Ashley Riley

Set You Free

Riled Up, 2021

9/10

Listen to Set You Free

The singer-songwriter and multi-instrumentalist Ashley Riley is well versed in folk, Americana, indie-rock and pop ideas, and she brings all of those sounds to an easily enjoyable listen that just might make you think of Patty Griffin and Stevie Knicks on this very well thought out and unique record.

“Close To Me” starts the listen with a warm, cautious display of elegant Americana as Riley’s inimitable vocals mesmerize the listener, and “Second Guessing” follows with plenty of charming pop spirit amid a dreamy climate that even welcomes strings.

Halfway through, “Oh Song” recruits soaring backing vocals alongside precise drumming from James Treichler as Riley touches on nearly gospel ideas, while “All Fall Down” trims the pace back with sublime beauty that showcases here versatile singing alongside much atmosphere. “We All Need Love”, an album standout, then benefits from piano and a poetic display of divinely textured song craft.

Near to the end, the title track thumps with a more firm approach of melodic and gritty country-rock, and “Cut My Losses” exits the listen soothing and highly memorable as Riley weaves in and out of her inimitable and timeless formula.

An album that was pieced together over 2 years, there’s not a dull spot in Riley’s body of work, and Set You Free just might be her best yet. Artistic, intimate and also very capable of sturdy rock’n’roll, if you haven’t spent anytime with this Decatur, Illinois resident yet, well, you really are missing out.

Travels well with: Vanessa Peters- Modern Age; Hope Dunbar- Sweetheartland

Ben Reddell Band

¡LA Baby!

Self-Released, 2021

8/10

Listen to ¡LA Baby!

A Texas native who now calls Los Angeles home, Ben Reddell has made quite a name for himself in the California roots scene, as evidenced by this diverse and charming EP that takes help on arranging and bass from Elijah Ocean, among others musicians.

“My Baby” starts the listen with warm acoustic guitar as equally enticing piano enters alongside smooth vocal harmonies on the breezy folk rocker, and “Cocaine” follows with rugged electric guitar and agile drumming from Travis Popichak, as a raw form of roots rock develops.

The middle tracks offer us the pretty, melodic rural sounds of the raspy “Tumbleweed”, while the upbeat and wild “Love Her & You Need Her” makes great use of Jeremy Long’s accordion on the playful bar rocker.

At the end, “12 Bar Blues” recruits Matt Pynn’s emotive pedal steel as Reddell’s expressive pipes guide us through the poetic storytelling, and “Good Thing” continues amid a festive climate with a bouncy, busy and precisely textured atmosphere. The bonus single, “Hey”, then finishes the listen with a pretty and gritty display of soulful country rock that gets right to the heart of Reddell’s roots.

Reddell started recording this EP right before Covid hit, which changed the process significantly, and also released him from his promoter and studio manager duties, too. With that abundance of time, he was able to channel much energy into this exceptional listen that showcases his rhythm guitar prowess, versatile singing and top notch brand of Americana, country, and roots flavored rock’n’roll.

Travels well with: West Of Texas- Heartache, Hangovers & Honky Tonks; The Contraptionists- Working Man’s Dread

Carl Vollrath

Old & New Poetry

Navona, 2021

8/10

Listen to Old & New Poetry

The composer Carl Vollrath brings us the works of the esteemed poets William Blake, Sara Teasdale and John Gracen Brown on this flawlessly executed listen, where Aliana de la Guardia and Emalie Savoy handle vocals, Timothy Phllips contributes clarinet, Philipp Staudlin takes up saxophone and both Yoko Hagino and Nathan Brandwein grace us with their piano playing.

“Five Songs On The Text Of William Blake” starts the listen with 5 movements that display sublime soprano singing alongside versatile keys that span warm and bare to jumpy and playful, and the vocals follows suit with much eloquent expression.

The middle track, “Love Songs”, welcomes very precise clarinet from Phillips as the unpredictable singing excels in both sparse moments as well as a firm presence amid vivid storytelling.

