Dean

Life Lessons

Self-Released, 2017

9/10

Listen to Life Lessons

A New Jersey multi-instrumentalist who has already played in bands like Michale Graves, Darkness Descends and Alyxx, Christopher Dean knows his way around a punk, metal and rock tune, and here he gives a handful of them that surround themes of death, divorce, love and loss.

The volatile listen starts with the charged guitars and furious pace of the punk fueled “Punknights Finale”, which is complete with catchy ‘woah ohs’, and “Everything Fades” maintains that energy with a hint of metal in the bombastic drumming and thundering atmosphere that’s full of melody, too.

With 13 tunes present, there isn’t a dull moment to be found, as “Enjoy The Ride” offers swirling guitars in the head bobbin’, anthemic fun, while “Blast From The Past” delivers an intensity we normally find in hardcore, but with a sing-along quality.

Back half highlights include the punk’n’roll of “Lover (10 Years Ago)”, as well as the infectious chorus of “Nanu Nanu (We Miss You)”, which moves with a fuzzy, reflective moment of bristling rock. “Bleeding Her From More”, one of the stand out tunes, then chugs with a thick presence but still finds plenty of harmony amid the gritty setting. “Miner” ends the listen with some prog-rock ideas amid a darker spirit with an ominous quality that shows much diversity in Dean’s song craft.

A guitar fanatic since the age of 13, Dean’s also a strong vocalist, too, and this first album should have no problem getting punk/hardcore kids and metal heads on board with the inimitable force that is Dean.

Travels well with: Speedealer- Blue Days Black Nights; The Cutthroat Brothers- Taste For Evil

Josy & Pony

Eponyme

Freaksville, 2019

8/10

Listen to Eponyme

A sophomore album inspired by the French ‘60s and that even brings in some shoegaze and punk energy, the Belgian outfit Josy & Pony offer us 9 tunes of varied fun, where there’s no shortage of ear candy to be found.

After the quick, odd intro “Hell Horse City”, “Secte équestre” follows with a hypnotic lo-fi pop-rock delivery where the melodies are certainly not in short supply.

In the middle, “Sullivan” moves with a spunky indie-rock presence as plenty of syrupy sweet hooks are in attendance, while “Bye Bye Ecurie (Interlude)” offers a darker mood with some droning ambience that shows much diversity.

Deeper into the record, “Indécent Pur-Sang”, the album highlight, yields processed vocals and an adventurous approach that’s a bit grittier in scope, and “Deux Chevaux Mustang” exits the listen jangly, spacey and full of busy instrumentation that’s part punk, part dance and entirely contagious.

Spearheaded by Josette Ponette and with her band The Poneymen helping flesh out the tunes, while the music is often jubilant, carefree and flowing with gloriousness, the subject matter tackles women’s issues, politics, and religion (although you’d have to be fluent in French to understand it). Thankfully, Josy & Pony’s formula is universally enjoyable, regardless of what language you speak.

Travels well with: Pirato Ketchup- That’s Right; Bob Log III- School Bus

Lucid Child

My Universe

Self-Released, 2020

9/10

Listen to My Universe

The recording moniker of Portland resident Johan Moon Gallon, as Lucid Child the artist pens music for trippers, time travelers and those open to mind expansion as he tweaks, manipulates and experiments with a highly unusual yet exciting formula.

After a fleeting, spacey intro, My Universe moves into dense fuzz and unpredictable pop haze with “Lucy Chill”, and this exploration continues to the electronica friendly “The Mighty”, as well as dreamy, slow burning prowess of “Universe”.

Things only get more interesting as the album progresses, including the alt-rock traces of “Bones”- one of the album’s best- though the intricate guitar work and soulful delivery of “Dreaming In A Walking Land” is a close second. The record closes with “Opposites”, where an iconoclastic and artistic approach to pop unfolds with all sorts of charming weirdness.

Gallon handles all instruments here and recorded the album in several living rooms. Most importantly, though, he brings much imagination to the affair, as his psychedelic and prog-rock inclinations make for an ideal listen for those who embrace the unconventional.

Travels well with: Skeleton Flower- Skeleton Flower; Blue Glass- Pale Mirror

Victims Of Circumstance

Five

Financial, 2020

9/10

Listen to Five

The ska-punk veterans return with another batch of horn friendly, charged rockers, where maturing certainly doesn't translate to selling out, as they refine their formula while remaining true to their unwavering punk rock roots.

