Wolff Parkinson White

Favours

Colonel Beats, 2020

8/10

Listen to Favours

A New York City artist originally from Germany who takes up company with many vocalists here, Wolff Parkinson White continues his lively electronic prowess on this 4th album where time signatures are manipulated in his self-described formula of ‘hard to listen to electronic music’.

“Sand” gets the album off to a glitchy, experimental start with all sorts of electronic noises as hazy vocals guide the unpredictable landscape, and “Department Of Failure”, with Norah Jones, brings a dreamy setting of adventurous sounds as smooth singing accompanies the dub sensibilities.

Further along, “Revolt”, featuring Alexa Barchini, enters darker textures with plenty of mystery, while “Bereavement, Eh” recruits an almost sci-fi atmosphere as Josh Mease contributes his soaring pipes. “Neon Faithful”, one of the stand out tunes, then moves with a chilling yet intriguing display of boundless skill.

Near the end, “Broken Point” gets even more creative with a haunting quality amid the electronica as Pascal Le Boeuf covers vocal duties, and “We Are All Dispersed”, with Gabriel Kahane, is probably the most musically unusual, as White finds his atypical prowess at an all time high alongside vocal effects.

Jochen Rueckert, aka Wolff Parkinson White, pays the bills as a jazz drummer, but this vehicle has him exploring another realm of innovation, where each new vocalists brings surprises to the aberrant and highly intriguing, sonically engaging effort that even comes packaged in a yoga mat.

Travels well with: Le Grand Sbam- Vaisseau Monde; Neuland- Neuland

The Flyin' A's

No Holds Barred

Self-Released, 2020

9/10

Listen to No Holds Barred

Hilary Claire Adamson and Stuart Adamson, The husband and wife duo of The Flyin’ A’s, return with a 4th album where an all star cast help flesh out 9 originals and 4 covers on this timeless record where love is the central theme.

“Going Crazy” gets the listen off to a warm, country fueled start with smooth vocals from both members where melodies flow with ease, and “Rhyme Or Reason” continues the setting with fluid roots rock where soaring vocals from Hilary come from a soulful place.

In the middle, “Coal Tattoo” brings bluegrass influenced mandolin to the harmonic display, while “Faith And Gasoline” trims the pace back to soft balladry that’s heartfelt and genuine. “First Taste”, one of the album’s best, then delivers a lush and timeless atmosphere of folk qualities amid the pretty Americana.

Closer to the end, the upbeat and rhythmic “Nothing Can Stop My Loving You” will certainly get your body moving with its honky tonk fun, and “Letting Go” ends the listen romantic and elegant with flawless singing from Hilary.

Yet another flourishing outfit from the always fertile Austin, Texas scene, The Flyin’ A’s mix the best elements of folk, country, blues and gospel on this stunning effort.

Travels well with: Eric Brace & Last Train Home- Daytime Highs & Overnight Lows; Nick Nace- Wrestling With The Mystery

SIRR

Time Machine

Self-Released, 2019

8/10

Listen to Time Machine

SIRR is spearheaded by Canada’s Mark O’Connor, who takes a very unusual approach to his art by using musicians from around the globe via Wikiloops. While O’Connor handles all vocals and plenty of other sounds on the 16 tracks here, the 20 or so contributors help make for an extremely varied and interesting effort.

“Fire In The Sky” leads the album with spacey sounds amid dense percussion in a sci-fi rocker with melodic singing, and this creativeness continues to the saxophone friendly and hip-hop influenced “Ghost Town”, as well as the retro sounds of the howling “Sasquatch”.

The unpredictability continues to the synth stabs of the ‘80s influenced “Rise Up”, while “Zombie War” finds a stylish place to reside that’s even danceable with its fuzzy, droning atmosphere. ‘The Stranger”, one of the most interesting tracks, then dips into darker territory with minimal instrumentation where backing female vocals help illuminate the ominous display.

