Kristen Grainger & True North

Ghost Tattoo

Self-Released, 2020

8/10

Listen to Ghost Tattoo

A very impressive ensemble here, Kristen Grainger brings her strong vocal prowess as multi-instrumentalists Dan Wetzel, Martin Stevens and Josh Adkins hold down mandolin, fiddle, guitars and vocals on this bluegrass, country, folk and Americana friendly record.

Grainger and company don’t waste anytime drawing us in with their mandolin acrobatics, warm melodies and expressive singing of “Keep The River On Your Right”, and “Jeremiah’s Tree” continues the setting with smooth, pretty vocals from Grainger that glides with pop-folk elegance, as does the exceptional storytelling and precise fiddle of “Tattooed Love Song”.

In the middle, “Ghost Of Abuelito” offers sublime guitar playing in a swift environment of beauty though the subject matter is weighty, tackling children being held at the US/Mexico border, while their interpretation of “When No One’s Around” is a duet that’s both playful and charming with incredible harmonies. “Wishes & Dreams”, one of the album’s best, then recruits meticulous instrumentation alongside some of Grainger’s best vocal work amid incredible picking.

Near the end, “Lonesome L.A. Cowboy”, the 2nd cover, moves with a swift display of bluegrass ideas and banjo fun, and “She Flies With Her Own Wings” exits the listen with a gorgeous delivery of Americana influenced intimacy.

In addition to the esteemed line up, Cameron Elmore and Dale Adkins make appearances on bowed bass and banjo and guitar respectively, which only adds to the timeless, thoughtful and memorable quality of this 6th album from Kirsten Grainger & True North.

Travels well with: Seamus Egan- Early Bright; Bradley & Adair- Oh Darlin

Buzz Cason

Buzz Cason & Sons: 2020

Arena, 2020

8/10

Listen to Buzz Cason & Sons: 2020

The legendary Father of Nashville Rock, Buzz Cason returns with 11 new recordings, where his musical offspring, Parker and Taylor, help him flesh out the type of song craft that can’t fit easily into any timeframe or genre.

“Montana” starts the album with retro-rock fun where acoustic guitars and smooth vocals are surrounded by spirited riffage and a classic atmosphere, and “Why” continues the soothing environment with elegant vocals as the dynamic chemistry from his sons shines through.

Near the middle, “Teardown Anthology” recruits harmonica in the grittier approach of precise guitar and warm rhythm, while “Hardscuffle” makes even better use of the harmonica with a bit of country flavor. “Let Me Be”, one of the album’s best, then stays bare with a poetic quality to the universal folk beauty that transcends time.

At the end, the exceptional saxophone of “Soldier Of Love”, a tune covered by many household names, adds a bit of elegance to the sublime climate that gets soulful, and “Touch Me” finishes the listen on the softer side of the equation where Cason’s incredible songwriting seems as potent now as it did 5 decades ago.

A record that’s as fun to listen to as it was to make, there’s a reason why legends like Pearl Jam, The Beatles and Dolly Parton have all recorded songs by Cason, who had his first hit in 1960, and at 80 shows no signs of slowing down with this exceptional record.

Travels well with: Donnie Fritts- Oh My Goodness; Jesse Dayton- The Outsider

Rolie Polie Guacamole

Avocado

RPG, 2020

9/10

Listen to Avocado

The Brooklyn kindie-rock outfit Rolie Polie Guacamole return with their 7th album, and much like their entire catalog they offer kid focused and parent friendly tunes with a mix of originals and covers that are instantly enjoyable and dripping with charm that often points toward the sounds of the ‘90s.

The title track starts the listen with warm acoustic strumming, as the sole lyric, the word avocado, is repeated with plenty of emotion and melody in its ‘60s influences, and “Ay Batta Batta”, a song about baseball, follows with a jackhammering approach of furious drumming before moving into rhythmic and synth friendly setting of prog-rock sensibilities.

An extremely fun listen, deeper tracks like “Dancing On The Sun” bring soulful textures, along with storytelling that shifts the pace into ultra quick folk-rock, while “A Very Quiet Song” is indeed softer, where harp sounds flow amid whispered singing. “Pizza Pie”, one of the album’s best, then pairs a bouncy spirit with participation from kids on a tune that’s as universally enjoyable as pizza itself.