“Sober” starts the listen with fuzzed out guitars, throbbing bass and bright brass as their timeless delivery sounds better than ever with giant hooks, and this energy continues to the rhythmic “Tonight We're Getting Loud”, as well as the anthemic approach of “Involuntary”.

With a dozen tracks and not a dud in sight, back half highlights include the gritty, traditional punk influenced “Enemy”, and the infectious sing-along and pogo friendly love song “Never Have I Ever”. The album highlight arrives late in the listen as the precise musicianship and blistering pace of the raw, cultured “The Edge” finds the luminaries seeing a career high with their always impressive song craft.

It's hard not to think of their pals The Mighty Mighty Bosstones when listening to VOC, which I doubt few people will have a problem with, as this fifth album from the Florida legends unfolds with equal parts punk, rock and ska, where a wealth of experience and talent ensure a great time to be had from beginning to end.

Travels well with: Slightly Stoopid- Everyday Life, Everyday People; Booze & Glory- The Reggae Sessions, Vol. 1

James Fernando

The Lonely Sailor

Self-Released, 2019

8/10

Listen to The Lonely Sailor

An artist and educator who began playing classical piano at the age of 5, while James Fernando has toured with and played on albums with others, The Lonely Sailor is his first solo record.

The title track starts the listen with flowing keys in a classical influenced opener that immediately strikes a chord, and “Untold” follows with a subdued but no less powerful display of Fernando’s timeless and gripping appeal with contemporary melodies.

Moving along, “Ancient Lullaby” glides with a dreamy quality as key acrobatics unfold with incredible skill, while “Trouble Waters” takes on a cinematic quality that’s both tense and melodic while never following predictable patterns.

Closer to the end, “The Last Sunset At Sea” pushes and pulls with charming, dramatic waves of precise beauty, and “Where The Grass Is Greener” exits the listen calm, soothing and with some ambience in the finisher.

Fernando brings a massive amount of talent and experience to the affair, and while his piano is the lone instrument here, his neo-classical, classical and jazz ideas are blended passionately, intimately and playfully so as to never out welcome its stay.

Travels well with: Kayle Brecher- Kayleidoscope; Michael Waldrop- Triangularity

Marta

The Story

Self-Released, 2018

8/10

Listen to The Story

A youngster from Poland whose music sounds right at home in Nashville’s country music scene, where it was recorded, this first album from Marta offers 9 originals where her strong vocal prowess addresses themes of love.

“All About Us” starts the listen with Marta’s pretty and soft vocals alongside country influenced pop sounds where a pedal steel injects a bit of twang to the setting, and “I Need A Love Story” follows with a dreamy appeal as keys add much to the contemplative atmosphere.

Elsewhere, “My Kind Of Radio” recruits some folk-pop qualities with a chorus that could make Marta a household name, while “More Than A Memory” flows with lush melodies amid a more straightforward pop-rock approach.

At the end, the quick acoustic strumming of “Not Heroes” adds a punchy dynamic to the record, and “Say I Won’t” ends the listen with some of Marta’s most versatile singing as the music shifts from quiet and bare to full and gliding with country flavored melodies.

Marta has achieved quite a bit of success in Germany and Norway with this debut album, and it certainly seems like the songstress is on her way to similar fame in the United States with her timeless song craft that’s both musically and lyrically universal.

Travels well with: Jessi McNeal- The Driveway; Jordan Whitmore- Good Things

Animal Years

Far From Home

eOne, 2017

8/10

Listen to Far From Home

A Brooklyn by way of Baltimore outfit who take their name from a Josh Ritter album, Animal Years brings the songwriting prowess of Mike McFadden, Anthony Saladino, and Anthony Spinnato to 5 Americana and folk influenced tunes that are very much in the realm of today’s indie-rock.

“Caroline” gets the album off to a hand clapping and swift acoustic strumming start where warm vocals guide the part Americana, part roots rock fun, and “Friends” follows with vivid drumming and a soaring quality of timeless folk-rock.

The back half offers the soft, reflective “Corinth”, which erupts into an ebullient display of warm beauty near the end, and “Home” ends the quick listen with upbeat. full guitar focused indie-rock that’s packed with melodies and sharp, infectious dynamics between the trio.

