James Carothers

Still Country, Still King: A Tribute To George Jones

Self-Released, 2018

8/10

Still Country, Still King: A Tribute To George Jones

The Nashville honky tonker James Carothers returns with a sophomore album where he pays homage to the legendary George Jones with a batch of tunes that are reworked in his own vision.

“The Race Is On” starts the listen vocally strong as classic country ideas enter the swift, harmonic delivery, and “Still Doin’ Time” continues with breezy balladry that tugs on the heartstrings as spirited guitars add much to the mood.

At the halfway point, “Someday My Day Will Come” moves with an introspective quality as expressive vocals from Carothers highlights the atmosphere, while “One Woman Man” recruits a melodic country rock approach that’s dance friendly. “Sinners And Saints”, the album’s standout tune, then pairs dynamic musicianship with versatile vocals for the country rock gem that should require two-steppin’.

Near the end, the appropriately titled “Honky Tonk Song” unfolds with an anthemic quality that reels in all the hallmarks we love about country music, and “He Stopped Loving Her Today” exits the listen bare, emotive and with soaring singing you won’t soon forget.

Carothers has made quite a dent in the world of country music starting with his first release in 2014, and since then he’s shared the stage with legends like Alan Jackson, The Charlie Daniels Band and Trace Adkins, among many others. At the rate he’s going, he’s building a career that will one day be worthy of tribute albums, too,

Travels well with: Jesse Dayton- The Outsider; Adam Carroll- I Walked In Them Shoes

Mr. Jon & Friends

Rock & Rhyme

Self-Released, 2018

8/10

Listen to Rock & Rhyme

A husband and wife duo from the Washington, D.C. area, Jon and Carrie Lewis return with a 3rd album of family friendly fun with a large batch of tunes that involve counting, dancing, singing, and a whole bunch of other enjoyable activities full of their contagious energy.

The title track starts the album with a hand clapping good time as upbeat sounds pair well with the quick strumming, and “Dance Party” continues the setting with plenty of rhythm and melody in the festive delivery that brings in an organ.

With 20 tracks, the album offers much variety, including the playful keys of Carrie on the theatric “Going On A Bear Hunt”, while the whistling and jangly approach of “Clean Up” builds into an anthemic display of frisky, timeless charm.

Elsewhere, “Alphabet Song” offers a fuller tune where keys and guitars fuel the folk-rock like climate, and “Hermit Crab Going On A Walk” goes the opposite direction with a sparse, cute story that the young ears will adore.

Near the end, “Summer Rain” recruits strong, moving vocals from Carrie in the warm, piano fueled balladry, and “George Is Asleep” finishes out the listen with Mr. Jon and George the monkey having a cute conversation that points towards Jon’s talent as an ventriloquist.

There’s an impressive amount of players lending a hand here, including Ben Shive, Jennifer Condos, Jay Bellerose, and David Piltch, and together they pen a feel good record that’s perfect for the kid in everyone who appreciates variety and playful storytelling.

Travels well with: Rainbow Rock Band- Total Eclipse Of The Rainbow; Rolie Polie Guacamole- Avocado

Rainbow Rock Band

Total Eclipse Of The Rainbow

Del Ray Rocks, 2018

9/10

Listen to Total Eclipse Of The Rainbow

A Washington, D.C. outfit spearheaded by singer/songwriter Kate Moran, the educator brings pop, folk, rock, and rockabilly into this energetic listen that’s fun for all ages.

“Crazy Cakes” starts the listen with swift acoustic strumming as sweet, playful vocals enter the rhythmic and highly melodic opener that recruits mandolin and fiddle, and “Lee Lee The Lizard” follows with a frisky folk-rock feel as contagious sing-alongs aimed for the young ears are on hand and extremely charming.

The back half of the listen is also a good time, including the soaring vocal work of “Sparkle Fairy”, that’s even whistle friendly, while “Samuel The Zookeep”, the album’s best, gets dance-friendly with plenty of animal references as strategic pedal steel leaves an impression. “It’s Your Birthday!” exits the listen with a sunny, pop influenced delivery that’s festive, celebratory and guaranteed to make anyone smile widely.

