Philippe Côté with Marc Copland

Fleur Revisited

Odd Sound, 2021

8/10

Listen to Fleur Revisited

The Montreal composer and musician Philippe Côté brings his soprano sax and bass clarinet to these 7 tracks, where Marc Copland’s fascinating piano prowess and the strings of Quatuor Saguenay quartet are in attendance for the rich, complex jazz ideas that embrace classical, chamber and orchestral nods, too.

“The Gathering” starts the listen with light atmosphere, as Copland’s graceful keys are met with an ominous quality that’s quite cinematic, and this leads into the string friendly “Dances & Laments (Nature’s Cries)”, which weaves plenty of classical ideas into the stirring climate.

“Mystery Of The Seed” lands in the middle, and recruits hypnotic keys amid moody strings, while “Stems” puts focus on the piano with cascading beauty as Copland’s flowing finger acrobatics make a sizable impression.

Close to the end, “Interlude: The Shades” is a quick offering of low keys in a bare setting, and “Blooms” exits the listen with Côté’s incredible sax playing interacting with the cautious piano in a very precise fashion.

Fleur Revisited was released in conjunction with Bell Tolls Variations, and the chemistry with Copland is quite incredible, and the addition of violins, cello and viola further make the effort a very unique and memorable reworking of the 2016 listen from Côté.

Travels well with: Avataar- Worldview; Le GGril- Sommes

Beny Esguerra And New Tradition Music

Northside KUISi

Lulaworld, 2021

8/10

Listen to Northside KUISi

Beny Esguerra and New Tradition Music sure are diverse, as they bring beatboxing, spoken word, Afro-indigenous Columbian sounds and many more ideas to 14 tracks, where each song carves out a very unique spot to reside.

“Al Norte” starts the listen with contributions from Silla as a playful beat, cultured horns and plenty of rhythm enter the hip-hop flavored climate, and it isn’t long until the title track brings frisky percussion and a dreamy kuisi bunsi (Indigenous-Colombian flute) meshing together with a charming delivery.

Further down the line, “Flooded In Flames” is a quick display of firm drumming and turntable manipulation amid the kuisi bunsi, while “Let The Rain Fall” bursts with help from Artson and Jotaika Bops, as soulful trombones help cultivate a very lively landscape. “We Won’t Let It Happen”, one of the album’s best, then offers a party anthem with call and response vocals, swift percussion, and bright brass that you won’t soon forget.

“Take Care” arrives near the end and showcases swift hand drumming, melodic flute like sounds and turntable work in a very furious execution, and “Newsflash: Hidden Frequencies” exits the listen with soundbites from a radio that are met with the band’s very cultured and stylish formula.

A concept album that’s narrated by news reporters who reside in the distant future and speak a creole language made up of Lengua-Palenkera, Anishinaabemowin, Spanish and English, the long list of guests including Leang Manjarres Wong, DJ Grouch, DJ Classic Roots, Tracey Kayy, plus many more, help make for an extremely enlightening and exciting listen that you’re not going to hear anywhere else.

Travels well with: Helsinki-Cotonou Ensemble- Helsinki-Cotonou Ensemble; Los Mocosos- All Grown Up

D.K. Lyons

Vandalism

Self-Released, 2021

8/10

Listen to Vandalism

A New York City singer-songwriter and guitar player, D.K. Lyons has spent much of his short life writing songs, and here he offers us six of his best that revolve around and pop and rock ideas and certainly could soundtrack a trip to the dance floor.

“Katie In The Moment” starts the listen with a glossy smooth version of pop-rock, where fluent guitar and crisp drumming accent Lyons’ agile singing, and “Poster Child” follows with acoustic guitar and plenty of culture flowing in the very memorable delivery.

Halfway through, “Summer Lullabies” sounds better suited for the club or maybe a trip to beach with its breezy melodies and spirited guitar work, while “‘Love’ To ‘Friend’” features Scarlett on the playful duet that makes great use of warm piano playing.

“Sleeping You Off” and “The Thief” exit the listen, where the former utilizes firm drumming alongside the cautious harmonies and the latter gets dreamy, reflective and showcases gorgeous female backing vocals.

This is the third release from Lyons, and it illustrates his mature and well thought out lyrics and energetic, tuneful song craft where he handles production duties, too. An artist we’ll likely hear more about in the future, Vandalism is certainly a step in the right direction towards global attention.