“Variations In Verse-Rural Poems” finishes the listen and brings atmosphere, melody and a dreaminess to the very meticulous exit which includes Staudlin’s agile brass, and that, even in 14 movements, ends much too soon.

Vollrath bridges the literary with the musical here, and does so equally with intimacy and exploration, where each movement offers new surprises and guides us on a thoughtful journey through timeless song craft.

Travels well with: The Crossing- A Native Hill; Ilja Hurnîk- Gratias

The Crossing

A Native Hill

Navona, 2021

9/10

Listen to A Native Hill

The Philadelphia professional chamber choir The Crossing are aligned with Gavin Bryars here, where each individual voice among the ensemble is illuminated as they tip their hat to the American author and environmentalist Wendell Berry, and his 1968 essay, A Native Hill.

“The Sense Of The Past” starts the listen with soaring vocals in a very soothing, spiritual climate, and this approach continues to the swift and elegant “The Path”, as well as the baritone versus soprano contrast of the absorbing “Sea Level”.

The middle tracks bring us reflective, emotive harmonizing of “The Road”, while the dreamy “The Music Of Streams” is an album stand out in its precise and varied delivery that has the listener hanging on every note.

Near to the end, “Animals And Birds” emits much beauty in both minimal moments as well as vocally strong flashes, and “At Peace” exits the listen radiating a mesmerizing timelessness that has been present on everything The Crossing have been a part of.

As always, it’s a vocally intricate and fascinating experience listening to The Crossing, and together with Bryars they balance sparse ebbs with busier textures, essentially showcasing the depth of their inestimable talent. It’s really no surprise that they’ve picked up multiple Grammy Awards already, and it’s pretty likely that more are on the horizon, too.

Travels well with: Ilja Hurník- Gratias; Various Artists- Fleeting Realms: Chamber Works, Vol. 2

Etta James

The Montreux Years

BMG, 2021

9/10

Listen to The Montreux Years

Culled from performances at The Montreux Jazz festival from the years 1975, 1977, 1978, 1989, 1990 and 1993, this collection of 21 tracks across 2 discs showcases the tremendous skill of Etta James, whose inestimable singing spanned blues, rock’n’roll, gospel, R&B and much, much more.

“Breakin’ Up Somebody’s Home” starts the listen with soulful, vibrant brass, thick drumming and, of course, robust and expressive singing from James on the bluesy opener, and “I Got The Will” follows with warm organ and playful trumpet complementing James’ rugged yet tuneful vocal acrobatics.

Deeper into Disc 1, “Running And Hiding Blues” displays swift keys and no shortage of rhythm alongside the strong singing, while “Something’s Got A Hold Of Me” benefits from spirited guitar work and jumpy keys in the gospel influenced climate.

The standout track, “Medley: At Last/Trust In Me/Sunday Kind Of Love”, then brings so many ideas to the thoughtful, emotive landscape that showcases just how talented James was at jazz sounds, too, and “Baby What You Want Me To Do (Encore)” exits the listen with a raw display of her meticulous delivery amid Claude Nobs’ sublime harmonica as James pays homage to Jimmy Reed.

The 2nd disc is a very rare recording of her first performance in Europe back in 1975, and starts with the gritty, playful and powerful “Respect Yourself”, and continues to the intimate and exploratory “Drown In My Own Tears”.

On the back half of the set, “I’d Rather Go Blind” is nothing short of sublime in its poetic delivery, and “Stormy Monday” exits the listen with an incredible vocal performance that alternates between soft and eloquent as well as ebullient, almost as if James is having a spiritual awakening on stage.

It is no stretch of the imagination to say that James is one of the all time greatest vocalists to have ever lived, and the documentation here certainly reinforces that as we’re treated to 3 decades worth of performances that no one will ever replicate quite like this.

