Allbut6ix

Like A River

Self-Released, 2017

8/10

Listen to Like A River

An outfit fronted by Dwight Druick that evolved from a duet into this much fuller vision, this 2nd album from Allbut6ix touches on many genres as Druick and company weave in and out of upbeat and optimistic song craft that sounds as relevant today as it will in 50 years.

“Beautiful World” starts the listen percussively strong as soulful vocals amid mature melodies make an impression, and “Like A River” follows with warm guitar work as a smooth delivery of timeless soft rock unfolds with much grace.

Near the middle, “Everyday People” is full of heartfelt blues ideas alongside strategic organ, while “Body Rise” recruits plenty of funk in the playful landscape that benefits from backing vocals, too. “Coppermine” exits the listen and is the stand out track, as folk and roots nods are fleshed out with much precision present in its universally embraceable songwriting.

A Canada native who made his way to London and then landed a record deal, Druick has been honing his art for decades, and has even penned music for film and TV along the way. With Allbut6ix, he’s doing some of his best work to date, as evidenced by this thoughtful, articulate and absorbing effort.

Travels well with: Satellites- Love And Disaster; This Time- Two

Adjentist

Disintegrate

Rob Mules, 2017

8/10

Listen to Disintegrate

A six piece from Norway who are versed in both ambient textures and heavy, dark riffs, this sophomore album from Adjentist is also full of tuneful choruses across 43 minutes of unpredictable and exciting song craft.

“Future: Digging Graves” starts the listen with chunky bass, thick drums and an overall progressive and hardcore friendly approach that offers both barked and growled vocals, and “Collapse”, with Benjamin Sture, displays precise, dynamic guitar work amid a harrowing atmosphere and raw intensity that even recruits soaring, clean vocals.

In the middle, “Hollow Heart” is an abrasive yet tuneful delivery of post-hardcore meets atmospheric rock, while “Reincarnated Evil” is a throaty and haunting step into ominous, meticulous song craft. The album highlight, “Shallow”, then pairs an incendiary rhythm section with both clean and abrasive singing amid a creative tension that’s both pretty and hard hitting.

“Within” and “Standstill” bookend the listen, where the former yelps with a metallic execution, and the latter finishes with a dramatic and ebullient display of Adjentist’s intriguing formula.

There’s certainly no shortage of inventive and thriving music on the progressive side of the spectrum coming from Norway these days, and with first rate records like this, Adjentist are easily at the top of that list.

Travels well with: Ring Van Mobius- The 3rd Majesty; Yobrepus- Mycelium Days

Aye Nako

Silver Haze

Don Giovanni, 2017

9/10

Listen to Silver Haze

The Brooklyn queer punk outfit Aye Nako, who are spearheaded by Mars Dixon and Jade Payne, mix art, politics and music on this highly rhythmic and charmingly melodic outing, where their creative prowess equals a career highlight.

The sophomore album starts with “We’re Different Now”, where some playful atmosphere and soundbites float around in a brief opener, and then “Sissy” lays down some dense, fuzzed out rock, as gritty melody flows amid the punk and garage rock landscape.

Further along, “Muck” brings strong vocals to a busy display of tuneful yet noisy sounds where calm moments enter between the reverb, while “The Gift Of Hell” is a pretty moment wrapped around a thick execution of guitars that nearly get sludgy. “Arrow Island”, the album highlight, then gets scrappy with playful bass work from Joe McCann, as some power-pop ideas unfold.

Deeper still, the swift “Nothing Nice” is both firm yet harmonic with incredible dynamics between the band as drummer Sheena McGrath impresses, and “Maybe She’s Bored With It” exits the listen with an angular approach anchored by a dreamy quality that finishes on a very high note.

It might be a disservice to even classify Aye Nako , as their craft also embraces ‘90s alt-rock, pop-punk and post-punk, among other sounds, and their strong, topical wordplay adds even more appeal to this fine record.