Travels well with: Eden James- All The Good Blank Are Taken; Streetwise- Crossing Bridges

Willard Overstreet And The Highborn Kinsmen

All We Are

Heptone, 2021

8/10

Listen to All We Are

A long running outfit who have existed in some form since the ‘90s, first as primarily a live band, this debut as Willard Overstreet And The Highborn Kinsmen and 3rd for Willard draws from rock influences from the ‘60s on, and embraces all the melody, harmonies and relatable wordplay of the genre.

“Give It All Away” starts the listen with warm acoustic guitar and expressive singing that bursts into a thick, loud and soaring rocker, and “Light” follows with much atmosphere as the tune builds into a nearly spiritual climate of glowing backing vocals, firm guitar work and thumping drums.

In the middle, “Can’t Breath (Without You)” uses soft keys strategically amid the gentle, soulful songwriting, while “Heart Of Glass” offers an emotive and breezy interpretation of the Blondie tune that’s quite different from the original in very interesting ways. “Don’t Wake Up” is then a fuller track of playful keys, crunchy guitars and plenty of grit as the band channel their inner primal nature.

The album’s best track, “You Move Me”, resides near the end, and showcases more forceful guitar work and louder drumming as grooves enter the rugged rock landscape, and “Ballad Of A Small Town Girl” exits the listen in piano balladry, as a poetic quality with both singing and talking brings strings to the reflective finish.

A listen that’s often powerful and but can also be intimate, Overstreet and company playful heartfelt and nostalgic music that’s as likely to be stepped in classic rock just as it is more free spirited sounds of the ‘60s, and it’s always tuneful but not lacking some rawness, too.

Travels well with: The Kinks- Lola Versus Powerman And The Moneygoround Part One; Ray Davies- Our Country: Americana Act II

The Evolution Of The Arm

Sounds Like

Infrasonic Press, 2021

8/10

Listen to Sounds Like

This debut album from the Buffalo experimental outfit The Evolution Of The Arm sees the quartet blending noise, jazz and chamber moments into an unclassifiable mix of intimacy, firmness and unpredictability that’s artistic and sometimes quite wild.

“Starting Positions” opens the listen with firm cello as frantic violin and colorful oboe highlight the avant-garde exploration, and “Jackrabbit’s Palace, Series 1A” follows with striking keys and much ambience entering the cinematic swells of precise interplay.

“Jackrabbit’s Palace, Series 1B” occupies the middle spot and moves with a darker spirit that embraces tense strings, low keys and a very cautious delivery, while “Jackrabbit’s Palace, Series 1C” seems like it could soundtrack a sci-fi flick with its meticulous manipulation of sound and timbre.

“Jackrabbit’s Palace, Series 1D” arrives near the end and recruits a rare beauty as the strings and keys intersect with a classical, chamber and orchestral meshing, and “Double Memory” exits the listen with a stripped back, restrained beginning that makes its way into slightly fuller moments of grace and wonder.

Megan Kyle (oboe, english horn), Michael McNeill (piano), Evan Courtin (violin, vocals) and Katie Weissman (cello), i.e. The Evolution Of Arm, nearly forge an entirely new subgenre of sounds here, where chambercore intensity and a baroque tranquility make for reference points as vast as Frank Zappa and Deerhoof, and its an eccentric package you can’t help but admire.

Travels well with: Jeff Stadelman- Signaling; Ensemble Dal Niente- confined.speak.

Jeremy Muller

Within The Within

Albany, 2021

8/10

Listen to Within The Within

The highly creative composer, percussionist and multimedia artist Jeremy Muller brings a wealth of sounds to the table here, including clay, wood and plastic, among many others, as he emits soothing, organic noises, video game-esque ideas and plenty of iconoclastic percussion, too.

Alexandre Lunsqui’s “Materiali: Dentro do dentro” starts the listen and displays Muller’s atypical percussive ways, where plenty of noisemakers enter a very curious delivery, and “Temazcal” follows with maracas and electroacoustic sounds being manipulated with mystery in an almost sci-fi sort of fashion in the Javier Alvarez composition.

In the middle, the aptly titled “Pitch Vs. Computer”, by Cristyn Magnus, blends vibraphone with interactive electronics for a very playful and bright moment of cautious exploration, while Herbert Brun’s “Stalks And Trees And Drops And Clouds” welcomes percussion and 7 reverberating and 6 non-reverberating instruments for an ominous appeal that tweaks space and tension accordingly.