Travels well with: Nina Simone- The Montreux Years; Dr. John- Gris-Gris

Nina Simone

The Montreux Years

BMG, 2021

9/10

Listen to The Montreux Years

The fans of Nina Simone won’t be disappointed in this double disc collection that offers 29 tracks recorded at The Montreux Jazz Festival from 5 performances spanning 4 different decades (1968, 1976, 1981, 1987 and 1990).

“Someone To Watch Over Me” starts the listen with sublime, intricate piano playing as Simone’s finger acrobatics are nothing short of fascinating, and “Backlash Blues” follows with her inimitable, soulful pipes taking help on light drumming and equally sparse bass.

Further on, “Stars” emits much beauty as a minimal approach is met with poetic singing/talking, while “African Mailman” turns the volume up with rumbling keys, quick drumming and wild percussion in the busy, cultured excitement. “No Woman No Cry” then puts a very fun spin on the classic as Simone retains the spirit of the original in her own version that has Paul Robinson on drums, Leopoldo Fleming contributing percussion and Alvin Schackman holding down guitar, vibraphone and synth.

Disc 1 ends with “Montreux Blues” and “My Baby Just Cares For Me”, where the former recruits well timed harmonica, firm keys and plenty of crowd participation, and the latter flows with swift and glorious musicianship that’s bouncy, memorable and will have you grinning ear to ear.

The 2nd disc is Simone’s 1968 concert in full, making it the first time it’s been available on CD. Armed with an exceptional band, the legend turns in fantastic renditions of “Gin House Blues” and “To Love Somebody”. The highlight from the set is the gospel fueled “I Wish I Knew How It Would Feel To Be Free”, though each song is truly great, as she spans pop, folk and jazz.

No one will ever play music like Simone and her activism has certainly inspired legions of others. This release captures her in fine form with excellent sound quality, and is absolutely a worthwhile chapter in her legacy aimed at the longtime fans, but wouldn’t be a bad starting point for the first time listener, too.

Travels well with: Etta James- The Montreux Years; Coniece Washington- Shades Of Shirley Horn

My Name Is Ian

Fantastic Company

Bubblewrap, 2021

9/10

Listen to Fantastic Company

The Cardiff, Wales stars My Name Is Ian return with yet another release, and this one took quite a bit longer to create as a large handful of singers, much production and a detour from their usual garage-pop ways keep the listener guessing as to what’s next.

The title track starts the listen with warm guitar picking and continues with both ‘70s influenced sort of grooves alongside modern indie-rock ideas that swirls with melody, and “What’s The Point” follows with a percussively strong display of cultured song craft that’s beat heavy and harmonica friendly.

Landing in the middle, “I’m On Top Of The World” flows with a breezy approach of cozy rhythm amid a chorus we’ll all remember from the mid ‘90s, while “For Love” buzzes with plenty of pop flavor that also flirts with disco ideas. “Never Again” then embraces hip-hop nods alongside cozy keys as playfulness and sophistication meet at a very interesting intersection.

Deeper yet, “Boop Boop” will get you headed straight to the dance floor with its infectious energy and hypnotic keys, and “Everybody Love” exits the listen with a glorious, soulful and addictive quality that you’ll be singing along to instantly.

There’s a lot going on here, so much so that easy classification is impossible, but expect electronica, rock, psyche-pop and folk traces, to name a few, to appear, as My Name Is Ian set off on a path that few others would dare, and that no one could execute quite like this.

Travels well with: Quiet Marauder- The Gift; Tele Novella- Merlynn Belle

Bizou

Tragic Lover

Self-Released, 2021

8/10

Listen to Tragic Lover

An outfit comprised of current and ex-members of Light FM, The Smashing Pumpkins and Glaare, Bizou mesh darker textures, plenty of synth work and shoegaze friendly guitars into a formula that dances around punk, New Wave, alt-rock and goth tendencies on this well done debut.

“Days Of Honey” starts the listen and wastes no time making an impression with its inviting buzzing and crisp drumming from John O’Reilly as Marisa Prietto’s flowing vocals add much to the dreamy, busy climate, and this formula continues to the more subdued and post-punk tinted “Tragic Lover”, which welcomes some spacey moments, too.