Travels well with: Dog Party- Vol. 4; Mikey Erg- Tentative Decisions

The Accidentals

Odyssey

Sony, 2017

10/10

Listen to Odyssey

The youngsters from Traverse City, Michigan, The Accidentals, have been making a larger impression with each subsequent release, and here this 2017 album solidifies them as one of the best in the area of modern indie-folk.

The title track starts the listen with warm acoustic strumming, as expressive vocals enter the folk friendly climate where harmonies and pop melodies aren’t in short supply, and “Memorial Day” follows with all 3 members on vocals as bowed and plucked strings bring an orchestral slant to the busy display of beauty.

There’s 13 tracks present and the vast skill of the trio keep us interested throughout, with the vocally strong “Earthbound”, where drumming makes a firm presence, while “Nightlife” recruits a calmer, more bare approach that builds into an emotive and poetic landscape. “Cut Me Down”, one of the album’s best, then finds a playful place to reside with a memorable rhythm alongside sturdy riffs.

Near the end, “Stitches And Seams” flows with a breezy quality where the trio sound wiser than their years amid the cautious climate, and “Ballad Tendered Gun” exits the listen with help from Kaki King on a very cultured and diverse instrumental.

Sav Buist, Katie Larson and Michael Dause, i.e. The Accidentals, bring much originality and incredible songwriting into their craft. So much so, that it’s very likely they’re going to be spoken in same sentence as The Decemberists, Blind Pilot and Mumford & Sons. Yes, they are that good.

Travels well with: Anna Tivel- The Question; Jesca Hoop- The House That Jack Built

Andrew Combs

Canyons Of My Mind

New West, 2017

9/10

Listen to Canyons Of My Mind

The 3rd album from Andrew Combs, and his first on the New West label, the Dallas native and now Nashville resident brings in a wealth of talent and plenty of help across these 11 versatile and thoughtful tracks.

“Heart Of Wonder” starts the listen with Combs’ heartfelt vocals alongside warm guitar as the tune builds into a busy display of brass and orchestral ideas, and “Sleepwalker” follows with a calmer approach of keys and gentle percussion as Combs displays a smooth, timeless climate.

Near the middle, “Rose Colored Blues” radiates much beauty amid a folk template that embraces pedal steel, while “Better Way” finds its way into lush and soulful territory with a soothing, dreamy delivery. “Lauralee”, one of the album’s best, then enters piano balladry as Combs illustrates an expressive quality to his poetic song craft.

Deeper yet, “Bourgeois King” showcases incredible dynamics among the many musicians in some hybrid of jazz, rock and folk ideas, and “What It Means To You” brings Caitlin Rose’s sublime pipes to the country spirited exit.

Often indebted to ‘70s singer-songwriters, Combs is breeding his own brand of Americana, and it sure is easy to enjoy. A very adventurous record, In 2019 he released Ideal Man, which solidified him as one of the most interesting artists on the New West roster.

Travels well with: Pieta Brown- Freeway; Kacy & Clayton- Carrying On

Various Artists

Ape Records Vol. 1

Ape, 2016

8/10

Listen to Ape Records Vol. 1

The Ape label got things started off right with this first EP, where 3 artists contribute both a recorded and live version of a song, where the spirit of label founders Tamir Muskat and Eyal Gruenberg is represented in the worldwide sounds present.

Marina Maximillian starts the EP with “My Boy”, as the Israeli songstress offers her inimitable vocals on a dance friendly and pop filled opener that’s also hip-hop tinted, and later on the same song shows up again in a live setting where the energy is contagious and memorable.

Loco Hot, featuring A-WA, follows with “I’m A Tribe”, as the duo mesh hip-hop and electronica with A-WA’s Yemen influenced vocals adding much to the cultured EP highlight. This song also appears later in a live setting, where the vocals integrate fluidly alongside the exciting musicianship.

The last tune, Renno’s “Perfect Is Dead”, is a beat friendly and playful finish where backing female vocals and electronic flourishes add much to both the recorded and live version, as the frontman for Izabo even plays a violin he built himself.

