Modern Stars

Psychindustrial

Miacameretta, 2021

8/10

Listen to Psychindustrial

An Italian trio with an aptly titled sophomore album, Modern Stars inject plenty of distorted, harmonic and fuzzy ideas into a psyche influenced and adventurous form of rock that’s unpredictable every step of the way.

“Hypnopaedia” starts the listen with a glowing, dreamy version of psyche-rock that’s quite warm, and “Artificial Wombs” follows with a hazy dissonance of rhythmic and shoegaze friendly ideas that are as mesmerizing as they are nostalgic.

Halfway through, “Throw Your Dreams Away” uses acoustic guitar strategically, as agile drumming aligns with the vivid storytelling, while “Ignorance Is Strength” offers an instrumental of soothing sitar prowess that cultivates a very atypical sort of groove.

Rounding out the listen is the droning psychedelia of “Indian Donna Summer”, where singing is manipulated as if an instrument, and the very unusual electric ballad “Deep Feelings”, which features mandolins complementing the fuzz and charming electronica that is used sparingly but effectively.

Andrea Merolle, Barbara Margani and Andrea Sperduti make up Modern Stars, and their blurry, retro and distinct intimacy certainly points towards influences like Spaceman 3 and Suicide, though they still retain a vision all their own.

Travels well with: Daydream Three- The Lazy Revolution; Pulsar Ensemble- Bizarre City

Pess

You Can Make Hamburger Yourself

Aagoo, 2021

8/10

Listen to You Can Make Hamburger Yourself

The debut album from the Tokyo songwriters Mitsuomi and Haruka, as Pess they craft some irresistible rock’n’roll tunes that sound like they could have been penned from the ‘60s on, and the electronic moments sure do add even more appeal.

The title track starts the listen with dense fuzz and thumping drums as harmonic singing gives the opener a pop edge amid the swirling melody, and “Dream Spin” follows with a dance-friendly energy that’s upbeat and certainly indebted to ‘80s New Wave.

Packed in the middle, “Roller Coaster” is full of a tuneful, punk spirit that benefits much from playful drumming and driving guitar work, while “Hieroglyph” points towards the ‘90s alt-rock scene mixed with electro-pop and is delivered with plenty of creativity.

“Pixel”, a late album highlight, uses synthetic drumming amid a calm, dreamy landscape and “Throw It Away” exits the listen with a very melodic version of synth-rock meets bright brass and soaring vocal harmonies.

An outfit that bonded over their adoration of Citrus, you’ll also hear similarities to Peel Dream Magazine, The Big Moon or even Shonen Knife across You Can Make Hamburger Yourself, and it makes for a brief but very lively first album.

Travels well with: Iran- Persis; Delwood- Delwood

Iran

Persis

Aagoo, 2021

9/10

Listen to Persis

The Italian trio Iran released Aemilia last year, and they return here with a remix album where a bulk of the tunes from Aemilia are interpreted by 8 artists from the Italian dance/avant scene.

“Sohan”, remixed by Ongon, starts the listen with a swirling, hypnotic execution of prog-friendly sounds that gets quite dreamy in unconventional ways, and “Oh My Blast” follows with a glowing spirit that segues into playful percussive sounds and glitchy electronica thanks to vonneumann.

In the middle, “Xenopolis rmx” buzzes with a cinematic quality as Simone Lalli puts a firm slant on the remix with no shortage of adventurous, synthetic sounds, while “Regium Lepidi Revisere” displays Luigi Ceccarelli’s tinkering with all sorts of noises and sounds like a mad scientist.

Arriving near the end, “Arl”, by Claudio Rocchetti, emits an ominous, hypnotic sort of droning, and “Bam, la frana” exits with Roberto Fega’s soundbite manipulation amid cautious instrumentation that builds into a dizzying finish of intricate, exciting song craft.

A fascinating peek into post-punk, avant-garde sounds, experimental ideas and prog-rock nods, each track here follows its own unique path, and it’s an adventure you can’t help but enjoy.

Travels well with: Other Houses- Twins Who Fence; Pess- You Can Make Hamburger Yourself

Delwood

Delwood

Honest House, 2021

9/10

Listen to Delwood

The debut album from a Belgian band that hosts two bass players, Delwood create a curious brand of rock that takes nods to jazz, post-rock and even punk as each track takes on a identity of its own, and is executed with tremendous precison.

