Colin James

Open Road

Stony Plain, 2021

9/10

Listen to Open Road

A national treasure in his home country, Canada’s Colin James is now 20 albums deep, and here he’s aligned with long time collaborators Colin Linden, Craig Northey and Tom Wilson for a very well thought out collection of originals and covers that illustrate a more Americana and blues focused body of work.

“As The Crow Flies” starts the album with James’ soulful and smooth vocals guiding the melodic blues rocker that’s full of spirited guitar and crisp drumming, and “Can’t You See What You’re Doing To Me” follows with bright brass complementing the lively rhythm and intricate guitar work.

Approaching the middle, “Change It” flows with a breezy quality as James’ soaring pipes mesh with the thumping blues spirit, while “Leave This House” emits a retro rock’n’roll flavor that will get you searching for your dancing shoes. “It Takes A Lot To Laugh, It Takes A Train To Cry”, another exceptional song, then bounces with a robust grit that welcomes upbeat sax.

“Down On The Bottom” might be the best song present, and displays a timeless Americana, where James’ poetic pipes are met with the raw but very tuneful songwriting, and “I Love You More Than Words Can Say” exits the listen with a calm, emotive execution of guitars, keys, drums and, of course, stirring singing from James.

The band consists of Geoff Hicks (drums), Steve Pelletier (bass), Norm Fisher (bass), Simon Kendall (B3), Jesse O’Brien (B3, piano), Chris Caddell (rhythm guitar), Steve Marriner (harmonica), Jerry Cook (sax) and Steve Hilliam (sax), and this 3rd in a trilogy of records should have no problem reaching the acclaim of the earlier installments, which netted James a Juno Award, as both the originals and covers are delivered with a powerful, rootsy angle and tremendous warmth.

Travels well with: Kenny Wayne Shepherd Band- Straight To You Live; Jimmie Vaughan- The Jimmie Vaughan Story

Jake Shimabukuro

Jake & Friends

Music Theories, 2021

9/10

Listen to Jake & Friends

The ukulele wizard Jake Shimabukuro has some friends you might have heard of before, and here many of them accompany him as he spans many genres with legends like Bette Midler, Michael McDonald and Jimmy Buffet, among many more, by his side.

“A Place In The Sun” starts the listen with Jack Johnson and Paula Fuga lending a hand, where Johnson’s soulful pipes and Fuga’s pretty singing flow with a warm, breezy spirit, and “Sonny Days Ahead” follows with Sonny Landreth on board in the blues spirited climate where Landreth’s guitar work is quite absorbing.

Moving along, Kenny Loggins makes an appearance on “Why Not”, where the playful ukulele suits Loggins’ versatile vocals that sure have aged well, while Billy Strings brings his meticulous guitar to the dreamy climate of “Smokin’ Strings”. “Something”, one of the best tracks present, then recruits Vince Gill and Amy Grant for a calm, lullaby friendly track of beauty and grace.

The always impressive Willie Nelson makes an appearance on “Stardust”, where Shimabukuro’s sublime string work complements Nelson’s expressive singing, and “Get Together” exits the listen with Jesse Colin Young in attendance for a wise and touching version of a song he popularized in the ‘60s.

Being hailed as the Jimi Hendrix of the ukulele, Shimabukuro’ inimitable skill is matched by the strong vocal work and instrumentation of his company, as each track present is as equally great as the ones before and after it.

Travels well with: Jackson Browne- Downhill from Everywhere; John Hiatt With The Jerry Douglas Band- Leftover Feelilngs

Sheku & Isata Kanneh-Mason

Muse

Decca, 2021

9/10

Listen to Muse

A sibling duo who have both had exceptional careers individually, Sheku Kanneh-Mason brings his inimitable cello playing to Isata Kanneh-Mason’s superb piano skills here, where they interpret the work of Samuel Barber and Sergei Rachmaninoff with this replication of a live concert, off stage.

“Cello Sonata Op. 6” opens the listen with the strings and keys interacting with a playful, melodic display of precise, stunning grace that is both quick and firm, but also capable of bare intimacy, and “There’s Nae Lark” follows with a brief delivery of sublime song craft where the stirring cello and warm keys emit much emotion.