Late album highlights include the fuller, louder alt-rock of “Sweet Fame”, and the spirited guitar work of “My Dog Surfs”. “Sugarland” ends the listen with rhythm and grooves alongside the quirky playfulness that’s as inventive as it is inimitable.

SIRR has no interest in doing anything mundane, as Time Machine unfolds like an ideal companion to his atypical 2020 effort Space. However, regardless of where you start in the SIRR catalog, expect the unconventional and expect to find intrigue in spades.

Travels well with: Heron- Sun Release; Bonsai Universe- Too Many Ghosts

Ross Byron

Red & Black

Self-Released, 2019

8/10

Listen to Red & Black

A New York City singer-songwriter who walks across many different variations of rock, Ross Byron delivers 12 original tunes here, where he’s got something for everyone as it seems like it could have come out in any decade since the ‘70s.

The albums starts off with the hard rock sounds of “Private War”, where strong vocal work runs alongside an anthemic quality that even hints at classic rock, and “Life’s Been Good” follows with a power-pop approach that’s as memorable as it is timeless.

Near the middle, “Cat In The Hat” pairs strong drumming with equally strong rhythm in one of the album’s best, while “Sorry” finds Byron entering more pop-rock territory with a universally embraceable approach.

Deeper cuts bring us the pop oriented but certainly rock focused “Why”, and “Free To Be A Slave” recruits acoustic guitars before building into a metal influenced setting. “Medicine Show” ends the listen with a thicker approach that takes nods to the ‘70s but still with plenty of melody included.

Byron doesn’t coat his tunes in any overproduction nonsense, instead just delivering one raw, gritty yet tuneful track after another here that will be sure to strike a chord with fans of the early days of hard rock.

Travels well with: Balls Gone Wild- High Roller; Thobbe Englund- Hail To The Priest

Sonofmel

Springtime in A Foreign City

Self-Released, 2017

8/10

Listen to Springtime In A Foreign City

An album that’s the result of wandering the globe for 20 years, Wisconsin’s Sonofmel brings in a large handful of musicians to help flesh out these poetic, wise and genuine stories.

“Bad Dreams” starts the listen with playful plucking before soothing acoustic guitar in the vein of Elliott Smith enters, as the deep vocals flow with an inimitable delivery that’s as expressive as it is alluring, and “All Hallows’ Eve” follows with a similar organic approach where spoken word is complemented with some ambience.

Elsewhere, “Hello From Johnny Cash” brings in harmonicas and accordions for the soulful Americana highlight, while “River Jordan”gets upbeat in an almost gospel fashion with plenty of adventurous and timeless instrumentation.

Late in the disc, “Springtime In a Foreign City” puts piano on display as brushed percussion helps birth a folksy rhythm, and “Hard Roll” ends the listen musically busy where organs add much to the warm, inviting demeanor of the ideal exit to a very unassuming affair.

A record very much aligned with a transient lifestyle, you’ll hear animal sounds, water, a train, and a match being lit, among others, as Sonofmel pens a very humble and cozy effort that’s all substance and no flash. Excellent packaging, too, as the eye catching cover art comes with a small booklet that gives the backdrop of each song.

Travels well with: The Building- Petra; A Girl Called Eddy- Been Around

FKAjazz

Beautifully Awkward

Self-Released, 2019

8/10

Listen to Beautifully Awkward

An esteemed alto, soprano and tenor saxophonist and composer, this sophomore album from FKAjazz finds the artist in exceptional company as members of the Trew Culture collective lend a hand on vocals and instruments.

After the key heavy and background talking of the opening “To This Moment”, “Don’t Sweat The Technique”, with JSWISS and Walky Wah, bridges jazz and hip-hop with plenty of rhythm, while “Don’t Drag Me”, featuring Natalie Oliveri, presents a dreamy setting of elegant vocals paired with adventurous percussion.

Deeper into the listen, “Feeling Felt” finds a calmer place to reside amid a lone, expressive saxophone, and “Beautiful Magic” continues the gentle territory while injecting soulfulness thanks to Devin Bing’s strong vocal prowess.