“Hearts As Clocks” starts the listen with a smooth delivery of modern indie-rock, where punchy drumming from Alex Brull and gritty vocals are set against a dreamy backdrop, and “At Large” follows with Vince Oury’s glowing keys amid bouncy bass lines as both soft and firm vocals enter.

At the halfway point, “A House Is A Corridor” touches on post-rock ideas, where a buzzing quality and much beauty weave in and out of the meticulous textures, while “The Sequence Of Facts” brings both cinematic and psychedelic flashes to Delwood’s very unique version of song craft.

“The Sound Of Victory” appears near the end and balances driving alt-rock moments with political soundbites and math-rock tendencies, and “Lighthouses” exits the listen with a buzzing, busy landscape that segues into hazy, lo-fi moments of surreal songwriting.

Few bands exist today that are as unique as Delwood, and this first album is an absolute treasure that is not to be missed for those with an ear for the unconventional.

Travels well with: Daydream 3- The Lazy Revolution; Pulsar Ensemble- Bizarre City

Claire Cronin

Bloodless

Orindal, 2021

9/10

Listen to Bloodless

A musician and writer who pens powerful songs in often bare settings, Claire Cronin plays guitar and sings on this often eerie record, where Ezra Buchla’s contributions on viola, synth, baritone guitar, drums and vocals won’t go unnoticed, nor will John Dieterich (Deerhoof) or Owen Ashworth’s presence on a couple of tracks.

The title track starts the listen with a calm, mysterious mood, as gentle guitar, Cronin’s inviting pipes and viola and synth make for a dark, absorbing version of folk sounds, and “Through The Walls” follows with baritone guitar adding some buzzing energy to a more gritty landscape of ominous beauty.

Approaching the middle, “Snakes For Angels” gets dreamy with Cronin’s guitar and Buchla’s viola interacting with much atmosphere alongside poetic singing, while “No Forcefield” radiates a more upbeat demeanor of playful guitar and emotive synth. “To Ferry Across” then pairs gorgeous strumming with Cronin’s inimitable singing to showcase the charming minimalism.

“Not A Noise” and “Now I Don’t Leave” exit the listen, where the former emits much ambience amid a more forceful execution, and the latter is stripped back with Cronin’s intimate and stirring vision forging a very unique type of Americana.

Recorded during the wildfires that plagued Northern California, Cronin and Buchla were often unable to leave their house due to the toxic air, which often gave the recording sessions a hallucinatory effect. Perhaps a suiting backdrop to the metaphysical leanings of her art, the spiritual, hypnotic and haunting song craft here is nothing short of captivating.

Travels well with: Skylar Gudasz- Cinema; Jason Molina- Eight Gates

Carolyn Lee Jones

Christmas Time Is Here

Catn’round Sound, 2021

9/10

Listen to Christmas Time Is Here

An enormous talent who appeared on the jazz scene in 2008, Carolyn Lee Jones has impressed us in plenty of outfits that includes big bands, and here she delivers a holiday album where her rich pipes are in the company of many players across the dozen interpretations.

“The Christmas Song” gets the album off to a festive start, where Jones’ smooth pipes are met with Jonathan Fisher’s warm bass and Brad Williams’ flowing piano work, and “Christmas Time Is Here” follows with Fisher handling cello and Tom Burchill’s sublime guitar playing highlighting the comforting and emotive climate.

Deeper into the listen, Cole Porter’s “You’d Be So Nice To Come Home To” bounces with a charming spirit thanks to Andrew Griffith’s agile drumming, Keith Jordan’s soulful fluegelhorn and, of course, Jones’ cozy pipes, while “Red Christmas” recruits Todd Parsnow’s skilled guitar and Dennis Durick’s accomplished drumming for the breezy album highlight.

“White Christmas” lands closer to end and showcases Mario Cruz’s elegant sax amid strings from Veronica Gans, Imelda Tecson and Buffi Jacobs for a very sophisticated interpretation of the standard, and “Count Your Blessings (Instead Of Sheep)” exits the listen with bright keys and Steven Heffner’s precisely plucked bass that support Jones’ incredible singing superbly.

A very pleasant mix of songs we all know, but have never heard quite like this, and lesser known holiday music that’s just as impactful, Jones makes excellent use of bossa nova and swing moments on this timeless Christmas listen.