These 3 guys really have a knack for inviting and instantly memorable song craft, as each of the 5 tracks leaves an indelible mark from the first listen. If bands like The Lumineers, My Morning Jacket and The Avett Brothers are in your interests, Animal Years should be in your rotation, too.

Travels well with: Shook Twins- Some Good Lives; Dawg Yawp- Dawg Yawp

Ellen Edwards

A New York Session

Stonefire, 2020

8/10

Listen to A New York Session

An Atlanta singer-songwriter who is 3 albums deep, Ellen Edwards takes a different route here as she’s matched up with New York City jazz musicians to help her flesh out these 5 new originals.

“Over There” starts the listen with an elegant, playful rhythm and samba beat as Edwards handles vocal duties with her expressive and upbeat pipes, and the jazz waltz “Let The Fire Grow”, with Randy Brecker, follows and brings warm horns that complement the cozy, laid back atmosphere.

The back half of the EP offers the piano ballad “Blue And Green”, where Edwards pull off an amazing vocal performance, and “The Queen’s Bridge” ends the listen with a snappy, upbeat exit of fun and timeless jazz sounds where a firm groove is difficult to forget and easy to adore.

A professional musician for two decades now, Edwards excels in this environment as her song craft glows with universal jazz qualities amid her alluring voice, effectively adding another fine installment to her remarkable catalog.

Travels well with: Sarah Elgeti Quartet With Friends- Dawn Comes Quietly; Diane Moser- Birdsongs

Sarah Morris

All Mine

Self-Released, 2020

9/10

Listen to All Mine

The Minnesota songstress Sarah Morris returns with more of her engaging intimacy as the warm Americana present on All Mine finds her thoughtful and articulate song craft at a career high.

Morris impresses us early on with the soaring, pretty vocals amid the warm Americana of “All Mine”, and “Stir Me Up” follows with playful percussion and a more country oriented rocker that’s instantly memorable.

In the middle, “There, There” flows with intimate and infectious songwriting as her expressive vocals really shine, while “The Promise Of Maybe” finds a nice place to reside between rugged and pop friendly, and could certainly strike a chord with fans of Norah Jones.

Closer to the end, “How I Want To Love You” offers a cautious, folksy tune with aching pedal steel, and “I’m A Wreck” uses organs strategically on a darker example of her lush vision. “Higher” exits the listen soft and reflective, where poetic storytelling reinforces just how well thought out All Mine is.

An excellent 5th album from a woman who has the chops to be a household name, put Morris on a list with Haley Bonar and Reina Del Cid as female songwriters from the Land Of 10,000 Lakes who you should have on constant rotation.

Travels well with: Mary Lambert- Grief Creature; Rebecca Turner- The New Wrong Way

Jason Lee McKinney Band

Pieces

Bonfire, 2020

8/10

Listen to Pieces

This 8th album from the Jason Lee McKinney Band continues their fusion of blues, folk, soul, country and gospel ideas into an energetic rock’n’roll formula where there’s no shortage of grooves and an abundance of rootsy sounds.

The album gets off to a rugged start with the sturdy guitar work of “Normal Is Just An Exit”, where the blues finds a powerful and melodic place to reside, and “Good Old Soul” follows with a classic appeal that alternates between soft and soulfully rowdy, as organs complement the affair.

Further along, “New Strings On An Old Guitar” flows with restrained melody on the folk influenced setting, while “Groove Is Getting Old” delivers grooves you won’t tire of anytime soon with some funk for good measure. One of the album’s best, “Cover Town”, then uses piano and country influences in the emotive atmosphere that’s as timeless as it is gripping.

Near the end, “Put Up The Good Fight” moves with playful rhythm while some falsetto vocals appear in the soft rock template, and “Blues In Bahrain” ends the listen with a quick paced rocker where strong riffs and backing female vocals add much to the finisher.

McKinney is also a college professor and a family man, and somehow he finds time to pen an eclectic and often retro friendly career highlight here that would settle well in any decade since the ‘60s..

Travels well with: The Allman Betts Band- Down To The River; Old Salt Union- Where The Dogs Don’t Bite

Sarah Elgeti Quartet With Friends

Dawn Comes Quietly

Gateway, 2020

8/10

Listen to Dawn Comes Quietly

A multi-instrumentalist who has been fronting her own band since 2007, Denmark’s Sarah Elgeti knows her way around a bass clarinet, tenor saxophone and flute, and she uses that impressive skill set to make some exceptional modern jazz with her backing band on Dawn Comes Quietly.