Matthew Burtner’s “Glisten Of Places” exits the listen, and recruits percussion and geotagged soundscape recordings into the unconventional finish that bridges firm percussive sounds with nature.

A truly innovative effort, this is actually Muller’s debut solo album, although he has a lengthy resume playing in America, Canada and Australia, and he brings that vast experience and talent to a very exceptional body of work.

Travels well with: Ingrid Arauco- Resonances; David Holzman- Musical Connections

EEP

Winter Skin

Hogar, 2021

9/10

Listen to Winter Skin

An El Paso, Texas outfit with an affinity for dream-pop and shoegaze ideas, EEP is Ross Ingram, Rosie Varela, Sebastian Estrada, Serge Carrasco and Lawrence Brown III, among some guests, and Winter Skin explores even more diversity in their often nostalgic formula.

“Hanging On A Wire” starts the listen with a calm, dreamy approach before bursting into thumping alt-rock that soars load amid punchy drumming and agile synth, and “No Inbetween” follows with playful drumming and bouncy bass lines as hazy post-punk enters a very ‘80s influenced landscape.

In the middle, “Ángeles” possesses an almost spiritual angle where psychedelic ebbs help make this one of the album’s best tracks that features djembe from Keith Thompson and Belinda Subraman, while “Today I Woke Up” emits a more firm presence on drums alongside expressive singing and busier textures that take nods to today’s indie-rock scene. “Stargazer” then burns slow, mysteriously and welcomes gentle moments of beauty as well as ambience that’s as precise as it is interesting.

“Time Crunch” arrives near the end and swirls with both melody and power amid acrobatic drumming and crunchy guitars that work together with grit, and “Slow Down” exits the listen with a heavenly, surreal backdrop where Kristyn Ingram’s flute adds much to meticulous finish.

A fantastic outing that fans of dream-pop, post-punk, synth-rock, alt-rock and indie-rock won’t have any trouble enjoying, EEP’s sonically radiant formula is reverb friendly, highly unpredictable and even more eclectic this time around, and I doubt anyone is going to have a problem with that.

Travels well with: Ross Ingram- Sell The Tape Machine; Glaare- Your Hellbound Heart

Jan Daley

Home For Christmas

Log, 2021

8/10

Listen to Home For Christmas

A much adored singer-songwriter and long running actress, Jan Daley collects 13 Christmas classics here, where her inimitable voice and superb musicianship make for a traditional album that will add much beauty and warmth to any holiday gathering.

“I’ll Be Home For Christmas” starts the listen with sublime keys and gorgeous strings working together alongside Daley’s rich, stirring singing, and “The Christmas Song” follows with bouncy guitar from Craig Garfinkle and light drumming thanks to David Johnstone to complement her very agile voice.

“Winter Wonderland” arrives in the middle and displays incredible beauty thanks to Daley’s expressive pipes amid twinkling instrumentation, while “O Holy Night” flows with a gorgeous backdrop of flowing strings and gentle piano.

Further still, “A Christmas Love Song” embraces a romantic spirit alongside a soaring cinematic quality, and Daley’s version of “Silent Night” exits the listen a cappella, where her powerful pipes don’t require instruments to make an indelible impression.

In addition to the above mentioned, Mischa Segal contributes orchestrations, David Cohen plays piano and Nate Light brings his bass for a truly incredible listen that illustrates the spirit of the season with charming interpretations.

Travels well with: Alexis Parsons- Alexis; Lady Millea- I Don’t Mind Missing You

Megan Nash

Soft Focus Futures

Acronym, 2021

8/10

Listen to Soft Focus Futures

A Canadian singer-songwriter who is much adored in her home country, Megan Nash’s sophomore album shows the artist spreading her wings into broader areas that truly illustrate the many facets of her timeless talents.

“Table For One” starts the album with warm acoustic guitar and Nash’s mesmerizing and inviting vocals guiding the bare beauty that’s quite poetic, and “Artifact” follows with much radiance entering the dreamy climate that often points toward the ‘80s.

