Chris Laterzo

West Coast Sound

Yampa, 2015

10/10

Listen to West Coast Sound

The Los Angeles artist Chris Laterzo knows his way around a folk, rock and alt-country tune, and on this 5th album his band, Buffalo Robe, and plenty of guest musicians are along for the very entertaining ride.

Laterzo starts the listen with the rugged yet tuneful title track where his inimitable vocals draws some comparisons to Roy Orbison as the song unfolds with a cowboy-esque feeling, and “Tumbleweed” follows with a warm, immediately gripping alt-country spirit that’s a bit twangy and with no shortage of grit.

In the middle, “Someday Blue” is an expressive acoustic strummer that’s reflective and moving, while “Echo Park” recruits keys in its rootsy nature that’s got some honky tonk fun. “Subaru”, one of the album’s best, then brings crunchy guitar to the anthemic folk-rocker.

The remaining 2 tracks don’t disappoint either, and include the more tense setting of “The Ray Bradbury”, where Laterzo’s versatile pipes are on display amid rugged harmonies, and “Chaperone” exits the listen in ballad territory as an acoustic guitar and Laterzo’s stirring pipes mix with the perfect balance of playfulness and emotion.

Laterzo makes quite an impression in just over 30 minutes here, where nods to the Laurel Canyon Sound are present, not to mention some Neil Young influence. Ultimately, and this is really quite rare in a very crowded area, he brings a very unique talent to Americana songwriting that you’ll want to revisit again and again.

Travels well with: Lee Gallagher And The Hallelujah- L.A. Yesterday; Ted Russell Kamp- Down In The Den

Lydmor

I Told You I’d Tell Them Our Story

HFN, 2018

8/10

Listen to I Told You I’d Tell Them Our Story

The moniker of Jenny Rossander, the electronic producer, composer, singer and songwriter returns as Lydmor, where she brings us a very precisely layered effort that’s full of modern pop ideas and never short on hooks.

“To The Mansion” starts the listen with soft vocals and plenty of warm ambience as beats provide a very playful mood to the stylish opener, and “Money Towers” follows with a dance friendly spirit that soars with a buzzing energy.

As we approach the middle, “Dim” offers a calmer pace of cautious pop ideas, while “Soft Islands” is quite an adventurous display of busy, electro-pop manipulation. “Nostalgia”, one of the album’s strongest tracks, then pairs much beauty with very detailed instrumentation that’s both sleek and reflective.

Close to the end, “Trembling” shows traces of the ‘80s with its shimmering demeanor of synth heavy qualities, and “Shanghai Roar” exits the listen with a dreamy approach of hazy dynamics that illustrates profound skill.

An album that was penned after Rossander lived in Shanghai for a few months, here she’s as artistic as ever, where her colorful song craft mirrors the vivid skyline of Shanghai amid a very compelling display of creative electronic music.

Travels well with: Kasper Bjorke- Fool; Trentemoller- Obverse

Motorama

Many Nights

Talitres, 2018

9/10

Listen to Many Nights

The Russian outfit Motorama offer an impressive 5th album here, where their goth, pop, punk and New Wave formula uses minimal instruments and straight forward melodies and grooves to make a big impression on Many Nights.

“Second Part” starts the listen with plenty of atmosphere as warm guitars and smooth vocals hint at both post-punk and New Wave ideas, and “Kissing The Ground” follows with a playful beat as modern indie-pop unfolds with both a stylish and melodic approach.

Close to the middle, “Voice From The Choir” finds a dreamy place to reside where an abrupt shift into jangly alt-rock highlights the setting well, while “No More Time” shimmers with a throbbing bass amid ‘80s nods to legends like New Order. “He Will Disappear”, a particularly noteworthy tune, then bridges pop and New Wave with an extremely inviting quality.

Deeper still, “You & The Others” cultivates a darker territory that runs parallel to names like Joy Division, and “Devoid Of Color” exits the listen with acoustic guitar and bright synth working together in exciting, memorable ways.

Often resembling UK bands from the punk scene in the early ‘80s, Motorama are also well versed in modern indie-rock sensibilities, and their versatile delivery is certainly matched by their strong songwriting prowess on this fantastic record.