Close to the end, the elegant folk qualities of “Sammi The Cat”, that’s entirely spoken word, except for the singing of ‘meow’ during many points of the song, is purrfect for the feline lovers, and the last full tune is their frisky interpretation of “Jingle Bells”, which might be the most playful version to date.

Frank Gallo and Andrew Tuzhilin, the founders of the band, along with their esteemed players, bring folk, rock, rap and even funk into this varied and often upbeat career high where the legendary producer Steve Albini even lends a hand. Rolie Polie Guacamole have won a handful of awards in the area of kindie-rock, and Avocado is likely to grab a few more with its timeless approach and immediately enjoyable song craft.

Travels well with: Moozikia!- Moove To The Moozika! The Green Orbs- Thumb Wrestling Champions

Princess Thailand

And We Shine

A Tant Réver du Roi, 2020

9/10

Listen to And We Shine

A very strong sophomore album from a French 6 piece, Princess Thailand bridge noise and pop with plenty of punk and no wave undertones on the 7 tunes here, where they even manage to reel in a flute amid the intensity.

The album gets off to an enticing start with the firm drumming and ‘80s post-punk nods of “First Time”, which reminds us of all the things we love about Siouxsie Sioux, and the energy continues with the fuzzed out New Wave prowess of the angular and rhythmic “Sonar”.

A record where every song is your favorite, “Now/Where” moves with an initially moody, languid appeal that bursts into dissonant noise-rock that’s still friendly with melodies, while “We Shine” takes a prettier approach with angelic singing that shifts into forceful rock near the end.

Deep cuts like “Night After Day” bring a bit of mystery with its dark melodies, thumping percussion and anthemic quality, and the buzzing synth of “Into Her Skin” finishes out the affair quieter but no less powerful in its gritty execution.

If genres like post-punk, ‘80 New Wave and indie-rock on the more abrasive side of the spectrum are in your interests, Princess Thailand are an outfit you should be familiar with, as this 2nd album is nothing short of exhilarating.

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

Maze & Lindholm

A River Flowing Home To The Sea

Bedouin, 2020

8/10

Listen to A River Flowing Home To The Sea

The very unconventional brussels duo return with a sophomore album where every sound created on the record came from wood or metal materials, and the sonic climate moves with a meditative flow that surrounds themes of letting go and moving forward.

“There’s A Room For You” starts the album with much attention to mood as light textures surround ambient sounds, and “Racing, Chasing, Hunting” continues the climate with a mild sci-fi feel in the strategic manipulation of space where repetition is turned into a refined science.

The back half offers the of “All Under Heaven Rests”, where an ominous environment benefits greatly from Maze’s well timed bells, and whispered vocals from Stuart Argabright add a cryptic quality, and “The Uncut Wood” exits the listen with mysterious intimacy in its soft yet agile exit.

Maze & Lindholm made quite an impression with 2018’s Where The Wolf Has Been Seen, and here their sonic ingenuity only appears to be flourishing across these very innovative 5 tracks that really pushes the boundaries tranquil, ambient landscapes.

Travels well with: Orphan Swords- Sublimation; Laguerre/Noetinger- DnT

Bedroom Ceilings

Another Bulb Burned Out

Self-Released, 2020

8/10

Listen to Another Bulb Burned Out

A Michigan duo made up of Ben Steer and Dean Chittenden, as Bedroom Ceilings the pair bring indie-rock, folk sensibilities and even some mild Americana into a concept album about a character stuck and unsure, who then grapples with achieving peace in today’s world.

“Spotlight Station” starts the album with a brief bit of background talking and light Rhodes before the acoustic guitar fueled and distinct vocals of “Well-Designed Robot”, where gentle percussion enters the quirky, folk-rock tinted tune.

At the halfway point, “Spring Grass” moves with a quick pace of bouncy alt-country spirit as playful piano makes an impression, while “Journal Entry: A Dream” offers warm melodies in a very modern indie-rock atmosphere.

The album ends with some of the best tracks, including the chamber-pop prowess of “Clairvoyance Is Never Simple”, and the precise “Une Sortie D’ urgence”, where lap steel and piano work together with incredible poise.