Travels well with: June Bisantz- 7 Shades Of Snow; Alexis Cole- Sky Blossom

June Bisantz

7 Shades Of Snow

Arabesque, 2021

8/10

Listen to 7 Shades Of Snow

The vocalist and visual artist June Bisantz is surrounded by Jon Burr’s bass, Mike Eckroth’s piano, James Chirillo’s guitar, Brandon Lee’s trumpet, Marc Pfaneuf’s saxophone, and Alvester Garnett’s drums across these 6 tracks, where they embrace the wide range of feelings that exist during the holiday season.

“The Merriest” starts the listen with warm piano, soulful trumpet and Bisantz’s flowing vocals guiding the timeless jazz opener, and “Ring A Merry Bell” follows with calm drumming and playfully plucked bass as the poetic singing emits a very cozy spirit.

In the middle, “Hang Them On The Tree” glides with a charming melody amid the crisp drums, well timed brass and Bisantz’s upbeat singing, while the title track offers a romantic mood of sublime beauty.

The last two tracks, “Sorry To See You Go” and “Winter’s Got Spring Up Its Sleeve”, exit with the former being a swift and memorable EP highlight, and the latter finds an intimate place to reside with eloquence and introspection.

Recorded during the height of the pandemic restrictions in 7 different studios where the musicians never saw one another, 7 Shades Of Snow is an ideal soundtrack to winter, where Bisantz’s silky voice and the Jon Burr Sextet’s skilled instrumentation make for a comforting and charming listen.

Travels well with: Alexis Cole- Sky Blossom; Diana Panton- A Cheerful Little Earful

Beth McKenna

Beyond Here

Self-Released, 2021

9/10

Listen to Beyond Here

A saxophonist, bandleader and composer who resides in Montreal, Beth McKenna pens a substantial album here, where themes of conflict and climate change surround energetic, funky and woodwind heavy songs that never sit in one place too long.

“Intro-Beyond Here” starts the listen with warm keys and soothing sax that welcomes Peter Colantonio’s intricate drumming, and “Perspective” follows with a mix Guillaume Martineau’s piano and McKenna’s flowing brass for a very adventurous jazz tune.

Elsewhere, “Interlude: Finding A Place” is textured cautiously amid the poetic beauty, while “Far From Familiar Ground” emits a radiant jazz-rock display. “Letting Go”, one of the album’s best, then showcases Olivier Babaz’s stunning bass lines amid the dynamic and soaring execution.

Deeper still, “Running Out” swirls with playful modern jazz that you can’t help but admire, and “Ele(ctro)phant benefits from Francois Jalbert’s guitar acrobatics as the frisky funk spills out with tremendous attention to detail.

The company McKenna keeps sure do illuminate her eclectic songs that span pop, soul, funk, world music, and, of course, jazz, and with sparing but effective wordless vocals from Sarah Rossy, Beyond Here is as unpredictable as it is memorable.

Travels well with: Avataar- Worldview; Montréal Jazz Trio- Montréal Jazz Trio

Alexis Cole

Sky Blossom: Songs From My Tour Of Duty

Zoho, 2021

9/10

Listen to Sky Blossom

A long running jazz vocalist who spent many years as a singer in the army, these days Alexis Cole is spending her civilian life immersed in her craft, and here she interprets a dozen standards with a large handful of musicians on hand for the adventurous jazz listen.

“Joy Spring” gets the album off to a bright start with booming brass, agile drumming from Scott Drewes and intricate guitar from Mark Tonelli as Cole’s impressive vocal scatting draws us in, and “Pure Imagination” follows with much beauty as soulful sax and strategic percussion thanks to Jeff Haynes complements Cole’s versatile singing.

Further down the line, “Estate” enters calmer areas where Max Myrick’s precise bass and Brandon Johnson’s intimate guitar add much to the emotive climate, while “Across The Universe” puts a very dreamy spin on the classic, as Tyler Kreutel’s restrained drumming and Cole’s absorbing pipes work well together. “How I Wish”, a Thelonious Monk tune, then displays Scott Arcangel’s proficient piano and dynamic brass in a very meticulous album highlight.

“Our Love Is Here To Stay” lands near the end and recruits plenty of rhythm amid the timeless jazz energy, and “American Anthem” exits with Jaehun Kang’s gorgeous piano playing accompanying Cole’s poetic delivery as much sublimeness wraps up the listen.