In the middle, “Delay” certainly could soundtrack a night at the club in the mid ‘80s with its gothic-pop traces, while “Glass Lips”, the album standout, benefits from Nicki Nevlin’s swirling guitar work and Josiah Mazzaschi’s bright synth amid a very meticulous delivery.

Closer to the end, “Orphan Lights” welcomes much atmosphere as a thicker presence tips it hat to legends like The Cure via punchy drumming, soaring vocals and dynamic interaction, and “Fascination” exits the listen shimmering with an angular quality that explores both lush moments as well as mysterious intimacy.

Sometimes on the haunting side and other times touching on brighter musicianship, Nicole Fiorentino contributes precise bass work and backing vocals, too, and together with the rest of the band Tragic Lover pieces together dream-pop, shoegaze and mid ‘80s post-punk in ways that might make you dig out your Siouxsie and the Banshees records.

Travels well with: Palm Ghosts- Lifeboat Candidate; The Psychedelic Furs- Made Of Rain

Tylor & The Train Robbers

Non-Typical Find

Self-Released, 2021

9/10

Listen to Non-Typical Find

The Idaho family band Tylor & The Train Robbers made me a fan with 2019’s Best Of The Worst Kind, and this follow up album certainly doesn’t disappoint either, as the 8 musicians explore classic country and modern Americana with much skill and timelessness.

“Equation Of Life” starts the listen with vivid storytelling alongside a very rural landscape of bouncy drumming from Tommy Bushman as well as agile pedal steel thanks to Brian Davies, and this formula follows to the upbeat and energetic “This Town”, as well as the sublime beauty of the calm “Worth The While”.

The middle of the listen offers the poetic and warm “Lemonade”, which shuffles with a very appealing form of Americana (and includes Bernie Reilly’s banjo solo) as frontman Tylor Ketchum showcases his inimitable pipes, while the first single, “Staring Down The North”, pairs his smooth singing with a crisp, country rock feel that’s full of gritty melody.

Close to the end the swift “Back The Other Way” displays intricate and flowing synergy between Johnny Pisano and Jason Bushman’s guitar and bass alongside Tommy’s exceptional drumming, and “Silver Line” exits the listen with fluid acoustic guitar amid well timed percussion and much eloquence in a very thoughtful finish to a career highlight record.

The band’s 3rd album and the only one that wasn’t recorded after playing the songs live for months during their hectic touring schedule, Non-Typical Find truly benefits from Jennifer Pisano Kethum’s strategic backing vocals and Cody Braun’s fiddle, mandolin, finger piano and tambourine contributions, too.

In the area of country, roots, Americana, and folk sounds, it just doesn’t get much better than this.

Travels well with: Mac Leaphart- Music City Joke; Justin Wells- The United State

Paul Weller

Fat Pop (Volume 1)

Polydor, 2021

10/10

Listen to Fat Pop (Volume 1)

The legend Paul Weller returns with his 16th solo album since 1992, where cancelled tour plans and a pandemic had Weller recording songs alone on guitar and piano, before sending them to his core band members to add their parts. Eventually, when restrictions were lifted, the band all met to finish the listen, and it’s one of the most diverse in Weller’s exceptional body of work.

Weller starts the listen with the buzzing sounds of “Cosmic Fringes”, where nods to ‘90s post-punk enter the synth-friendly melodies that are quite gritty, and “True” follows with several voices and warm brass entering a busy display of soulful, punchy pop-rock.

Moving along, “Glad Times” trims the pace back with soaring strings and a romantic climate of lush beauty, while “Cobweb/Connections” has Weller on acoustic guitar as his unmistakable voice guides the folk friendly atmosphere that benefits from graceful keys. “That Pleasure”, one of the album’s best, then takes nods to the ‘70s with its soothing backing vocals, stylish guitar work and laid back appeal.