Deeper into the listen, “My Own Heart” is full of heartfelt singing and cautious instrumentation, while “Coffee” showcases a larger drumming presence amid the playful guitar work that flirts with the blues. “Chew Quietly/Clean Slate”, one of the album’s best, then showcases Nash’s diverse range as intimacy and ruggedness meet at a very sincere intersection of prairie-rock greatness.

“Are We Still In Love” lands near the end and recruits soulful horns for the gentle, reflective mood and the same song that started the listen also ends it, but this time it’s the reprise version with Digawolf, where a harmonic and glorious finish puts a firm exclamation point on the well thought out record.

A record that truly bares her soul, Nash has clearly been through much self-examination, and she balances profound intimacy with fuller moments of synth and alt-rock flavor that makes for a very alluring post-divorce listen.

Travels well with: Mo Kenney- Covers; Mariel Buckley- Driving In The Dark

David Leon

Aire De Agua

Out Of Your Head, 2021

8/10

Listen to Aire De Agua

The young saxophonist and composer David Leon makes quite an impression on this debut album, where Sonya Belaya’s piano, Florian Herzog’s bass and Stephen Boegehold’s drums appear across the very exploratory jazz and avant-garde experience.

“Strange And Charmed” starts the listen with bright saxophone and jumpy keys as a very curious brand of free jazz unfolds, and “Horrible, Horrible Service” follows with some cultured nods as Herzog’s bass really shines in the upbeat and flowing delivery.

Packed into the middle is the mesmerizing and dynamic title track, where ebbs of intimacy enter the album highlight, while the swift, bop friendly fun of “First You Must Learn The Grip” exhibits Leon’s charming sax work that manipulates the mood alongside Belaya’s agile piano.

Approaching the end, “Expressive Jargon II” emits a fun call and response between the keys and sax, often resonating with a bare intimacy, and “Bluest Blue” exits the listen with a pulsating quality as a hypnotic and cautious demeanor enters the skilled interplay between the band.

Leon’s alto saxophone prowess is quite exciting here, and with the help of the esteemed players on hand, his unique energy and atypical jazz formula is off to a great start.

Travels well with: Curt Sydnor- Deep End Shallow; Michael And Peter Formanek- Dyads

Springtime

Springtime

Joyful Noise, 2021

8/10

Listen to Springtime

A supergroup consisting of Gareth Liddiard (The Drones, Tropical Fuck Storm), Jim White (Xylouris White, Dirty Three) and Chris Abrahams (The Necks), as Springtime the trio blend art-rock, experimental sounds, free jazz and improvisation into a formula that is truly all their own.

“Will To Power” starts the listen with warm piano and playful drumming, where deep, raw vocals enter a climate that builds into a powerful, hypnotic delivery, and “The Viaduct Love Suicide” follows with calm keys amid a dreamy backdrop as expressive storytelling enters a darker approach.

In the middle, “Jeanie In A Bottle” moves with mystery that includes atmospheric drumming and hazy keys to punctuate the mood, while “She Moved Through The Fair” offers a melancholic version of lounge jazz and folk ideas that welcome gritty vocals and sparing but effective keys.

The final two tracks continue the creative, unpredictable nature of the album, where “West Palm Beach” builds into a cathartic, tense psyche-rocker with crashing drums and thick guitar, and “The Killing Of The Village Idiot” simmers poetically and also gets firm, nearly chaotic, but is still quite controlled in their inimitable skill.

An album with much attention paid to ambience, whether the setting is intimate or turbulent, Springtime’s members bring a wealth of talent and much experience to an unclassifiable experience that’s both cryptic and enlightening.

Travels well with: Marc Ribot’s Ceramic Dog- Hope; Evolfo- Site Out Of Mind

Nicole Henry

Time To Love Again

Banister, 2021

8/10

Listen to Time To Love Again

A very diverse and esteemed vocalist, Nicole Henry brings her incredible pipes to jazz standards and reimagined pop tunes here, where musicians like Aaron Lebos (guitar), Doug Emery (organ) and Jim Hacker (trumpet), among many others, are on hand for the charming and timeless effort.

The aptly titled “Feeling Good” starts the listen with playful drumming, swift keys and, of course, Henry’s distinct and flowing pipes, and “Midnight At The Oasis” follows with warm harmonica as a very soulful, initially calm climate unfolds with much elegance and rhythm.