Further on into the Barber portion of the disc, “With Rue My Heart Is Laden” flows with a heartfelt demeanor, while “Sure On This Shining Light” tells a memorable story without any words, where the incredible string manipulation radiates alongside the calm piano.

Rachmaninoff’s portion leads with the lush beauty of “It Cannot Be”, which builds into an ebullient presence, and “How Fair This Spot” follows with intricate chemistry between the pair as Isata’s Steinway embraces a timeless sophistication and Sheku’s cello is bowed flawlessly. “Cello Sonata Op. 19” finishes the listen and recruits quivering strings and finger acrobatics that are at times jumpy, almost rowdy, but are certainly held together with tremendous skill.

A listen that’s rich with creativity while still being true to Barber and Rachmaninoff’s vision, the pair clearly know the ins and outs of their instruments like few others will, and let’s hope there’s more collaborations from them in the future.

Travels well with: Christian Li- The Four Seasons; Seong-Jin Cho- Chopin: Piano Concerto No. 2 Scherzi

Jackson + Sellers

Breaking Point

Anti-, 2021

10/10

Listen to Breaking Point

The Nashville duo of Aubrie Sellers and Jade Jackson, on this debut album the vocalists and musicians take help from Ethan Ballinger (synth, guitars, keys), Matty Alger (drums, percussion, synth, bells) and Rich Brinsfield (bass) for a rock’n’roll experience that’s aesthetically all over the spectrum and not lacking any energy.

“The Devil Is An Angel” starts the listen with a thumping garage rock feel, where Alger’s animated drumming complements the crunchy guitars and smooth vocals, and “Breaking Point” follows with much warmth, where country ideas unfold alongside some dream-pop nods that are quite alluring.

“Waste Your Time” lands right at the halfway point, and mixes power and melody with a very muscular form of Americana, while “Hush” indeed does burn slow with a poetic intimacy, “Fair Weather”, another excellent track, is then quite pretty and lush, where waves of haze flow amid the heartfelt singing.

Towards the end, “Wound Up” bounces and shakes with a firm, driving, twang friendly, rock spirit, and “Has Been” exits the listen with plenty of fuzz and gritty harmonies populating the Shannon Wright cover.

A truly outstanding record, Jackson and Sellers both have exceptional but very different solo careers, and together their collective strength makes for a listen that will appeal to both punks and cowboys, and is capable of giant swells of sonic flavor just as it is the occasional lullaby.

Travels well with: Dori Freeman- Ten Thousand Roses; Riddy Arman- Riddy Arman

Jonny Woolnough

Mayurqa

Monch, 2021

9/10

Listen to Mayurqa

Formerly of The Bazaars and Tomartyrs, this debut solo album from Jonny Woolnough offers a dozen sweeping and well thought out songs that are often rich with ambience and put a very literate slant on the singer-songwriter genre.

Woolnough starts the listen with the rugged, acoustic guitar rock of “The Soul Of The Runner”, where grit and beauty meet with some folk influences, and “2666 (Love Is On It’s Way)” follows with a punchy spirit of soaring melodies and pretty singing that’s not short on atmosphere, too.

Elsewhere, “Ave, Ave” offers a bare, intimate track where Woolnough’s stirring pipes are quite warm, while “You’ve Got That Look” displays a breezy strummer that wouldn’t be out of place on a mixtape alongside The Lemonheads. “A Fish Upon A Line” then brings strings into the equation, as darker textures enter a rawness that’s so well executed it alone is worth the price of admission.

Approaching the end, “Forever” recruits soulful backing vocals into the surreal climate that you can’t help but admire, and “The Earth From Above” exits the listen with a charming, airy finish of absorbing dream-gaze nods.

Certainly able to be compared to modern day indie-rock, but also touching on the early days of alt-rock and even psyche-rock, Woolnough carves out a unique spot to reside, as each track here warrants and benefits from repeated listens.