Closer to the end, “In Better Times” pairs an emotional landscape with plenty of diverse musicianship that includes autoharp, organ, sax and many others, and “Still Glides The Stream” exits the listen with a very mature, and textured finish of sophisticated balladry that welcomes Hannah Peel’s string score.

Probably best known for his early years fronting the mod-punk outfit The Jam, Weller has covered so much territory in his lengthy career, and Fat Pop (Volume 1) contains some of his best work, which, of course, is no easy feat.

Travels well with: Joe Strummer- Dark Horse; Bob Mould- Blue Hearts

Carl Weingarten

Ember Days

Multiphase, 2021

8/10

Listen to Ember Days

The multi-instrumentalist Carl Weingarten made great use of his Covid shut-in time, where he created these 10 new instrumentals that are quite diverse, certainly fusion oriented and executed with incredible guitar playing.

“Round Robin” starts the listen with hypnotic guitar work as Weingarten mesmerizes us with his flowing skill that takes help from Kit Walker’s warm piano, and “Brother Mountain” follows with a very cautious and melodic display of nearly Americana but ambient textures where Pete Calandra handles piano and keys alongside Weingarten's dreamy finger acrobatics.

At the midpoint, “Goodbye Sun” brings wordless vocals from Tate Bissinger into a shimmering climate of soaring, sublime musicianship that’s certainly rock focused, while “Geola” is nothing short of beautiful in Weingarten’s divine, meticulous vision that touches on jazz. “Skying Out’, a very luminous track, then moves with a surreal, soothing appeal where gorgeous interplay emits a charming demeanor.

Near to the end, the meditative and reflective “A Solitary Interlude” captures much divine intimacy with Weingarten’s dobro, keys and guitar alongside Michael Manning’s fretless bass, and “What The Raindrop Saw (Cafe Mix)” finishes the listen with both Walker and Manning on piano and bass, as the acoustic guitars from Weingarten help texture the exit with much intrigue.

Active since the early ‘80s, Weingarten is also a photographer, filmmaker and film archivist in addition to being a current member of Blue Eternity, and he brings a wealth of ideas to this very eclectic effort that fans of guitar music and lush, instrumental sounds will enjoy.

Travels well with: Matt Smith- Being Human; Andrew Colyer- Mists Of Time

Matt Smith

Parlor

6 String Ranch, 2021

9/10

Listen to Parlor

There are plenty of prolific artists out there, but Austin producer and musician Matt Smith might be in a league all his own, as he released 8 albums in a single day in 2020. Parlor, the solo acoustic instrumental listen of the bunch, has Smith playing the entire album on a 1890’s Thompson and Odell parlor guitar that has seen 4 generations of his family.

“29th St. Rag” starts the listen with Smith’s versatile and complicated finger acrobatics flowing with incredible dexterity and melody, and this charming approach continues to the indeed bluesy spirit of “Blue As Blue Can Be”, as well as the pretty yet adventurous “Spring In My Step”.

Deeper into the listen, “Blues In The Parlor” displays incredible manipulation of the instrument in Smith’s inimitable vision, while “After The Goldrush” emits much warmth amid a graceful execution of sublime picking.

Further still, “Desert Meditation” brings both tense moments alongside a fascinating meticulousness, and the aptly titled “That’s All Folks!” exits the listen upbeat, playful and clever.

Recorded with a single guitar and on one take, Smith showcases an unparalleled mastery of the guitar here, and both composed and improvised pieces draw the listener into an experience you won’t find anywhere else and will want to revisit often.

Travels well with: Matt Smith- Being Human; Carl Weingarten- Ember Days

Matt Smith

Being Human

6 String Ranch, 2020

9/10

Listen to Being Human

A veteran musician from Austin, the guitar wizard Matt Smith rarely stays in one genre for very long, and his many albums have made him a loyal fanbase, which isn’t surprising if you spend anytime with Being Human.

