Tiffany Williams

All Those Days Of Drinking Dust

Self-Released, 2022

9/10

Listen to All Those Days Of Drinking Dust

The debut album from a rising artist, the singer-songwriter Tiffany Williams takes help from the producer Duane Lundy, who helped find a diverse band of pickers from the Commonwealth that illuminate these very well thought out originals.

The title track starts the listen with Williams’ soft, stirring vocals alongside warm keys from Duane Lundy and a very intimate atmosphere of dreamy song craft, and “Carletta” follows with Ben Sollee’s eloquent cello adding much beauty to the gentle, poetic display.

“The Sea” lands in the middle, and showcases J. Tom Hnatow’s guitar amid Tripp Bratton’s light drumming and, of course, the gorgeous singing from Williams, while “Wanted It To Be” puts Hnatow’s steel guitar on display as a bit of country flows in the expressive demeanor.

The swift “Don’t Give A Damn” recruits Taylor Shuck’s playful banjo and Ellie Miller’s skilled fiddle for the mountain-esque melodies, and “The Waiting” exits the listen with timeless, absorbing folk ideas that truly illustrates how well these songs resonate.

Residing somewhere between alt-country, indie-folk and modern Americana, Williams relocated to Nashville to write songs, and these 10 make for a very articulate, literate and lovely listening experience.

Travels well with: Stacy Antonel- Always The Outsider; Laura Benitez And The Heartache- California Centuries

Derrick Procell

Hello Mojo!

Catfood, 2022

8/10

Listen to Hello Mojo!

The Chicago soul/blues extraordinaire Derrick Procell brings along an incredible backing band for these 10 well thought out tunes that are primarily originals.

“Skin In The Game” opens the listen with Procell’s soaring pipes alongside Johnny McGhee’s spirited guitar and Mike Middleton’s trumpet that help make for a warm climate, and “Hello Mojo!” follows with animated keys from Procell, as his smooth singing suits the lively melodies well.

At the halfway point, “A Tall Glass Of You” isn’t short on grooves, where Richy Puga’s agile drums and Sueann Carwell, Meredith Colby and Jessica Ivey’s cozy backing vocals are used strategically, while “I Can’t Say No” uses dynamic brass superbly amid Zac Harmon’s guitar and Frank Otero’s trombone.

Closing out the listen are “Who’ll Be Next In Line” (a Kinks tune) and “Bittersweet Memory”, where the former offers a breezy and bouncy display of timeless blues, and the latter adds a bit of intimacy to the poetic and romantic demeanor.

A very smart listen that has a spontaneous feel, Procell’s a veteran musician, and his many decades of experience help make Hello Mojo! an extremely enjoyable body of work.

Travels well with: Todd Sharpville- Medication Time; Ronnie Earl And The Broadcasters- Mercy Me

Walter Trout

Ride

Provogue/Mascot, 2022

8/10

Listen to Ride

The legendary blues-rock guitarist Walter Trout returns with his 30th solo album, where he hunkered down in a deserted home in Huntington Beach for an emotive and honest listen that’s influenced by his troubled upbringing.

“Ghosts” gets the album off to a rugged and powerful start with its thick guitars, dense drumming and Trout’s soulful pipes, and “Ride” follows with swift piano and just as quick melodies guiding the energetic and timeless rock.

Further along, the spirited harmonica and dynamic rhythm section of “High Is Low” rumbles with plenty of grit, while “Waiting For The Dawn” gets intimate and eloquent with Trout’s poetic delivery making for a stirring climate.

Close to the end, “Hey Mama” is both raw and tuneful with a very powerful delivery, and “Destiny” exits with a radiant glow of cozy, soft-rock sensibilities that’s quite dreamy.

Trout has lived a life full enough for two people, as he joined John Mayall’s Bluesbreakers lineup in ’85 before moving onto a solo career in ‘89. He lived the rock’n’roll lifestyle to the fullest, and his vast experiences, both good and bad, certainly are present in his forthright and very honest song craft.

Travels well with: Eric Gales- Crown; Joanne Shaw Taylor- The Blues Album

Josh Rouse

Going Places

Yep Roc, 2022

8/10

Listen to Going Places

The esteemed singer-songwriter Josh Rouse penned this new album while laying low in Spain with his family during Covid. With his Spanish band in tow, these 10 tracks were fleshed out at a small local venue and revolve around guitar melodies, where organs, brass, backing vocals and horns aren’t in short supply, either.