Travels well with: Adna- Black Water; Astrid Swan- D/Other

The Lord Baltimores

The Lord Baltimores

Self-Released, 2021

8/10

Listen to The Lord Baltimores

The duo of R. Jason Vandygriff and David J. Pierce, as The Lord Baltimores the pair mesh funk, rock, R&B, jazz and soul, among other sounds, and they’ve enlisted a large handful of Texas musicians for the effort, most of whom came from the music program at the University of North Texas.

“ Corazon” starts the listen with warm atmosphere, as bright brass and playful drumming enter the soulful climate that uses voices like an instrument, and “Relays” follows with frisky percussion and dreamy flute in the festively textured setting.

Further along, “Featherweight” flows with a soothing quality that benefits much from airy synth and lively horns, while the aptly titled “Fun Steppin’” will certainly get your body moving to the infectious melody, busy brass and thumping drums.

Near to the end, “Tidal” brings a very mature and animated display of smooth strings, crisp drumming, soaring brass and well timed guitars, and “In The Middle Of The Dust” exits the listen with expressive vocals adding to the charm, as a dramatic and poetic finish carries an almost theatric appeal.

Pierce and Vandygriff both have impressive resumes as musicians, producers and writers, and this very diverse and meticulous body of work is hopefully just the beginning for The Lord Baltimores.

Travels well with: The Evolution Of The Arm- Sounds Like; The Heavyweights Brass Band- Stir Crazy

Adam Roberts

Bell Threads

New Focus Recordings, 2021

8/10

Listen to Bell Threads

The composer Adam Roberts has a knack for exciting chamber music, and here he brings many musicians in for a varied display of rich, expressive and focused songwriting, the exact kind, in fact, that has comprised all of his work up to this point.

“Shift Differential” starts the listen with Maya Bennardo’s violin and Hannah Levinson’s viola (both of andPlay) interacting with a distinct harmonic tint, quivering moments and a rare improvisational skill, and “Oboe Quartet” follows with 3 movements that welcomes Erik Behr (oboe) and JACK Quartet providing strings in the more classical oriented setting that balances the string presence with the oboe amid some creative grooves and sublime intimacy.

“Rounds” resides in the middle and showcases Hannah Lash’s harp, where the dreamy polyrhythms and textured beauty makes a large impact in a minimal environment, while “Diptych” brings andPlay back for timbre manipulation between the violin and viola that’s quite mesmerizing.

“Happy/Angry Music” arrives near the end and is an upbeat and playful album highlight with Karl Larson’s piano, Matt Evans’ percussion and Pat Swoboda’s bass exploring rhythm and pitch with inimitable results, and “Bell Threads” exits the listen with Levinson’s solo viola almost seeming like it’s a duet with itself, exploring two different registers of the instrument with both an adventurous and vulnerable technique.

An album that shines whether the setting is solo, duet, trio or quartet, the unpredictable time signatures, very precise gesturing and unconventional rhythms make for a chamber experience you won’t soon forget.

Travels well with: Mark Kirschenmann- Cybersonic Outreach; loadbang- Plays Well With Others

Michael Daugherty

Bay Of Pigs, Gee’s Band & TROYJAM

Albany, 2021

9/10

Listen to Bay Of Pigs, Gee’s Band & TROYJAM

The Grammy Award winning composer Michael Daugherty aligns himself with the Dayton Philharmonic Orchestra and the conductor Neal Gittleman for these imaginative 3 works, where a special guest on each piece makes for a very distinct and captivating listen.

The album leads with the 3 movements of “Bay Of Pigs”, where Manuel Barrueco’s sublime classical guitar playing is met with stirring strings that emits much beauty, though short bursts of intensity can also be found amid the elegance. Further into the movements, plenty of atmosphere arrives in a nearly haunting fashion, and even deeper the landscape ends up in cinematic areas of intrigue.

Sandwiched in the middle is the electric guitar and orchestral meshing of “Gee's Band”, where D.J. Sparr’s soaring six string work is met with fluid and rumbling strings. The very cautious track then uses space and tension with much precision, and finishes with some good old fashioned rock’n’roll licks that are complemented by the rowdy strings.