“Sanctuary” starts the listen with plenty of mature melody as Smith’s gritty yet smooth vocals steer the playful keys from Tony Perrino and Brian Melick’s very precise percussion amid some version of folk-rock, and the title track follows with a very calm, delicate display of breezy bass work thanks to Ed Friedland as well as soulful backing vocals from Ange Kogutz.

Elsewhere, the swift and charged “I Got The Girl” thumps with some garage rock spirit as Smith’s pipes soar above searing guitar riffs and furious drumming, while “How We Got To Here” enters acoustic balladry, where much beauty enters the intricate guitar and agile percussion from Phil Bass.

Closer to the end, the thick and rugged “Down In The Hole” emits a powerful and firm variation of rock, and “I’d Do Anything For You” exits the listen with a jazz friendly climate that welcomes Shonna Skarda on backing vocals and Ed Gethard on Weissenborn.

Smith offers something for everyone here, and if you appreciate thoughtful, timeless song craft that’s capable of warm intimacy as well as more abrasive moments, you’ll enjoy every second of this diverse, exciting and infectious body of work.

Travels well with: Dick Aven- It All Started In The Garden; Colin Roy Monette- Lucky

Mortality

Mortality

Eclipse, 2020

8/10

Listen to Mortality

A very unique listen that meshes jazz and prog-rock, among other ideas, Mortality showcases the compositions of Tapio Ylinen, which are fleshed out by a handful of esteemed Finnish musicians.

“In Memoriam…part 1” starts the listen with a calm display of gentle guitar from Jere Haakana amid plenty of atmosphere and Aki Rissanen’s precise keys and well timed brass follow in the progressive flow of “In Memoriam…part 2”.

Halfway through, “Death’s Little Sister” glides with a dreamy climate of hypnotic guitar work, soulful keys and light drumming from Mika Kallio, while “Mortality”, the longest track, showcases Pauli Lyytinen’s agile saxophone alongside some timeless bluesy ideas.

Near the end, “Towards Dawn, part 2” radiates moody trumpet from Verneri Pohjola as a post-rock sort of charm unfolds, and “Towards Dawn, part 3” exits the listen with a firm, rock’n’roll pace that benefits from drum acrobatics, where a furious yet calculated free jazz exploration finishes the listen.

A debut for the supergroup, Mortality was conceived after Ylinen’s wife died in 2015, and thematically surrounds the limits of human existence. Musically, it’s quite gentle, optimistic and full of melodic interplay that’s sonically engaging, highly eclectic, and packed with fusion greatness that few could replicate.

Travels well with: Fifth Element- Fifth Element; Dan Rose & Claudine Francois- New Leaves

Andrew Colyer

Mists Of Time

Inner Nova, 2020

8/10

Listen to Mists Of Time

An award winning composer and pianist, Andrew Colyer pairs skilled piano compositions with plenty of atmospheric gestures across a dozen originals here, where his roots in classical and jazz sounds are in attendance, as is much creativity and adventurousness.

“Rain Notes: Storms” starts the listen with plenty of ambience as a soothing, nearly meditative quality enters amid Colyer’s well timed piano where the setting does indeed turn turbulent in the Brian Eno inspired landscape, and “Oliver’s Journey” follows with much beauty, as the delicate keys flow in and out of fascinating, soul stirring moments of grace.

Elsewhere, “Strings Of The Ocean” displays much improvisational skill amid a dreamy backdrop, while “Rain Notes: Forest” recruits a cinematic demeanor that’s almost got a sci-fi appeal in its exploratory nature. “Ghosts Of Aberfan”, a truly exceptional tune, then emits an emotional and complicated execution with just Colyer’s strong key acrobatics present.

Towards the end, “Overcoming”, another improvisational track, documents tension alongside a classically influenced climate, and the aptly titled “Serenity” exits the listen with the glorious piano playing mixed with percussive sounds and voices used like an instrument.

