Fischer Duo

2020 Visions

Navona, 2022

8/10

Listen to 2020 Visions

The Fischer Duo, i.e. Norman Fischer (cello) and Jeanne Kierman Fischer (piano), have been performing together for 50 years, and they celebrate that achievement with these well thought out pieces by William Bolcom, Michael Cohen, Robert Sirota, Hilary Tann, Theo Chandler and Preston Stahly.

Bolcom’s “Second Sonata For Violoncello And Piano” opens the listen with the stirring strings and atmospheric keys making for a very exciting landscape, and “A Song For Silenced Voices”, by Cohen, emits a very expressive tone as the cello and piano interact with much grace, beauty and emotion.

Sirota’s “Family Portraits” arrives in the middle and recruits firmer keys alongside the dancing strings, while Tann's “On Ear And Ear” moves with a very intimate quality of quivering strings and bare, sublime keys.

The final track, Stahly’s “Corona Blue”, flows with a heartfelt interaction between the players, and radiates incredible fluidity and agility.

A very versatile and meticulous outing, the pair bring love, pain, hope and resilience to a listen that truly embraces the strength of their many decades playing together.

Travels well with: Mary Howe- Between Us; Gibbs Street Duo- Memories Unsettled

Ferdinando DeSena

Toccata Miami And Other Works

Navona, 2022

8/10

Listen to Toccata Miami And Other Works

A versatile composer who is well versed in electro-acoustic ideas as well as dynamic moments of chamber orchestration, Ferdinando DeSena brings tonally appealing flute, harp, keys and oboe to this Latin influenced affair.

The title track opens the listen with Ana Rodriguez’s solo piano flowing in and out of playful and exciting progressions, and “Three Attitudes” follows with Jessica Lizak’s flute and Franziska Huhn’s harp making for a dreamy, elegant and absorbing 3 chapters.

Elsewhere, “Prelude And Dance” spotlights David William Ross’ very skilled guitar playing that’s quite melodic, while “You Might Even See Me” pairs Sarah Brady’s flute with Yoko Hagino’s piano for a very bright and adventurous spirit.

“No Tears, And No Remorse” exits the listen, and it recruits the SRU Flute Ensemble for a very charming, sometimes mysterious display of timeless, exciting musicianship.

DeSena carves out a very unique place in the area of chamber sounds here, where the compositions dance around each other with much allure and memorability.

Travels well with: Mark John McEncroe- Symphonic Suite No. 3; Anne Neikirk- Spring Shadows

Mary Howe

Between Us

Navona, 2022

8/10

Listen to Between Us

The composer and music activist Mary Howe brings us pieces for smaller ensembles here, where premiers of her duos are fleshed out with plenty of melodic gestures that pay close attention to timbres of the piano, voice, and stringed instruments.

“Sonata For Violin And Piano” opens the listen with Laura Talbott-Clark’s violin and Pi-Ju Chiang’s piano interacting with a stirring intimacy as well as playful moments, and “Ballade Fantasque” follows with Chiang’s keys and Meredith Blecha-Wells’ cello emitting a very poetic and gorgeous tone of heartfelt musicianship.

“Patria” lands in the middle and showcases Jacqueline Skara’s versatile viola alongside Chiang’s agile finger acrobatics, while “Merles De Coulenne” recruits Erin K. Murphy’s flute for the dreamy landscape that spotlights April Golliver-Mohiuddin’s stunning mezzo-soprano.

The final track, “Interlude Between Two Pieces”, is the best, and pairs Murphy’s flute with Chiang’s piano for a very soothing, mysterious, sometimes cinematic exit.

The compositions present are quite timeless, and make good use of romanticism and 20th-century idioms, ultimately defying classification in Howe’s inimitable vision.