“TROYJAM” is the last piece, and combines narration and orchestra, where Michael Lippert’s very expressive storytelling about the Trojan War from Homer’s Iliad, via Anne Carson’s text, benefits from quick flashes of woodwinds, brass and drums that builds into a booming, triumphant exit.

A very diverse effort that embraces rock, classical, blues, jam band and orchestral ideas and isn’t short on grooves, either, Daugherty’s vision is nothing if not unpredictable, and just might be the best release on the Albany label this year, which is no easy feat.

Travels well with: Victoria Bond- Illumination: Piano Works Of Victoria Bond; Jeremy Muller- Within The Within

Victoria Bond

Illumination: Piano Works Of Victoria Bond

Albany, 2021

8/10

Listen to Illumination: Piano Works Of Victoria Bond

A collection of music that spans two decades of collaboration between Victoria Bond and pianist Paul Barnes, and where all four pieces revolve around the mystical quality of light, the appearances from the Slovak Radio Orchestra and Philharmony Bohuslav Martinu also make a significant impression across these 4 works.

“Illuminations On Byzantine Chant” start the listen, where Barnes’ incredible key acrobatics flow in and out of busy, cascading musicianship that spans furious moments as well as shimmering moments of intimacy in its 4 glowing chapters.

“Ancient Keys” resides in the middle and places the Slovak Radio Orchestra alongside Barnes keys, where Kirk Trevor’s conducting guides the woodwinds, brief chanting and soaring strings, while Philharmony Bohuslav Martinu’s presence on “Black Light” in initially quite intense, before segueing into cinematic moments amid the bouncy keys and firm percussion.

“Byzantine Chant” exits the listen with Barnes’ mesmerizing pipes that flow with a light ambience as he puts his experience chanting in the Greek Orthodox Church to good use.

Both Bond and Barnes have very impressive resumes, and together here with the orchestras they produce sounds that go as far back as 1997, but sound just as luminous today as the pair create powerful chamber, orchestral and classical sounds.

Travels well with: Jeremy Muller- Within The Within; Ingrid Arauco- Resonances

Steve Goodman

The Best Of Steve Goodman

Omnivore, 2021

9/10

Listen to The Best Of Steve Goodman

In Steve Goodman’s short life he made plenty of incredible music, and this Best Of compilation assembles studio recordings, live cuts and demos, two of which are previously unissued, as we’re treated to much of Goodman’s folk, country, blues and rock based song craft.

The album starts with the previously unreleased solo demo of “City Of New Orleans”, a song that Arlo Guthrie popularized, and “Yellow Coat” follows with Goodman’s inimitable storytelling and comforting pipes amid the soft acoustic guitar.

Further on, “You Never Even Call Me By My Name”, a co-write with John Prine, is a live version from Johnny Cash’s America, where Goodman’s charming pipes align with his flowing guitar, while fan favorite “Banana Republics” unfolds with much beauty and warmth in his elegant delivery.

Elsewhere, the frisky “Talk Backwards” showcases swift storytelling amid a snappy backdrop, and “Vegematic”, another classic Goodman tune, then truly illustrates his timeless and vivid song craft that’s never short on creativity. “As Time Goes By” exits the listen, and places much emphasis on Goodman’s diverse and flowing voice, and proves just why he was worthy of a Grammy in the area of folk music.

Goodman’s songs have been embraced and adored by millions (his work was covered by names like John Denver and Willie Nelson, among many more), and with about half of the tracks here being live, we get to experience his strong connection with an audience, where his instantly enjoyable demeanor makes the songs even that much more appealing.

A glimpse into the life of a songwriter who connected with people from all walks of life, whether you’re a longtime fan or a first time listener, you simply can’t not be drawn into Goodman’s infectious spirit, and the new liner notes from Lee Zimmerman make this an essential piece of the Steve Goodman legacy.

Travels well with: Todd Snider- Cash Cabin Sessions, Vol. 3; James McMurtry- The Horses And The Hounds

NRBQ

Dragnet

Omnivore, 2021

8/10

Listen to Dragnet

The legendary rock band NRBQ are back with their first album in 8 years, and they certainly make the effort worth the wait as all four members pen 10 originals and even include an interpretation of a classic TV theme song, too.