At the end, “Supreme Love” brings BD3 and Marcus Machado to the groove filled setting, and “In Conclusion”, with L-Twice, ends the listen with keys and ambience as the dreamy exit puts the exclamation point on this very well done record.

FKAjazz carries a unique vision where his upbringing of ‘90s hip-hop and R&B are met with his formal studying of jazz, and together with the many contributors on hand Beautifully Awkward flows, twists and turns, and thrives with an impressive genre defying delivery.

Travels well with: Sammy Miller And The Congregation- Leaving Egypt; RJ.. & The Assignment- Hybrid Harmony

Rio Trio

Straight To The Top

Self-Released, 2019

8/10

Listen to Straight To The Top

A trio consisting of Sarah Jane Hargis on flute/bass flute, Steve Haskin handling classical guitar and A.J. Montrose holding down bongos and hand percussion, Rio Trio reinvent classic songs while also fleshing out Haskin’s original tunes, and with plenty of esteemed classical, jazz and Brazilian sounds in attendance.

After the playful and cultured “Footprints” opens up the album, “Agua De Beber” finds a calming place to reside with intricate flute from Hargis while the lively percussion from Montrose certainly adds much to the equation.

Deeper into the listen, guitars become the focus of the classically influenced “Crystal Silence”, while “Look To The Sky” unfolds with cascading beauty amid flute acrobatics and strong rhythm. “My Little Boat”, one of the best tunes present, then flows with dynamic musicianship between the three with incredible melody and soprano sax from Tony Bray.

At the end, “Lucky Southern” showcases the fantastic prowess of Haskin in the upbeat setting, and “Wave” ends the listen adventurous and instantly memorable with Alex Coke’s contributions on bass flute.

An entirely instrumental listen that pulls in ideas from around the globe, Straight To The Top, while being largely rooted in Latin jazz, is ultimately a world music album like nothing you’ve heard before, and you’ll certainly want to hear it again.

Travels well with: Carol Albert- Stronger Now; Amber Weekes- Pure Imagination

Lynne Hanson

Just Words

Self-Released, 2020

9/10

Listen to Just Words

A Canadian songstress who is now 7 albums deep, Lynne Hanson delivers a more powerful and textured affair here, where her poetic approach flows with both intimacy and playfulness.

“True Blue Moon” starts the album with rich, country influenced sounds amid Hanson’s smooth, fluid pipes, and this formula continues to the spirited guitar work and cautious landscape of the organ friendly “Hearts Fade”, as well as the more folk traces of “Long Way Home”.

An extremely well thought out record, further on “Higher Ground” gets soulful and bluesy, while “Clean Slate”, armed with a slide guitar, enters dreamy territory with soaring vocals from Hanson that are nothing short of breath taking.

Closer to the end, “Every Minute In Between” injects pop ideas into the contemplative album highlight, and “Hemingway’s Songbird” continues the sophistication with calm keys amid a lush atmosphere of vulnerable melodies. “Would You Still” ends the album rhythmic and memorable, with roots rock traces in the adventurous exit.

A songstress who also has a background with jazz and bluegrass, Hanson embraces all the hallmarks of Americana here, and brings in an all star cast including Catherine MacLellan and Justin Rutledge to help illuminate these heartfelt and timeless gems.

Travels well with: Patty Griffin- American Kid; Catherine MacLellan- Coyote

Terry Ohms

Cold Cold Shoulder

Cornelius Chapel, 2020

10/10

Listen to Cold Cold Shoulder

Terry Ohms last record, Terryfirma, impressed the hell out of me, and he’s upped the ante significantly with the guitar focused and sonically engaging new effort, Cold Cold Shoulder.

“King Of The Mountains” gets the album off to fine start with strong guitar work and crisp percussion as Ohms bridges alt-rock and Americana with fantastic results, and “Rock Of Gibraltar” follows with a stylish delivery of nearly dance-rock where a shimmering qualities hints at post-rock, too.