Travels well with: Gibbs Street Duo- Memories Unsettled; Lee Bradshaw- The Ties That Bind

Eric Schorr

New York Pretending To Be Paris

Albany, 2022

8/10

Listen to New York Pretending To Be Paris

The esteemed composer Eric Schorr chose poems for the compositions on this recording because they struck a chord with him emotionally and musically, and he made them even more appealing with a chamber sized acoustic orchestra.

Cynthia Zarin’s “Flowers” starts the listen with Eve Gigliotti’s expressive mezzo-soprano and Erika Switzer’s agile keys interacting with much grace and power, and “Morning (After) Commute”, by Thomas March, follows with Jesse Darden’s poetic tenor and Schorr’s piano prowess making for a highly melodic, lush climate.

Richie Hoffman’s “French Novel” lands in the middle and showcases Michael Kelly’s skilled baritone amid Cris Frisco’s very cautious keys, while “Liquid”, by Aaron Smith, meshes Kelly’s playful delivery with Frisco’s meticulous fingers.

“Mother” exits the listen and presents poems by Susan Kinsolving and Smith that are illuminated by all 3 vocalists and 3 different piano players for the intricate, soaring and textured finish.

You’ll hear bits of romantic sounds, jass, chanson and bossa nova here, as Schorr and company make for a very lyrical, articulate and alluring listen.

Travels well with: Don Walker- Some Women’s Voices; George Rochberg- Caprice Variations

Gibbs Street Duo

Memories Unsettled

Navona, 2022

9/10

Listen to Memories Unsettled

Sun Min Kim and Hilary Glen, i.e. Gibbs Street Duo, bring their piano and cello prowess to their diverse compositions by Dorothy Rudd Moore, James Lee III, Ching-chu Hu, and HyeKyung Lee, and it makes for a powerful chamber listen that addresses social change.

Lee’s “Distant Memories” opens the listen with hypnotic keys alongside stirring cello that emits much beauty, and “Dream And Variations”, by Moore, follows with a low rumbling as the solo keys dance with both tension and grace across 15 minutes of adventurous song craft.

In the middle, the sublime strings of Lee III’s “Abraham’s Son” conveys the horror and outrage of Trayvon Martin’s death, while the firm keys and agile cello of Moore’s “Dirge And Deliverance” mesmerizes us across 2 movements of cautious yet exploratory song craft.

Nu’s “Night” finishes the listen, and it’s an intimate exit that showcases much skill from both players that’s meticulous, absorbing and enlightening.

An effort aimed at making change, Gibbs Street Duo make for a very relevant and timeless body of work that's all substance.

Travels well with: Lee Bradshaw- The Tie That Binds; Monika Gurak- Scenes From A Life

Don Walker

Some Women’s Voices

Albany, 2022

8/10

Listen to Some Women’s Voices

On his 5th album for the Albany label, Don Walker brings us songs he penned using the poetry of Anne Bradstreet, Phyllis Wheatley, Helen Hunt Jackson, Emily Dickinson, Gertrude Stein, Harrie Alley, and Edna St. Vincent Millay.

The album leads with poems by Anne Bradstreet, where the sublime keys and expressive singing highlights the articulate wordplay, and poems by Phillis Wheatley continues the elegance with more swift keystrokes amid the dreamy vocals.

In the middle, the soaring voice and twinkling keys of Emily Dickinson’s work is quite stirring, while “Dear Miss Dickinson”, a poem by Helen Hunt Jackson, meshes the very progressive piano with powerful, emotive vocal acrobatics.

At the end, the playful nature of Harrie Alley’s “I Feel Like Spring” emits a very frisky album highlight that’s filled with rebirth thanks to the dynamic interaction between the vocals and keys.