Moran, a PHD, has an extensive history working in schools and currently works in the area of special education within the U.S. Department of Education. This experience, combined with her keen sense of songwriting dynamics, makes the 7 tracks here essential listening for the families that appreciate eclectic, educational and lively music.

Travels well with: The Laurie Berkner Band- Waiting For The Elevator; Andrew & Polly- Go For The Moon

Freddy & Francine

Moonless Night

Self-Released, 2018

8/10

Listen to Moonless Night

A Nashville rooted popicana duo composed of Bianca Caruso and Lee Ferris, as Freddy & Francine the pair embrace folk, pop and Americana ideas by cultivating a very soulful formula that is truly all their own.

“Half A Mind” starts the listen with spirited guitar as expressive vocals from Freddy enter the rhythmic and soulful display of subdued beauty that recruits snapping and is the only track with drums, and “Ain’t No Way” continues the setting with soaring vocals from both Freddy and Francine as retro-rock nods enter the psyche-friendly affair.

The back half of the record offers the bare “Better Man”, where folk-rock moments unfold with a timeless quality, while “Sweet On You” moves with frisky guitar lines as playful melodies populate the Americana flavored EP highlight. “Moonless Night” finishes off the listen with harmonizing vocals as warm acoustic strumming highlights the folksy swagger of a strong exit.

Caruso and Ferris are both classically trained musicians, and though their version of pop isn’t easily defined, its strong energy and cozy intimacy make it easy to digest.

Travels well with: Lake Street Dive- Free Yourself Up; JJ Grey & Mofro- This River

Joe Bonamassa

Redemption

J&R Adventures, 2018

8/10

Listen to Redemption

This 13th studio album from the always impressive and inimitable Joe Bonamassa brings in some strong players, including Reese Wynans on keys, Anton Fig holding down percussion and Michael Rhodes handling bass guitar to name a few.

“Evil Mama” starts the listen with energetic percussion as Bonamassa’s signature guitar acrobatics enter the brass friendly blues rock setting, and “King Bee Shakedown” continues the party with a dance friendly, and festive horn delivery where slide guitar impresses amid the boogie rock.

Moving along, “Self-Inflicted Wounds” trims the pace back to emotive balladry with plenty of power that flirts with gritty rock, while “Pick Up The Pieces” gets playful with keys and a soulful swagger that get theatrical. “Just ‘Cos You Don’t Mean You Should”, one of the album’s best, then offers some of Bonamassa’s best singing in the soaring environment where there’s no shortage of melody to the quintessential blues rock tune.

Deeper into the listen, “I’ve Got Some Mind Over What Matters” takes nods to old school ideas and delta blues where dynamic interplay between piano, guitar and percussion shines bright, and “Love Is A Gamble” finishes off the listen with sublime guitar work from Bonamassa that’s matched by the precise horn work.

Redemption didn’t waste anytime charting at #1 for blues albums, and even hit #2 for rock albums. It’s not hard to see why as Bonamassa and company offer one of his most diverse records to date.

Travels well with: North Mississippi Allstars- Up And Rolling; Reese Wynans And Friends- Sweet Release

Braxton Cook

No Doubt

Self-Released, 2018

8/10

Listen to No Doubt

The vocalist and alto saxophonist Braxton Cook brings much variety to the jazz scene, where soul, R&B and even variations of rock enter this strong sophomore album that debuted at #2 on the iTunes Jazz Charts and has seen 5+ million streams.

The title track starts the listen with playful percussion as a soulful setting of Cook’s skilled saxophone prowess guides the atmospheric opener, and “When You Hold Me” follows with expressive vocals as R&B qualities enter the spirited, groove filled environment.

At the halfway point, “For More” burns slow with keys amid the romantic and extremely soulful landscape, while “Pretend” offers a lush display of strong percussion, warm keys and creative brass in the unpredictable album highlight.

Close to the end, “Lost Ones” offers an instrumental with an improvisational feel as all players contribute in energetic, sometimes rowdy ways, and “Outro” exits the listen with some surprises as synth and organs enter the frisky yet graceful finish of flourishing neo-jazz ideas.