Each track here has its own accompanying video, as these first 3 singles from the label (Ape doesn’t release albums, just singles), hint at much more greatness in the future.

Travels well with: Marina Maximillian- Step Into My World; Taiwan MC- Special Request

Azonic

Prospect Of The Deep Volume One

Indivisible, 2017

8/10

Listen to Prospect Of The Deep Volume One

A duo comprised of Blind Idiot God’s Andy Hawkins on seven string and doubleneck guitars, and Tim Wyskida (also of Blind Idiot God) holding down timpani, concert bass drum and gong, as Azonic the pair offer 3 lengthy, instrumental and highly experimental tunes that defy comparison.

“Oblvions Of The Deep” starts the listen with an ominous quality, where strategic and sparing drums are used under dense fuzz that often resembles the soundtrack of a futuristic film, and “The Argonaut’s Reckoning” follows with an absorbing approach as precise guitar work unfolds with a dreamy, surreal and often haunting tone.

“Voices Of The Drowned” exits the listen, where Wyskida’s gong is present amid both beauty and tension meeting at a very unique place that’s simultaneously harrowing and inviting in the very capable hands of Hawkins and Wyskida.

Azonic actually released an album way back in 1994, and let’s hope that there isn’t another 23 year pause before the next recording, cause this sort of improvised, metallic exploration is in short supply and greatly appreciated.

Travels well with: Blind idiot God- Undertow; Unwound- The Future Of What

Arkells

Morning Report

Last Gang, 2016

8/10

Listen to Morning Report

The 4 time Juno Award winners Arkells took a bold step with this 4th album, where the quintet add exciting textures amid their self-described ‘weirdest, funniest and saddest’ effort to date.

“Drake’s Dad” starts the listen with a gospel influenced version of indie-rock that gets funky, and “Private School” follows with dense piano before upbeat percussion enters the hip-hop friendly setting where frontman Max Kerman’s inimitable pipes show much versatility.

Elsewhere, “Savannah” moves with plenty of melody alongside the folk tinted climate, while “Making Due” is a vocally expressive and poetic display of synth friendly ideas. “Round And Round”, one of the album’s best, then uses strategic acoustic guitar while building into a rhythmic adventure.

Closer to the end, “A Little Rain (A Song For Pete)” is a dance friendly display of multifaceted rock’n’roll that’s quite festive, and “Hangs The Moon” exits the listen in balladry, where a dreamy quality enters the rugged beauty.

Arkells had been listening to a lot of rock records prior to releasing Morning Report, and it shows as they spread their wings outside of the pop realm they previously resided in. The band netted a Juno Award nomination for this album, too, which certainly isn’t unexpected, and it charted at #3 in their home country. If you’re unfamiliar, this would be an ideal place to start, as it represents the band’s vast talent and varied influences across some great songwriting.

Travels well with: July Talk- Touch; The Zolas- Swooner

Dusty Wright

Caterwauling Towards The Light

Self-Released, 2017

8/10

Listen to Caterwauling Towards The Light

A singer-songwriter from New York, Dusty Wright sure puts himself in fine company here, as his folk-influenced and occasionally Americana spirited tunes take help from Jonathan K. Bendis, Peter Hamilton and Gio Loria, among many others.

“Fall Out Of Line” starts the listen with a rhythmic form of folk-rock, where harmony vocals from David Ogilvy and bass from Matt Goecke make an impression, and “Life Is Hard” follows with a warm Americana tone as 12 string guitar from Martin John Butler and Sonya Hensley’s pretty backing vocals add much to the breezy climate.

Halfway through, “Weather The Storm” embraces a more subdued approach as Jay Stolar’s pipes and slide guitar from David Lee Waters highlight the reflective mood, while “We Can Set Sail” is a playful and charming strummer where Mark Brotter contributes precise drumming. “How Do You Measure A Man?”, the album highlight, then adds Queen Esther’s vocals and Dave Lee’s bass to the bare beauty.