Walker’s songs are performed by the soprano Ann Moss, a graduate of the Longy School and the San Francisco Conservatory, who has been responsible for the commissioning and premieres of more than 80 art songs, vocal chamber music, and operatic roles. The pianist Karen Rosenak, a longtime member of the Empyrean Ensemble, and a founding member of the new music ensemble Earplay is also on hand, and they make for a very radiant and literate body of work,

Travels well with: Nancy Hill Elton- Nancy Hill Elton Plays Chopin And Rachmaninoff; George Rochberg- Caprice Variations

Jonathan Richman And The Modern Lovers

Rock’N’Roll With The Modern Lovers

Omnivore, 2022

8/10

Listen to Rock’N’Roll With The Modern Lovers

The Omnivore label did us a favor and reissued 4 Jonathan Richman & The Modern Lovers albums this year, and here we’re treated to his sophomore record, originally released in 1977.

“The Sweeping Wind (Kwa Ti Feng)” opens the listen with intricate eastern influences on guitar in the instrumental climate, and “Ice Cream Man” follows with Richman’s signature raw, distant vocals amid minimal instrumentation.

Elsewhere, the playful strumming of “Afternoon” welcomes well timed, conversational backing vocals, while “South American Folk Song” is full of warm guitar playing that’s quite breezy and packed with culture.

Further along, “The Wheels On The Bus” puts a charming spin on the traditional with call and response vocals, and “Angels Watching Over Me” continues the formula with finger snapping, group vocals and plenty of Richman’s minimal sensibilities.

Richman was shifting towards an acoustic/harmony based formula at this point in his career, and with his new drummer D. Sharpe on board, he hit #5 on the UK charts with “Egyptian Reggae”. An aptly titled affair, there’s certainly plenty of rock’n’roll spirit to be found here, surrounded by Richman’s garage-rock and proto-punk leanings.

Travels well with: Alex Chilton- Boogie Shoes: Live On Beale Street; Matthew Sweet- Catspaw

Matthew Burtner

Icefield

Ravello, 2022

9/10

Listen to Icefield

The longtime composer Matthew Burtner creates a very diverse listen here that examines the space between environment and controlled sound by meshing specialized field recordings of glaciers and Arctic storms, electroacoustics, and traditional instruments.

“You Sink Into The Singing Snow” starts the listen with much atmosphere, as I-Jen Fang’s percussion and Glen Whitehead’s trumpet help make for a mysterious climate that welcomes Lisa Edwards-Burrs’ stunning voice, and “Icefield” follows with just Burtner’s saxophone and snow making for an ominous, cinematic landscape.

Elsewhere, “Sonification Of An Arctic Lagoon” showcases Ken Dunton, Craig Connolly, Christina Bonsell, and Nathan McTigue’s science for an otherworldly exploration, while “We Are As One Plane” emits Kevin Davis’ cello and Kelly Sulick’s flute in a stirring, poetic climate.

“Oil Drum” and “Iceprints” exit the listen, where the former is just Colin Malloy’s percussion in a very bare but impactful display, and the latter spotlights Chrysi Nanou’s piano in an intimate and very cautious 20+ minutes.

A record where each track is quite different from each other, Burtner illuminates the chill of the air, the blinding snow, and the mesmerizing sight of glacial fields breaking apart and bringing sea levels higher and higher across this fascinating journey.

Travels well with: Wesley Ferreira- Into The Green; The Music Of Jeffrey Jacob- Sequoias

Herman Hitson

Let The Gods Sing

Big Legal Mess, 2022

8/10

Listen to Let The Gods Sing

A pioneer in the are of funk and psyche ideas, the singer-songwriter and guitarist Herman Hitson has also collaborated with Hendrix and is a chitlin circuit veteran. Here, his groove friendly brand of soul rock finds itself in great company for 9 very diverse tunes fleshed out by producers Bruce Watson and Will Sexton.

The title track opens the listen with Will McCarley’s drums and percussion making an impression alongside Sexton’s guitar acrobatics in the soulful and psyche filled climate, and “Ain’t No Other Way” follows with plenty of rhythm and melody amid the soaring, raw vocals.

Halfway through, “All I Want Is You” jangles with playful organ from Al Gamble to complement the gritty singing, while “Feast Of Ants” flows with a stylish mystery that’s instrumental and quite fascinating.