Cook doesn’t hide his influence from legends like John Coltrane and Frank Ocean, thankfully, and he’s using his unparalleled skill to carve out a very unique spot for himself where there’s a larger presence on vocals (he sings on more than half the tracks), as his well thought out melodies resonate with nostalgia amid a very modern approach that just gets better with each subsequent release.

Travels well with: Christian Scott Atunde Adjuah- Ancestral Recall; R+R= Now- Collagically Speaking

Mister G

Fireflies

Coil, 2018

8/10

Listen to Fireflies

A Latin Grammy winner and globally recognized artist, Ben Gundersheimer, aka Mister G, has dabbled in many genres with his family friendly song craft, and on this 9th album he’s in fine company as many contributors aid in the timeless and eclectic delivery.

The title track starts the listen with gentle acoustic strumming alongside Mister G’s intimate and expressive vocals that harmonize well in the folk balladry as strings enter the equation, and “Sweet Summertime” follows with some playful rhythm amid the graceful atmosphere and fine Hammond organ fills from Rodney Alejandro.

Halfway through, “Big Old World” recruits fiddle from Ruth Ungar for the rural, Americana beauty that’s complete with an infectious chorus, while “Four Footed Friend” is a touching tune for the animal lover that’s as eloquent as it is poetic. “Together As One”, one of the album’s best, then uses pedal steel strategically in the melodic and anthemic, protest folk climate.

Near the end, “Perfect Day” is a cautious, warm strummer that describes summer perfect with vivid imagery, and the intricate and moving song craft of “Moonbeams” finishes out the exit with soft female backing vocals from Lucy Kalantari as Mister G’s electric guitar skills highlight the mood.

Mister G has played everything from bluegrass to bossa nova, and here he flirts with folk, bluegrass, soul and country sounds, where organic noisemakers align with songs about the simpler moments of life we take for granted, making this the ideal listen in these often hectic, complicated times.

Travels well with: Evan And Vanessa- In Our World There Are No Strangers; Jesse Jukebox- Awesome!

Sarazino

Mama Funny Day

Cumbancha, 2018

8/10

Listen to Mama Funny Day

The recording moniker of musician, songwriter and producer Lamine Fellah, as Sarazino the renaissance man brings a multi-cultural experience to music that embraces hip-hop, reggae, pop, rock and a diverse set of Latin ideas.

“La Frecuencia” starts the listen with plenty of pop melody amid the bouncy Latin influences as Sandflower contributes vocals to the playful setting, and the title track follows with Black Prince’s contributions on the hip-hop friendly atmosphere that also embraces reggae.

Near the middle, “Is There A Place”, with Zolani Mahola, offers a spacey version of his breezy, tuneful song craft, while “Daddy Ho!” benefits greatly from Niyo Pumpin and SK’s vocal prowess on the energetic, club-friendly display of massive skill. “La Cumbia Mala”, one of the album’s best, then moves precisely, with a busy approach that’s part rock and part rap as Guanaco MC lends a hand.

Late in the listen, “Lucky Day Song”moves cautiously and soulfully as Blue Melvin is in attendance, and “Berrani” exits the listen with pianos amid the swift execution as Sol Pereyra offers expressive singing.

A record that truly has something for everyone, rap, rock, dance, electronica, and pop are all covered in a very creative and skilled manner, where Sarazino takes help from all over the globe, which is precisely where Mama Funny Day will resonate with its exciting world music flavor.

Travels well with: Rocky Dawuni- Beats Of Zion; John Brown’s Body- Fireflies

Salim Nourallah

Somewhere South Of Sane

Palo Santo, 2018

8/10

Listen to Somewhere South Of Sane

A veteran Dallas singer-songwriter who also dabbles in producing, this lengthy 7th album from Salim Nourallah balances forthrightness with an artistic approach that’s often tinted with melancholy as he offers much variety across 21 tracks.

“Boy In A Record Shop” starts the listen bare where Nourallah’s soft vocals rest well against the gentle indie-pop setting that embraces psychedelia, and “Let Go Of The Night” continues the atmosphere with violin, viola and cello from Rick Nelson adding much to the graceful display.