After the woodwind friendly and mysterious opening of “Magical Thinking”, “Whereto?” flows with flute prowess as elegant vocals from Sidsel Storm complement the sophistication.

Elsewhere, “Autumn” moves with a cinematic quality as the players interact with grace just as the vocals do, while “Crazy Destiny” picks up the pace into playful territory where Nils Raae pulls off a stunning harmonica performance in the blues tinted affair.

Back half highlights include the piano heavy balladry of “Introspection”, and “Snow” moves with classical influences amid an emotive atmosphere where Elgeti’s tenor soars. “Tit Er Jeg Glad” ends the listen with cautious rhythm and proficient flute from Elgeti in one of the 2 covers present where they make the reworking their own.

Even though some of the subject matter isn’t all that cheery, the music here is often uplifting, exceptionally beautiful and composed with much attention to detail from the always remarkable Elgeti.

Travels well with: Diane Moser- Birdsongs; Amber Weekes- Pure Imagination

The Uniphonics

The Uniphonics

Self-Released, 2020

9/10

Listen to The Uniphonics

The long running Iowa City outfit The Uniphonics return with a 3rd album, where their jam band approach to hip-hop spans several genres, ultimately ending up in a sound that few other artists would even attempt to replicate.

“The Struggle” starts the listen with relaxed grooves as saxophone, guitar and percussion all interact rhythmically as the vocals shift from singing to rapping, and “One Way To Know” follows with a spirited display of reggae, hip-hop and neo-soul influences as the band’s 2 newest members, Bethann Heidgerken and Nassor Cooper, show off their vocal prowess.

Further along, “Nothings Enough” recruits jazz sensibilities to the playful atmosphere, while “Iowa City Anthem” meshes some classic rock ideas into the indeed anthemic approach to their multifaceted skill. “Truly Yours”, one of the album’s standout tracks, then shifts into elegant and soaring territory with some of the best singing on the album.

Near the end, “Funky Farm”, with Robin Eubanks, certainly brings the funk in all sorts of impressive and infectious ways, and “We Got It” finishes the listen with no shortage of grooves or sing-alongs in the highly melodic exit.

A decade is a long time in between albums, but The Uniphonics make it worth the wait with their atypical meshing of sounds that glows with uncontainable energy and just begs to be heard live. A really unique effort, I wouldn’t sleep on this one if I were you.

Travels well with: Diplomats Of Solid Sound- A Higher Place; Andre Williams- I Wanna Go Back To Detroit City

Yacht Rock Revue

Hot Dads In Tight Jeans

Please Rock, 2020

8/10

Listen to Hot Dads In Tight Jeans

This first studio album from the Atlanta outfit Yacht Rock Revue finds the usual cover band penning all original tunes as they stay firmly planted in the ‘70s and ‘80s, a place they’ve become quite comfortable with since their inception in 2007.

“The Dobbie Bounce” starts the listen simple and memorable with a quirky soft-rock tune that tips it hat to The Doobie Brothers, and “Step” continues that lead with a synth friendly, retro-popper where falsetto vocals guide the fun.

In the middle, “Big Bang” recruits piano with fantastic singing while “Another Song About California” brings in horns for a funky track that’s certainly not short on grooves. “House In The Clouds”, one of the most infectious tunes, then brings synth in spades on the ‘80s influenced album highlight.

Near the end, “Can’t Stop” is a rhythmic display of stylish dance rock, and “My Favorite Stardust” ends the listen ready for the club with a cosmic, soulful delivery of bouncing and shifting disco sensibilities.

A band who built quite a name for themselves playing renditions of Eddie Money, Hall & Oates and Steely Dan, among many others, this leap into original song craft should satiate their fanbase and certainly perk the ears of anyone who misses the classic artists of the ‘70s and ‘80s.

Travels well with: ALO- Sounds Like This; Chicago- VI Decades Live

Mount Sharp

That Shadow

Dadstache, 2020

10/10

Listen to That Shadow

After a 5 year hiatus, the Brooklynites Mount Sharp are back with their fuzzy rock prowess on this debut album that’s equal parts dreamy and rowdy, and even brings some sci-fi references in.