Near the end, “Stray Bullet” showcases Mark Stuart’s precise bass surrounded by a more ominous haze, and “Yampertown Funk” exits the listen with Art Edmaiston’s horns adding much flavor to the southern spirit of the cautious finish.

The tunes here are among Hitson’s best, as evidenced by the funk, rhythm and blues, soul, hard blues, and psychedelia present, and it leaves an indelible mark.

Travels well with: Dedicated Men Of Zion- Can’t Turn Me Around; Various Artists- Sacred Soul Of North Carolina

Too Slim And The Taildraggers

Brace Yourself

VizzTone, 2022

9/10

Listen to Brace Yourself

Tim ‘Too Slim’ Langford (guitar, vocals), Zach Kasik (bass, vocals) and Jeff ‘Shakey’ Fowlkes (drums, vocals) treat us to 12 very energetic live tunes here, where their versatile blues touches on classic rock and Americana, among other ideas.

“Mississippi Moon” gets the listen off to a blistering start, with plenty of thick yet melodic blues rock that showcases strong guitar work and rugged singing, and “Fortune Teller” follows with thumping drums and fluid bass playing that’s also cautious, too.

Closer to the middle, “Givers And Takers” showcases a bit of intimacy in the classic rock sensibilities, while “Free Your Mind” shows traces of Bob Dylan’s early work in its subtle folk-rock nods.

Nearing the end, “Blood Moon” is all about power and melody in its dense moments that might remind you of Hendrix or Robin Trower, and “Good Guys Win” exits with plenty of psychobilly influences that help the very animated landscape be one of the album’s best.

You might also think of ZZ Top or Chuck Berry when listening to Brace Yourself, as Too Slim and company show us just why they’re one of the best blues outfits that exits today.

Travels well with: Too Slim And The Taildraggers- The Remedy; Johnny Burgin- No Border Blues

Bob Corritore & Friends

You Shocked Me

VizzTone, 2022

8/10

Listen to You Shocked Me

It’s been a prolific year for Bob Corritore, who put out an astonishing 4 albums, and he’s been bringing along some excellent company, too. On this installment he’s aligned with Alabama Mike, Johnny Rawls, Bill ‘Howl-N-Madd’ Perry, Sugaray Rayford and Oscar Wilson, among others, for the 16 energetic tunes.

“Hiding Place” gets the listen off to a rowdy and rhythmic start with soaring guitar and flowing harmonica amid the powerful vocals from John Primer, and “Squeeze Me Baby” follows with Alabama Mike’s inimitable pipes guiding the rugged yet tuneful climate.

Elsewhere, the melodic and bouncy delivery of “Blinded” benefits much from Jimi “Primetime” Smith’s gritty voice, while “Don’t Need Your Permission” recruits Francine Reed’s powerful and expressive pipes for the frisky album highlight.

Near to the end, “Sunny Day Friends” captures Diunna Greenleaf’s soulful and distinct vocals, and “Blues For Hippies” exits with Alabama Mike upfront and radiant alongside the robust rhythm section.

Corritore’s underrated production skills capture these tunes superbly, and his harmonica prowess is as excellent as always across the timeless blues, soul and gospel leanings that will be sure to satiate the longtime fan and turn new ears into unwavering fans.

Travels well with: Bob Corritore & Friends- Down Home Blues Revue; Louisiana Red & Bob Corritore- Tell Me ‘Bout It

Nancy Hill Elton

Nancy Hill Elton Plays Chopin And Rachmaninoff

Albany, 2022

8/10

Listen to Nancy Hill Elton Plays Chopin And Rachmaninoff

An artist who has been praised for her performances as a solo piano recitalist, concerto soloist, and chamber musician, Nancy Hill Elton impresses us greatly with this 2nd album on the Albany label that interprets the work of Chopin and Rachmaninoff.