Travels well with: We Were Promised Jetpacks- Unravelling; Ritual Howls- Their Body

Mike Bogle Trio

Dr. B!

Self-Released, 2018

8/10

Listen to Dr. B!

A Texan with talent that includes being a pianist, trombonist, singer, arranger, and composer, Mike Bogle shows us yet another dimension of his skill set but taking up organ across these 5 tracks with Rich McClure and Ivan Torres.

“Cherokee” starts the listen with Torres handling frisky percussion that’s aligned with Bogle’s organ prowess on the swift, jazz friendly setting, and “Ralph’s Piano Waltz” follows with a calm display of warm melodies as McLure’s guitar lines really add much to the thoughtful atmosphere.

In the middle, “Splanky/Route 66” brings a medley of memorable riffs and even vocals from Bogle, while “On The Street Where You Live” recruits a swinging good time to the precise formula. “Walkin’” ends the listen, where a bassline in the organ radiates as Bogle’s storytelling draws us in on a tale about a mysterious walker.

All the tunes present are extended versions, and they allow the musicians to display their exceptional craft, where Bogle specifically proves his diversity by adding jazz organist to his impressive resume.

Travels well with: Douglas Olsen- 2 Cents; Bob Gluck- Early Morning Star

Moonbeau

Moonbeau

Old Flame, 2018

8/10

Listen to Moonbeau

A Cincinnati outfit spearheaded by Christian Gough and Claire Muenchen, as Moonbeau the pair take much influence from legends like New Order and A Flock Of Seagulls, as this debut album certainly carries a throwback quality that’s populated by melodies and beats.

“In Love” starts the album with no shortage of synth as a firm beat enters the dreamy, warm atmosphere, and “Like The Night” follows with playful qualities that points towards the ‘80s with plenty of melody amid the electronica.

In the middle, “Complicated” moves with swirling, timeless song craft that’s as sweet as it is emotive, while “Hair So Wild” shimmers with a bit of quirkiness that’s entirely charming and immediately inviting with dual gender vocals. “Take It All”, one of the record’s best, then glides with some of the best singing that seems like it could soundtrack any John Hughes movie.

As we get to the end, “Niburu” is particularly light and airy and with a dreaminess that’s hard to forget, and “Lover/Fighter” exits the listen with bright percussion that’s tailor made for the dance floor.

If you spent any amount of time absorbing ‘80s New Wave, this will absolutely seem like a familiar listen for you, as Moonbeau thankfully don’t hide their inspirations, but instead highlight them with plenty of glossy song craft that doesn’t shy away from modern pop, either.

Travels well with: Chad Valley- Young Hunger; Cut Copy- Freeze, Melt

Mini Mansions

Works Every Time

Caroline, 2018

8/10

Listen to Works Every Time

The LA trio of Zach Dawes, Tyler Parkford and Michael Shuman, i.e. Mini Mansions, offer their most personal effort here, but one that’s certainly not lacking in fun as they even bring a 4th member in on drums, Jon Theodore.

The title track starts the EP with plenty of danceable rhythm as’80s synth-pop nods are front and center, and “Midnight In Tokyo” follows with a similar energy where plenty of melody and light buzzing highlight the pop influenced climate.

The back half of the listen offers the more ominous and raw “This Bullet”, where playful electronica enters the adventurous setting, while “A Girl Like You” brings in Mike Kerr on the fuzzy cover that touches on industrial sounds but with much mass appeal as they put a unique spin on the Edwyn Collins hit.

Certainly a departure from their psyche flavored 2015 album The Great Pretenders, here there’s a sleek take on rock that’s hip-hop influenced while still being very much aligned with Shumer’s work as the bassist of Queen Of The Stone Age and Parkford’s stint with Arctic Monkeys. With this much diversity in attendance, the next Mini Mansions LP should be superb.

