, “Forgotten What I Call Home” recruits playful storytelling with some folk qualities in attendance and “Oaks & Pines” exits the listen with a bit of humor as Graber and company produce a varied and textured finish.

Graber has an impressive resume playing with the Grifters and Foy Vance, and he currently contributes to the Bluff City Backsliders, Zeke’s Three Generation Jug Rascals, and Damfool. Though he’s faced many hurdles in his life, his unwavering work ethic has always persevered and even if this album was released during quite possibly the most difficult time for a musician, I have little doubt it will resonate with anyone willing to give it a spin.

Travels well with: The Parson Red Heads- Lifetime Of Comedy; River Whyless- Kindness, A Rebel

Elizabeth Moen

Creature Of Habit

Self-Released, 2020

8/10

Listen to Creature Of Habit

An Iowa based songstress with an eloquent vision to her song craft and a set of pipes that command attention, Elizabeth Moen brings us 6 songs here that take us on an emotional journey through her unique approach to indie-pop.

The title track starts the listen with a very dreamy, soulful display as Moen’s soaring pipes glide alongside a bare, but very atmospheric landscape, and “Eating Chips” follows with a haunting quality as playful indie-rock unfolds with folk ideas, too.

In the middle, “It’ll Get Tired Too” is a vocally strong EP highlight where just an acoustic guitar supports the duet with Penny Peach, while “Who Wants Takeout?” is a fuller tune of charming, warm melodies in a retro-folk sort of way. Close to the end, “Studio Apartment”, the lone ballad, is an excellent display of her vocal prowess as country nods are in attendance and appreciated.

An effort that thematically surrounds mental health issues, Moen seeks to understand her own internal processes through her craft, and with the addition of electronics into her textures it’s quite likely she’ll be seeing more much deserved attention coming her way.

Travels well with: The Building- Petra; Carsie Blanton- Not Old, Not New

The Krayolas

Savage Young Krayolas

Saustex/ Box, 2020

10/10

Listen to Savage Young Krayolas

Affectionately known as the Tex-Mex Beatles, The Krayolas enjoyed an obscure but exciting career as a scrappy Chicano garage rock band who held comparisons to names like Bob Dylan, the Who, Elvis Costello, and, of course, The Kinks.

Here, we’re treated to a potential lost album of recordings from the late ‘70s and 1980, when the band were still in their infancy and playing loud with their stage names- Jett, Sal and Freddie- intact.

“Aw Tonight” starts the listen with thumping drums before the roaring guitar enters the power pop filled atmosphere that complements the gritty yet tuneful singing from Hector Saldana, and “You’re Not My Girl” follows with a calmer approach as plenty of rhythm enters the powerful and raw setting.

There’s 11 tunes here and not a dud in the bunch, including their playful version of “You Really Got Me”, while “Cry Cry, Laugh Laugh” is a vocally softer display that’s no less impactful in its retro-filled spirit. “I Just Wanna”, the best of the best here, then finds itself residing in vintage rock’n’roll territory that’s punchy and instantly memorable.

Closer to the end, “Sunny Day” takes more of a dreamy approach that’s vocally strong, piano friendly and not short on harmonies amid its indeed sunny execution, and “Three Girls Flying In From Mexico City” finishes the listen dynamic and so well executed, especially when you consider the trio were just teenagers at this point, as David Saldana’s drums and Barry Smith’s bass work together with much chemistry.

Though The Krayolas had a loyal following in their home state and even surrounding areas, they didn’t quite garner the national attention they deserved, and ended up parting ways in 1988. However, some impressive reunion records arrived starting in 2007 and lasted for several years. Sadly, original member Barry Smith passed away in 2019, and if this ends up being the last release from The Krayolas legacy, well, no one can say that they didn’t go out on a very high note with this charged and aptly titled masterpiece.

Travels well with: The Kinks- Arthur Or The Decline And Fall Of The British Empire 50th Anniversary; Bee Bee Sea- Day Ripper

Various Artists

The End Is Here: The Last Label In The World Presents The Last Bands On Earth

Saustex, 2020

9/10

Listen to The End Is Here The Last Label In The World Presents The Last Bands On Earth

Saustex Records never disappoints, and here they bring us new and unreleased tracks from 18 artists on their roster, where countless ideas are explored in the area of rock, and all in unconventional and exciting ways.

Harvey McLaughlin’s “Outhouse Crescent Moon” starts the album with gritty piano rock as his ominous wordplay is met with frisky drumming and spirited guitars, and Joecephus And The George Jonestown Massacre’s “Evil” is propulsive and exciting blues rock that soars with intricate guitars solos.