Elsewhere, “I Didn’t Know What Time It Was” showcases Pete Wallace’s finger acrobatics on piano as Henry’s frisky vocal scatting won’t go unnoticed either, while “Is It A Crime” showcases Eric England’s strong bass playing in the subdued and very pretty landscape. “Until It’s Time For You To Go” then highlights Henry’s contagious jazz vision that’s quite dreamy with light touches of brass.

Close to the end, “Love And Affection” mixes power and emotion with a very lush delivery, and “Overjoyed” exits the listen with frisky drumming from Dave Chiverton that adds much to the rich and upbeat finish.

This is Henry’s 8th CD and it’s full of her glowing personality and unparalleled singing, as she certainly proves that the comparisons to Whitney Houston and Natalie Cole she’s garnered are warranted and appreciated.

Travels well with: Susan Krebs With Mixed Remotions- Daybreak; Cathy Segal-Garcia-Social Anthems Volume 1

Katie Callahan

The Water Comes Back

Self-Released, 2021

8/10

Listen to The Water Comes Back

The Baltimore singer-songwriter Katie Callahan returns with a sophomore album, where her rich and stirring vision takes help from Charlie Lowell and Matthew Odmark, of Jars Of Clay, as well as Paul Eckberg, Kevin Whitsett, Louis Johnson and Dustin Ransom.

“In A Garden” starts the listen with a vocally strong, gospel feel as many voices mesh with much warmth and cozy drumming, and “One Sided Sea” follows with Callahan’s expressive pipes amid a very soothing and dreamy version of indie-folk.

Moving towards the middle, “I Miss God” brings Eckberg’s drums into focus alongside the poetic singing that just might this generation’s version of Joan Osborne’s “One Of Us”, while “Notre Dame” recruits brief accordion as a very pretty version of Americana unfolds. “Sri Lanka”, one of the album’s best, then displays Callahan’s incredible vocal prowess in a very bare climate that benefits from Lowell’s sublime keys as the track lyrically addresses the 2019 terrorist bombing of a Sri Lankan church.

“Goodbye Baby” and “Low Tide” exit the listen, where the former offers a fuller moment of mature song craft that’s got plenty of melody, and the latter is the best tune present, as strings and Johnson’s thick electric guitar complement the radiant, heartfelt finish.

The impetus for the album came from Callahan’s examination of religion in her life following the election of 2016. An artist who grew up submerged in evangelical Christianity, the mother felt it necessary to analyze all facets of her life, and it makes for an intimate, spiritual and highly creative listen.

Travels well with: Ro Myra- Nowhere, Nebraska; Grace Womack- Yellow Cowboy Hat

Ensemble Dal Niente

confined. speak.

New Focus, 2021

8/10

Listen to confined. speak

Despite the enormous obstacles faced with playing concerts this past year, Chicago’s Ensemble Dal Niente documents their recent collaborations here, where they feature several composers that touch on sounds from South America, North America and Africa.

The title track opens the listen with interesting bow techniques, where timbre manipulation and atypical piano textures illuminate the Igor Santos tune, and Hilda Paredes’ “Demente Cuerda” follows with an initially haunting climate of precise harp playing that’s capable of lush moments, as well as quivering intimacy.

Tomás Gueglio’s “Triste y madrigal” occupies the middle spot and benefits from Amanda DeBoer Bartlett’s soprano in the primarily bare orchestral climate, while “Merce and Baby” meshes violin and percussion in all sorts of unpredictable ways that illustrate creative gesturing in the George Lewis composition.

“Es casi como el inicio…y comienza”, by Melissa Vargas, resides near the end and showcases a minimal delivery where vocals are used like an instrument, and Andile Khumalo’s “Beyond Her Mask” exits the listen with spoken text about violence against women that flows amid a busy landscape of ambient, playful and even dreamy instrumentation.

A very well thought out chamber focused listen, the 23 members of Ensemble Dal Niente make for an adventure that can at times be stirring and stripped back, just as it can be majestic and full, and these 6 pieces do a great job of spotlighting their profound talents.

Travels well with: Mark Kirschenmann- Cybersonic Outreach; loadbang- Plays Well With Others

Castle Black

Get Up, Dancer

Self-Released, 2021

10/10

Listen to Get Up, Dancer

Anytime a new Castle Black record is coming around, you’ll likely find me interested. The Brooklyn trio’s patented meshing of post-punk, grunge, alt-rock and New Wave never disappoints, and this new EP continues their iconoclastic ways with further greatness.