Travels well with: you. Guru-Young Adult Fiction; Sundae Crush- A Real Sensation

Villagers

The Art Of Pretending To Swim

Domino, 2018

9/10

The Art Of Pretending To Swim

An indie-rock outfit from Dublin that’s spearheaded by Conor O’Brien, this 4th studio album from Villagers has the band expanding their wings by using samples, synth and synthetic drumming while bringing in several guests to help texture the very cautious landscape.

The 9 track album leads with the instantly inviting “Again”, where soft vocals and warm guitars help the tune build into a unique version of alt-rock, and “A Trick Of The Light” follows with a soulful approach of soothing instrumentation to the reflective, groove friendly climate.

Near the middle, “Long Time Waiting” recruits some indie-pop ideas amid the playful, gritty delivery that displays Siobhan Kane’s pipes, while “Fool” benefits greatly from deft percussion alongside charming textures and the best chorus present. “Love Came With All That It Brings”, the album’s best tune, then takes a darker turn into hypnotic territory that’s immediately gripping.

The final 2 tracks, “Hold Me Down” and “Ada”, impress us too, as the former moves with a bare, breathy quality alongside stirring strings, and the latter exits with much beauty present in an elegant, slow burning setting where the pace picks up with swift guitars and synth near the finish.

O’Brien penned this album in a cozy attic room, and it’s certainly a highlight in the Villagers catalog while easily following suit to some of the best music the always impressive Domino label has released. Heavy on rhythm and groove, this is a much different Villagers than we might be used to, and we’re all better off for it.

Travels well with: Owen- Ghost Town; Damien Jurado- In The Shape Of A Storm

Clemency

You’ve Got The Fire

Self-Released, 2015

8/10

Listen to You’ve Got The Fire

A sibling duo comprised of Paul and Jason Watkins, as Clemency the Oklahoma natives bring us 6 tunes here, where a reoccurring theme of love surrounds the well thought out and timeless song craft.

“Color Hit The Canvas” starts the album with breezy melodies and smooth vocals on a very pop friendly version of Americana that’s immediately memorable, and “Runaways” follows with bouncy bass as frisky drums help the tune build into a playful pop-rocker.

The last 3 songs are equally well crafted, and include the initially ballad spirited “We Have Love”, which evolves into a pretty landscape of anthemic rock, while “Let Love Show You The Way” benefits from acrobatic drumming amid a soaring quality. “Heaven In The World We Know” exits the listen in dreamy territory where soft vocals and elegant instrumentation unfolds with much depth that resonates sincerity.

Now residing in Nashville, Clemency certainly are bringing the spirit of their new home with them, and they aren’t afraid of art influenced songwriting as well as radio friendly rock either, as evidenced by this strong EP.

Travels well with: William Luke White- William Luke White; Brother Starling- The Weight Of Change

Conor Mulroy

The Last Circus Act

Melmac, 2015

8/10

Listen to The Last Circus Act

An esteemed composer, songwriter and multi-instrumentalist, Conor Mulroy sequestered himself and several musicians in a cabin recording studio for ten days to flesh out this 5th album, The Last Circus Act.

“Old Country Road” leads with playful banjo as Mulroy’s warm vocals draw us in to the inviting bluegrass influenced tune that recruits Paige Garfield on harmony vocals, and “In Winter’s Wind” follows with a timeless folk quality as playful percussion from Tom Arey anchors the pretty landscape.

At the halfway point, “Brown’s Eyes” benefits from Mulroy’s carefully picked guitar as strings complement the graceful landscape, while “Norwegian Eyes” offers some of the best singing on the album as a dreamy setting develops.

Near the end, “Struttin’ To Some Granola”, one of the fuller tunes, offers a sublime instrumental, and the title track exits the listen in 6/8 time with a darker tone as a duet unfolds with a spiritual quality.

Together with artists who have played with Tom Waits, Bob Dylan and the Brian Blade Fellowship, Mulroy pens a very personal and often intimate album that came after a near death experience which kept him in the ICU for the better part of a week. This served as a great introduction to Mulroy’s song craft for me, as his very genuine brand of singer-songwriter sounds certainly left me intrigued and willing to explore further.