“Apple Of My Eye” opens the listen with warm keys and Rouse’s smooth vocals across the warm indie-folk that embraces brass, too, and “City Dog” follows with spirited guitar work and crisp drumming as a breezy Americana unfolds.

“Waiting On The Blue” occupies the middle spot, and moves a bit quicker with a fluid folk-rock appeal, while “There’s Somebody Whose Job It Is”, the best track present, gets a bit rugged, but not without plenty of cozy melodies.

Near to the end, “Indian Summer” is a very intimate and eloquent display of poetic singing, calm guitar and soulful harmonica, and “Stick Around” exits the listen with some nostalgic grooves to accompany the soft singing, gentle horns and agile guitar.

A very mature and charming listen, whether you’ve been listening all along or this is your first time, Rouse makes quite an impression with his country, folk, indie, Americana formula that’s as timeless as it is accomplished.

Travels well with: Grant-Lee Phillips- All That You Can Dream; Jesse Malin- Outsiders

Katie Dwyer Music

Let’s Move

Self-Released, 2022

8/10

Listen to Let’s Move

The sophomore album for families from the Arkansas native Katie Dwyer, we’re treated to 24 tracks that are as diverse as Broadway and The Beatles, where few genres are off limits and fun is present from beginning to end.

Early tracks like “Dance Dance Dance” bring powerful pop melodies in spades alongside Dwyer’s smooth pipes, and ‘60s influences are all over the playful “Gillie The Grasshopper”.

Deeper into the listen, the self-empowering anthem “I Am Me” is full of wise ideas that seem like they might emanate from the stage, while piano rockers like “Dino Stomp And Chomp” are populated by a lively energy that buzzes with warmth.

Much closer to the end, “Roly Poly Oly” is soaked in upbeat storytelling to accompany the thumping drums and frisky climate, and “Up, Up And Away” exits the listen on a dreamy note, where soft singing leads into jumpy keys before retreating back to calm.

Now a NYC resident, Dwyer began writing songs on piano at a very young age, and though her current work may be directed to the young ears, her influences from jazz, folk, pop, blues, and even Caribbean sounds ensure a charming, uplifting listen regardless of when you were born.

Travels well with: Kelli Welli- Robots Don’t Tell Jokes; Jenn Cleary- Happy Day

Various Artists

Afro-Cubano

Putumayo, 2022

8/10

Listen to Afro-Cubano

A very enlightening listen that follows the cultural dispersion from Africa to the Caribbean, the 10 tracks here are very distinctly different, but come together to form a very cohesive listen of worldly flavor.

Manu Dibango’s “Bessoka (Version Courte)” opens the listen with warm keys and cultured percussion to complement the talk/singing that recruits no shortage of laidback grooves, and Eneida Marta follows with “Dur Di Kutubel”, where expressive singing and plenty of rhythm enters the Afro-Portuguese climate.

At the midpoint, “Femme Noire”, by Meissa, brings both violin and kora into the very poetic delivery, while Rey Cabrera’s “Paraiso Guajiro” showcases piano, bongos, congas and trumpets in the superbly textured album highlight.

Approaching the end, “Santomense” illustrates the guitarist Neto Amado’s incredible skill amid the bright horns, and Ricardo Lemvo & Makina Loca exit with a mashing of African rumba and soukous with Cuban salsa for the festive “N’dona Ponte”.

A musically fantastic affair that comes with excellent artwork, a detailed booklet and download card, wherever in the world Putumayo decides to shine a light, they uncover gems that deserve much attention.

Travels well with: World Chill; Acoustic Paris

Laura Crema & Bill Coon

StringSongs

Self-Released, 2022

8/10

Listen to StringSongs

The Canadian vocalist Laura Crema brings her diverse pipes to Bill Coon’s award winning guitar playing on this very eclectic listen that welcomes Peggy Lee and John Bentley for the 9 originals.

“Arrow And The Song” gets the listen off to a gorgeous, dreamy start, where Crema’s mesmerizing voice is met with Coon’s soothing nylon guitar, and “Blue Mist” follows with Bentley’s soulful tenor sax complementing the expressive, poetic singing of the the darker song craft.

In the middle, “Heart Flame” moves with an intimate and elegant spirit of that benefits much from Lee’s well timed cello, while “Frolic” glows with hypnotic guitar alongside Crema’s pretty singing.

Further still, “Happy Place” showcases playful vocal scatting amid the spirited guitar, and “Whisper Me” follows with cautiously plucked cello and a lush delivery that nearly sounds like a lullaby.