Further along, “Moving Man” also brings an orchestral feel with strings from Deni Bonet and Ward Williams in a reflective climate of graceful beauty that tips its hat to Nick Drake, while “A Thousand Ways To Miss You” benefits greatly from Xuan’s backing vocals on the folk-inspired album highlight. “Tucumcari”, another stand out track, then brings in Nelson’s string work again on the elegant beauty.

Back half highlights include the sparse, sublime “I Missed My Own Life”, where delicate backing vocals complement the heartfelt environment, and “Cold Cuddle” offers traces of psyche-rock in its throwback approach where careful strumming leaves an impression. “Sleepwalking” exits the listen with a glowing indie-folk presence where gentle singing pairs well with the dreamy finish.

Nourallah doesn’t hide his affinity for John Lennon or Bob Dylan here, and describes this batch of tunes as ‘the work of a functional crazy person’. Using very little percussion on this album, he finds himself in a very unique spot where a creative brand of indie-rock becomes unclassifiable, even though it’s universally embraceable both lyrically and musically.

Travels well with: Damien Jurado- In The Shape Of A Storm; Hayden- Us Alone

Space Kamp

Electric Lemonade

Self-Released, 2020

8/10

Listen to Electric Lemonade

A Pennsylvania outfit who have been busy sharing their themes of love with 3 years of touring, this much anticipated sophomore record from Space Kamp brings psychedelia, hip-hop and reggae to a very energetic and thoughtful formula.

“New Strains” starts the album with spirited organ as soulful vocals enter the spacey, playful atmosphere, and “A.D.I.D.A.S” follows with deep vocals guiding the cautious hip-hop setting that’s instantly memorable.

Halfway through, “Girl Like You” moves with a reggae spirit as flowing hip-hop meets a contagious chorus in the love song, while “Summer Of Love”, with Jessica Lamb, brings plenty of energy and rhythm to the festive climate. “In My Bag”, the album highlight, then recruits Demrick for a vocally strong tune that alone is worth the price of admission.

The record exits with “500 Miles” and “Electric Lemonade”, where the former brings an acoustic guitar and Tabinstereo to the subdued, rock influenced tune that packs in grooves, and the latter utilizes Split Divo for a mysterious and experimental dip into an eclectic delivery that few could replicate.

Oskee and Adoo are the movers and shakers behind Space Kamp, and they also founded Rebel Hippies, a cannabis culture lifestyle brand. It’s no surprise, then, that 420 nods are liberally sprinkled throughout this progressive and positive adventure that’s impossible not to enjoy.

Travels well with: B.o.B- Strange Clouds; Swollen Members- Brand New Day

Dirt Reynolds

Scalawag

Self-Released, 2020

8/10

Listen to Scalawag

The recording moniker of Louisiana native Chris Watts, as Dirt Reynolds the guitarist, vocalist and songwriter brings all the hallmarks of this south on this blue collar friendly debut album.

“Lee County” starts the listen with warm acoustic strumming in the soaring country template that’s not short on hooks, and “Cenla” continues the setting with a more rugged spirit of rural melodies where Jason Paradise contributes on guitar.

Elsewhere, “The God’s Own Truth” illustrates Reynolds’ own brand of gospel where gritty country rock glides with a timeless appeal, while “Empty Beds, Empty Bottles” recruits a honky tonk approach that benefits greatly from CJ Colandrea’s pedal steel. “Fireworks Over Buhlow” then enters ballad territory with soothing, sublime beauty amid strategic keys from Mary Hull.

At the end, “I Know What It Means” was influenced by Louis Armstrong’s “Do You Know What It Means (To Miss New Orleans)”, and is just as timeless with plenty of soul, and “Homecoming Show” exits the listen with reflective Americana where Becky Warren’s backing vocals add much to the poetic landscape.

Watts has had quite an eventful life, having grown up in a Christian home before turning into a hooligan who was stabbed in a bar and then later shot while working in the National Guard during Katrina. His colorful past has been great fodder for his song craft, and given him a very mature and eloquent perspective that makes this outlaw/alt-country effort a very impressive starting point.