Travels well with: Spencer Cullum- Coin Collection; Andrew Combs- Ideal Man

Cold Specks

Fool’s Paradise

Arts & Crafts, 2017

7/10

Listen to Fool’s Paradise

The recording moniker of Ladan Hussein, as Cold Specks the Somali-Canadian songstress presents an intimate effort here, where songs about love, loss, hope and growth unravel with rich yet minimal instrumentation.

The title track starts the listen with stirring, expressive vocals in a trip-hop flavored atmosphere that’s immediately inviting, and “Wild Card” follows with a warm beat as soulful singing guides the soothing, funk friendly climate.

Near the middle, “Ancient Habits” finds a dreamy place to reside with ambience and electro-pop moments, while “Rupture” recruits keys and frisky percussion amid a stylish delivery. “New Moon”, an album standout, then buzzes gently as gorgeous singing flows alongside some futuristic stabs.

The last two tracks finish the listen strong, as “Witness” burns slow with much bare beauty, and “Exile” exits with gospel friendly group vocals where agile melodies are present and absorbing.

This is the 3rd album from Cold Specks, and it illustrates a step into synth-pop as guitars are sparingly used. While there are some subtle differences from track to track, the casual listener might overlook this, so it’s best to listen with purpose to really get to the heart of the record.

Travels well with: Jesca Hoop- The House That Jack Built; Hayden- Us Alone

Castle Black

Losing Forever

Self-Released, 2016

10/10

Listen to Losing Forever

An effort from their early days, the trio of Castle Black present 5 tunes here, where their always exciting brand of punk, alt-rock, New Wave and grunge unfolds with a precise blend of hard hitting and alternating lighter textures.

“Sabotage” starts the listen with grungy guitars as post-punk ideas enter the rhythmic setting, and “Premonition” continues with some scrappy pop-punk nods entering the gritty atmosphere.

The back half of the listen doesn’t disappoint either, and includes the calmer, indie-rock influenced “Secret Hideaway”, which builds into a crunchy rocker, while “Leave It” gets nearly dance friendly as ‘90s alt-rock pours out with a buzzing energy. “Dark Light” exits the listen with a dense display of rugged and thicker song craft that even flirts with metal amid the angular, fuzzed out finish.

There just isn’t a dull spot in Castle Black’s impressive catalog of music, but if you’re looking for a quick taste, the 22 minutes here certainly embrace all their strengths in spades.

Travels well with: Thurston Moore- By The Fire; Swans- leaving meaning

The Charlie Daniels Band

Live At Billy Bob’s Texas

Smith, 2015

8/10

Listen to Live At Billy Bob’s Texas

It only seems fitting that Charlie Daniels brings his esteemed catalog of music to the world’s largest honky tonk at Billy Bob’s Texas, and he’s got 14 tracks for us that were recorded on February 20, 2015.

“Southern Boy” starts the listen with a brisk pace of rowdy honky tonk that’s certainly not short melody and is destined to get your body moving, and “Drinkin’ My Baby Goodbye” follows with incredible fiddle acrobatics highlighting the exciting atmosphere.

In the middle, “(What The World Needs Is) A Few More Rednecks” trims the pace back as rugged country ideas are met with vivid storytelling, while “In America” offers swift rootsy rock with group vocals contributing to the rhythmic climate.

On the back half of the listen, “Long Haired Country Boy” offers plenty of guitars interacting together with much warmth as Daniels’ vocals emit the perfect amount of grit and melody, and their interpretation of “Folsom Prison Blues” puts a very playful spin on the classic with jumpy keys adding much to the landscape. Daniels exits the listen with “The Devi Went Down In Georgia”, undoubtedly his biggest song, and the band turn in a flawless version that soars high with dynamic musicianship.

There’s a DVD included with the CD, too, where behind the scenes interview footage of Daniels is a must for the longtime fan. If you’re a first time listener, though, with the great sound quality and selections that span his 5 decade career, this is a great place to acquaint yourself with the legendary outfit.

Travels well with: The Oak Ridge Boys- 17th Avenue Revival; The Allman Betts Band- Down To The River

Charles Lloyd & The Marvels

I Long To See You

Blue Note, 2016

8/10

Listen to I Long To See You

The legendary saxophone player Charles Lloyd found himself in the company of a new band on I Long To See You, where guitarist Bill Frisell and pedal steel player Greg Leisz accompany his long time quartet across these 10 very thought out tunes.