A well thought out and sometimes intimate sophomore album, though Bedroom Ceilings were previously indebted to lo-fi and dream-pop sounds, here they’re more steeped in folk-rock, often times bringing to mind the greatness achieved by Bright Eyes. These two clearly work very well together, and appear to be carving out a very comfortably to reside in today’s indie-rock scene, as evidenced by this careful and creative effort.

Travels well with: Conor Oberst- Salutations; Alvvays- Alvvays

Hermetic Delight

F.A. Cult

October Tone, 2020

8/10

Listen to F.A. Cult

A French outfit whose love for legends like Depeche Mode, Bauhaus, and Wire is quite apparent here, Hermetic Delight come through on this first album where pop and light textures invade their historically dark ideas as post-punk, New Wave, and dream-pop moments are all in attendance.

“Glassdancers” gets the album off to a hazy start with plenty of pop melodies invading the ‘80s presence and bright synth, and “Rockstarian” continues the dreamy setting with a swift pace of tuneful post-punk where soaring vocals bring us back to the best days of the genre.

An album with absolutely no filler, middle tracks like “Le Parfum de la Nuit” recruit psychedelic influences to the sparkling setting, while the angular approach of “Holy Sister” offers a darker quality amid flowing instrumentation. “A Void”, an album standout, then pushes and pulls with creative tension that sits on the cusp of space-rock and New Wave.

The final two songs are also high points, where “Common Love Square” touches on shoegaze in its surreal approach, and ‘How High Is Your High?” finishes out the listen fully immersed in pretty dream-pop as strong vocal work from Zeynep Kaya guides the ethereal exit.

A decade is a long time to play in band before releasing an album, but in the case of Hermetic Delight it sure was worth the wait, especially if bands like Cocteau Twins or My Bloody Valentine mean anything to you.

Travels well with: Cosse- Nothing Belongs To Anything; VvvV- The Wreck

Bob Gluck

Early Morning Star

FMR, 2020

8/10

Listen to Early Morning Star

The esteemed pianist Bob Gluck is in fine company here, as Andrea Wolper, Kinan Azmeh, Ken Filiano, and Tani Tabbal all contribute their respective talents on a very open minded version of jazz that rarely sits in one place very long, and is constantly shifting in tone, tempo and mood.

“A Time Of Singing” starts the listen with Wolper’s vocal acrobatics alongside proficient keys and well timed percussion that propels the opener into experimental jazz territory, and this creativity leads into the nearly operatic title track, as well as the Azmeh’s energetic clarinet prowess on the busy, tumbling “Emerge-ency”

In the middle, “For Today” stays bare with just Gluck’s keys offering much beauty and playfulness, while “Friday Song” delivers a bit of tension under a current of multifaceted jazz sensibilities that’s anchored by Tabbal’s sharp drumming. “Never Ceasing”, one of the album’s best, then pairs crashing percussion with low keys as Wolper’s strong vocals are on full display.

“Today Today” and “Tzur Mishelo/Los Bilbilico” end the listen, where the former makes great use of clarinet as well as Filiano’s deft bass playing before the rest of the ensemble join in, while the latter glides with mystery in the cultured, rich, mash up finish.

This is Gluck’s 11th album, and the themes of social justice and improvisational interplay make it one of his best to date. Fans of jazz music that colors outside the lines and is brimming with dynamic musicianship will want to spend quality time with Early Morning Star.

Travels well with: Madre Vaca- Winterreise; John Finbury- Quatro

Teghan Devon

Little Lion

Self-Released, 2020

10/10

Listen to Little Lion

A quickly rising songstress currently living in Boston, Teghan Devon pens an EP about her best friend, her 13 year old yellow lab, Sarge, who passed recently, and like any great musician she has transformed her immense grief into incredible art, as the 4 tunes here touch on the universal feelings of loss, anger and disbelief.

The title track starts the listen with warm acoustic guitar as Devon’s intimate vocals deliver vivid storytelling as Cynthia Tolson’s violin complements the emotive landscape, and “I Believe In Heaven” follows with keys, a shaker and synth in the pretty yet heartbreaking atmosphere, where, when she sings that she believes in heaven cause she has to, cause without a heaven there’s no seeing Sarge, it’s so moving it’s likely to make anyone tear up.