Cole’s song selections spans some of the greats, including Billy Joel, Miles Davis and A.C. Jobim, to name a few, and her impeccable delivery and diverse range make for a listen that can swing with the best, because, well, she is one of the best.

Travels well with: Lyn Stanley- Lyn Stanley’s Favorite Takes: London With A Twist Live At Bernie’s; Diana Panton- A Cheerful Little Earful

Paul Jost Quartet

While We Were Gone

Self-Released, 2021

8/10

Listen to While We Were Gone

A staple in the New York City jazz scene, Paul Jost’s vocal prowess has brought him all over the world, and here he brings us a double live album where Jim Ridl contributes piano, Tim Horner sits behind the drum kit, and Lorin Cohen, Dean Johnson and Martin Wind trade off on bass.

“Poetic Justice” leads the listen with Jost’s soulful harmonica before spoken word alongside graceful keys and sublime singing that pays tribute to George Floyd enters, and “Bye Bye Blackbird” follows with a very playful and dreamy display of subtle drumming and fluid keys amid Jost’s expressive pipes.

Further on in disc 1, Johnson’s hypnotic bass complements the stylish climate of “Gentle Rain”, while “A Beautiful Friendship” glides with a frisky approach of vocal scatting, swift drumming and an energy that will get your body moving. “Some Other Time” exits this portion of the listen with a romantic spirit of emotive singing, sophisticated keys and brushed percussion.

The 2nd disc continues the mood with the soft and intimate “Livin’ In The Wrong Time”, and “Young And Foolish” showcases Wind’s incredible bass plucking in the hazy album highlight where Jost hits some pretty high notes.

Further still, “I Thought About You” brings Wind back for a busy and precise landscape of timeless jazz sounds, and “The Nearness Of You” allows Cohen’s bass work to shine in a profoundly beautiful late album stunner.

The sound here is incredible, and the diversity with spoken word moments and some covers tossed in (i.e. Randy Newman) makes this 5th album from Jost as leader one where he puts an equal amount of sincerity and heart into each track, effectively further cementing his position as one of the best male vocalists alive today.

Travels well with: Shannon Gunn- On A Mountain; Earl MacDonald- Consecrated

The Heavyweights Brass Band

Stir Crazy

Slammin’ Media, 2021

9/10

Listen to Stir Crazy

The Heavyweights Brass Band consists of John Pittman (trumpet), Paul Metcalfe (saxophones), RJ Satchithananthan (trombone), Tom Richards (tuba) and Lowell Whitty (drums, percussion), and together with a couple guests they bring us a fun mix of originals and covers on this fantastic 4th album.

“Sweet Polly’s Boogaloo” starts the listen with bright brass, punchy drumming and an energy you won’t be able to sit still to, as Joel Visentin’s well timed hammond C3 organ makes a big impression, and “Feel Like Makin’ Love” follows with Pittman’s soulful trumpet complementing the rest of the brass amid a cautious yet playful climate.

The middle tracks are among the best, and include the dynamic horn interaction and lively pulse of “Manipogo”, while “Rehab” turns the Amy Winehouse song into a swift jazz rocker thanks to Tom Richards’ vision, and he also plays trombone on the interpretation, too.

“Georgia Pine” lands near the end and showcases Aline Morales on triangle as a very busy display of upbeat and glorious big band sounds unfold, and the band’s version of “Black Hole Sun” exits the listen and retains all the beauty of the original, in a dreamy, attentive and very creative finish.

Heavily influenced by the rich history of New Orleans and certainly not lacking in grooves, The Heavyweights Brass Band have been playing together for over a decade now, and their chemistry sure does seem like it, where power, energy and an infectious execution will have you seeking out the nearest dance floor.

Travels well with: Avataar- Worldview; Jonathan Bauer- Sings & Plays

Ewan MacFarlane

Always Everlong

Royale Stag, 2021

9/10

Listen to Always Everlong

Formerly of Grim Northern Social and Apollo 440, this debut solo album from Ewan MacFarlane sees the artist bringing the best ideas of classic rock, rootsy sounds and even some punk flavored moments to his very personal songwriting.

“Stirrin In The City” starts the listen with a rugged yet melodic version of roots rock meets alt-rock, where thumping drums and warm guitars suit MacFarlane’s soaring pipes, and “She Comes For The Kill” follows with a much calmer display of gritty song craft that’s got plenty of soulful backing vocals.