With 18 tracks on hand and a diverse line up, there’s something for everyone here, including the eccentric soulful, avant garde rock of Churchwood’s “Ain’t Your Choir”, where a harmonica adds much to the poetic atmosphere, while Hamell On Trial makes great use of his 4 minutes with his signature folk protest sounds on “You Better Pray”. Texacala Jones Pony Island Express then offer a thumping and rugged version of garage rock and cowpunk with “Blue Saber”.

Back half highlights include the scrappy lo-fi pop of “Metallica Font”, by Stefan Murphy, and the humorous honky-tonk of The Beaumonts and their breezy anthem “Details”. Hickoids end the album in a way that only they can as classic rock and old school punk meet in the unusual mash up "The New Fangled Maple Leaf Rag”.

If you’re a regular peruser of compilation records, you’ll want to dive in on this one, and if you’re only an occasion listener of the format, well, I’d say you’re missing out if you don’t at least give this one spin, as there’s plenty of raw rock’n’roll in the areas of folk, blues and punk to be absorbed.

Travels well with: Churchwood- Plenty Wrong To Go Awry ; Hickoids- All The World’s A Dressing Room

Josh Kelley

My Baby & The Band

Self-Released, 2020

9/10

Listen to My Baby & The Band

It’s been a few years since we’ve heard from Josh Kelley, and here the singer-songwriter and devoted husband and father to 3 children returns with an album about this family, where themes about relationships, growth and, of course, all the joy of family life are presented in a forthright manner.

“We Don’t Need The Money” starts with plenty of rhythm and blues as Kelley’s warm pipes are as inviting as the soulful backing vocals, and “If That’s Alright” flows with falsetto singing in a highly melodic landscape of organ friendly fun.

Halfway through, “Hold My Hand” features All Voices in the piano focused and gospel influenced climate, while “Loves You Like Me” resides in heartfelt balladry with Kelley’s strong singing making an impression. “I Want You Tonight”, an album highlight, then recruits a danceable beat in its pop influenced template that’s sleek enough for the FM dial.

Deeper yet, “Back To You” is a playful and rhythmic display of timeless song craft, and “Busy Making Memories” exits the listen with sublime acoustic guitar in a bare environment that’s intimate and touching.

Not only does Kelley sing songs about his family, but his kids provide backing vocals on the album, and his wife, Katherine Heigl, is on the cover. Certainly never one to shy away from expanding his creative vision, Kelley shifts into daring textures on this career highlight that he’ll hopefully explore more of in the future, too.

Travels well with: Jon McLaughlin- Promising Promises; Dave Barnes- Stories To Tell

Robert Moran

Points Of Departure

Neuma, 2020

9/10

Listen Points Of Departure

A veteran composer who has reached legendary status at this point, Robert Moran has been behind countless operas and ballets, as well as many recordings in the areas of orchestral, chamber and vocal music.

Here, along with The University of Delaware Symphony Orchestra and soloists and conductor James Allen Anderson, he presents 5 orchestral works that display Moran’s contemporary Romanticism, Baroque and Post-Minimalism prowess.

Moran starts the album with the title track, where a stirring and playful orchestral backdrop illuminates the often building atmosphere where well timed drums and strategic brass make an impression, and “Angels Of Silence” follows with 22 minutes of a low, ominous atmosphere of cinematic appeal that flows with grace and much attention to detail.

At the midpoint, “Frammenti di un’ opera barocca perduta” unfolds with 4 movements that span minimal and mysterious to full and glorious with soaring, operatic vocals, and, eventually, an emotive and heartfelt finish. The final 2 tracks are among the best, and includes the soft, dreamy beauty of “Star Charts and Travel Plans I”, while “Yahrzeit” finishes the listen with deep singing alongside gorgeous strings and calming melodies.

Now in his ‘80s, Moran’s vision and technique hasn’t seemed to wane one bit, as Points Of Departure is on par with the greatness he’s achieved in every decade since the ‘60s.

Travels well with: David Maslanka- The River Of Time; Dimensions Vol. 2- Works For Orchestra

Alexander Sigman

VURT Cycle

New Focus, 2020

8/10

Listen to VURT Cycle

A composer from Brooklyn with an interest in sci-fi, Alexander Sigman found inspiration in a Jeff Noon’s novel for this highly adventurous effort that hosts the Discord Workshop, Ensemble Phorminx, and Ensemble Modelo62, among others.

“VURTRUVURT” starts the listen with 10 minutes of violin from Hajnal Pivnick, as Sigman manipulates live electronics on the live recording from 2016 that strategically allows the electronic sounds to emanate from the violin, and “atrocity exhibition” follows with direct nods to Joy Division. Just as dark as a Joy Division tune, there’s electronic ideas in the form of violin, guitar and bass, as well as sonic moments constructed from field recordings, and even urban noises like car horns populating the trance like formula.

