Satsang

All. Right. Now

SideOneDummy, 2021

8/10

Listen to All. Right. Now

A Montana outfit who offer a very atypical brand of Americana, Drew McManus, Karl Roth, Ben Teters, Stefan Kallander and Ben Waligoske, i.e. Satsang, flirt with reggae and classic country across these 12 tunes that welcome fiddles and strings, too.

“From And I Go” starts the listen with mysterious atmosphere before settling into an elegant version of Americana, where warm vocals from McManus are met with cautious, pretty instrumentation that’s violin friendly, and the title track follows with a playful, upbeat spirit as punchy drumming from Teters and glowing pedal steel thanks to Waligoske make for a very memorable roots rocker.

Things just get better from here, including the percussively strong, jam band qualities of the reggae inspired “I’m The One”, while “Further This Goes” lands closer to folk-rock as the gritty yet melodic singing is complemented by Kallander’s guitar prowess. “Back Around” then brings a harmonica and G Love to the precisely layered and rugged alt-country that just might be one of the best tune’s you’ll hear all year.

“Love” and “To Last” exit the listen, where the former is a snappy, piano focused, rock’n’roll fueled adventure, and the latter finishes with plenty of soulful nods in a cozy, reflective arrangement that just begs to be heard live.

In addition to G Love, Trevor Hall appears on the album, as Satsang certainly draws similarities to both of those artists, and you might also be reminded of The Jayhawks or Michael Franti & Spearhead on this very well thought out, lyrically eloquent and musically diverse record.

Travels well with: G. Love- The Juice; The Jayhawks- XOXO

Richard X Heyman

Copious Notes

Turn-Up, 2021

9/10

Listen to Copious Notes

An original member of the seminal outfit The Doughboys, Richard X Heyman has enjoyed an impressive solo career that now includes over a dozen albums, including this new one that was fleshed out in his home studio during the pandemic.

“Nearly There” starts the listen and makes an immediate impression with soothing backing vocals and light melodies as folk-rock and Brit-rock are present in his flowing formula, and “Choices We Make” follows with warm acoustic strumming alongside Heyman’s gritty yet tuneful singing.

Approaching the middle, the soulful brass and punchy drumming of “Sink Or Swim” illuminates the retro rock’n’roll spirit, while “Oval” recruits firm keys and lush textures in its graceful and adventurous delivery. “But Our Love”, an exceptional tune, then gets hazy, where some of the best singing on the album resides amid the dreamy strings.

The later tracks offer the rugged and pretty “Return To You”, which benefits from organ and a swift and dynamic rhythm section that emits a sing-along quality, and “The Great Good” exits the listen with Probyn Gregory’s strategic trumpet and Nancy Leigh’s calm backing vocals as Heyman proves he’s still doing what he does best at an exceptional level.

Heyman’s song craft is a diverse as the instruments he plays on this album (guitars, vibraphone, drums, piano, shaker, etc.) as many forms of nostalgic rock’n’roll and bits of Motown won’t go unnoticed. In addition to Leigh and Gregory, Duke Guillaume handles saxophone, Kaitlin Wolfberg offers violin and viola, Chris Jenkins plays viola and Julia Kent contributes cello on this meticulous and nostalgic record that’s as timeless as anything in his catalog.

Travels well with: Tim Foljahn- I Dreamed A Dream; Benjamin Jayne- Theater

Sven Wunder

Natura Morta

Piano Piano, 2021

8/10

Listen to Natura Morta

A Swedish artist who’s well versed in jazz, rock and even folk ideas, Sven Wunder pens a record packed with rich melodies that spans classical to current sounds, where 9 violins, 4 violas, 3 cellos and much more are used flawlessly.

“En Plein Air” starts the listen with dreamy, inviting piano work as an airy flute and sweeping strings enter the elegant climate, and this sophistication continues to the careful 12 string guitar of the gorgeous, jazz friendly, “Impasto”, as well as the shimmering climate and playful drumming of “Prussian Blue”.

In the middle, “Alla Prima” flows with a cinematic quality as soaring strings and frisky guitar work meet at a very pretty intersection, while “Barocco, Ma Non Troppo” recruits retro jazz qualities amid electric piano and rhythmic manipulation that even gets funky.

Closer to the end, “Pentimento” is a precisely textured and absorbing display of vibrant beauty and the reprise version of the title track follows with sublime piano playing alongside an almost lullaby like delivery.

A 3rd album that is quite cultured at its core, Wunder brings art and nature to his inimitable vision, and it results in a very colorful and creative classical and orchestral influenced adventure.