Travels well with: Mark Bumgarner- Just Above The Waterline; John Baumann- Country Shade

Johnny Burgin

No Border Blues

Delmark, 2020

9/10

Listen to No Border Blues

The legendary bluesman Johnny Burgin is no stranger to Japan, having toured there many times in his career, and here he picks a handful of his favorite musicians from the island nation to contribute on this first ever Americana/Japanese collaboration.

“One Day You’re Going To Get Lucky” starts the listen with spirited harmonica as a busy display of timeless blues prowess enters the rhythmic setting, and “Sunnyland” follows with a slow burning affair of soulful, retro blues.

Elsewhere, “Hurry Up Baby” moves with a swift pace where Nacomi Tanaka’s smooth, soaring vocals guide the fluid melodies, while “I Just Keep Loving Her (Mada Sukinanda)” shines bright as Kotez’s inimitable vocals blur well with the harmonica acrobatics. “Old School Player”, an album stand out, then indeed offers retro flavor as Burgin’s sturdy pipes flow alongside Iper Onishi’s skilled harmonica and Takagiman’s proficient drumming.

At the end, “Samurai Harp Attack”, the sole instrumental, layers 3 harps precisely in the dizzying blues jam execution, and “Sweet Home Osaka” (their version of “Sweet Home Chicago”) finishes out the listen with Lee Kanehiras’ jumpy piano work complementing the dynamic rhythm section.

Although Burgin is certainly globally known for his esteemed work, many of the Japanese artists here aren’t recognized outside of their home country despite their immeasurable discipline and unparalleled skill. Thankfully, Burgin knows talent when he sees it, and that instinct results in a career high for the influential bluesman.

Travels well with: Bob Corritore- Do The Hip-Shake Baby!; John Primer & Bob Corritore- The Gypsy Woman Told Me

Andrew Scotchie & The River Rats

Everyone Everywhere

Self-Released, 2020

8/10

Listen to Everyone Everywhere

Even though the Asheville, North Carolina resident Andrew Scotchie isn’t even 30 yet, he plays like an old soul on this well executed EP where The River Rats help illuminate a charming brand of retro-rock where there’s no shortage of political/social wordplay.

“Stepping Stone” starts the listen percussion heavy with a playful, psychedelic groove where warm vocals steer a very memorable and funk friendly adventure, and “Human Too” continues the landscape with spirited guitar work and frisky bass work alongside a soulful appeal that’s difficult to forget, not that you’d want to.

The second half of the listen offers the swift and upbeat “Funny Money”, which bounces and glides with an immediately memorable delivery, while “Fear Mongers” dips into slower waters where subtle power resides amid the moody interplay and eloquent lyrics about capitalism. The title track exits the listen and is the highlight, as Scotchie and company brings strings and plenty of rhythm into a bluesy flavored finish.

A very relatable listen in terms of all the problems facing the US today, Scotchie brings sharp song craft and superb guitar playing to a nostalgic formula that we could never tire of, especially in his very capable hands.

Travels well with: Jon Stickley Trio- Make Believe; The Marcus King Band- The Marcus King Band

Adam Glaser Trio

Wide Awake

Self-Released, 2020

9/10

Listen to Wide Awake

An extremely exciting and adaptable conductor who is making waves in today’s classical music scene, here Adam Glaser works alongside Pete Coco and Chris Smith on this debut album as leader where classical and jazz ideas point at influences from legends like Bill Evans and Brad Mehldau.

“If You Don’t Mind”, an original, starts the album with bright keys from Glaser, as crisp percussion by Smith and fluent bass from Coco guides the soft jazz landscape, and "November” continues the graceful setting with a piano focused and often soothing delivery.

Near the middle, “Day Trip To Cologne”, which was inspired by Schumann’s Symphony No. 3 In E-Flat Major, Op 97, Rhenish, moves with a bouncy and playful spirit while being full of rhythm and building into a busy display of mammoth skill, while “True To You” takes a softer approach complete with frisky key acrobatics. “Before The Dawn”, a late album highlight, then finds all sorts of beauty to reside in as gentle percussion guides the warm balladry.

The album finishes with the timeless, reflective charm of “Lullaby For A Little Boy”, and the strong melodies of the indeed romantic “My Romance” finishes out the listen just as strong as it started.