Halfway through, “down the bottle”, with Matteo Cesari on bass flute, finds itself in a very unique spot as Sigman replicates the sounds of glass shards on glass pane as the flute quivers, while “le jardin des supplices” recruits bass flute, violin and cello against Sigman’s precise layering techniques.

The final track, “diXsf”, then brings in a 9 member chamber, where strings are used sparingly but effectively, while the clarinet is often ominous as distortion and pitch are turned into a refined science.

A leader in the area of instrumental, electroacoustic and interdisciplinary works, VURT Cycle is another exciting and unclassifiable exercise from Sigman that’s of the highest caliber and one that you’ll be thankful you spent time with.

Travels well with: Selfless Orchestra- Great Barrier; Laguerre/Noetinger- DnT

Kenneth Gaburo

New Music Choral Ensemble

Neuma, 2020

8/10

Listen to New Music Choral Ensemble

A profoundly talented man, Kenneth Gaburo was an educator, pianist, author, ecologist and a pioneer in the area of electronics in music. Way back in 1967, he assembled 16 singers in Urbana, Illinois, and here his inimitable vision is documented with the New Music Choral Ensemble,

A Ben Johnston composition starts the listen with the vocally soaring “Ci-Git-Satie”, where a nearly operatic approach unfolds with gorgeous, harmonizing backing vocals as strategic drumming complements the 31 tones present, and “Sound Patterns”, by Pauline Oliveros, follows with playful, experimental ideas where yelping mixes with electronic flashes.

Elsewhere, “The Wasting Of Lucrecetzia” displays a fury of blurry screeching noises amid manipulated vocals, while Robert Shallenberg’s “Lilacs” is nothing short of sublime beauty in its soft and dreamy execution.

On the back half, “Luigi Nono” is a particularly expressive 7 minutes of dual gender vocals interacting with emotive ideas, and Oliver Messiaen’s “Cinq Rechants” exits the listen with bouts of swift, fuller moments that divide up the primarily intimate and inviting landscape.

With so many advances in music occurring around them in the ‘60s, Gaburo and company were determined to keep choral music alive, and the fact that there’s a captive audience ready to listen to this album 50+ years after it was recorded tells us that they were certainly onto something.

Travels well with: Robert Moran- Points Of Departure; Harmony Of Dissonance- Traces Of Croatian Traditional Singing

Blinker The Star

Juvenile Universe

Self-Released, 2020

9/10

Listen to Juvenile Universe

Jordan Zadorozny, the driving force behind Blinker The Star, returns with another batch of indie-pop influenced song craft where his producing, engineering, and mixing skills come in quite handy across the 8 richly textured and adventurous tracks.

The title track starts the listen with soft piano before bursting into buzzing, soaring indie-rock, and “Only To Run Wild” continues the creative setting with a rhythmic display of melodic, spacey ideas amid much beauty.

In the middle, “Silent Types” is a beat friendly excursion into electro-pop meets dance-rock that wouldn’t be out of place in the ‘80s, while “Cairo” is a firm step into propulsive pop territory with a minor orchestral influence as well as cultured grooves.

Closer to the exit, “Terror Of The Heart” offers a dreamy landscape of surreal song craft that’s part synth-rock, and “The Band Is Back In Town” exits the listen with a hint of balladry alongside a soulful execution that flirts with R&B and even ‘50s spirited rock’n’roll.

An extremely intriguing body of work, Zadorozny is in great company here, as Ken Stringfellow, Paul D’Amour, Bob Wilcox, and Gregory Macdonald all contribute their talents to this eclectic and highly imaginative career highlight for Blinker The Star.

Travels well with: Ghostlawns- Motorik; The Holy- Mono Freedom

Life In A Blender

Satsuma

Fang, 2020

8/10

Listen to Satsuma

If there’s one thing we can expect from a Life In A Blender record, it’s, well, to not have any expectations, cause there’s no telling what Don Rauf, Dave Moody and company are up to. Whether it’s punk or pop, each of their 10 studio records has left an indelible mark on fans, and Satsuma will likely follow suit, too.

“Vacancy For A Bluebird” starts the album with a punchy rhythm as the Colony Collapse Horns contribute playful brass in an opener that’s as creative and relevant as the Kurt Vonnegut book it’s inspired by, and “Soul Deliverer” follows with much emphasis on percussion as the bright brass and energetic landscape propels the tune into a festive, anthemic EP highlight.

The 2nd half of the listen is equally enjoyable, and includes the hypnotic and lush “A Party In The Drunken Forest”, where plenty of melody finds a place reside, while “When The Big Bell Calls” moves with a country spirit that’s as unpredictable as it is memorable. “The Ocean Is A Black And Rolling Tongue” finishes the listen on a very high note as darker textures enter alongside the outfit’s inimitable, multi-faceted version of rock.