A superb listen where each tune welcomes its own mood, tone and range of influences, Cream, Coon and company mix jazz, Latin, country and folk ideas into an inimitable formula that you can’t listen to just once.

Travels well with: Deb Rasmussen- Unspoken; Kate Wyatt- Artifact

Colin Fisher/Mike Gennaro

Tactile Stories

Cacophonous Revival, 2022

8/10

Listen to Tactile Stories

The multi-instrumentalist Colin Fisher and drummer Mike Gennaro come together for a free jazz listen that also recruits the punk rock past of the pair, and it’s quite energetic and rich in their improvisational appeal.

“Ex Nihilo” opens the listen with Gennaro’s furious drumming and Fisher’s wild reed manipulation in the soulful, lively and unpredictable mashing of jazz and rock, and “Ekstatsis” follows with an initially more calm approach that builds into swift sax playing and thumping drums.

The back half of the listen brings the mesmerizing “Esse”, where space and atmosphere are key components in the album’s best selection, and “Epinoia” exits with a hint of cautiousness that showcases the spirited guitar work from Fisher and inimitable drumming from Gennaro.

Both Fisher and Gennaro have impressive resumes as solo and duo acts outside of this one, and this sophomore album together illustrates their free improvisational skills and myriad of influences that only enhances the listening experience.

Travels well with: Nick Storring- Newfoundout; Sally Decker- In The Tender Dream

The Krayolas

Happy Go Lucky

Box/Saustex, 2022

9/10

Listen to Happy Go Lucky

The 2nd archival release from the San Antonio garage rock and power-pop legends The Krayolas, the tracks here were pulled from 1982 masters that were previously thought lost, and feature West Side Horns on many selections, which only adds much more appeal to their nostalgic brand of rock.

The title track opens the listen with crisp drums, vivid guitar lines and hand clapping fun to complement Hector Saldana’s smooth vocals, and “Times Together” follows with Barry Smith’s warm keys alongside soulful brass from West Side Horns in the very melodic climate.

Deeper into the listen, “All Of The Time” offers a punchy and crunchy garage rocker that certainly has aged well and would fit right in with today’s version of the genre, while “Don’t Give Up” gets dreamy with slight psychedelia nods that certainly warrant their ‘Tex-Mex Beatles’ nickname.

Moving towards the end, the jangly strumming and well timed horns of “ We The People” makes an indelible impression, and “All I Really Want To Do” exits the listen with thick guitars and harmonic singing in the rugged yet tuneful album highlight.

Amazingly, much of the music The Krayolas made was when they were teenagers, though you certainly wouldn’t know it from their very mature and well delivered songs that embrace Latin, R&B and Motown into their timeless and always relevant rock’n’roll.

Travels well with: The Krayolas- Savage Young Krayolas; The Kinks- Arthur Or The Decline And Fall Of The British Empire 50th Anniversary;

Jared Schonig

Two Takes Vol. 1

Anzic, 2022

8/10

Listen to Two Takes Vol. 1

The exceptional drummer Jared Schonig finds himself in the company of Marquis Hill (trumpet), Godwin Louis (alto sax), Luis Perdomo (piano, Rhodes) and Matt Clohesy (acoustic bass) for this first stab as bandleader that features all original compositions.

“White Out” opens the listen with acrobatic drumming and lively brass, as a flowing rhythm and lively energy populates the adventurous jazz spirit, and “Climb” follows with a calmer pace of intimate keys and soulful horns.

Halfway through, “Eight Twenty” dances with fluid melodies, crisp drums and soothing sax prowess, while “Tig Mack” finds a very emotive place to reside with its cautious manipulation of space and mood.

Close to the end, “Sabotage”, the best track, is a busy and festive rocker that showcases the bright brass, meticulous drumming and precise bass, and “Gibbs St.” exits with Schonig’s inimitable drumming skills front and center amid the dynamic keys and strong brass interaction.

Schonig tosses in a 3 drum interludes across the listen, which only illuminates his playing that much more, and together with his excellent band he makes for a first rate, modern jazz affair.

Travels well with: Jared Schonig- Two Takes Vol. 2; Troy Roberts- Nu-Jive: Nations United

Dave Slonaker Big Band

Convergency

Origin, 2022

8/10

Listen to Convergency

The esteemed composer, arranger and conductor Dave Slonaker returns with his top notch band of West Coast jazz and studio legends for 9 originals and an interpretation of a Harry Warren and Mack Gordon tune.