“Pebble From My Hand” starts the listen with the band’s multi-faceted version of rock making an indelible impression amid the cozy guitar, thumping drums and gritty vocals, and “I Like Her So Much” follows with a playful, oldies spirit that bounces and shakes with vocal harmonies and no shortage of melody.

Elsewhere, “You Can’t Change People” relies heavily on Adams’ fluid piano work alongside more cautious textures, while the title track buzzes with a dreamy quality that’s even got some country spirit. “That Makes Me A Fool”, one of the album’s best, then embraces jazz ideas in a very mature, romantic climate that further illustrates NRBQ’s eclectic arsenal.

Close to the end, “L-O-N-E Lone-Ly” offers a stylish, spoken word piece with bare keys, minimal percussion and a beat poet sort of delivery, and “Sunflower” exits the listen with folk influenced warmth and pretty, gentle guitar.

An outfit that began in 1969 and didn’t take a break until 2004, the band’s current line up of Terry Adams (keys), Scott Ligon (guitar) Casey McDonough (bass) and John Perrin (drums) continues their time honored tradition of jazz, rock, pop, folk, country and R&B ideas, where each track is well thought out, precisely executed and timeless in its nature.

Travels well with: Willie Nile- The Day The Earth Stood Still; Alex Chilton And Hi Rhythm Section- Boogie Shoes: Live On Beale Street

Julia Den Boer

Kermés

New Focus, 2021

8/10

Listen to Kermés

The French-American pianist Julia Den Boer returns with a sophomore album, and it’s comprised of 4 absorbing pieces from experimental female composers that are executed with a sublime and technical ability.

Giulia Lorusso’s “Déserts” starts the listen with bare, precise keys that cultivate a very distinct mood as each of the 5 pieces identifies with a specific desert, i.e. the Wadi Rum in Jordan, carved out by the river; the Uyuni salt desert in Bolivia; the Atacama, a flowering desert located between Southern Peru and Northern Chile; the Murzuq in Libya, the sand sea; and the Hammada, the rocky desert, in the Western Sahara.

The middle track, Linda Catlin Smith’s “The Underfolding”, then manipulates pitch and rhythm with a very unique layering skill that emits much ambiguity, while “Reminiscence”, by Anna Thorvaldsdottir, blends 7 quick movements into a very intimate and focused display of stirring key work that puts emphasis on timbre.

Rebecca Saunders’ “Crimson” exits the listen, and is the most firm track present, where the frame of the instrument is even used to highlight the dramatic, animated environment.

A New York City resident who has made quite a global impression as both a soloist and chamber musician and who is always commissioning new works, Boer is constantly challenging the boundaries of her instrument, and here she’s redefining contemporary classical sounds with awe and wonder.

Travels well with: Ensemble Dal Niente- confined.speak.; Mark Kirschenmann- Cybersonic Outreach

Boston Modern Orchestra Project

Tod Machover: Death And The Powers

BMOP/Sound, 2021

9/10

Listen to Death And The Powers

Tod Machover’s well known body of work, Death And The Powers, sees a very exciting interpretation by the Boston Modern Orchestra Project, which is led by Gil Rose, and the MIT Media Lab is on hand to provide electronics, while James Maddalena (among others) lends his incredible pipes for the occasion.

“Prologue” starts the listen with plenty of electronic tinkering as talking and singing enter from both male and female voices, and “Memory Download” follows with playful strings, many vocalists and a mysterious ambience as the orchestra weave in and out of precise, fascinating interplay.

Deeper into the listen, “Scene III: Getting To Know You” showcases Joelle Harvey’s stunning soprano alongside Hal Cazalet’s animated tenor and Maddalena’s striking baritone, while “Scene VI: The World Reacts” welcomes Patricia Risley’s wise mezzo-soprano, David Kravitz’s baritone, Tom McNichol’s bass and Doug Dodson’s countertenor to the 22 minutes of flowing chamber and orchestral sounds.