Although there’s just 8 tunes, each one leaves an indelible mark, including the classic rock influenced and energetic “IMO JSYK BTW”, while “All In The Past” adds a dreamy quality to the versatile song craft where nods to the ‘80s make this one the best of the best.

Late album highlights include the hypnotic, feedback friendly “Making The Most”, where a casual approach seems effortless for the multi-instrumentalist, and “That Song” exits the listen robustly, where a dense setting flows with both power and melody.

Ohms is now 8 albums deep, and much like his previous work he wrote, recorded and played all the instruments on every track. If there’s a better songwriter out there who’s living in relative obscurity, I don’t know who that would be, as I can’t imagine anyone not repeatedly playing Cold Cold Shoulder with unending excitement and anticipation.

Travel well with: Austin Lucas- Stay Reckless; Sarah Lee Langford- Two Hearted Rounder

The Somnambulist

Hypermnesiac

Slowing, 2020

8/10

Listen to Hypermnesiac

An international assembly of musicians who are unclassifiable and constantly evolving, this 4th album from the trio of The Somnambulist has Marco Bianciardi, Thomas Kolarczyk and Leon Griese refining their genre defying sounds even further with a dramatic and sometimes soothing execution.

“Film” starts the album with gentle keys before a very unique mix of post-punk and Brit-rock builds into a tense and lush delivery, and “No Sleep Until Heaven” continues the atypical formula with thumping percussion where psyche-rock tendencies enter the equation.

Elsewhere, “No Use For More” gets quite adventurous with indie-rock nods amid alt-rock moments, while “At Least One Point At Which It Is Unfathomable”, which is largely instrumental, pushes and pulls with dark tension amid its post-rock influences.

At the end, “Tom’s Still Waiting” gets experimental in the best ways with skilled manipulation of space and rhythm, and “Ten Thousand Miles Longer” ends the listen with piano and plenty of jazz influences in the art-rock exit that’s aberrant- even jarring- but with boundless creativity.

An extremely meticulous outing, The Somnambulist make music that no one else could, as the three members display exceptional fluidity and a daring ability to mesh jazz, funk, industrial and cinematic qualities with this very unique effort.

Travels well with: Kreda- Crest; Massimo Silverio- ø

Sammy Miller And The Congregation

Leaving Egypt

Self-Released, 2020

8/10

Listen to Leaving Egypt

Though this might be Sammy Miller’s debut with The Congregation, the drummer and vocalist has already picked up a Grammy nomination for his work with Joey Alexander. Here with the 6 members of The Congregation, the ensemble took just 4 very long days to capture their positive, witty and jazz influenced formula.

“Searching For Ragtime” starts the listen with soft keys before spirited horns enter the vocal-less affair, and “Shine” follows with clever playfulness as Miller’s smooth vocals guide the hook filled setting.

Further along, “Bluebird” finds the listen entering a calmer display of warm brass and cautious piano, while “Before” strips the atmosphere bare with just intricate keys with a slight horn ambience.

Deeper cuts like “Eagle Rock”, with Molly Miller, hint at jazz ideas in adventurous waves of fun, and “Date A Jew” brings a humorous and rhythmic highlight late in the affair. “When I’m Gone” ends the listen with piano balladry that’s both sublime and mesmerizing in its skilled execution.

Miller has spent plenty of time studying and playing jazz, which is quite evident here, and the firm rock’n’roll spirit from the entire outfit is never far from the surface on this feel good record that just begs to be heard live.

Travels well with: Dawg Yawp- Dawg Yawp; Blank Range- Marooned With The Treasure

The Barefoot Movement

Rise & Fly

Bonfire, 2020

8/10

Listen to Rise & Fly

A group of Nashville artists who use acoustic instruments to create both soul stirring balladry and upbeat, body shakin’ sounds, The Barefoot Movement deliver harmonies and melodies in spades on this new EP.