“Radio Queen” gets the listen off to a soulful start, that’s initially dense before bursting into an upbeat, pop influenced display of grungey alt-rock, and “Another Grand Illusion” follows with intricate guitar work amid a more subdued approach that still thumps with a tense energy.

“Talkin’ About Those Nights” and “Knife (In My Hand)” land in the middle, where the former is a charged and thick rocker that comes with some firm singing, while the latter finds a hypnotic place to reside amid a booming climate.

Landing near the end, “That Little War” weaves dreamy moments into the curious post-punk leanings, and “Sorry” finishes the quick listen with a darker spirit alongside the dramatic riffs and powerful singing.

Leigh Celent (vocals, guitar), Joey Russo (drums) and Scott Brown (bass), i.e. Castle Black, might just be the most exciting band in the world of independent music right now, and for fans of bands as diverse as Nirvana, Melvins, Tool and even ‘80s punk, it just doesn’t get any better than this.

Travels well with: Native Daughters- Ultimo Capo; Night Battles- Years Of No Battles

Haunted Like Human

Tall Tales & Fables

Self-Released, 2021

9/10

Listen to Tall Tales & Fables

A Nashville duo consisting of Cody Clark (most instruments, singer, songwriter) and Dale Chapman (lead singer, lyrics), as Haunted Like Human the pair pen a sparse, forthright and harmonic listen that’s quite powerful in its stripped back nature.

“September” starts the listen with warm strings, elegant keys and poetic singing in the gentle opener, and “Ohio” follows with quick acoustic strumming and more firm singing that emits a timeless folk climate that’s immediately memorable and makes good use of a fiddle.

Further along, “Bruised Feet” offers a quick, more Americana focused song that benefits much from strings and banjo, while “Ghost Towns” enters calmer territory that’s quite intimate, even ominous. “Soothsayer”, one of the album’s best, then rumbles a bit more intensely, with swells of dramatic moments as well as no shortage of melody.

“Whistling Tree” arrives near the end and erupts into a frisky, campfire-esque tune of thumping drums, hand clapping and playful dynamics, and “Things Fall Apart” exits the listen with much calm beauty, where acoustic guitar and expressive singing make for a minimal finish of stirring song craft.

Indeed a haunting listen, and sometimes bordering on southern gothic, Clark and Chapman’s rich voices blend together in gorgeous ways, and the violin, cello and double bass flashes make a very compelling version of folk music that you’ll likely be quite taken with.

Travels well with: Adrian + Meredith- Bad For Business; Kashena Sampson- Time Machine

Chris Jagger

Mixing Up The Medicine

BMG, 2021

9/10

Listen to Mixing Up The Medicine

The veteran artist Chris Jagger sure has been busy as he released this new album at the same time he finished up his autobiography, Talking To Myself. Musically, Mixing Up The Medicine, touches on many ideas, as Jagger has always been quite diverse with his art, and his longtime collaborator Charlie Hart certainly helps document the occasion.

“Anyone Seen My Heart?” starts the listen with no shortage of rhythm and soulfulness as warm brass, punchy drumming and spirited guitar work complement Jagger’s rugged yet inviting vocals that take help from Jagger’s older brother, Mick, and “Merry Go Round” follows with a timeless blues appeal that benefits from a lively pace of frisky keys and bouncy horns.

Landing in the middle spot is the contagious and upbeat “Happy As A Lamb”, which displays a charming guitar solo, while “A Love Like This” flows with glorious melodies as a romantic mood unfolds with plenty of grooves. “Wee Wee Tailor”, another excellent track, then makes great use of strings amid the voodoo soul influenced landscape.

“Hey Brother”, an eloquent piano ballad, arrives near the end and showcases Jagger’s poetic side with gentle violin accenting the bluesy moments, and “Too Many Cockerels” exits the listen with clever harmonica adding much to the busy but precise finish that births a very distinct sort of Americana.

Jagger took inspiration from the 19th century poet Thomas Beddoes for the effort, and with Nick Payn and Frank Mead on horns, Dylan Howe behind the drum kit, and double bassist Olly Blanchflower, among others, in attendance, Jagger’s roots, blues, soul, jazz and ska mix makes every track here top notch, adventurous and quite wise.