“Underneath Your Spell” arrives near the middle and offers a bare and sublime track where MacFarlane gets intimate and powerful with just his soft guitar, while “Your Blood & Your Mine” finds itself in gorgeous, ballad territory, as a heartfelt delivery is met with gentle drumming, light keys and, of course, his inimitable voice. “You’re All Wrong” then moves back into fuller areas thanks to his punk friendly version of Americana that makes an indelible impression.

The title track lands deep in the listen, and is a both musically and lyrically substantial tune of poetic songwriting, and “The End Is Just The Beginning” exits the listen with bright brass amid the upbeat, frisky and very diverse finish.

An album that will definitely remind you of Springsteen and Petty, MacFarlane uses a modest amount of twang and the Scotland native retains the spirit of his home country to give it a distinct angle. Writing a song a day during lockdown, he certainly bared his soul in these stories, and it makes every second here worth respect and admiration.

Travels well with: Jesse Malin- Outsiders; Tommy Womack- I Thought I Was Fine

Jeremy Monteiro & Alberto Marsico

Jazz-Blues Brothers

JazzNote, 2021

8/10

Listen to Jazz-Blues Brothers

The Singapore based pianist, organist, composer and arranger Jeremy Monteiro aligns himself with Alberto Marsico on this 46th album as leader, and they’ve also got Shawn Letts, Eugene Pao, Shawn Kelley and Miz Dee Longwood on hand for the swing, soul, blues and pop influenced record that’s full of timeless jazz sensibilities.

“Opening Act” starts the listen with Marsico’s warm organ alongside Kelley’s playful drumming as the toe tappin’, swing friendly opener makes a strong impression, and “Olympia”, a Monteiro original, follows and flirts with funk in charming ways, and Monteiro’s solo won’t go unnoticed, either.

Moving down the line, “Mount Olive”, a tune that appeared on an earlier Monteiro album, is reworked here with plenty of sax from Letts in its funk nature, while “Lou” enters bluesy areas that weave in and out of cautious, sophisticated textures in the Marsico tune that’s a tribute to Lou Rawls. “Jack-Pot”, which pays homage to the organ extraordinaire Jack McDuff, then gets busy as Pao’s firm guitar and the key acrobatics illuminate the meticulous mood.

There's vocals on 2 tracks here, including “I’d Rather Go Blind”, where Longwood’s soulful pipes accent the emotive album highlight, and “Wishy Washy” exits the listen with a swift and frisky jazz and blues exploration where all members bring their respective talents in spades.

Originally released in 2014 everywhere but North America, here Jazz-Blues Brothers lives again with 3 new tracks, and with Marsico’s contributions on organ as well as all the talent the players bring, this certainly is a high point in Monteiro’s exceptional and lengthy body of work.

Travels well with: Steve Million- Jazz Words; The Chris Saunders Band- Dancing With The Widow St. James

Malcolm MacWatt

Settler

Need To Know, 2021

8/10

Listen to Settler

A Scottish singer-songwriter and multi-instrumentalist, Malcolm MacWatt creates a very distinct version of Americana, and he’s got several guest vocalists to help highlight his Scottish balladry and Appalachian influences that thematically surrounds loss, injustice and taxing journeys.

“Avalanche And Landslide” starts the listen with MacWatt’s expressive singing alongside vocals from Jaimee Harris, as the acoustic climate emits much rural beauty, and “Letter From San Francisco” follows with warm strings and subtle percussion, where MacWatt’s poetic singing highlights the genuine delivery.

Elsewhere, “My Bonny Boys Have Gone” recruits Gretchen Peters for the pretty, bare landscape of gentle banjo and emotive storytelling, while “The Miller’s Daughter” features Eliza Carthy for a warm, folk influenced album highlight that’s textured with a very mature, timeless appeal. “John Rae’s Welcome Home” then takes help from Kris Drever on electric guitar for the dreamy, eloquent execution that’s quite absorbing.

Further still, “Banjo Lullaby” does indeed showcase sublime banjo playing amid MacWatt’s vivid wordplay, and “North Atlantic Summer” continues with cautious strumming and a breezy demeanor that illustrates MacWatt’s many talents.

A listen that’s certainly indebted to his home country, MacWatt also sounds right at home in the current Americana scene on this side of the Atlantic, and the contributions from Harris, Laura Cantrell, Peters, Carthy and Drever add their unique skill set to this very well thought out and creative body of work.