The back half of the listen offers the louder “Grieving Fire”, where Reed Johnson’s plucked upright bass and Colin Jalbert’s frisky drums make for a playful moment of folk-rock, while “Maybe Then” exits the listen bare with piano and gentle guitar alongside Devon’s expressive pipes in an absolutely stunning display of indie-folk beauty.

Devon has already made a name for herself by being a finalist at multiple esteemed songwriting contests, and she’s even got a strong debut album on her resume already. An absolute must hear record for anyone whose love for their pets is immeasurable, If there’s any justice, judging by the top notch song craft here and her flawless delivery Teghan Devon is a name that we’ll all be hearing more about very soon.

Travels well with: Sarah Morris- All Mine; Mary Lambert- Grief Creature

Brent Amaker Deathsquad

Hello

Self-Released, 2020

8/10

Listen to Hello

Formerly aligned with The Rodeo, these days Brent Amaker is playing with Darci Carlson, Nozomi Momo, Bryan Crawford, and Izzie White, as the ensemble tweak the artistic country western performance art he’s made his name on.

The title track starts the listen with Amaker’s signature deep vocals as the music remains bare and country western influenced and just sounds like it would soundtrack a languid horse ride, and “Man In Charge” follows with whispered singing from Carlson in a mysterious setting of dark, almost cinematic sounds where reverb is in attendance.

Halfway through, the smooth strumming and galloping energy of “Burn” is an album highlight, while the raw “Rain” is a sparse cowboy anthem. “Let Me Out” then moves swiftly and with firm percussion from Momo as Amaker’s pipes show much range.

Near the end, “The Passenger”, an Iggy Pop cover, bounces with a punchy spirit as dual gender vocals contrast between low and sweet, and “Death Spiral” finishes off the listen with an ultra quick dusty rocker that just might be the most quintessential Amaker tune- playful, clever and timeless.

Amaker has always held an iconoclastic view of country music, and that tradition continues here as his new band find all sorts of creative ways to manipulate classic sensibilities with unconventional yet exciting twists.

Travels well with: Robbie Fulks & Linda Gail Lewis- Wild! Wild! Wild!; Brent Amaker And The Rodeo- Please Stand By

Larkin Poe

Self Made Man

Tricki-Woo, 2020

9/10

Listen to Self Made Man

It’s been an impressive decade for the sister act Larkin Poe, who have found themselves Grammy Nominated while also releasing a handful of widely praised records, Self Made Man, the 5th album from the Lovell sisters, again showcases their multifaceted version of rock, where their respective instruments shine in the eclectic and unpredictable environment.

The title track starts the listen with thick guitars as strong, soulful vocals enter the riff heavy setting, and “Holy Ghost Fire” continues the mood with spirited guitar work and crisp percussion in the rhythmic atmosphere that takes firm nods to classic rock.

Further along, Tyler Bryant is on hand for the southern rock and gospel influences of “Back Down South”, while the playful “God Moves On The Water” is one of the album’s best that glides with a snappy feel of rugged melodies and thriving roots rock. “Scorpion”, another stand out tune, then thumps with bluesy feelings amid some of the most fluent singing and strategic twang.

Close to the end, “Ex-Con” moves with a calmer pace of Americana and county tinted beauty, and the swift, dance friendly “Easy Street” exits the listen with charming honky tonk flair you won’t forget anytime soon.

These young ladies just keep making one fantastic record after another. Their talent appears boundless, and their storytelling abilities seem wise beyond their years. If you haven’t familiarized yourself with Larkin Poe’s thoughtful brand of rock, you may as well start here as you’ll be hard pressed to find anyone else doing it better.

Travels well with: The Devil Makes Three- Chains Are Broken; William Elliot Whitmore- Kilonova

Kenny 'Blues Boss' Wayne

Go, Just Do It!

Stony Plain, 2020

8/10

Listen to Go, Just Do It!

The veteran artist Kenny Wayne sure knows a thing or two about the blues, and here he offers us 13 originals, including a pair of Percy Mayfield tunes arranged by him, as well as one by JJ Cale.