The record opens with Bob Dylan’s “Masters Of War”, where Lloyd’s sublime saxophone is complemented by Friswell’s warm guitar lines and Eric Harland’s careful drumming, and “Of Course, Of Course” follows with Lloyd handling flute on the playful and bouncy setting of timeless skill.

Halfway through, “Sombrero Sam” finds a calm, reflective place to reside with shimmering guitar work alongside adventurous drumming, while “All My Trials” brings the brass back with a sublime execution of dreamy musicianship. The best track included invites Willie Nelson in for the hazy beauty of the soulful “Last Night I Had The Strangest Dream”.

Close to the end, “You Are So Beautiful” hosts Norah Jones as her inimitable pipes highlight the slow burning song craft that’s both expressive and stirring, and “Barche Lamsel” exits the listen with a blurry adventure of jazz on the 16 minutes of exploration amid eclectic ideas.

A very diverse listen musically and lyrically, traditional hymns and anti-war songs are in attendance, as Lloyd and company span upbeat melody as well as landscapes of emotive melancholy on this exceptional effort.

Travels well with: The Nels Cline 4- Currents, Constellations; Charles Lloyd & The Marvels- Vanished Gardens

Crossing Rubicon

No Less Than Everything

Pavement, 2016

8/10

Listen to No Less Than Everything

A Connecticut outfit featuring Jeanne Sagan, who was previously in All That Remains, Crossing Rubicon’s brand of rock sounds like it would have been made several decades ago, and their robust and precise delivery makes these 12 tracks a nostalgic and memorable listen experience.

“Tomorrow Never Comes” starts the album with buzzing guitars as barked backing vocals complement the crisp percussion and melodic yet gritty vocals from Scott Wawrzyniak, and “Unhinged” follows with some metallic crunch as some post-hardcore ideas enter the fluid instrumentation that’s both hard hitting and tuneful.

Further along, “Bittersweet Day” takes nods to ‘80s metal with soaring guitar solos amid anthemic choruses. while “Cut Deep” recruits some dense grooves alongside a thundering quality of firm rhythm. A late album highlight, “Violet Carson”, then leads with chanting before bursting into chugging guitars and some of the best singing on the album that benefits from soothing backing vocals.

Deeper still, “Do We Not Bleed” displays razor sharp guitar playing alongside the dynamic rhythm section of Sagan and Brandi Hoods, and “Return To Atlantis” finishes the listen as the band tip their hat to the early days of metal as well as ‘90s modern rock that certainly would have been comfortable on the FM dial in that decade.

Crossing Rubicon occupy a unique spot in the world of rock music, where they’d fit in well opening for bands like Three Doors Down just as they would Iron Maiden. Similarly, they’d be as comfortable on both Headbanger’s Ball or 120 Minutes, and this timeless album clearly illustrates a significant career forthcoming for the New England rockers.

Travels well with: Kryptograf- Kryptograf; Saxon- Thunderbolt

Bleach Party

NOLA

Self-Released, 2018

9/10

Listen to NOLA

The Windy City surf punks Bleach Party sure didn’t hold anything back on this debut album, where the quartet trade their garage rock past for a firm leap into alt-rock, classic rock and ‘80s punk rock on the energetic NOLA.

The album leads with the punk spirited “Other’s Luggage”, where Meg MacDuff’s gritty yet tuneful vocals guide the buzzing and melodic atmosphere, and “Talkin’ Bout UFOs” follows with some ‘90s alt-rock nods as Kaylee Preston’s thundering drums and the swirling guitars from MacDuff and Bart Pappas help shape the rowdy delivery.

The middle tracks offer us a scrappy rocker in “Tom Cruise Control”, which builds into a blistering pace, while “Lunar Moods” initially embarks on a less hectic execution of retro rock before the dynamic rhythm section picks the tempo up. “No Vacancy”, one of the album’s best, then places some pop ideas into a vintage punk formula where Richard Giraldi’s playful bass adds much to the busy landscape.