The title track leads with a bright and booming energy that welcomes solos from Clay Jenkins’ trumpet and Adam Schroeder’s baritone sax, and “Uncommonly Ground” follows with the warm piano and reflective tone complementing Larry Koonse’s fluid electric guitar work.

“A Curve In The Road” occupies the middle spot, and showcases Tom Luer’s glowing tenor sax prowess, while “Inner Voices” spotlights Ron Stout’s soulful trumpet amid the glowing musicianship that radiates timeless and busy big band skill.

Near to the end, “Vanishing Point” benefits from Bob Sheppard’s intimate soprano sax and Peter Erskine’s cautious drumming in the stirring album highlight, and “I Had The Craziest Dream” exits with a charming dreaminess that makes great use of Wayne Bergeron’s emotive trumpet.

It’s certainly not surprising that Slonaker and his ensemble have been Grammy nominated, and this excellent outing should bring them plenty of praise, too, as they swing hard with fluent melodies but also can retreat to calm beauty.

Travels well with: Roberta Brenza- It’s My Turn To Color Now; Ben Patterson- The Way Of Groove

Roberta Brenza

It’s My Turn To Color Now

Origin, 2022

8/10

Listen to It’s My Turn To Color Now

The Chicago resident Roberta Brenza makes quite an impression on this debut, where she’s accompanied by the producer/drummer Matt Wilson, pianist Dawn Clement, bassist Cameron Brown, and saxophonist Stacy Dillard, as well as the special guest and legendary vocalist Sheila Jordan.

The title track opens the listen with Brenza’s playful, inviting pipes alongside skilled bass and light drumming, as warm piano enter the agile jazz spirit, and “Song For My Father” follows with bright keys flowing alongside the radiant singing in the dreamy climate.

Closer to the middle, “Bebop Lives (Boplicity)” indeed bops with a frisky demeanor that’s quite fun and welcomes vocals from Jordan, while “Take Five” showcases the fluid sax prowess amid Brenza’s diverse pipes that make the jazz standard quite alluring.

Near to the end, the intimate and reflective “Estate” glides with a cultured presence that’s very pretty, and “Ballad Of The Paper Moon/It’s Only A Paper Moon” exits with an initially soft and vulnerable presence that builds into a poetic and stirring finish.

Brenza may have started her performing career later in life, but she’s quickly making up for lost time with these timeless interpretations and a pair of well thought out originals, something we’ll hopefully see more of on subsequent records.

Travels well with: Ben Patterson- The Way Of Groove; William Flynn- Seaside

Loadbang

Quiver

New Focus, 2022

8/10

Listen to Quiver

The esteemed ensemble loadbang return with their 4th album on the New Focus label, where they spotlight the works of Chaya Czernowin, Heather Stebbins, Quinn Mason and Zong Yun We, as well as loadbang members past and present Carlos Cordeiro, Jeffery Gavett and Andy Kozar.

“Aging” opens the listen with Adrian Sandi on bass clarinet, as Gavett’s expressive pipes guide the straightforward harmonies and vulnerable landscape, and “Quiver” follows with Adrián Sandí handling bass clarinet as strong attention to mood allows William Lang’s trombone to resonate much warmth.

“Flower” lands in the middle, and is quite atmospheric, where pitch is manipulated and wordless vocals are used unpredictably, while “Proverbial” emits a firm tone that is multi-lingual and benefits much from Kozar’s strategic trumpet.

Near to the end, “To Keep My Loneliness Warm” unfolds across 2 chapters that showcase short stories by Lydia Davis and displays stuttering text and subtle but effective instrumentation amid a distinct rhythm, and “Irrational” exits with sonically fascinating timbre gestures that you won’t soon forget.

An extremely well done body of work that blends baritone voice, trumpet, trombone and bass clarinet, loadbang are nothing if not original, and this body of work speaks volumes about their atypical vision.

Travels well with: Stephen Barber- Earth; Steven Ricks- Assemblage Chamber

Jared Schonig

Two Takes Vol. 2: Big Band

Anzic, 2022

8/10

Listen to Two Takes Vol. 2: Big Band

The esteemed drummer Jared Schonig heads up an impressive outing here, where plenty of help on reeds, brass, guitar, piano and bass complement his diverse and timeless version of modern jazz.

“Sabotage” opens the listen with a rhythmic and busy display of flowing brass, lively drumming and fluid reeds that benefits much from Brian Pareshi’s trumpet solo, and “White Out” follows with a frisky energy that’s a bit quirky and showcases Troy Roberts’ reed prowess and Scott Wendholt’s warm trumpet.