“Just Do It!” starts the listen with plenty of energy as soulful vocals from Dawn Watson and playful rhythms populate the funky setting, and this continues to the smooth, flowing melodies of “You Did A Number On Me”, as well as the key heavy atmosphere of the charming “Sittin’ In My Rockin’ Chair”.

In the middle the swinging fun of “Motor Mouth Woman” is certainly one of the album’s best, although the funky ideas and organ fills of “I Don’t Want To Be President” are a close second. Elsewhere, the harmonica prowess of Sherman Doucette on “They Call Me The Breeze” is immediately memorable.

Close to the end, “That’s The Way She Is” moves with a bluesy flavor of timelessness, and “Let The Rock Roll” exits the listen busy, highly tuneful and full of enticing instrumentation as acrobatic keys lead the way.

Wayne has been the recipient of a Juno Award, and now in his mid ‘70s, his skills don’t seem to be diminishing as he proves just why he’s considered one of the masters of modern day blues and boogie-woogie.

Travels well with: Diane Schuur- Running On Faith; Rick Vito- Soulshaker

Nate Lee

Wings Of A Jetliner

Adverb, 2020

8/10

Listen to Wings Of A Jetliner

An esteemed artist in the area of bluegrass, the always impressive Nate Lee returns with an all star cast as they help him flesh out several original instrumentals, as well as 7 vocal tunes where the band reinvent work from an eclectic bag of classics.

“Wonderbat” starts the listen with acrobatic mandolin from Lee as banjo from Ned Luberecki complements the swift bluegrass setting well, and this continues to the soulful vocals and rural melodies of “Tobacco”, where Becky Buller’s fiddle and harmony vocals add much to the climate.

Further on, “Somewhere Far Away”, a sweet ballad, displays Lee’s strong vocal prowess amid fluent banjo work, while the aptly titled “Serenity” brings precise string work as the bass, guitar, fiddle, mandolin and banjo all work together in the dynamic, Grisman-Rice inspired landscape. “Miner’s Grave”, one of the album’s best, then uses mood strategically as Daniel Salyer offers harmony vocals on the stirring execution.

Deeper in the affair, “The More I Pour” flows with an old time, western swing feel and “Love Medicine” exits the listen with precise picking in the modern bluegrass exit you won’t forget anytime soon.

Lee has kept busy in recent years playing in the Becky Buller Band, but let’s hope he still finds time for solo work as his craft yields a very compelling formula of folk, bluegrass and retro sounds the illuminate his sharp songwriting perfectly.

Travels well with: Chris Jones & The Night Drivers- The Choosing Road; Balsam Range- The Gospel Collection

Samoa Wilson With The Jim Kweskin Band

I Just Want To Be Horizontal

Kingswood, 2020

8/10

Listen to I Just Want To Be Horizontal

Samoa Wilson and Jim Kweskin have been collaborating for a decade now, and here with a 9 piece ensemble the pair bring jazz, blues, Americana and all sorts of nostalgic sounds that are showcased with incredible skill on this lengthy and varied effort.

“After You’ve Gone” starts the listen with both Kweskin and Wilson taking turns on vocals as brass and guitars both contribute greatly to a tempo shifting delivery of smooth, timeless sounds, and “(I Just Want To Be) Horizontal” continues the setting with soft, expressive vocals from Wilson on the old time feeling track that sounds like it could emanate from an old radio.

Closer to the middle, “Inch Worm” does some poetic math in a sublime atmosphere that brings in a mandolin, while “That’s Life I Guess” has Kweskin taking the lead on vocals on a tune that seems like it could soundtrack a speakeasy in the ‘20s. “Our Love Is Here To Stay”, one of the album’s best, then offers warm melodies and dynamic instrumentation that’s certainly retro and unfolds in a very inviting fashion.

Deep into the listen, “He Ain’t Got Rhythm” recruits plenty of rhythm on the swift, upbeat piano fueled tune, and “Someone Turned The Moon Upside Down” exits the listen with soothing balladry, where soulfulness is on display in spades on a classic that Tony Bennett recorded in the ‘50s.

A listen that appears like it could have been birthed in New Orleans or Nashville, amazingly, Kweskin is 80 years old, but is clearly as spry as ever, as the pair focus on the work of Billie Holiday and Teddy Wilson that was recorded in the ‘30s, and they reinvent it with flawless results.