Close to the exit, “Shopping Is A Feeling” is a punchy and rhythmic good time, and “Let The Good Tides Roll” finishes out the listen with their curious brand of surf-punk that somehow sounds like it could be sandwiched between The Who and Nirvana while fitting in seamlessly.

A highly impressive debut, Bleach Party know their way around crunchy licks, raw yet memorable songwriting and powerful anthems. As bizarre as it sounds, If Babes In Toyland and The Beach Boys had a baby, it might sound like NOLA, and that sounds pretty damn good to me.

Travels well with: The Cutthroat Brothers- Taste For Evil; Pussycat And The Dirty Johnsons- Beast

Simone Kopmajer

Spotlight On Jazz

Lucky Mojo, 2018

9/10

Listen to Spotlight On Jazz

Austria’s Simone Kopmajer impresses us yet again with this thoughtful mix of originals as standards, where Terry Myers, Martin Spitzer, Paul Urbanek, Karl Sayer and Reinhardt Winkler are on hand to flesh out the tunes that often sound as if they came from the ‘40s and ‘50s.

Kopmajer starts the listen with the lovely and playful “Spotlights”, where a charming delivery with warm saxophone from Myers makes an impression, and “Pennies From Heaven” follows with a soulful setting of pretty jazz ideas.

There’s 14 tunes here, and each one radiates in its own light, including the slow burning of cover of “Poinciana”, while “Dig That Riff” is a playful adventure that recruits fun singing where no actual words are used. “A Gift From Buddy”, an exceptional ballad, then displays Kopmajer’s sublime pipes alongside elegant keys from Urbanek.

Deeper still, “We’re Goin’ In” swings with much charm and a contagious energy with Winkler’s strong percussion making a dent, and “Mood Indigo”, a late album highlight, then puts a very pretty spin on the Duke Ellington classic where Spitzer contributes deft guitar acrobatics.

This is Kopmajer’s 13th album as leader, and like everything she’s been a part of, it’s full of fluid, engaging and expressive song craft that you won’t forget anytime soon.

Travels well with: Diana Panton- A Cheerful Little Earful; Coniece Washington- Shades Of Shirley Horn

Crim

Pare Nostre Que Esteu A L’infern

Pirates Press, 2018

10/10

Listen to Pare Nostre Que Esteu A L’infern

When it comes to punk bands from Spain, it doesn’t get much better than Crim, who released two albums in 2018, Sense Excuses and the one we’re discussing here, Pare Nostre Que Esteu a L’Infern.

The lively album leads with the charged “Poster No Hi Ha Final”, where gruff vocals are met with melodic backing vocals and crisp percussion, and “Hivern Etern” follows with hypnotic guitar work in a firm, thundering display of punk and hardcore ideas.

In the middle, the chunky bass of the title track helps solidify this as one of the album’s best tracks, though the swirling guitars of “Ullais De Liet” is a close second with its contagious sing-alongs. “Viure O Existir”, another exceptional track, then moves swiftly with a hard hitting yet tuneful display of rock’n’roll influenced punk.

Near the end, “Himnes Contra El Temps” plows ahead with intensity and rhythm amid its fist pumping, pit friendly pace that even brings in a guitar solo, and “Quan Tot Sigui Fosc” finishes the listen with an anthemic quality that breeds intricate songwriting and dynamic, timeless energy.

A band who have yet to release a record that isn’t fantastic, Crim use power and melody in the best ways, where they sing in their native Catalan tongue. How these guys aren’t the biggest name in the punk scene is beyond me, cause they bring all the best elements of Leatherface, Rancid, Bad Religion and Hot Water Music, yet with their very unique Catalonia roots intact and appreciated.

Travels well with: Noi!se- Dull The Pain; Seized Up- Brace Yourself

Booze & Glory

Chapter IV

Pirates Press, 2018

10/10

Listen to Chapter IV

The British street punks Booze & Glory continue their impressive catalog with this 4th album that arrived right around their 10 year mark as band. Not so surprisingly, and thankfully, their lively and ferocious formula of rhythmic and tuneful punk rock that sounds like it could have been penned in any decade since the ‘70s is in fine form across the rowdy Chapter IV.