Travels well with: Nathan Bell- Red, White, And American Blues; I See Hawks In L.A.- On Our Way

Beyond Here

New Dangers

Self-Released, 2021

8/10

Listen to New Dangers

A quickly rising quartet from Nashville, Beyond Here don’t waste any time making an impression with this debut 5 song EP that showcases their dynamic and charged formula that’s full of meticulous and memorable songwriting.

“Fake It Till You Miss It” starts the listen with both grit and melody entering a thumping and smooth brand of modern rock that soars loud, and “Disappear” follows with a calmer spirit of crisp drumming and versatile singing from Anthony Douglas that complements the intricate, swirling guitars from Jon Wisecarver (lead) and Logan Hatcher (bass).

“Go There” occupies the middle spot and is a bit more firm as the band border on alt-rock with a sonically engaging delivery that could fill stadiums, while “New Man” showcases a rhythmic quality amid soothing backing vocals. The final track, “Young One”, exits with strong attention to detail that balances gentle moments with energetic bouts of rock that benefit much from Jonathan Tuckness’ proficient drumming.

An excellent starting point, expect plenty of greatness from Beyond Here in the future, and we all shouldn’t be surprised if they’re one day playing an arena near you.

Travels well with: The Mighty One- Torch Of Rock And Roll; The Guilty Lenses- Somewhat Romance, Somewhat Poetry

Lord Baltimore

Angel

Self-Released, 2021

8/10

Listen to Angel

This is the 3rd EP from the New York City outfit Lord Baltimore, and it shifts away from the grunge and industrial ideas of their earlier work into a more pop focused listen, but certainly not in any traditional sense.

“Ketamine Tea” starts the listen with a soulful version of indie-rock meets electro-pop that’s heavy on atmosphere and buzzes with some mystery, too, and “Something Like Thirst” follows with an energy that could soundtrack a night at the club, where firm beats, a warm dreaminess and swirling musicianship unfold to tell the true story of a first sexual encounter.

The final track, “Gulf Of Mexico”, leads bare before building into an emotive, almost cathartic display of radiant indie-pop that’s a little hazy, kind of cinematic and aglow in a powerful intimacy and resonates long after the song ends.

A quick but impactful listen that explores organized religion and road trips to the gates of heaven, at under 12 minutes Angel ends entirely too soon, but it gives us a taste of what an LP from Lord Baltimore could resemble, and it sure seems like it would be a very welcomed listening experience.

Travels well with: Fotoform- Horizons; Bizou- Tragic Lover

Avataar

Worldview

InSound, 2021

8/10

Listen to Worldview

An award winning world jazz outfit from Toronto, Avataar are spearheaded by the saxophonist Sundar Viswanathan, and Worldview brings funk, world and pop influences to their atypical jazz formula that’s quite modern and seems like it could originate anywhere on the planet.

The title track starts the listen with Viswanathan’s flowing sax alongside strategic bass from Justin Gray and playful keys thanks to Todd Pentney, as soothing wordless vocals add a very warm touch, and “Ekkriis Spirito (Reclaimed Spirit)” follows with Michael Occhipinti’s spirited electric guitar and Max Senitt’s agile drumming giving the world music influenced album highlight plenty of grooves.

At the halfway point, “Innocents (12/14/12)” showcases Aaron Lightstone’s well executed oud in the atmospheric 8+ minutes, while “Song Song” offers some of the prettiest singing amid the soulful sax and dreamy instrumentation.

As we move towards the end, “A Safe Space For Children (For All)” is textured with no shortage of rhythm and melody in the busy yet precise landscape, and “Little Kurdi (For Alan Kurdi)” exits the listen with a fusion filled 10 minutes that’s sometimes busy, other times intimate and quite exciting in its atypical nature.

In addition to those listed above, Felicity Williams handles vocals and Ravi Naimpally plays tabla, and collectively they emit a jazz oriented effort where Indian, African and Brazilian traditions are touched upon, and it makes for a very eclectic and original listen that’s capable of being cinematic, is always unpredictable and deserves to be listened to many, many times.

Travels well with: Montréal Jazz Trio- Montréal Jazz Trio; Shannon Gunn- On A Mountain

Eleanor Buckland

You Don’t Have To Know

Soundly, 2021

10/10

Listen to You Don’t Have To Know

Perhaps best known as one third of the Boston trio Lula Wiles, on her own, Eleanor Buckland certainly retains the folk-rock spirit of her full band, and also embraces indie-rock and even pop into her very personal song craft that welcomes plenty of esteemed help.