Travels well with: Ian & Sylvia- The Lost Tapes; Pokey LaFarge- Rock Bottom Rhapsody

Julio Botti

Pure Tango

Zoho, 2020

8/10

Listen to Pure Tango

An album that culls songs that Julio Botti and pianist Matias Lanfranco’s performace in Argentina in 2018, Pure Tango brings in tunes from that set, which happened to be the last time that Botti’s mother saw him play as she passed away shortly after the concert.

“Taquito Militar” starts the listen with dancing keys and flowing brass from Botti with births a lively yet elegant opening, and “Cualquiera De Estas Noches” continues the sophistication with spirited vocals alongside warm instrumentation and a romantic setting

Further along, “El Último Café” brings a bouncy atmosphere that’s complemented by soaring singing from María José Rojas, while “Oro Y Plata” recruits strong percussion and skilled saxophone prowess on one of the album’s best. “Nostalgias”, another strong track, then moves with a soft and dreamy quality, where beautiful interplay between the musicians illuminates the Pablo Ziegler arrangement.

Deeper into the affair, “Recordando”, a song that reminds Botti of his mother’s house, resides close to ballad territory, and glides with a more bare approach that’s no less powerful, and “Nunca Tuvo Novio” exits the listen awash in timeless tango sensibilities as the pair illustrate sublime chemistry.

A very personal listen that ultimately unfolds like a tribute to Botti’s mother, Lanfranco mixes his traditional tango background with Botti’s modern jazz prowess with stunning results on this glowing collaboration.

Travels well with: Pablo Ziegler Chamber Quartet- Radiotango; Julio Botti- Jazz Tango Fusion

Encore

Autobahn

Machette, 2020

8/10

Listen to Autobahn

An impressive duo from France comprised of Clément Chanaud-Ferrenq on drums and Maria Laurent handling keys, as Encore the pair bring a diverse set of influences to a template that embraces rock, dance, and electronic sounds with much creativity.

Even though there’s just 5 tunes and none surpass 4 minutes, Encore make the most of each selection, strategically starting with club friendly beat of the soothing yet playful “Bleu Polo”, which is complemented by the bouncy tempo and fuzzy synth of “Glue”.

The back half of the EP offers the atmospheric “Illusion”, where mystery and a darker quality invades the instrumental environment, while the energetic “Laser Blitzer” pulsates with a video game-esque approach as post-punk nods are also along for the buzzing ride.

A fluid listen that runs the gamut of sounds that can get your body moving, Encore don’t stay for a long time here, but it sure is a good time and one that you’ll want to revisit again and again.

Travels well with: Benjamin Shoos- Doubt In My Heart; Camilla Sparksss- Brutal Remix

Cosse

Nothing Belongs To Anything

A Tant Réver du Roi/Grabuge, 2020

9/10

Listen to Nothing Belongs To Anything

A Paris quartet who are very much in tune with some of the best music to come out of U.S. from the mid ‘90s, Cosse offer us 5 tunes here where parallels to legends like Sonic Youth or Slint aren’t too far off.

The curious album leads with the atmospheric “Welcome Newcomers”, where shimmering post-rock ideas are met with a post-punk quality as darker moments of loud versus soft dynamics are present, and “Pin Skin” continues the trend with a jagged, subdued delivery that builds into a dense execution of crashing percussion and noisey guitars before retreating back to calm.

The back half of the listen is equally inviting, including the meticulous “Seppuku”, that can get both quaint and pretty as well as intense and dynamic with its superb playing, and “The Ground” exits the listen with a turbulent display of angular guitar work that eventually works its way up to a screechy, sonically challenging finish to a blistering, captivating effort.

Amazingly, this is Cosse’s first EP and it’s nothing short of fascinating. If bands associated with the Touch and Go record label or the 2nd wave of early ‘90s emo still resonate with you, Cosse will be your new infatuation.

Travels well with: Unwound- Repetition; Shellac- 1000 Hurts

Mark Bumgarner

Just Above The Waterline

SJ21, 2020

10/10

Listen to Just Above The Waterline

A veteran musician who was formally in Jubal Foster, on his own the North Carolina resident Mark Bumgarner continues the thoughtful formula of his previous band, where strong singing and top notch guitar playing help cover 20 years of his life with Just Above The Waterline.