“Sound Evidence” occupies the middle spot, and features Marshall Gilkes’ soulful trombone and Nir Felder’s agile guitar in the reflective climate, while “Tig Mack” is a more intimate execution of hypnotic drumming, dreamy winds and Felder’s meticulous guitar in the dreamy highlight.

Close to the end, “Eight Twenty” illuminates David Cook’s glorious piano playing and Jon Gordon’s skilled reed manipulation in the superbly layered climate, and “Gibbs St.” exits with Ike Sturm’s strategic bass and Donny McCaslin’s impressive reed attention.

A listen that weaves in and out of rhythmic, melodic and harmonica areas of mass appeal, Schonig and company make for a splendid and charming experience for the jazz inclined.

Travels well with: Joel Frahm- The Bright Side; Troy Roberts- Nu-Jive: Nations United

Nora Brown

Long Time To Be Gone

Jalopy, 2022

8/10

Listen to Long Time To Be Gone

The 17 year old banjo extraordinaire Nora Brown returns with a 3rd album, where Appalachian instrumentals and traditional tunes were fleshed out at the historic St. Ann’s Church in Brooklyn Heights.

“Jenny Put The Kettle On” starts the listen with swirling grandfather banjo and Brown’s expressive pipes in the up-picking style delivery, and “Miner’s Dream” follows with a dreamy quality to its unique tuning of the Snake Head.

Further on, the fretless banjo of “Cumberland Gap” displays both thumb-lead two-finger and finger-lead techniques in Brown’s fascinating playing, while “Coke Oven March” brings the Snake Head back for a very meticulous album highlight that manipulates the banjo with incredible warmth and playfulness.

Towards the end, “Po’ Black Sheep” stems from a banjo-fiddle duo, but Brown’s solo fretless banjo version is quite mesmerizing, and “Rye Whiskey- Little Birdie” exits the listen and puts a Roscoe banjo on display amid the intimate vocals and two finger style and later on one up picking.

Not only is her banjo prowess unparalleled, but Brown’s distinct and memorable singing is also very much appreciated, and the tonal difference between the banjos she plays makes for a highly unique and absorbing affair.

Travels well with: Mama’s Broke- Narrow Line; Allison de Groot & Tatiana Hargreaves- Hurricane Clarice

Greg Lato

Adults These Days

Self-Released, 2022

8/10

Listen to Adults These Days

The award winning family musician Greg Lato returns with his sophomore children’s record, where nods to the ‘70s and ‘80s unfold with a very diverse and fun listen, regardless of age.

“New Lunchbox” opens the affair with crisp drums and dense bass lines, as Lato’s soulful pipes tell the tale of the food compartment, and “Relive This Song Again” follows with some modern rock flavor that’s full of smooth guitar and soaring backing vocals.

Later on, “My Birthday Party” lands in pop-rock territory with its rhythmic climate and instant sing-alongs, while the title track, inspired by something Lato’s 8 year old daughter said, uses buzzing synth strategically amid the radiant song craft.

Rounding the listen out is the jazz-rock appeal and spoken word of “What Kind Of Animal Would You Be?”, which welcomes vocal scatting from Becky Bass, and “The Bike In The Tree”, a purely spoken piece, which makes sense since Lato is also an author.

Similarities to The Cars, Imagine Dragons or Fountains of Wayne won’t be hard to spot here, and the feel good songs and engaging storytelling make for another well done piece to add to a resume that includes plenty of TV and film placement, and a several well done solo albums from the very talented artist.

Travels well with: Kelli Welli- Robots Don’t Tell Jokes; Jenn Cleary- Happy Day

Joseph Petric

Seen

Redshift, 2022

8/10

Listen to Seen

An artist armed with impressive accordion skills, Joseph Petric has commissioned over 350 works over 4 decades, and here he explores the work of his closest collaborators with much attention to detail.

“Spirit Cloud” opens the listen with a warm atmosphere as the accordion is manipulated with both adventurousness and restraint that’s quite interesting and “SEEN”, by Norbert Palej, follows with a bit of low rumbling but can also be bright and dreamy in its bare delivery that’s spread out across 3 chapters.

On the back half, Robert May’s “Fadensonnen” spends 14 minutes mesmerizing us with its pretty, sometimes mysterious delivery, while “Pneuma”, by Peter Hatch, offers a more firm execution of cinematic, tense moments.

The final track, Torbjorn Lundquist’s “Metamorphoses”, unfolds with swift and dynamic prowess that hardly seems like it’s coming from just one accordion and truly illuminates Petric’s unparalleled talent.