Now in his mid 70’s, if this is in fact Jagger’s last album, well, it sure does make for a timeless swan song.

Travels well with: Davy Knowles- What Happens Next; Sue Foley- Pinky’s Blues

Almeeva

To All My Friends

Baciami Disques, 2021

8/10

Listen to To All My Friends

The recording moniker of Gregory Hoepffner, as Almeeva the multi-instrumentalist and producer has seen his music used in TV, the olympics, movies and commercials. Here, we’re treated to 5 songs of his electronic and pop ideas that embrace both minimal and maximal moments.

The title track starts the listen with a lively beat as plenty of dance-rock ideas enter the radiant climate, and “Explorer” follows with no shortage of house influences entering the warm keys and buzzing landscape that will certainly get your body moving.

“Ever Out Weatherall” occupies the middle spot and recruits a mysterious, dreamy delivery where energetic club nods unfold before finishing with some post-punk traces, while “Church Of Ecstasy” emits an almost spiritual quality amid the airy demeanor that flows with a cinematic approach.

“Slowly Fading” exits the listen and features Diane Pellotieri’s mesmerizing vocals alongside Christopher Berg’s playful beats, as the finisher radiates a playfulness that could certainly soundtrack a night at the club.

A very animated listen that’s also got some intimate moments, Hoepffner’s stylish and modern version of pop is certainly creative, exciting and warrants repeated listens, as he makes the most of this short listen with an immense amount of talent present.

Travels well with: Uzul- Evolve; Benjamin Schoos- Doubt In My Heart

Dizzy Box Nine

Last Call Before The Fall

Trueno, 2021

9/10

Listen to Last Call Before The Fall

Even though they’ve only been together for 5 years, the Southern California rockers Dizzy Box Nine have already assembled an impressive body of work, where Randy Ludwig (vocals, guitar, bass), Tony Robles (guitar) and Amos Przekaza (drums) flirt with alt-rock, punk, New Wave and indie-rock, which continues fluidly across the 12 tracks here.

“Name” gets the album off to an energetic and memorable start with an upbeat and playful display of crisp drumming and warm guitars amid the modern rock climate, and “Show Me Everything That You Are” follows with a breezy West Coast feel amid some highly melodic singing.

Elsewhere, “Check-In” trims the volume back with an ‘80s feel that gets a bit dreamy in its careful execution, while “Mississippi Rain” immediately brings in a sing-along quality to the alt-rock leanings that sound right at home in the ‘90s. “17 Seconds”, one of the album’s best songs, then recruits a punky spirit in the swift, dance-floor ready rocker.

“Fire” arrives near the end and showcases the trio’s strong chemistry and profound attention to detail, and “Sunset” exits the listen with a punchy and infectious finish that illustrates incredible drumming, intricate guitar work and rugged yet tuneful singing.

There are few bands today playing modern pop-rock better than Dizzy Box Nine. An album with zero filler, every track here is smartly constructed, flawlessly delivered and resonates a timelessness that only the best rock’n’roll can possess.

Travels well with: Damon Mitchell- Like You’re In A Dream; Because Villians- Yes

The Dead South

Sugar & Joy

Six Shooter, 2019

9/10

Listen to Sugar & Joy

The Canadian bluegrass stars The Dead South return with a 3rd album, and, not so surprisingly if you’ve been following their progression, their cello, mandolin, guitar and banjo prowess has never sounded better.

After the acrobatic banjo picking of the instrumental opener “Act Of Approach”, “Diamond Ring” follows with a rhythmic and Americana influenced tune of strong musicianship and vivid storytelling.

In the middle, “Fat Little Killer Boy” moves with a shuffling pace and blues sensibilities in the swift setting, while “Broken Cowboy” offers a dusty ballad of dark spirited beauty. Further along, album highlight “Heaven In A Wheelbarrow” displays skilled banjo in a harmonic execution of blues and folk ideas that few could replicate.

At the end, “Alabama People” unfolds with a dramatic landscape where bass adds much to the affair, and “Distance Yourself” exits the listen with ambience amid timeless bluegrass sensibilities.

Don’t feel too bad if you hadn’t heard of these guys, but best to familiarize yourself now, cause their bluegrass, folk, bluesy formula is one everyone you know will be talking about soon and for years to come.

Travels well with: The Garrett Newton Band- Bluegrass Barn; Night Flyer- Flight