Glaser is a founding member of Philork Jazz and has seen his work performed by over 30 orchestras, and it’s easy to see why; he possesses an innovative vision and his delivery is nothing short of flawless as hits it out of the park on this first recording as leader.

Travels well with: Jeff Reed- Look For The Light; Troy Roberts- Stuff I Heard

Sebastien Brun

Ar Ker

Carton/Coax/Maison Tempéte, 2020

8/10

Listen to Ar Ker

A true renaissance band, Sebastian Brun is a drummer, producer, composer, and mathematics enthusiast, and here he adds a healthy amount of electronics to a very exciting and often mesmerizing effort where distortion, repetition, and looping are used very artistically.

After a barely audible field recording “Prelude” opens the disc, “Bob Zarkansyél” uses light vocals and playful percussion in the gentle, almost meditative setting of quiet beauty that’s as precise as it is inviting.

Elsewhere, “Ker” spends 8 minutes embracing a sort of New Age tribal approach that builds into a hypnotic and fascinating display of electronic manipulation, while “Interlude I” recruits an almost sci-fi angle of creative and experimental prowess. “Koroll”, one of the record’s best, then takes on an almost robotic ambience with sublime acoustics, too, that you’re not likely to hear anywhere else.

Near the end, “Empty” glides with a mechanical feel that bridges noise and melody, and “Frozen” finishes the listen with 9 minutes of mysteriousness as innovative drumming and adventurous electronica meet at a very iconoclastic intersection.

Brun always has a lot on his plate, including projects like Paraquet and Horns, among others, but let’s hope he still finds time for solo work as his unique vision is some much appreciated ingenuity, that, amazingly, was recorded with no overdubs.

Travels well with: Mnemotechnic- Blinkers; Subduxition- The Black Point

Maceo Parker

Soul Food- Cooking With Maceo

The Funk Garage, 2020

9/10

Listen to Soul Food- Cooking With Maceo

The legendary Maceo Parker returns with his first album in 8 years, and he’s made it worth the wait as contributions from Ivan Neville, Nikki Glaspie, Tony Hall and plenty of local stars grace these classics and originals in the funk friendly landscape.

“Cross The Track” starts the listen with plenty of soulful energy as Parker’s sax prowess leads the funk filled fun, and “Just Kissed My Baby” continues setting with strong vocal work, spirited guitar work and bright brass that’s never short on rhythm.

In the middle, “Hard Time” offers an introspective and dynamic instrumental where the trumpet really shines, while Aretha Franklin’s “Rock Steady” recruits backing female vocals to complement the dance friendly melodies as Parker uses his voice like an instrument. “Right Place Wrong Time”, one of the album’s best, then swaggers with intricate guitar solos and timeless funk as Parker’s sax work is unparalleled.

“Other Side Of The Pillow” and “Grazing In The Grass” exit the listen, where the former, a Prince tune, glides with a New Orleans flavor that’s plenty rich, and the former finishes groove friendly with plenty of warmth and vitality for an artist who is 77 years old.

If you’ve been following this far, you know it’s Parker’s 16th album, and it’s hard not to imagine the spirit of James Brown and Ray Charles in these tunes as Parker’s inimitable vision and old school funk approach sounds better than ever.

Travels well with: Lettuce- Crush; Grant Green- Funk In France

Raíse

Crepa!

Self-Released, 2020

8/10

Listen to Crepa!

This first record from the Italian duo of Luca Brunello and Fabio Silvestri, aka Raíse, has the pair delivering fury and restraint with incredible precision and a lot of unpredictable twists and turns that often point towards the best moments of the ‘90s.

The album starts with the thundering post-hardcore of “Driepapegaaien”, where an ambient quality enters the intensity that’s also carefully calculated, and “Se(a)rch)o(" continues with a thicker approach as metallic like moments align with an ethereal approach that’s both hard hitting yet soothing.

The back half offers the angular and jagged title track, where acrobatic drumming is met with a soaring landscape, while “Commuovelalegge” spends 10 minutes covering hard rock, experimental bouts, and even prog-rock moments. “Colmare” exits the listen with an initially calmer formula before building into a mysterious, nearly hypnotic mashing of multifaceted rock.