An excellent body of work that explores electroacoustic and contemporary classical ideas, while a solo accordion listen may not be everyone’s cup of tea, Petric grabs the listener’s attention immediately.

Travels well with: Instruments Of Happiness- Slow, Quiet Music In Search Of Electric Happiness; Architek Percussion- 6 Changes

Ben Patterson

The Way Of Groove

Origin, 2022

9/10

Listen to The Way Of Groove

The esteemed trombonist Ben Patterson tips his hat to legends like The Crusaders, The Brecker Brothers and Herbie Hancock across these 10 diverse songs, where Shawn Purcell (guitar, vocals), Luis Hernandez (tenor sax), Harry Appelman (Hammond B3, piano, synth), Paul Henry (acoustic, electric bass), Todd Harrison (drums, percussion) and Evan Reiger (vocals) accompany him.

“Anniversary Patio” opens the listen with frisky drumming, soulful brass and plenty of rhythm populating the lively energy, and “Here Now” follows with playful organ and buzzing guitar adding a rock element to the thick textures.

“The Lucky One” occupies the middle spot, and flows with no shortage of laid back grooves that seem like they could soundtrack a trip to the Caribbean, while “The Way Of The Groove” moves swiftly, with dynamic horn interaction and an infectious display from the rhythm section in the album’s best.

“This And That” and “Hangin’” exit the listen, where the former showcases Patterson’s very skilled trombone prowess amid the cautious drumming and moody keys, and the latter bounces and shakes with thriving melodies and festive demeanor.

Patterson indeed has a way with grooves, and the bouts of funk, reggae, blues and Go-Go beat certainly help make The Way Of The Groove an impressive and really fun listen.

Travels well with: William Flynn- Seaside; Ben Morris- Pocket Guides

Marcelo Maccagnan

Night Tales

Self-Released, 2022

8/10

Listen to Night Tales

The Brazilian bassist Marcelo Maccagnan mashes modern jazz with the sounds of his home country on this progressive listen that takes help from Andrew Cheng (electric, acoustic guitars), Sukyun Kim (keyboards), Maxime Cholley (drums) and Simona Smirnova (vocals).

“Creatures Of Habit” opens the listen with soft guitar and Smirnova’s charming vocal scatting, as a dreamy, playful setting unfolds, and “Glass” follows with hypnotic guitar work that aligns with agile drumming and well timed keys.

Halfway through, a very mature, textured version of “Black Hole Sun” showcases incredible bass lines as it builds into a very thick climate, while “Vital Spark” trims the pace back with a very meticulous interaction between the rhythm section, where Maccagnan’s warm bass makes quite an impression.

“Breaking Out” exits the listen, and displays an incredible fusion appeal where the acrobatic drumming, sturdy guitar playing, and strategic keys cultivate a mesmerizing landscape.

Now based in New York City, Maccagnan’s band come from all corners of the world, and it makes for a diverse, powerful and very unique twist on modern jazz that requires multiple listens.

Travels well with: Mark Winkler & David Benoit- Old Friends; Plinio Fernandes- Saudade

The Persian Leaps

Electrical Living

Land Ski, 2019

9/10

Listen to Electrical Living

Certainly one of the most exciting outfits in the current Twin Cities music scene, The Persian Leaps return with another batch of their guitar focused, powerful tunes, though this time it’s stripped down to a duo of Drew Forsberg and Jon Hunt, and for the first time we get to experience keys in the Leaps’ formula.

After the crisp, brief, power-pop of opener “The Art Form”, “Catnip For Cupid” follows with ‘90s alt-rock crunch and restraint with melodic vocals amid punchy keys.

Further along, “Sweet Nothings” flows with bounce and grit in the rhythmic rocker, while “About Your Record” tips it’s hat to the ‘80s with synth stabs amid the post-punk/ New Wave nods.

Deeper highlights include the intricate guitar work of the dreamy “The Problem is”, the jangly indie-rock of “Take Me To The Mountain”, and the soothing, agile, and hazy “When Can I See You”. “Dominoes” ends the with vocal harmonies, syrupy sweet melody and a bit rawness in the soaring exit.

Even though the full band days of The Persian Leaps may be gone (for now, anyway), Forsberg and Hunt prove that they are more than capable of holding down the fort with plenty of punchy rock, nostalgic indie-rock and cautious yet playful instrumentation.

Travels well with: Porcupine- What You’ve Heard isn’t Real; Bob Mould- Sunshine Rock