The band start the EP with the strong vocal harmonies and fluid string work of “Early In The Morning”, where their dynamic chemistry is on full display, and “Doin’ Alright” follows with an upbeat display of dance friendly sounds where glorious vocals from Noah Wall guide the fun.

The back half of the listen offers the calm “Lonely Mississippi Blues”, as the subdued instrumentation glows with proficient skill, while “At The End Of The Day” ends the quick listen with folk tendencies and pretty vocals amid rural beauty.

Now together for 7 years and with a pair of well received LPs in their catalog, too, if your interests run anywhere near folk, country, Americana or roots rock, Rise & Fly will be a fine addition to your collection.

Travels well with: Jim & Lynna Woolsey- Long Ago; Ray Cardwell- Stand On My Own

Chicago Farmer

Flyover Country

Self-Released, 2020

9/10

Listen to Flyover Country

Cody Diekhoff, aka Chicago Farmer, cites this 6th album as his best work to date, and it’s hard not to agree with that. This time with The Band Of Heathens along with him, as well as some special guests, the guitar and vocal luminary delivers a stunning 10 track record.

“Indiana Line” gets the album started with acoustic guitars and the rugged yet melodic vocals he’s known for on the Americana opening, and “Flyover Country” follows with warm balladry that tugs on the heartstrings with emotive vocals.

An artist whose live shows have become legendary, the live track staple “$13 Beers” brings firm country sensibilities into the rootsy fun, while “Collars” is a sparse offering of timeless, folksy song craft. The lone cover, “Ramblin’ Man”, has the Diekhoff interpreting the Hank Williams tune with much soul in his own bluesy version of the high lonesome sound.

At the end, “Dirtiest Uniform” recruits plenty of rustic melodies in the vivid storytelling and upbeat instrumentation, and “The Village Revisited”, the most percussive tune, offers a barn yard dancin’ vibe with tambourines that will be sure to get your body moving.

Probably most known as a folk singer, there’s plenty of country, roots and Americana to be found here, too. Diekhoff is a hell of a storyteller and an equally skilled musician, and his Midwestern blue collar anthems sound better than ever here, as he again proves why he’s one of the best of the genre today.

Travels well with: John Fogerty- 50 Year Trip: Live At Red Rocks; John Patrick Walker- ‘Welcome To The Edge Times’

Kreda

Crest

Nature Scene, 2020

8/10

Listen to Crest

An Anglo-Slovene trio who specialize in unconventional pop sounds, Kreda brings members of Melodrom, Laibach and Yila to a quick EP of very adventurous and unpredictable song craft.

“Soft Calls” starts the listen with breathy yet expressive vocals as the exploratory music brings synth stabs and plenty of ambience as part of the equation, and “The Overlay” continues the creativeness with a slow burning and darker display of emotive manipulation.

The back half of the listen offers the keys and mysterious atmosphere of “Emotional Tides”, which yields a cinematic quality amid its rich textures, and “Never Talk” ends the listen with a sparse delivery where a drum machine and spacey sounds are in attendance and run alongside the strategically spaced vocals.

A listen with as much intimacy as there is playfulness, the artistic approach here is never so esoteric that it can’t be enjoyed by all ears with an affinity for unconventional pop prowess.

Travels well with: Massimo Silverio- ø; VvvV- The Wreck

Glenn Jones

Ready For The Good Times

Good Guys, 2020

8/10

Listen to Ready For The Good Times

On this 3rd album, Glenn Jones, who is also the bass player and harmony singer of The Goodloves, brings vivid storytelling with plenty of roots and folk sounds where members of Mandolin Orange and Mipso are on hand.

“Ripples In The Pond” starts the album with soothing and emotive sounds as guitars, fiddles and female backing vocals add much to the equation, and “My Baby Makes Pie” follows with piano from Joe MacPhail and soulful vocals from Jones highlighting the playfulness and humor in the tune.