Making our way to the end, “Scene VII: Into The System” blends Cazalet, Risley and Harvey’s voices amid the skittering electronics and strong attention to mood, and “Scene VIII: One Last Time” pairs Maddalena’s majestic pipes with Harvey’s eloquent singing for an unpredictable and radiant late album highlight.

Machover’s work is over a decade old now, but the themes of human connection and technology are certainly still relevant today, especially during these pandemic times, and BMOP’s inestimable contributions combined with the many voices present and meticulous electronics make for a robotic opera that you can’t help but be enamored with.

Travels well with: Boston Modern Orchestra Project- Walter Piston: Concerto For Orchestra; Boston Modern Orchestra Project- Samuel Barber: Medea

Manny Kellough And Friends

Speaking Of Jazz (East To West Coast)

MKJ, 2021

8/10

Listen to Speaking Of Jazz (East To West Coast)

The veteran drummer Manny Kellough is in fine company here as he turns in 9 standards and 2 originals that sure aren’t short on solos, swingin’ fun and sharp melodies, where they interpret legends like Woody Shaw, Charlie Chaplin and others.

“Generosity” starts the listen with warm horns and crisp drumming, as William Knowles lends his mature piano playing to the soulful opener, and “Secret Love” follows with Wes ‘Sug’ Biles’ playful bass complementing Antonio Parker’s radiant sax amid a bop friendly climate.

Elsewhere, “I Thought About You” showcases Julian Hipkins’ expressive singing in the uptempo version of a Johnny Mercer tune, while “Smile” has Hipkins singing fluidly alongside Michael Thomas’ strategic brass in the cozy landscape. “When I Fell In Love” then brings Ashley Kellough in on vocals for her first time ever, where the charming pipes suit the timeless jazz flavor superbly.

Near to the end, the romantic “East Of The Sun” places Matt Clark on piano and Gary Brown on bass, as Azure McCall’s stunning pipes are front and center, and “Foggy Day” exits the listen on an upbeat interpretation of the Gershwin tune that produces some glorious vocal scatting.

Kellough’s resume is an impressive one that includes playing drums with Ray Charles, The Rolling Stones and many others, and even though his vast skill anchors these tunes, he allows the esteemed players to shine, too, across the spirited and infectious listen.

Travels well with: Gerry Eastmen Trio- Trust Me: Alexis Parsons- Alexis

Hasaan Ibn Ali

Retrospect In Retirement Of Delay: The Solo Recordings

Omnivore, 2021

9/10

Listen to Retrospect In Retirement Of Delay: The Solo Recordings

A jazz pianist who inspired legends like John Coltrane and McCoy Tyner and many more, Hasaan Ibn Ali recorded his debut major label album in 1965, but the record was shelved and then thought to have gone up in flames in a warehouse fire.

Fortunately, that lost album was discovered, and later released as Metaphysics: The Lost Atlantic Album. Here, we’re treated to another dimension of Hasaan’s inimitable art, where Alan Sukoenig and David Shrier, both students at the University of Pennsylvania in 1962, documented these standards and originals from 1962-65.

“Falling In Love With Love” starts the listen with bouncy keys and incredible attention to detail as Hasaan manipulates the Baldwin baby grand like few others could, and “Atlantic Ones”, previously known as “Blue Is”, follows with firm key acrobatics that showcase incredible progression across the mesmerizing landscape.

Elsewhere on disc 1, “Body And Soul” has Hasaan playing a Steinway grand with fascinating agility, while “Off My Back Jack’ has him introducing the poetic, lush and cautious climate. “They Say It’s Wonderful”, a tune off of Hasaan’s demo, then quivers with a profound talent, and “Arabic Song” exits this portion with a brief a cappella, soulful vocal piece.

Disc 2 opens with “True Pain”, a 2 part song that has Hasaan playing a spinet, where both soft and firm textures are present, and further on “Sweet And Lovely” is so meticulously executed that it hardly seems possible that just 1 piano is present.