The title track starts the listen and wastes no time reeling us in with Bumgarner’s warm, expressive singing as Americana tinted song craft unfolds with beauty and flowing melodies, and “My Cross To Bear” continues the setting with a swift pace of intricate guitar work alongside lush instrumentation.

Halfway through, “Rise And Shine” resides in ballad territory as the emotive landscape is filled with sublime songwriting where an organ makes a big impact, while “By The Fifth Swing In” gets playful with quick strumming as folk ideas are in attendance. “Goodbye Blues”, one of the album’s best, then soars with a subdued display of timeless skill that’s delivered with a heartfelt approach.

“You Live And You Learn” and “Two Story Town” bookend the listen, where the former recruits some honky tonk qualities into a piano friendly climate, and the latter exits with a danceable pace of rural, barnyard fun.

This is Bumgarner’s 3rd solo album, and, if after listening to it you don’t feel compelled to track down his first 2 albums, well, you just aren’t listening close enough as he’s one of the best in today’s thriving Americana scene.

Travels well with: John Baumann- Country Shade; Tessy Lou Williams- Tessy Lou Williams

Eric Hutchinson

Class Of 98

Let’s Break, 2020

9/10

Listen to Class Of 98

If you’re a sports fan, you may have already heard Eric Hutchinson’s work on ESPN’s Fantasty Focus Podcast, and here the veteran singer-songwriter pens an alt-rock inspired peek back to his high school days in Maryland.

The aptly titled “Rock Out Tonight” starts the listen with spacey synth with power-pop tendencies illuminating the bouncy, melodic flow, and “Cooler Than You” continues the energy that clearly points to the ‘90s with its gritty yet tuneful approach that would be complemented well by an early Weezer album.

Further on, the guitar focused “Good Things Come” brings some of the strongest singing in a swirling haze of power and melody where there’s no shortage of riffs, while “Sweet Little Baby Rock N Roller” turns the rock dial all the way up with some nods to the blues, too.

Some of the best tracks reside near the end, including the busy, more forceful “If They Don’t Care (Then We Don’t Either)”, and the more abrasive, punk tinted “Whether I Like It Or Not” exits the listen lyrically with all the hallmarks of high school- turbulence, hope and acceptance.

An album of suburban adolescent anthems, no matter what your high school experience was like, you’ll find something to relate to here. Had this been released in 1998, there’s little doubt that Hutchinson would have seen rotation between Fountains Of Wayne, Green Day or Oasis, and the well thought out and exceptionally executed record sounds just as good today as it would have in the ‘90s.

Travels well with: Kali Masi- Wind Instrument; Pyjamarama- Simple Living

The Niro Featuring Gary Lucas

The Complete Jeff Buckley And Gary Lucas Songbook

Esordisc, 2019

8/10

Listen to The Complete Jeff Buckley And Gary Lucas Songbook

For the first time ever, we get all the songs penned by Jeff Buckley and Gary Lucas in one place, plus 5 never officially released tunes from 1991-1992 that were birthed during a 10 month prolific writing spree.

“No One Must Find You Here” starts the listen with fluid guitar picking from Lucas that gets a bit cosmic as the setting becomes dreamy with smooth vocals, and “Story Without Words” follows as swift instrumentation builds into a full rocker with lush tendencies.

Deeper into the listen, “Bluebird Blues” does bring some blues spirit amid a soulful setting, while “Distortion”, one of the album’s best, recruits a quick delivery of fuzzy rock.

Near the end, “Harem Man” trims the pace back to groove friendly and agile, and “Malign Fiesta (No Soul)” offers a buzzing display of nearly alt-rock pummeling. “Grace”, one of Buckley’s most well known tune, ends the listen with acoustic strumming alongside expressive vocals that reminds us of just how brilliant Buckley was in his much too short existence.

David Combusti, from Rome, handles vocal duties here, and while no one will ever parallel Buckley’s pipes, he does fine justice to these tunes with a powerful, emotive performance. Lucas calls this release ‘a personal gift to all the Jeff Buckley lovers around the world’, and, as a fan, I have to say, gift well received.

Travels well with: Jeff Buckley- Grace; Gary Lucas- Gods And Monsters