In the middle, “A New Great Pyramid” is vocally strong with minimal instrumentation in a gospel influenced fashion, while “The Other” takes an on an almost anthemic quality as Jones shows us his exceptional singing prowess. “No Fool Like An Old Fool”, one of the best tracks present, then get plucky and rustic in a retro country western sort of way with a quirky appeal where a tuba adds much to the setting.

At the end, “I’m Not Francesca” moves with a warm and soft beauty complete with dynamics instrumentation from the many players in attendance, and the title track exits the affair in a rootsy, graceful and wise display from the veteran artist.

Jones has had an extremely full life and has lived through the highest of highs and the lowest of lows, from a barely scraping by musician to success in the corporate world. HIs vast experiences make his song craft especially relatable, and his very thoughtful and timeless delivery is easy to absorb and hard to forget.

Travels well with: Kacy & Clayton- Carrying On; Susan Gibson- The Hard Stuff

Miss Tess

The Moon Is An Ashtray

Rights, 2020

9/10

Listen to The Moon Is An Ashtray

A Nashville resident who is no stranger to blues, country and jazz sounds, Miss Tess brings her guitar and inimitable pipes to this very eclectic record that often flows with a retro approach.

“The Truth Is” starts the listen with warm Spanish guitar work on the rich, Americana display with forthright wordplay, and “True Flood” follows where a duet with Lake Street Dive’s Rachael Price adds much to the piano focused fun.

In the middle, “I Wanna Be A Cowboy” offers yodeling amid honky tonk nods in a tune that brings Vaudeville qualities, while “If You Don’t Know How To Love Me” enters ballad territory with aching pedal steel alongside the soaring, flawless singing from Tess. “Take It Easy”, one of the album’s best, then highlights rollicking and rowdy piano rock that glides with grit and melody.

Near the end, “These Blues” brings us to more traditional country sounds with a good balance between percussion and pedal steel, and “Riverboat Song” finds a dreamy pace to reside, where psyche-rock ideas enter her inimitable formula.

Whether your inclination is towards folk, country, jazz or even punk, Miss Tess has plenty to go around here, or, if you’re like me, you’ll enjoy all the diversity present on The Moon Is An Ashtray.

Travels well with: Cara Louise- Fragile Heart; Moody Little Sister- Great Big Mama Sunshine

Calle Loiza Jazz Project

There Will Never Be Another You

Self-Released, 2020

8/10

Listen to There Will Never Be Another You

Though the core of the outfit Calle Loiza Jazz Project began 30 years ago, this version of the band brings in some additional members as they rework 8 jazz standards that pay homage to legends from their Puerto Rican roots.

“Seven Steps To Heaven” gets the album off to a bomba rhythmic start where horns, percussion and guitar all work together strategically, and “Someday My Prince Will Come” follows with a calmer spirit of cultured ideas as keys, guitar acrobatics and a trumpet solo highlight the setting.

Elsewhere, the flute friendly “Dolphin Dance” flows with a soulful and elegant approach, while “Old Folks” steers the album into nearly ballad territory with its contemplative tone.

At the end, “Well, You Needn’t” gets playful with sublime percussion in the Thelonious Monk cover, and “There Will Never Be Another You” exits the listen with precision and innovation that few could replicate.

An extremely well crafted reunion, the Calle Loiza Jazz Project know their way around a Latin jazz tune while keeping their Puerto Rican heritage close to the surface at all times. Let’s hope it isn’t 3 more decades before they release another record, cause their unique and timeless approach is certainly very appreciated.

Travels well with: The Diva Jazz Orchestra- Diva + The Boys; Albare- Albare Play Jobim

Billy N' Dave

Share My Chaise

Galtta, 2020

9/10

Listen to Share My Chaise

The Billy and Dave we’re talking about here are Billy G. Robinson, who handles vocals, and David Lackner, an esteemed multi-instrumentalist, who have been working together for over a decade now. A record 5 years in the making, Billy and Dave are in fine company on Share My Chaise, as members of Blue Jazz TV help flesh out this varied and charming affair.