Rauf is aligned with Dave Moody on cello/guitar, Al Houghton handling guitar and Mark Lerner, Ken Meyer and Rebecca Weiner contributing bass, drums and violin respectively, as the outfit cram countless ideas into this varied and accomplished effort. If you’re lucky enough to get a physical copy of the record, it comes with a 12 page book including eye catching art and, believe it or not, cocktail recipes.

Travels well with: Chris Butler- Got It Togehter! The Mommyheads- Soundtrack To The World’s End

Andarta

EP

Self-Released, 2020

8/10

Listen to EP

A trio from Jerusalem who are just vocals, bass and drums, Andarta certainly do much with minimals tools, as these 4 songs are full of abrasive and often jackhammering style rock that’s part punk, part industrial and entirely exciting in a way that grabs you by the throat.

“Muscle” starts the listen with some mystery, as a dirge like atmosphere and crashing percussion lead into an industrial type throbbing alongside yelped, growled and even sung vocals, and “Bondage” follows with an ominous quality as talking and tribal like drumming builds into a jagged version of noise rock amid dense bass and a smattering of rhythm.

The back half of the listen follows a similar formula, and includes the screechy and dissonant “Weapon”, where traces of melody linger in the vocals, and “Dehumanise”, which is a more bare display of precise drumming, and minimal vocals that escalates into a tense execution of calculated noise.

In 20 minutes, Alon Ovnat, Itai Anker and Shaul Kohn impress us with their hard hitting yet unusually hypnotic approach. It’s their first EP, and let’s hope there’s more on the horizon as much potential is present in Andarta.

Travels well with: Th/s /s Sh/t- ///; Subduxtion- The Black Point

The Inspector Cluzo

The Organic Farmers Season

Fuck The Bass Player, 2020

9/10

Listen to The Organic Farmers Season

The French duo of Laurent Lacrouts and Mathieu Jourdain, i.e. The Inspector Cluzo, have done a lot of brilliant things in their career so far, and now they’re adding the unplugged, live The Organic Farmers Season to their impressive catalog. Recorded in early 2020, the real life farmers pull from their most recent album and deeper, where violin and cello help complement the blues, rock, soul and jazz meshing that the band have built their career on.

“A Man Outstanding In His Fields” starts the listen with warm guitar as Lacrouts alternates between talking and singing- and hitting some real high notes- in the inimitable fusion rock approach, and “The Sand Preacher” follows with a darker quality as quivering singing aligns with moody strings amid a cathartic atmosphere of gorgeous tension.

The sound quality here is top notch, so much so that other than the audience clapping, you wouldn’t realize it’s live, and this allows the falsetto pipes and acoustic guitar of “The Run” to shine bright, while “The Globalisation Blues” gets playful with no lack of bluesy interplay between the keys, guitar and percussion. “We The People Of The Soil”, a standout track, then recruits plenty of soul as an orchestral backdrop illuminates the cautious beauty present.

Near the end, “No Deal At The Crossroads” benefits from both gruff and sublime singing in its atypical folk rock nature, and “Little Girl & The Whistlin’ Train” finishes out the set with violin and drums working together with much emotion as gentle ebbs of acoustic guitar and calm vocals fill the spaces between the ebullient, soaring landscape.

It’s truly amazing how much power and spirit is possible from so little in this intimate and yet still very energetic performance. For the first time listener like myself, this seems like an ideal starting point, and it certainly will lend itself to seeking out more of The Inspector Cluzo’s work.

Travels well with: Alastair Greene- The New World Blues; Albert Castiglia- Wild And Free

The Piano Duo Of Iris Graffman Wenglin & Ruth Lomon

Hommage To Women Composers

Navona, 2019

8/10

Listen to Hommage To Women Composers

Together Iris Graffman Wenglin and the now late Ruth Lomon come together here to illuminate musical scores written by women that were often buried or didn’t see the recognition they deserved. The pair cover a lot of ground here, illuminating 11 artists as they guide us from The Romantic Period up until the late 20th century.

The 5 parts of “Five Caprices” starts the listen with plenty of rhythm and sophistication, and this extends to the textured “Three Piano Duets After Pictures By Paul Klee”, as well as adventurous and often louder journey of “Children’s Scenes”.

At over an hour, though the instrumentation is just dueling pianos, the pair are never short on stunning landscapes, as each track unfolds with intrigue and grace as they do justice to work by Cara Wieck Schumann, Germaine Tailleferre, Louise Talma, Miriam Gideon, Barbara Pentland, Margo Richter, Thea Musgrave, Ruth Lomon, Jacqueline Fontyn, Marta Ptaszynska, and Shulamit Ran.

Travels well with: Mira J. Spektor- Daytime & Night Songs; Katherine Jolly- Preach Sister Preach