“Don’t Look Down” starts the listen and makes a strong impression with Buckland’s smooth vocals alongside Sam Gleason’s shimmering guitar and Justin Ruppel’s punchy drumming in the glorious folk-rock, and “I’m Not Saying” follows with acoustic guitar from Adam Iredale-Gray and saxophone courtesy of Edwin Sheard as the setting turns calmer with a breezy, introspective approach.

Near to the middle, “Static” has Buckland displaying her acoustic guitar prowess amid the stylish indie-rock that’s tinted with some Americana though still being quite danceable, while “Resignation” enters darker areas of atmosphere as much beauty surrounds the dreamy, restrained landscape. “October”, a particularly memorable tune, although every selection here is fantastic, then welcomes Steve Foster on harmony vocals alongside the indie-pop ideas that reside closer to balladry.

“Wishing Is Useless” arrives near the end and offers a bare, emotive delivery where Buckland illustrates much range with her voice, and “You Don’t Have To Know” exits the listen with a precisely textured finish that has Mairi Chaimbeul on synth, flutes from Anh Phung and Elise Boeur’s harmony vocals for a profound exploration that even flirts with prog-rock in a hazy sort of way.

An album that required a lot of self-examination, Buckland knows her way around an intimate song that will make you want to mull things over, just as she does a soaring rocker that you’ll play as loud as possible, and her strong attention to melody and song structure will likely leave you as enamored with her work as I am.

Travels well with: Single Girl, Married Girl- Three Generations Of Leaving; Anya Hinkle- Eden And Her Borderlands

Ben Levin

Still Here

VizzTone, 2021

9/10

Listen to Still Here

Even though he’s just a youngster, Ben Levin has racked up an impressive body of work, where his versatile piano playing and incredible singing resonate with both youthfulness and timeless that parallels the greatness of those that inspired him- Fats Domino, Smiley Lewis and many more.

“Love And Friendship” starts the listen with Levin’s bouncy keys, as his extremely soulful pipes sweep into the rhythmic, blues opener that never seems like it comes from a 21 year old, and “Still Here” follows with a calmer pace of powerful piano playing and Aron Levin’s spirited guitar work that complements the emotive landscape.

Elsewhere, “Bad Idea” moves with a playful energy that will get your body movin’ and groovin’ to the infectious blues climate, while “Please Let Me Get One Word In” benefits much from Oscar Bernal’s agile drumming as Levin’s heartfelt pipes draw us in to the relatable storytelling. “Christmas Rain”, another excellent track, then offers an initially bare and poetic display of retro blues flavor where Chris Douglas’ subtle bass won’t go unnoticed.

As we get near the end, the precise guitar and warm keys of “Her Older Brother” make this the album’s best track, and “I’m Your Essential Worker” exits the listen with Levin’s incredible delivery that’s not short on power and gritty melody as his firm keys and booming voice finish on a very high note.

There’s a nice balance of originals and covers included here, and Levin’s nods to New Orleans and his strong attention to detail make Still Here another first rate blues album of his that you’ll immediately enjoy.

Travels well with: Chris BadNews Barnes- Badnews Rising; Hector Anchondo- Let Loose Those Chains

David William Ross

Amor Fati

Ravello, 2019

8/10

Listen to Amor Fati

An accomplished jazz and classical guitarist, David William Ross has an esteemed resume that includes both dance and performance art, and with Amor Fati he brings his vast experience to a fascinating listen.

“A Song Of Early Spring” starts the listen calm and stays that way with gentle guitar work in the folk lullaby, and the much busier “Las Estaciones Portenas” follows and is divided into 4 parts that bring guitar acrobatics that range from playful to much more forceful, before exiting gentle yet agile.

The back half of the affair offers the slightly haunting “Equinox”, which stays bare and soft with Latin influences, though the 6 portions of “Cyrcles” finds countless ideas and textures to emit in its eclectic delivery. “Un Dia De Noviembre” finishes the listen moody yet pretty with plenty of fuel for introspection.

For fans of guitar music or who enjoy both classical and jazz sounds, Amor Fati is a wonderful companion that warrant repeated listens.

Travels well with: Patterns- Chamberworks; Hevreh Ensemble- A Path Of Light