The final 2 tracks include “I Am Not Willing” and “Fly”, where the former brings an orchestral angle with cello (Matt Goeke), and the latter injects some country spirit in its upbeat drumming from Sammy Merendino and smooth harmony vocals from Queen Esther.

The 2nd album in his trilogy about love, life and death, Wright’s been quite prolific in recent years, which is great for us seeing as he’s got a strong sense of songwriting prowess and his friends sure know how to complement his talent.

Travels well with: Bo Armstrong- Where We Are; David Ramirez- We’re Not Going Anywhere

Andy Hall & Roosevelt Collier

Let The Steel Play

Self-Released, 2017

9/10

Listen to Let The Steel Play

A collaboration between Andy Hall, who plays in The Infamous Stringdusters, and Roosevelt Collier, of the Lee Boys, the pair bring their vast talents to an instrumental album where Hall navigates a 1929 National Style 2 Squareneck Tricone, a Beard Mahogany Belle Beard Model Resonator Guitar, and Bear Creek Koa Weissenborn Style Guitar, while Collier brings a Asher Electro Hawaiian Lap Steel to the 10 tracks.

“This Little Light Of Mine” starts the listen with both Hall and Collier displaying incredible picking where bluegrass and blues sounds are both playful and precise, and “Maiden’s Prayer” follows with resonator guitar from Hall that integrates with Collier’s lap steel with much beauty.

Halfway through, the swift “Rosebud” recruits some rootsy qualities in its highly skilled setting, while “Reuben’s Train” brings plenty of soul into the reflective yet dynamic album highlight. “Remington”, another strong tune, then illustrates incredible interplay between the two as they mesmerize and captivate.

The album exits with the initially soft and sublime “Power In The Blood”, which builds into a warm, country flavored tune, and “Colfax Boogie” finishes the listen with Anders Beck on resonator guitar as Hall handles Squareneck Tricone on the rhythmic and indeed boogie friendly conclusion.

An extremely versatile effort, the pair flesh out very articulate rhythms and melodies on Let The Steel Play, where they produce a lot of creativity with just a few instruments present.

Travels well with: Alex de Grassi- The Bridge; William Tyler- Goes West

Dani And Lizzy

Work Of Heart

604, 2016

8/10

Listen to Work Of Heart

A Canadian duo of twin sisters, Dani and Lizzy clearly put a lot of work into this debut album, where pop, hip-hop, R&B and soul aspects unfold with much attention to detail.

“Detox” starts the listen with soft singing in a romantic, pop spirited environment where crisp percussion and much production illuminates the soulful aspect, and “Keep Her Love” follows with bright keys and playful vocals in the highly melodic and even retro inspired climate.

Near the halfway point, “Love Again” is a club friendly and upbeat display of modern electro-pop, while “Problems” illustrates more restraint as expressive singing aligns with very vibrant musicianship. “Back To Life”, the album’s best, is then a more organic tune with much timelessness in its more traditional arrangement.

Elsewhere, “Dive In” finds itself in dreamy territory, and “Bang Bang” exits the listen with both grace and adventurousness as some rapping enters the frisky finish.

The sisters got their big break in 2013 from a video of Lizzy singing into her computer, and they’re certainly making good use of their exposure with these positive and love themed songs that are heartfelt and glossy.

Travels well with: Air Traffic Controller- Echo Papa; The Zolas- Swooner

Au.Ra

Cultivations

Felte, 2017

9/10

Listen to Cultivations

A duo based in both the UK and Australia, Au.Ra is Tom Jenkins and Tom Crandles, who are armed with a drum machine, synth, a pair of guitars and much imagination on this very well done sophomore album.

“Applause” starts the album with a firm beat as plenty of warm synth arrives in waves of melodic, dreamy pop sensibilities, and “I Feel You” follows with much atmosphere as a busy display meshes electro-pop, post-punk and New Wave ideas.