Inspired by the aforementioned Eno and names like Deuter, Oliver Prehn and Alex Wurman, Colyer brings us an exciting, unpredictable and enlightening experience, and it’s one that fans of labels like Navona or New Focus should definitely explore further.

Travels well with Casey Gibson- Piano Music; Stanley Grill- Remember

Lady Dan

I Am The Prophet

Earth Libraries, 2021

9/10

Listen to I Am The Prophet

The recording moniker of Austin’s Tyler Dozier, this debut album puts a psychedelic and country slant on modern indie-rock as the songstress thematically broaches feminist empowerment, biblical imagery and the human experience, while a handful of friends lend a hand on instrumentation.

“Paradox” starts the listen with bright, smooth singing as warm guitar and Eddy Dunlap’s sublime pedal steel complement the breezy melody, and “Dogs” follows with an initially more bare approach that’s percussively strong thanks to Jeremy Clark, where Dozier’s expressive pipes float amid some atmosphere.

The title track lands in the middle and displays Dozier’s poetic formula that’s as thoughtful as it is articulate and showcases Aksel Coe’s restrained drumming and Laura Epling’s sublime violin, while “Intro To Loss” brings orchestral strings into the gracefulness, where Ian Robinson’s precise cello adds much to the brief instrumental. “Misandrist To Most”, an album standout, then recruits a danceable spirit that even enlists twang into the adventurous landscape.

Deeper into the listen, the surprisingly upbeat “Drink Your Sorrows” is on par with today’s version of indie-rock alongside some chamber rock nods, and “Left-Handed Lover” exits the listen with much beauty packed into the dreamy, swirling climate that even integrates subtle sax from David Williford.

Often intimate, always creative and with traces of melancholy present, Dozier has lived a complicated life that began in Alabama in a very strict, religious environment. After high school, she was able to loosing the hold that religion held on her, and this absence of faith allowed her to grow into the songwriter that she is today, which, as evidenced by this very striking first record, is one that we should all be familiar with.

Travels well with: TC Superstar- Double Release; The Building- Petra

Emily Davis And The Murder Police

Never A Moment Alone

Self-Released, 2021

10/10

Listen to Never A Moment Alone

An outstanding sophomore album, El Paso’s Emily Davis And The Murder Police address plenty of relevant political/social topics here as they buzz through loud and soft landscapes of very heartfelt, poetic and engaging song craft that meshes the best parts of ‘90s alt-rock, modern punk and timeless folk-rock.

Davis makes a sizable impression right off the bat with the warm strumming and busy alt-country grit of “Artificial Happiness”, where her inimitable singing aligns well with the charged climate, and “God Hates Flags” follows with a swift display of folk-punk that soars with insightful wordplay and a whole lot of sincerity.

Moving down the line, “Don’t Make Me A Promise” moves quickly and with no shortage of melody, where intricate guitar work and drumming acrobatics fuel the very precise delivery, while “Mitosis” embraces some pop ideas amid sing-alongs and even a dance friendly spirit to the indie-rock influenced climate. “Semicolon”, one of the most tame tracks, then displays much beauty as soothing acoustic guitar and pretty, versatile singing shows us another avenue of their talent.

At the end, “Space Cadet” finds the perfect balance between harmony and firmness in its multifaceted approach, and “Apartment Homes” exits the listen initially bare before building into a cathartic and powerful finish of dynamic song craft.

If there’s been a better record released this year, I haven’t heard it. Davis and Jorge Torres (guitar, backing vocals), Jose Macias (bass, backing vocals) and Tomas Tinajero (drums, backing vocals) create incredible, thoughtful and exciting music that’s suitable for the pit just as much as when you just want to mull things over, and somehow manages to get better with each listen, too.

Travels well with: The Cranberries- In The End; Ross Ingram- Sell The Tape Machine

Dobet Gnahoré

Couleur

Cumbancha, 2021

10/10

Listen to Couleur

The Grammy winning artist Dobet Gnahoré returns with a 6th album recorded in Africa during the pandemic, where she celebrates local talent, women’s rights, and qualities like creativity and positivity, which have been very much needed during these troubling times.