After the rhythmic, post-punk friendly “MBA”, where pretty vocals from Swood flow alongside crashing percussion and fuzzy guitars, the album settles in nicely with the jangly indie-rock of “Domes”, as well as the shimmering quality of the playful “Apostate”.

A listen where each track yields new ideas, “Voyager I” recruits in a spacey aspect to the slow burning affair, while “Don’t” pushes and pulls with soaring tension that will make you drag out your Rainer Maria records. “The Spin”, one of the album’s best, then pairs swift drumming with focused, memorable song craft that lingers long after the song ends.

Near the end, “Bones” is both jagged and sweet in its precise execution, and “Voyager II” exits the listen with ambience amid a soft quality that builds into a cathartic explosion of noisey yet tuneful indie-pop ideas.

A listen that will strike a chord with aging punks who grew up on J Mascis records who aren’t afraid to admit an affinity for Fleetwood Mac, That Shadow is a triumphant return and one of the best records of 2020 so far.

Travels well with: The Persian Leaps- Electrical Living; Palm Haze- Reve Bleu

Birdtalker

One

Self-Released, 2018

8/10

Listen to One

The Nashville outfit Birdtalker don’t disappoint on this debut album, where the quintet’s compelling formula of Americana, folk and pop come together in creative and often slow burning ways.

The album starts with the warm keys, crisp drums, agile bass lines and graceful vocals of “Ankle Bone”, and “Nothing’s Right” continues the mood with strummed acoustic guitars amid a soothing and timeless folk approach.

Further on, “Outside The Lines” moves emotively, with gorgeous dual gender vocals in a bare atmosphere, while “Autodomesticated Animal” picks up the pace with a fuller display of textured, lush beauty. “Be Where You Are”, one of the album highlights, then flows with calm melodies and expressive vocals.

Near the end, “Medea” recruits strategic strings for a nearly gospel like display of subdued instrumentation, and the title track exits the listen tense with subtle power alongside the two part harmonies.

Spearheaded by guitarist/vocalist Zack Green and his wife, keyboardist/vocalist Dani Green, this first album pairs strong, insightful lyricism with rich, stirring melodies and delicate song craft that make One an excellent starting point for a band with much potential.

Travels well with: Novo Amor- Birthplace; Tall Heights- Neptune

Four

There You Go Thinking Again

Jazz Hang, 2018

8/10

Listen to There You Go Thinking Again

The jazz saxophone quartet Four, consisting of Mark Watkins, Ray Smith, Sandon Mayhew, and Jon Gudmundson, are aligned with 5 saxophone quartets on this jazz record where celtic, funk and even classical ideas are present in spades.

The album opens up with 2 tunes with The Miami Saxophone Quartet, where “I Got Nothin’ But Nothin’” flows with playful and melodic fun, while “To Be In Love” moves with a calmer delivery of groove filled soulfulness.

The listen moves into Celtic influences on their tracks with the Richard Ingham Quartet, where they manage to make a saxophone replicate an accordion, and the title track, with Saxitude (Luxembourg), shows us innovative texturing with the many saxophones that few could replicate on the album highlight.

Deeper tracks like “Ballad”, with The Utah Saxophone Quartet, glide with timeless beauty in the restrained setting, and “Kilter” ends the listen as The Zagreb Quartet (Croatia) helps flesh out the quirky and playful exit.

A varied listen that swings and bounces while being chocked full of solos, this 5th album from Four is an incredible project that was pulled off flawlessly.

Travels well with: Paul English- Girl In Green; John McGuire- Lines At Dusk

Jon Spencer

Spencer Sings The Hits

In The Red, 2018

8/10

Listen to Spencer Sings The Hits

The always exceptional and prolific Jon Spencer returns with a solo album, and he’s in fine company as Sam Coomes and M. Sord are on hand to help flesh out the dozen swagger filled and distortion friendly anthems.

“Do The Trash Can” starts the listen spacey, bluesy and full of raw rock’n’roll soulfulness, and “Fake” continues the setting with plenty of slinky bass lines amid a fuzzy garage rock delivery that’s full of funk nods, too.