In the middle, “Nowhere” is a beautiful display of light and airy restraint with much attention to detail, while “Above The Triangle” buzzes loudly amid a psychedelic fueled venture into playful indie-rock dynamics. “Above The Triangle (II)” then recruits acoustic guitar as a shoegaze quality enters the surreal climate.

The album exits on 2 of the strongest selections, the hypnotic and lushly layered “Set The Scene”, and the aptly titled “Dreamwork” finishes the listen off with 7 minutes of meticulous and inviting song craft.

A record with a strategic amount of reverb, precise looping and an artistic presence. Cultivations often brings to mind legends like My Bloody Valentine or Slowdive, which I doubt anyone will have a problem with, and the impact of the listen is just as monumental.

Travels well with: Hermetic Delight- F.A. Cult; Cosse- Nothing Belongs To Anything

Aris Kindt

Swann & Odette

Kingdoms, 2017

8/10

Listen to Swann & Odette

A project comprised of Gabe Hendricks and Francis Harris, this 2nd album from Aris Kindt places melodies and grooves under a sonically adventurous landscape of effects and layering that defy classification on Swann & Odette.

The title track starts the listen with much ambience as it radiates warmth amid a hazy, cinematic appeal, and “New Gods Of Prudence” follows with a similar approach that integrates sci-fi like texturing in its inviting landscape.

Halfway through, “Seagraves” flows with a light and airy display of meticulous instrumentation, while “A Second Type Of Problem” recruits a more ominous delivery of tension and beauty. “Treatise”, one of the album’s best, then illustrates some percussive like sounds in its dreamy demeanor.

The record closes on 2 very strong tracks, the atmospheric and dense “Hewett Fails To Understand”, and “Motion Rest” exits the listen with a low droning where minor neoclassical ideas are embraced.

A very atypical experience where electronica, shoegaze, noise and classical bits present themselves in very creative ways, while this album may appeal to a very niche audience, those who appreciate it will be enthralled.

Travels well with: Maze & Lindholm- Where The Wolf Has Been Seen; Mnemotechnic- Blinkers

Arsen Petrosyan

Charentsavan

Pomegranate, 2016

8/10

Listen to Charentsavan

A duduk player from Charentsavan, Armenia, though Arsen Petrosyan is a youngster, he’s got an impressive resume that includes playing all over the world. Here, he brings his immense talent to a debut album, where World Music, folk and jazz ideas mesh under his very unique vision.

“Eshkhemet” starts the listen with a soft and soothing approach as much grace and emotion is present as his duduk resembles a clarinet in tone, and “Hazar Ernek” follows with a louder approach, where firm percussion flows alongside a dreamy climate of Middle Eastern influences.

Deeper into the listen, “Lullaby For The Sun” brings a twinkling guitar and indeed lullaby spirit with much beauty in its precise delivery, while “Javakhki Shoror” moves with a playful, busier quality that’s dance friendly.

Closer to the end, “Kessabi Oror” glides with a bare and very pretty landscape that nods to Mediterranean styles, and “Hairenik” exits the listen with a poetic and stirring display and timeless song craft.

An album that varies from just the duduk to harp and guitar and occasionally with even fuller settings, Petrosyan was barely in his 20’s when he recorded this album, and he brings both traditional and very modern ideas to this very intimate and interesting effort.

Travels well with: Jah9- New Name; Allan Moon- Children Of The Call

Marshall

Carnivals & Other Tragedies

Self-Released, 2018

8/10

Listen to Carnivals And Other Tragedies

The 3rd album from the Chicago musician Marshall Hjertstedt, the 7 original tunes here feature acoustic guitar and vocals from Marshall, while friends contribute many other instruments across the folk, roots and rock sounds.

“Carnival Ride” starts the listen with warm, melodic guitar as Marshall’s soothing pipes suit the folk inspired climate, and “Merry-Go-Round” follows with fiddle from Jordi Kleiner as harmony vocals from Jenny Bienemann highlight the reflective and Americana influenced delivery.