An outfit who refer to themselves as ‘ethno, tribal, noise punk’, there’s certainly all those qualities in their propulsive concoction that results in an excellent debut.

Travels well with: Princess Thailand- And We Shine; Cosse- Nothing Belongs To Anything

Kari van der Kloot

The Architects

Next Level, 2020

9/10

Listen to The Architects

A Canadian vocalist and composer with her roots in jazz sounds, Kari van der Kloot is also versed in folk music, and together with Lisanne Tremblay, Jamie Reynolds, Gary Wang and Nathan Ellman-Bell she delivers a strong sophomore album with The Architects.

“What I’ll Find” opens the album with keys and violin interacting with both warmth and grace as van der Kloot’s stunning vocals guide the jazz influenced setting, and “Swimming” follows with gentle plucking and bare keys as the expressive singing highlights a very reflective climate.

Halfway through, “‘Ask” builds into a poetic display of heartfelt songwriting, where Wang’s bass adds much to the affair, while “Hide And Seek” approaches folk territory where Ellman-Bell’s strategic drumming is key. “Caution”, a late album highlight, then moves gently, with sublime violin from Tremblay that’s irresistible.

At the end, the title track moves delicately, where cautious piano from Jamie Reynolds flows alongside wordless singing from van der Kloot, and “Holding Pattern” ends the listen with 7 minutes of dynamic chemistry between all the players as rhythm and groove enter the fascinating exit.

Sometimes channeling her inner Joni Mitchell, van der Kloot and company grace us with beautiful layers, well thought song craft and a timelessness that’s both rich and awe inspiring.

Travels well with: Diana Panton- A Cheerful Little Earful; Jill Barber- Metaphora

Scroggins & Rose

Curios

Fresh Grass, 2020

8/10

Listen to Curios

A duo comprised of Tristan Scroggins and Alisa Rose, the pair bring just violin and mandolin to the affair, where firm folk, bluegrass and classical influences are present amid their dynamic chemistry on this intimate and adventurous effort.

“Marvel” starts the album with incredible string acrobatics between the two on the sophisticated yet playful opener, and “Wisconsin Wayside” continues the landscape with much emotion in the graceful, heartfelt delivery.

Halfway through, “Bubbliicious” flows with a bouncy quality to the upbeat tune, while “#stolenmoments” brings a reflective tone to the classically influenced atmosphere. “The French Cowboy”, which was inspired by French Impressionism and displays Western African nods, is one of the album’s best, as it twinkles with a chamber music appeal and plenty of well thought out musicianship.

At the end, “Jackelope” shines bright with some Americana influenced picking that few could replicate, and “Maren’s Lullaby” exits the listen gently with sublime beauty that leaves an impression that lasts long after the music stops.

Rose has already been Grammy nominated, and it wouldn’t surprise me if this album sees plenty of praise, too, as the pair deliver fascinating storytelling despite using no words in their unique and exciting formula.

Travels well with: Balsam Range- The Gospel Collection; Hot Buttered Rum- Lonesome Panoramic

Neuland

Neuland

Self-Released, 2019

8/10

Listen to Neuland

An outfit featuring Peter Baumann and Paul Haslinger, formerly of Tangerine Dream, this double album brings ambience to the forefront on a captivating listen that reels in post-rock, prog nods and plenty of exploration.

“Cascade 32” starts the listen with an atmospheric and mysterious template as calculated electronica sweeps in, and “Road To Danakil” follows with soft percussion and even more gentle synthetic sounds that get ominous, cultured and extremely experimental.

The remaining 13 tunes are equally unpredictable, including the spacey “Dream 9”, the sci-fi stabs of “M-Tron Fields”, and the aberrant manipulation of “Voices From The Past”.

Near the end, “Moons Ago” recruits a quirky, cinematic quality with cautious percussion and a darker spirit, while “Longing In Motion” exits the listen with haunting strings that appears like they could soundtrack a very elegant horror flick.

A highly textured affair, while both electronica and classical ideas are present, this is ultimately a very unclassifiable modern approach from two veterans of the early electronica scene who certainly haven’t let their creativity wane.

Travels well with: The Rileys- Way Out Yonder; Emerson, Lake & Palmer- Tarkus