The album starts with graceful piano balladry with a Celtic slant before bursting into a charged, buzzing display of anthemic, melodic, UK spirited punk rock, and “No Rules” follows with the sort of driving guitar that sounds very Southern California as gruff vocals guide the fist pumpin’ setting.

A consistently great listen, middle tracks like “Simple” turn the volume down but keep the tunefulness high with calmer moments amid the sing-alongs, while the speedy, pop-punk fueled “Back On Track” and the album highlight, “Blood From A Stone”, pairs rock’n’roll with old school flavored punk that we will never tire of.

Closer to the end, “Violence And Fear” moves with the sort of charged intensity that will get you searching out the nearest pit while taking a breath to join in the gang vocals, and “Start Believing” exits the listen with a strong display of the chemistry between the top notch rhythm section.

Sometimes compared to legends like The Dropkick Murphy’s and Flogging Molly, Booze & Glory certainly hold their own against names like that, as this career highlight easily illustrates. Previously released only in Europe in 2017, this version brings a couple of extra tunes to the listen, which you won’t find me complaining about one bit.

Travels well with: Cock Sparrer- Forever; Noi!se- The Real Enemy

Amie Penwell

Windows

Self-Released, 2018

8/10

Listen to Windows

A West Coast singer-songwriter with a healthy set of pipes and a varied delivery that embraces alt-rock, R&B and soulful nods, Amie Penwell is capable of both intimate and adventurous moods on the well thought out song craft that is Windows.

Penwell starts the listen with the title track, where moody strings and warm percussion complement her soft, expressive pipes in the emotive and elegant atmosphere, and “Mercy” follows with a soulful approach as sublime musicianship guides the stirring climate.

At the midpoint, “Unstoppable” displays timeless songwriting amid breezy melodies as Penwell’s enthralling vocals pull us in to the reflective tone, while “Traces” resides closer to balladry where graceful keys and gentle percussion complement the breathy singing. “Mask”, one of the album’s best, then sits firmly in piano balladry as much emotion is present and appreciated.

Close to the end, “Field Of Light” yields much intimacy in its bare but impactful landscape, and “Mothers Piano” exits the listen with a brief but moving piano instrumental that reiterates just how much depth and sincerity Penwell delivers.

You’re likely to hear traces of influence from legends like Melissa Etheridge, Ray LaMontague or even Peter Gabriel here, and Penwell’s keen sense of songwriting certainly has the capacity to run parallel to those names in terms of timelessness and beauty, too.

Travels well with: CF Watkins- Babygirl; Sarah Morris- All Mine

The Hip Priests

Stand For Nothing

Digital Warfare, 2019

9/10

Listen to Stand For Nothing

The Nottingham, England punks returns with a 4th album of their charged, filthy and uncontainable punk rock energy, where occasional keys, plenty of guitar solos and endless melodic, raw fury are unleashed with garage rock ideas on hand.

“Welcome To Shit Island” gets off to a roaring start with pounding drums and furious guitar work as multiple voices punctuate the coarse energy present, and “Stand For Nothing” follows with forceful singing and incendiary music that's part proto-punk and park rock'n'roll.

Elsewhere, “Cheers To Me” recruits a kinetic rock spirit with bite, while the chunky bass and highly melodic setting of “From Here To Adversity” makes this a standout in an album where there isn't a dud.

Deeper cuts like the anthemic gang vocals of “Deja F.U.” and the lone (somewhat) subdued track “How Do You Get Off (On Getting Me Down?)” provide some diversity to the blistering affair, although, quite honestly, The Hip Priests are so adept at their formula, by the time we get to the closing tune, “Rock 'n' Roll Leper”, we're more than ready for their seedy, visceral quick paced delivery to return.

If bands like Turbonegro, The Stooges, and New Bomb Turks frequent your turntable, than The Hip Priests certainly should, too. A record that deserves to be played loud and often, the vinyl version even comes with a bonus track

Travels well with: The Generators- Street Justice; The Bar Stool Preachers- Grazie Governo