The title track starts the album with some cosmic soul as warm grooves and flute friendly elegance run alongside Dan Nissenbaum’s trumpet, and “VHS” follows with a quick blast of tropical sounds in the sunny and playful minute.

“Lost Without Your Love”, the highlight of side A, brings synth and hand clapping fun to the ‘80s setting of R&B influences, while “Low” ends the first side with soundbites, strong percussion and plenty of ambience.

Side B is just 3 songs, but they are much longer, where Genevieve Kamel Morris brings her breathy, seductive pipes to the formula on “Trust”, and “Lovers Paradise” warbles with quirky synth in the atmospheric approach. “For Sharon” ends the listen with 9 minutes of dreamy, rhythmic tones as David Lackner’s flute acrobatics and Adrian Knight’s clever bass work add much to the cozy exit.

Like much of the music released on the Galtta label, this one’s on cassette and extremely limited at just 115 copies. And also much like the music released on the label, it’s an extremely creative, atypical in its delivery, and full of modern ideas that are also very rooted in richness of retro nods.

Travels well with: Purelle- Gotta Have It!; Alice Cohen & The Channel 14 Weather Team- Artificial Fairytales

Possessed By Paul James

As We Go Wandering

Self-Released, 2020

10/10

Listen to As We Go Wandering

The moniker of Konrad Wert, as Possessed By Paul James the veteran songwriter and multi-instrumentalist has been creating folk music that’s also blues and punk influenced since 2005. Coming off a Billboard charting album in 2013, with As We Go Wandering the troubadour injects themes of justice, peace and unity into his always relevant song craft.

“Come Back In My Mind” starts the album with playful bluegrass ideas, marching band style drumming and a raw delivery of folk prowess, and “In The Dark Of Morning” follows with a soulful angle and more calm setting of rugged Americana with incredible fiddle work.

In the middle, “I Come From SW Florida” flows with agile picking in the hushed atmosphere where Wert’s voice moves smoothly and with an alluring quality, while “Be At Rest” offers a more country influenced moment of rural beauty. “When It Breaks”, one of the album’s best, then glows amid a timeless folk quality where brushed percussion and Kert’s expressive vocals are front and center.

Near the end, “I Didn’t Know You When” keeps the songwriting proficient with a swift rootsy feeling, and the title track ends the listen vocally strong where female pipes complement the bare and memorable exit.

Wert has recently undergone a pair of vocal surgeries, and even though this is his first album in 7 years, his art sounds better than ever, more eloquent, more meticulous and with an incredible execution. There just isn’t a flaw anywhere to be found on As We Go Wandering.

Travels well with: The Devil Makes Three- Chains Are Broken; Sara Watkins- Young In All The Wrong Ways

Triggers & Slips

The Stranger

Self-Released, 2019

9/10

Listen to The Stranger

Spearheaded by frontman Morgan Snow, this 2nd album from Triggers & Slips finds their rock’n’roll template taking on a variety of influences that are hard to categorize, but easy to enjoy.

The title track starts the listen with a fluid pace of spirited keys, warm guitars and country tinged vocals on the playful, honky tonk influenced opener, and “Natchez Trace” follows with rugged balladry that builds into bouts of harmonica and a darker setting of thoughtful, alluring song craft.

Further along, “Blue Smoke” finds a mysterious place to reside amid a bluesy atmosphere that was recorded studio live, while “I’m Not Your Baby” dips into calmer territory where soulfulness and grooves are present and mesmerizing.

Near the end, “Dig A Hole” recruits banjos for lush, rural beauty, and the lone cover, “Rooster” (Alice In Chains), places keys and acrobatic picking into the cautious exit that trades grunge for roots rock. An extremely well done record, folk, alt-country and even hints of prog-rock are also present, as Snow and company lay down a unique brand of outlaw country that very quickly propels them to ‘must hear’ status.

Travels well with: Drew Holcomb & The Neighbors- Good Light; The Long Ryders- Psychedelic Country Soul