The 4 pieces by Frédéric Chopin open up the affair, where pensive, calm moments of beauty exist alongside firm bouts of soaring, uplifting key strokes in the very complicated compositions.

The remaining compositions are from Sergei Rachmaninoff, and they showcase a very precise intimacy that’s heartfelt, sometimes busy and occasionally flutters with much charm as Elton’s inimitable finger acrobatics are nothing short of stunning.

At nearly 75 minutes, the playing here is flawless and never out welcomes its stay as Elton interprets the legend’s work with much fluidity and grace.

Travels well with: Alberto Patron- The Ten Aporetic Tropes: Les Moments Musicaux; George Rochberg- Caprice Variations

Éric Tanguy

Chamber works Of Éric Tanguy

Navona, 2022

8/10

Listen to Chamber Works Of Éric Tanguy

The composer Éric Tanguy brings us 7 compositions populated by Ambroise Aubrun (violin), Cécilia Tsan (cello), Steven Vanhauwaert (piano), Martin Chalifour (violin), and Elissa Johnston (soprano), and it’s an assembly of chamber pieces that are often intense and feature plenty of melody, too.

“Trio Pour Violon, Violoncelle Et. Piano”, a world premiere, opens the listen with the expressive strings and rumbling piano making for both tense and pretty moments, and “Sonate Pour 2 Violons” follows with the 2 violins interacting with much playfulness, warmth and awe.

“Quattro Intermezzi” and “Nouvelle Étude” land in the middle, where both are solo piano pieces that illustrate firm keystrokes and much character, especially the latter, which has the keys dancing in very exciting, unpredictable gestures.

Arriving near the end, the solo cello of “Invocation” emits a profound skill from Tsan’s finger acrobatics, and “Le Lys Et La Lyre”, also a world premiere, is the lone track with vocals, and spotlights Johnston’s stunning pipes alongside the articulate, cautious cello.

A very engaging collection of three world premieres and pieces curated from Tanguy’s very fertile mind, there’s a skilled balance of intimacy and exploration to be enjoyed across the effort.

Travels well with: Mark John McEncroe- Symphonic Suite No. 3; Anne Neikirk- Spring Shadows

Lee Bradshaw

The Ties That Bind

Navona, 2022

8/10

Listen to The Ties That Bind

The Australian composer Lee Bradshaw teams up Baiba Skide (violin), Ivan Vukčević (viola), and Harriet Krijgh (violoncello) for this handful of chamber music for strings, where there is no lack of emotion in the artistic delivery.

“Via Crucis For Violin” opens the listen with Skride’s solo violin making for a very stirring and emotive 4+ minutes that illustrates incredible attention to detail, and “String Trio ‘Trigon’” follows with all 3 players meshing their sublime string manipulation to yield much beauty and depth.

In the middle, “Sarabande For ‘Cello’” showcases Krijgh’s very cautious and poetic violoncello prowess, while “Concerto For Two For Violin And ‘Cello” pairs Skride and Krijgh’s fascinating gestures that enthralls the listener with its awe.

The final track, “Rhapsody For Viola Solo, After The Concerto”, spotlights Vukčević’s incredible viola skills, and it’s a very eloquent and absorbing exit.

A listen that doesn’t shy away from intimacy and beauty, the trio’s inimitable string execution makes for a rare and distinct chamber journey that’s quite absorbing.

Travels well with: Mark John McEncroe- Symphonic Suite No. 3; Monika Gurak- Scenes From A Life

Mark John Mcencroe

Symphonic Suite No. 3

Navona, 2022

8/10

Listen to Symphonic Suite No. 3

The always exceptional composer Mark John McEncroe offers us three orchestral movements that draw inspiration from the natural world here, and he’s got the Zagreb Festival Orchestra on hand to illuminate his vision.

“Meandering In The Forest” opens the listen with a very warm, dreamy approach that balances intricate strings and soaring winds, where no lack of melodies and strong attention to mood is appreciated.