Near the middle, “The Devil’s In The Details” benefits from Andon Davis’ strong guitar work amid the more tense but certainly pretty landscape, while “El Nino” is bare display of sublime acoustic song craft. “The River” exits the listen percussively strong thanks to Jerry King as the setting becomes dreamy, rhythmic and heartfelt.

Marshall’s got a knack for timeless song craft, and these easily embraceable tunes settle in quite nicely on the memorable and very skilled execution.

Travels well with: Bo Armstrong- Where We Are; Scott Mulvahill- Himalayas

David Nagler & Friends

Carl Sandburg’s Chicago Poems

Big Sleep, 2016

8/10

Listen to Carl Sandburg’s Chicago Poems

A true renaissance man, Brooklyn’s David Nagler is not only a musician and songwriter, but also a musical director and frontperson/founder of the pop outfit Nova Social. On this collaborative album of Carl Sandburg poems, Nagler is in exceptional company as Jon Langford, Jeff Tweedy, Kelly Hogan, Sally Timms and others help illuminate these 100+ year old poems.

“Chicago” starts the album with a duet between Nagler and Kelly Hogan, where soft horns and much atmosphere complement the spoken word and soft singing, and “Lost” follows with a brief display of warm keys and expressive vocals amid a dreamy setting.

There’s 16 tracks here, and each one is uniquely different, as “Killers” is an initially louder adventure of firm drums and keys that ends up finding a pretty place to reside amid twinkling guitar, while Jon Langford’s “Under A Hat Rim” unfolds with strategic accordion as Langford’s inimitable pipes are both raw and melodic. Robbie Fulks contributes one of the album’s best tunes, as “Under The Harvest Moon” benefits from vibraphone and Fulks’ playful guitar and timeless singing.

Deeper yet, “Theme In Yellow” enlists Jeff Tweedy on the twangy, stirring Americana, and “Under A Telephone Poll” exits the listen with harmony vocals alongside an orchestral backdrop and poetic execution.

This was quite a project and Nagler and company certainly pay homage to Sandburg with much creativity that’s executed in fashion that’s just as timeless as the poet’s work, too.

Travels well with: San Fermin- The Cormorant I; The Flat Five- Another World

Chicago

Chicago II: The Steven Wilson Remix

Rhino, 2017

9/10

Listen to Chicago II: The Steven Wilson Remix

This sophomore album from Chicago has been remixed before, but it’s never sounded like this, as Steven Wilson got his hands on the 16 track master tapes that allowed him to illuminate elements from the 1970 release that were previously buried in the mix.

“Movin’ In” starts the listen with the horns sounding clearer than ever in the soulful opener, and “The Road” follows with a punchy and melodic delivery, while “Poem For The People” is full of the timeless soft rock the band built their name on.

An album that produced some serious hits for Chicago, “Make Me Smile” highlights the crisp percussion and soaring vocals, and “Colour My World” displays sublime piano work alongside equally pretty singing. “25 or 6 to 4”, one of their signature songs, then showcases incredible guitar work, bright horns and some of the best singing on the record.

An adventurous outing for Chicago, the 13 minutes of “Ballet For A Girl In Buchannon” sounds more emotive and stirring than ever, and “Memories Of Love” shines in its bare climate that even brings in an orchestra.

A record that sounds as great today (and in this version, even greater), as it did 50 years ago when it was released, whether you’re a diehard Chicago fan, a casual listener or even a first time listener, this period of Chicago has plenty to offer in its jazz, pop and soft-rock friendly execution.

Travels well with: Chicago- VI Decades Live; John Fogerty- Fogerty’s Factory

Daymé Arocena

Cubafonia

Self-Released, 2017

8/10

Listen to Cubafonia

Daymé Arocena returns with a sophomore album here, where her craft is rooted in compositions in Cuba’s classical rhythms and executed with an incredible attention to detail that’s as varied as it is exciting.