Near the middle, “Ghost” offers a percussive and spirited execution of retro-rock fun, while “Beetle Boots” moves with a quick pace of quirky ideas and full throttle rock, Jon Spencer style. “Wilderness”, one of the album’s strongest tracks, then flows with a sturdy rhythm where skilled guitar work complements the rockabilly meets punk meets soul formula that Spencer pretty much has a patent on.

Near the end, “I Got The Hits” might be the most accessible tune with its jangly melody and tuneful noise you won’t tire of anytime soon, and “Cape” exits the listen with a firm groove amid a punk riff that will have you digging out your Cramps records.

Though this is Spencer’s debut on his own, he’s already been part of Pussy Galore, Boss Hog, and, most notably, The Jon Spencer Blues Explosion. Here he takes bits of all his musical endeavors for another fine installment of his impressive discography that longtime fans will certainly appreciate.

Travels well with: Black Pistol Fire- Deadbeat Graffiti; G. Love- The Juice

Wild Rivers

Eighty- Eight

Factor, 2018

8/10

Listen to Eighty-Eight

Coming off a very strong debut album in 2016, this quick EP from the Canadian folk-pop outfit Wild Rivers offers us 5 tunes of their thoughtful lyricism and cautiously warm song craft that’s never short on beauty or variety.

“A Week Ago” starts the album with soaring vocal harmonies from Khalid Yassein and Devan Glover as well as playful, upbeat instrumentation, and “Howling” follows with a slightly darker feel where crisp percussion and a reserved mood flow with an authentic quality.

The back half of the EP offers the initially male dominated “You Can Side”, which builds into a warm rhythm and timeless melody that approaches a more traditional folk-rock template, and “I Won’t Be Back” ends the listen with a flowing Americana and country presence and exits on a glorious, even danceable tone.

A listen with plenty of rural grooves and a bit of twang, too, Wild Rivers know their way around an infectious melody and soulful delivery that’s full of vocal harmonies that are so well done they alone are worth exploring this rising Toronto quartet.

Travels well with: Kacy & Clayton- Carrying On; Sarah Lee Langford- Two Hearted Rounder

Michael G. Cunningham

Indiana Collectanea

Navona, 2020

8/10

Listen to Indiana Collectanea

A record that documents Michael G. Cunningham’s residency at Indiana University School of Music from 1969-1973, the sound quality and delivery is top notch on this live recording, as Cunningham’s work sounds quite modern and highly innovative.

“Prisms (Four Movements)” gets the listen started with violin, viola and cello interacting in dynamic and exciting ways, and “Polyphonies” follows with a busy display of adventurous percussion amid playful xylophone in a brief but exciting venture.

In the middle, “Phases (2 Movements)” pairs bass clarinet with harp in a chilling fashion, while “Statements (2 Movements)” uses trombone and piano strategically as they contrast both elegant and ominous landscapes.

Back half highlights include the flute prowess and busy clarinet acrobatics of “Triple Sonata (4 Movements)”, and the horn filled “Terzett”, which is one of the album’s best tracks. “Noetical Rounds” ends the listen with marimba, oboe, bass and violin working together in charming ways, as Cunningham and company exit just as strong as they started.

A listen that shifts in tone, mood and texture from each track, there’s plenty of welcomed surprises here, as the many players present a flawless display of rhythmic, sophisticated and sometimes even dramatic gems.

Travels well with: Kirk O’Riordan- Autumn Winds; Joseph Summer- The Shakespeare Concerts Series 7: Summer’s Distillation

Steven Masi

Brahmsiana

Navona, 2019

9/10

Listen to Brahmsiana

Steven Masi has been quite busy in recent years, having completed a 10 disc recording of the complete Beethoven piano sonatas, and here he lays down a pair of works by Johannes Brahms and one each by Robert Chumbley and Jonathan Cziner.

“3 Intermezzi, Op 117” starts the listen with agile piano work that touches on both light and dark textures, and “Brahmsiana II” follows and extends the opening track with more vibrant textures of timeless elegance.

The back half of the album offers the louder spirit and sophisticated playfulness of “Six Klavierstucke, Op 118”, where space is manipulated with precision, and “Echoes Of Youth” exits the affair with twisting tonality that can get forceful just as it can delicate.

An extremely meticulous effort, Masi again proves why his name is known across the globe for his artistic approach to the piano, and it’s well received on this flawless record.

Travels well with: David Maslanka- The River Of Time; Apollo Chamber Players- Within Earth