In the middle, “Running Mountain Streams” glides with a majestic demeanor that’s equal parts firm, harmonic and full of dynamic interaction between the many players.

The final track, “Wandering In The Wilderness”, booms with a glorious and triumphant spirit that showcases the firm but also cautious talents of the orchestra.

McEncroe’s inestimable vision is fleshed out here with a filmic quality present, amid no lack of striking crescendos and calm strings and woodwind melodies that you can’t help but admire.

Travels well with: Mark John McEncroe- Musical Images For Piano: Reflections & Recollections Vol. 4; Mark John McEncroe- Fanfare Suite

Various Artists

Windswept Vol. II

Navona, 2022

8/10

Listen to Windswept Vol. II

The Windswept series returns with another creative batch of sweeping tracks of contemporary chamber works, and this time it’s performed by the New London Chamber Ensemble, who illuminates the work of seven inimitable composers.

“Loretta K. Notareschi’s “Moon Jazz: River On The Moon” opens the listen with Neyire Ashworth’s clarinet and Stephen Stirling’s horn in F adding much warmth to the melodic and charming textures, and David Osbon’s “The Spirits Of Sabate” follows with Robert Manasse’s flute and Peter Facer’s oboe helping cultivate a very spirited and expressive climate.

Further along, “Twilight Waltz”, by L Peter Deutsch, emits much beauty thanks to Meyrick Alexander’s dreamy bassoon, while Kenneth A. Kuhn’s “Variations On A Commoner Theme, No. 1” has the ensemble interacting with much intimacy and gracefulness.

Deeper yet, Ferninando Desena’s “Midsummer Quintet” dances and weaves in and out of playful cinematic qualities, and “Woodwind Quintet” exits with 3 chapters that are quite animated, meticulous and display Andrew Lewinter’s vision seamlessly.

A charming listen that embraces jazz-driven moments that emanate from classical roots, this is a dynamic listen that’s never short on well thought out interaction between the esteemed players.

Travels well with: Arcadian Winds- Windswept; Bill Whitley- Then Elephant Speaks

Various Artists

Mind & Machine, Volume Four

Ravello, 2022

9/10

Listen to Mind & Machine, Volume Four

This 4th installment in the Mind & Machine series welcome electro-acoustic composers who embrace no lack of avant-garde sounds, sound samples, and plenty of atypical songwriting on this fascinating affair.

“Water Birds”, by Mara Helmuth and Andrea Vos-Rochefort, opens the listen with Vos-Rochefort’s unpredictable clarinet and Helmuth’s mysterious electronics making for a fascinating organic versus synthetic exploration, and Avik Chari’s “Green Line 2065” continues the creativity with Daniel Yiau's bass clarinet, Michellian Chan’s sax, Don Kow’s trombone, Vincent Tan’s euphorium and Chari’s electronics making for a unique radiance of subdued warmth.

At the halfway point, “Senescence” pairs Chari’s electronics with Ng Pei-Sian’s cello in a climate that’s quite ominous yet inviting and sometimes resembles a dense water like noise, while Gina Biver’s “The Inner Landscape Of A Cabin In The Woods” brings fixed audio and Biver’s improvised electric guitar to a sublime intimacy.

Juro Kim Feliz’s “Hanggang Sa Takipsilim” exits the listen, and it’s a curious mashing of Jayson Palolan’s Phillippine indigenous instruments and Hannah Leah Guanlao’s narration that’s expressive, atypical and blips and bleeps strategically.

Another exciting chapter of this highly distinct series, the 5 composers present make an indelible impression with their inimitable electro-acoustic ideas and flawless execution.

Travels well with: Mind & Machine: Organic And Electronic Works- Volume Three; Bill Whitley- Then Elephant Speaks

Peter Knell

Soundscapes

Navona, 2022

8/10

Listen to Soundscapes

The award winning composer Peter Knell brings us 3 very poetic and artistic compositions that use strings and vocals with plenty of natural imagery and fluid chamber prowess that’s as timeless as it is accomplished.