Deeper still, “Untitled Ballad” is indeed full of much sublime balladry, and “Bésame Mucho” illustrates so much intricate and flowing melody, it’s really quite hard to think of anyone else who has played with such a vision.

Hasaan passed away much too young in 1980. These tunes that have sitting around unissued for decades are finally seeing a proper release, and it comes with thorough liner notes from Matthew Shipp, Alan Sukoenig and Lewis Porter, as well as unpublished photos, which further documents the inestimable skill of a piano genius that amazed everyone who entered his orbit.

Travels well with: Wesley Stace- Late Style; Hasaan Ibn Ali- Metaphysics: The Lost Atlantic Album

Dalton Deschain & The Traveling Show

Demons & Dogmen

Self-Released, 2021

9/10

Listen to Demons & Dogmen

A concept album from the New York pulp-punk outfit, Dalton Deschain and company bring theatrics into a very unpredictable story about a 1940’s Detroit street musician who becomes possessed by a demon and takes over a local circus. The plan turns deadly, however, and the circus freaks, a failed actress and a psychic janitor must stop him.

“Threepenny And A Blood Red Strat” starts the listen with much atmosphere before bursting into a firm, driving punk tune that’s full of soaring vocals, and “Man/Thing” follows with moments of dreamy beauty as well as bouts of thick, tense prog-punk that might make you think of Modest Mouse with a gym membership.

Further into the listen, “Rabid” is full of sublime backing vocals, although Deschain’s versatile pipes impress, too, in the highly melodic setting, while “Tin Laurels” remains, calm, even poetic, with much ambience before escalating into louder avenues. “Different Constellations”, one of the album’s best, then opens with warm acoustic guitar and carries an almost lullaby quality as the vocals get bit more forceful, where hazy New Wave nods enter.

Nearing the end, “Devil’s Night” showcases plenty of tuneful grit as a very dynamic, punchy delivery emits much power, and “Juno” exits the listen with some quirky moments to complement the anthemic undertones of the synth fueled rock.

An extremely creative and memorable record, the physical version actually comes with a 260 page novel penned by Deschain, which extends on the story and incorporates the song’s lyrics.

Whether you’re listening on the surface or looking for a more involved experience, Demons & Dogmen impresses on all levels with its multi-faceted punk rock approach and vivid storytelling that’s diverse enough to bring to mind David Bowie, Alkaline Trio or even Against Me!.

Travels well with: The Sonder Bombs- Modern Female Rockstar; The Christmas Bride- Dark Romance Of A Midnight Wanderer

Sneezy

Open Doors

Color Red, 2021

8/10

Listen to Open Doors

Chicago’s Sneezy used their time away from live shows during the pandemic to put a lot of work into this 3rd studio album, where the 8 members bring their respective talents to a very diverse listen that recruits countless ideas into a unique and energetic formula.

“Vibez” starts the listen with warm keys from Ben Paulson, many vocalists and a very soulful and festive opener that also welcomes hip-hop flavor, and “Not Sorry” follows with a playful, cosmic feeling that showcases elegant horns thanks to Pat Girdaukas amid the flowing vocals and rhythmic template.

Elsewhere, R&B influences enter the sophisticated “Lotto”, where plenty of grooves arrive, while the title track is a swift retro-rocker that will certainly get your body moving with its quick drumming and mix of rapping and singing. “Ain’t Shit” then glows with a dreamy ambience as shades of pop enter an infectious landscape.

Near to the end, “Nu Things” displays soothing melodies amid the expressive singing and storytelling, and “Rain” finishes the listen with a stylish and fusion friendly meshing of soul, rock, pop and hip-hop that few others could replicate.

An outfit with over a decade of time together, the chemistry between Sneezy’s members is undeniable, and the pandemic has only served to strengthen that interaction as they continue an atypical sort of jam band presence that’s as lively as it is memorable and as sincere as it is enlightening.

Travels well with: Josh Hoyer & Soul Colossal- Natural Born Hustler; Marcus Rezak- Truth In Sound

Kosmodome

Kosmodome

Karisma, 2021

9/10

Listen to Kosmodome

A Norwegian duo consisting of the brothers Sturie Sandvik and Severin Sandvik, as Kosmodome they explore plenty of colorful and nostalgic moments of their spacey prog-rock, where a few guests help make these 8 tracks even more exciting.