“Désert’ starts the listen with a mesmerizing guitar line as Gnahoré’s fascinating and soothing vocals guide the cultured rhythm and warm melody, and “Léve-toi” follows with playful drumming and soaring vocal acrobatics as the beat driven track unfolds with both playfulness and exploration that welcomes Yabongo Lova.

Near to the middle, “Rédemption” pairs Gnahoré’s expressive pipes with pretty guitar playing that traces back to her singer-songwriter roots, while “Wazil” is a percussively strong and dynamically flowing album highlight that will certainly get your body moving to the frisky climate. “Vis Ta Vie” then heads straight to the dance floor with its French sung, pop friendly atmosphere.

Landing near the end, “Ma Maison” offers a cozy and upbeat display of world music ideas and smooth grooves that are just so charming they’ll appeal to you no matter where you reside on the globe, and “Mi Pradjó” exits the listen with an uncontainable energy that showcases Gnahoré’s incredible range alongside stylish backing vocals and a lively pulse.

Certainly more Afro-pop oriented than her previous work, Gnahoré offers a powerful, optimistic and colorful peek into some of the most exceptional talent alive today, where electronica, hooks, and mature, very eloquent songwriting shines from beginning to end.

Travels well with: Sarazino- Mama Funny Day; Lakou Mizik- HaitiaNola

Lanterna

Hidden Drives

Badman, 2021

9/10

Listen to Hidden Drives

The recording moniker of Champaign, Illinois resident Henry Frayne, as Lanterna he returns with a 7th album where he focuses heavily on guitar and synthesizer and brings songs that are resurrected from decades past and finished off with his very unique formula of Americana, psychedelic and ambient texturing.

“Aix” starts the listen with plenty of atmosphere as tension and melody are manipulated with both grace and adventurousness in a post-rock sort of way, and this calculated approach continues to the warm electric guitar and playful drumming of the title track.

There’s 15 tracks here (5 of which are remixes), which may seem like a lot for an instrumental record, but the amount of diversity present gives each one its own identity. Middle tracks like the flowing beauty of “Chagrin Boulevard” and the percussively strong and thumping “Aqueduct” won’t go unnoticed, nor will the shimmering, dreamy atmosphere of the album highlight, “Nice”.

Further still, “Maine 262 (Appleton Ridge)” makes great use of acoustic guitar and charming electronica in the absorbing strummer, and “Muscle Ridge (Channel)” exits the listen amid cascading waves of soulful, glorious and highly technical song craft.

Formerly of the bands The Moon Seven Times, Lodestone Destiny and many more, Hidden Drives was actually conceived during Frayne’s cross country commuting, and it certainly could soundtrack a lengthy drive across an endless expanse, and played alongside Explosions In The Sky or Mogwai.

Travels well with: The Royal Arctic Institute- Sodium Light; El Ten Eleven- Transitions

Apollo Chamber Players

Within Earth

Navona, 2019

8/10

Listen to Within Earth

A Houston string quartet with an immense amount of talent, here the Apollo Chamber Players continue their 20x2020 project with 3 multicultural tunes plus a modern work by Alexandra Du Bois.

“String Quartet No. 6” starts the listen with quaint strings that quickly turn dramatic as violins, viola and cellos dance around each other fluidly with Brazilian nods, and “Four Dreams” follows and unfolds with a cinematic quality where mystery and intrigue are both in attendance in spades as Whitney Bullocks’ viola steals the show.

The back half includes “May (Cloud)”, which gets eerie with a dan bau that brings an Asian influence, and “Within Earth, Wood Grows” ends the listen with manipulated space and tension that soars with subtle power.

An extremely ingenious project, the 20x2020 idea is expertly crafted here, as the Apollo Chamber Players prove again that their unique vision comes with boundless skill.

Travels well with: Anthony Brandt- Maternity/Ulysses, Home; Mikarimba- Tapereba