“Eluggua” starts the listen with impressive plucked bass as upbeat and adventurous percussion and horns enter the richly layered setting, and “La Rumba Me Llamo Yo” follows with piano, cultured percussion, and, most importantly, Arocena’s diverse and soaring pipes.

Near the middle, “Negra Caridad” flows with soothing yet frisky horns as a festive spirit unfolds with much emphasis on rhythm, while “Cómo” lands closer to piano balladry where Arocena offers expressive vocals as the landscape brings a very soulful aspect. “Todo Por Amor”, one of the album’s best, then shines with a reflective, romantic approach as much beauty punctuates the stirring climate.

Deeper yet, “It’s Not Gonna Be Forever” recruits a dynamic, versatile approach that’s dance friendly, and “Valentine” exits the listen with a vocally busy and musically eclectic display of melody and grooves.

Although she sings mostly in Spanish, there’s also bits of English and French, too, as Arocena easily proves why she’s worthy of the Juno Award she won in 2015, and with exceptional efforts like this, it’s likely she’ll see much more well deserved praise.

Travels well with: Eddie Palmieri- Mi Luz Mayor; Christian Scott aTunde Adjuah- Axiom

David Myles

So Far

Little Tiny, 2015

8/10

Listen to So Far

The Nova Scotia singer-songwriter David Myles never disappoints, and this official US debut from 2015 finds Myles re-recording songs from the past in an acoustic environment, often pointing towards the ‘50s.

“I Wouldn’t Dance” starts the listen with strong, eloquent vocals from Myles as bare instrumentation complements the warm pop-folk setting, and “Time Turn Off” follows with much beauty as brushed percussion and gentle acoustic guitar work well alongside the inviting landscape.

Elsewhere, “Maureen” finds a playful and soulful place to reside as Myles gets a bit rootsy, while “Carry Me” illustrates emotive and stirring singing and strategic pedal steel in the slow burning climate. “Tell Me What”, one of the album’s best, then offers a louder presence that’s still primarily vocals amid minimal percussion and guitar in the atypical folk song.

Near the end, “Need A Break” is vocally fast and rhythmically friendly, and “I Will Love You” exits the listen with harmonizing vocals in a sparse yet powerful finish to a very well fleshed out album.

Myles spends much time flirting with folk, roots and swing ideas here, and they’re all fleshed out with much intimacy and exploration, as he again proves his accomplished and varied song craft knows no boundaries.

Travels well with: Daniel Romano- Modern Pressure; Jenn Grant- Paradise

Giorgia Santoro And Pat Battstone

Dream Notes

Leo, 2019

9/10

Listen to Dream Notes

A professional musician since the age of 14, Pat Battstone brings a wealth of experience to this collaboration with Giorgia Santoro, a professor of the flute and esteemed musician who also handles bansuri, xiao, mouth harp and vocals on this articulate and adventurous effort.

“L’Albero dell Incantatore” starts the listen with soft flutes and twinkling keys on the elegant opener, and “The Forest Within” follows with vocals used as an instrument on the expressive and cautious delivery as Battstone provides Middle Eastern influences.

Near the middle, “Beyond The River Banks” recruits a louder approach with piano and soothing flute on the introspective tune that recruits jazz nods, and “Attraverso i Rami” continues the sophistication amid restrained interplay between the flute and piano that occasionally builds with tension.

Near the end, “Blue/Ocean Of Hearts” relies heavily on piano for the flowing, thoughtful, bluesy melodies, and “Song Of Daphne” ends the listen with vocal acrobatics, calculated keys and alto flute prowess from Santoro.

An extremely artistic listen that’s actually improvised from the art of Daniela Chionna, while it might be easy to call this free jazz, doing so would be doing this level of creativity a disservice, as the pair walk a path entirely their own with a massive amount of intrigue.

Travels well with: Deline Briscoe- Wawa; Miki Purnell- Midnight Bloom