“Canciones De Agua” opens the listen with Ingeborg Danz’s stunning alto and Peter Stein’s chilling violin across 5 chapters of expressive, intimate and adventurous song craft, and “String Quartet No.2 (Three California Landscapes)” follows with Alyssa Park and Shalini Vijayan handling violin, Luke Maurer on viola and Timothy Loo’s cello interacting with mystery and grace that’s quite mesmerizing in its fascinating string manipulation.

“Seven Last Words (After Paintings By Rolf Stein)” exits the listen with just Stein’s stirring violin populating the sometimes bare, other times firm moments of sublime musicianship.

A very fluid display of 21st century sounds in the area of string quartets, vocal music and meticulous chamber song craft, Knell and company make for a very alluring and memorable listening experience.

Travels well with: Michael Murray- Passages; Jeffrey Derus- From Wilderness

Anthony Brandt

Kassandra

Navona, 2022

8/10

Listen to Kassandra

The composer Anthony Brandt and librettist Neena Beber team up for a chamber opera in five scenes that explore climate change and sexual harassment with Penelope Shumate (soprano), Christopher Besch (baritone), Megan Berti (mezzo-soprano), Albert Stanley (tenor) and Aidan Smerud (bass) providing incredible vocals to the affair.

“Ted-Style Talk” opens the listen with William Yeh’s flute and Roy Park’s clarinet complementing the powerful, soaring vocals in the very expressive climate, and “A Conference Room At Apollo Industries” follows with Julia Kirk’s viola and Max Geissler’s cello adding much grace to the often light and mysterious delivery that’s quite cinematic.

The middle track belongs to “The HR Department Of Apollo Industries”, which displays Alexander Garde’s percussion and Jacob Schafer’s violin making for a very mature and alluring demeanor alongside the precise, dual gender vocals, while “Various Offices And Conference Rooms”, the best selection, emits stunning vocal work amid Thomas Frey’s bass clarinet and Ting-Ting Yang’s piano.

The final track, “By The Sea”, balances calm versus tense moments, where the characters are quite eloquent in their singing, and the instrumentation is lush and dynamic.

The record is based on the Greek myth of Apollo, who attempts to seduce the Trojan princess Cassandra. Brandt and Beber tell the tragic yet familiar story of Kassandra, a scientist whose forecasts of climate change are discredited as a result of rejecting sexual advances from a venture capitalist, and it’s a very inviting meshing of opera and chamber sounds that are meticulous in both the vocals and instrumentation.

Travels well with: Benjamin Shorstein- Fantasy For Violin And Piano; The Great Necks- Impressions Of Spain

Reina Del Cid

Morse Code

Last Triumph, 2019

8/10

Listen to Morse Code

This 3rd album from Reina del Cid and company brings greater production and engineering prowess to the affair, as the Minneapolis outfit offer us another batch of their esteemed folk-rock.

“Goodbye Butterfly” opens with del Cid’s pretty, angelic vocals on a lush indie-folk gem, and “Bernadette” follows warm, acoustic sounds where an old time feeling unfolds with beauty.

In the middle, “No. 19” flows with breezy melody in the playful strummer where double bass and violin are in attendance, while “Common Man” really showcases del Cid’s vocal prowess on the singer-writer highlight that parallels the greatness achieved by Kevin Devine.

Near the end, “Rubik’s Cube” finds gentle rhythm amid the expressive storytelling, and “All Time Low” recruits a timeless folk quality with glowing harmonies. “Hold Me Before I’m Gone Forever” ends the listen with an orchestral slant, as the album exits as strong as it starts.

The fertile Minnesota music scene is rarely short on talent, and Reina del Cid is certainly further proof of that. If names like Spektor and Michaelson are in your collection, so should del Cid.

Travels well with: Sara Watkins- Young In All The Wrong Ways; Jack Klatt- It Ain’t The Same