“Enter The Dome” starts the listen with atmospheric keys and gentle guitar as the quick opener sets the pace for the swirling “Retrograde”, which benefits from cosmic textures and crisp drumming that highlights a retro prog-rock foundation complete with soaring vocals.

The middle tracks bring us the more firm and thick “Deadbeat”, which also harnesses some classic-rock spirit, while “Waver I” gets loud, even abrasive, with its strong attention to power and melody.

Deeper still, “The 1%” alternates between dense moments of energetic stoner-rock nods amid calmer ebbs of dreamy exploration, and “Orbit” exits the listen with nearly 9 minutes of diverse musicianship that explores their prog-rock ideas with post-rock, alt-rock and even indie-rock moments pieced together creatively.

A part of the world with no shortage of progressive music, Kosmodome should have no problem making a name for themselves with their meticulous detail, knack for grooves and thundering moments of riff charged rock that’s quite impressive, as evidenced by this exceptional record.

Travels well with: Arabs In Aspic- Strange Frame Of Mind; Jordsjø- Pastoralia

Philippe Côté With Marc Copland

Bell Tolls Variations

Odd Sound, 2021

8/10

Listen to Bells Tolls Variations

Philippe Côté released Bell Tolls Variations and Fleur Revisited at the same time, and both welcome Marc Copland’s piano skills and the Quatuor Saguenay string quartet to the dynamic and rich efforts. Bell Tolls Variations in particular spotlights the violins, viola and cello, as chamber, jazz, orchestral and classical ideas are represented with much attention to detail.

The album starts with the mesmerizing atmosphere of “The Phase”, where stirring strings unfold with a precise tension, and “Oracle” follows with the strings again taking focus as they are bowed and plucked to yield the most amount of intrigue and emotion.

“Lethe’s Song”, in the middle, recruits Copland’s sublime piano work as soaring strings meet at a creative intersection with much awe, while “Alchemy I” puts Côté’s bass clarinet front and center for the very agile and poetic delivery that weaves in and out of warm textures.

“Elysian” resides near the end and emits a dreamy quality where graceful keys glide amid a hypnotic backdrop, and “The Bond” finishes the listen with Côté’s radiant sax alongside charming keys in the cozy, memorable exit.

Inspired by Copland’s 2009 effort with the trio Night Whispers, Côté and company are certainly indebted to jazz sensibilities, but their diversity and vast vision is certainly appreciated across these adventurous 9 tracks.

Travels well with: Philippe Côté with Marc Copland- Fleur Revisited; Montréal Jazz Trio- Montréal Jazz Trio

Diana Panton

A Cheerful Little Earful

Little Things, 2019

9/10

Listen to A Cheerful Little Earful

A Canadian jazz vocal star with 2 Juno Awards under her belt, Diana Panton returns with a 2nd family oriented album, and her flawless and sweet pipes sound better than ever across the charming affair.

“Happy Talk” starts the listen with elegant keys and soft vocals in the jazz friendly setting, and “It’s A Most Unusual Day” continues with expressive singing from Panton as piano acrobatics and spirited guitar work guide the tune.

At 15 tracks running the better part of an hour, there’s much to absorb, but Panton keeps our attention all the way through with the gentle folk-pop ideas of “I Don’t Want To Live On”, as well as the vibraphone fun of the upbeat “Pocketful Of Miracles”. One of the album’s best, “Look To The Rainbow”, is nearly a cappella, as Panton’s breathy, gorgeous voice mesmerizes us from the get-go.

At the end, “Sing A Rainbow” offers a lush tune of timeless beauty, and “Hush-A-Bye” exits the listen indeed hushed amid a comforting and kid friendly environment.

Now 10 albums into her esteemed career, Panton continues her consistent execution of quality musicianship that, even though directed to the young ears, is absolutely fun for the whole family.

Travels well with: Again Again- Listen. Love. Repeat.; Camille Harris- Baby On The Subway