Travels well with: Aaron Larget-Caplan- Nights Transfigured; Reza Khan- Imaginary Road

Sugar Addikt

Phoenix

Three Penny, 2021

8/10

Listen to Phoenix

An electronic duo from Seattle consisting of Vanessa Littrell and Bowman Littrell, the mother son combination illustrate a penchant for pulsating melodies and energetic pop ideas in their synth focused formula.

“Shackles” leads the album with warm synth as flowing electro-pop enters with soulful and bright vocals from Vanessa that guide the club friendly spirit, and “Change It” follows with an inviting buzzing that recruits an infectious beat amid very precise instrumentation from Bowman.

“Safe” occupies the middle spot and trims the pace back with soothing vocals alongside frisky yet cautious electronica, while “New Dawn” offers some of the best singing in a bouncy, animated landscape of timeless dance appeal. “Rise” exits the listen with firm hand clapping as repetition is used strategically and memorably where the pair mesmerize with their ‘80s nods.

An extremely fun and easy to digest EP, Sugar Addikt welcome synth-rock and New Wave influences into their thriving brand of electro-pop that, with any luck, won’t end on this first collaboration.

Travels well with: Pikefruit- Inflorescence; The Pink Dust- Dark Seas

Deb Ryder

Memphis Moonlight

VizzTone, 2021

8/10

Listen to Memphis Moonlight

The powerhouse vocalist Deb Ryder is back with her 5th album, and all 13 originals illustrate her blues, Americana, soul and R&B nods where an all star cast is on hand to illuminate the timeless song craft.

Ryder wisely puts “I’m Coming Home” in the lead position, where her soulful and strong pipes take help from Tony Braunagel’s firm drums and Joe Sublet’s flowing sax on the lively funky, blues rocker, and “Hold On” follows with Pieter Van Der Pluijm’s spirited harmonica alongside Johnny Lee Schell’s deft guitar work as grit and melody work their way into the retro rocker.

Closer to the middle, the soft and agile “Love Is Gone” displays much power and emotion while showcasing Mike Finnigan’s Hammond B3, and the title track recruits playful percussion and fascinating guitar picking amid Ryder’s versatile pipes. “Devil’s Credit Line”, one of the album’s best, then makes great use of Alastair Green’s guitar skills as dynamic instrumentation flows from the esteemed players

Approaching the end, “Second Chances” embraces accordion from David Hidalgo and David Delgado’s flawless guitar lines, and “Most Of All” exits the listen bare and poetic, where Ryder’s sublime singing finishes with her incredible range and execution as the focus.

The blues comes in all shapes and sizes these days, but there’s little doubt that Ryder’s version of it is among the best, as her stunning voice and meticulous songwriting make for an unforgettable listen.

Travels well with: Patti Parks- Whole Nother World; Danielle Miraglia- Bright Shining Stars

Loose Cattle

Heavy Lifting

Low Heat, 2021

9/10

Listen to Heavy Lifting

An outfit spearheaded by Michael Cerveris and Kimberly Kaye, who have a lengthy and complicated relationship in and outside the band, the pair are joined by bandmates Rene Coman (bass), Doug Garrison (drums) and Rurik Nunan (fiddle, vocals), as well as some guests on this charming Americana album.

“Aunt Avis” starts the listen soft and agile, where gentle drumming, aching fiddle and vocals from both Kaye and Cerveris make for a haunting version of Americana, and “Gasoline And Matches” follows with an upbeat display of dance friendly roots rock that benefits much from Nunan’s fiddle acrobatics.

The middle tracks are among the best and include the playful and country influenced “Sidewalk Chicken” that shuffles with a frisky pace, while “Filling Space” enters ballad territory with Kaye’s gorgeous pipes guiding the sublime setting. “Get Downtown” then swaggers with a gritty rock’n’roll spirit that will get your body moving to the timeless, rural melodies.

Landing near the end, “He’s Old She’s High” displays Jon Graboff’s pedal steel prowess amid classic country sensibilities, and “F*ck You Jolene” exits the listen with a clever take on the Dolly Parton classic where the band use original lyrics alongside their own to make for an interpretation you won’t forget.

A listen rugged enough for the alt-country crowd and pretty enough for those with an ear for traditional country ideas, Heavy Lifting is all substance and no filler as Loose Cattle make an indelible impact with their top notch song craft.

Travels well with: Craig Cummings- The Gulf Between Us; Steve Earle & The Dukes- Ghosts Of West Virginia

Aaron Larget-Caplan

Nights Transfigured

Six String Sound, 2020

8/10

Listen to Nights Transfigured

The second album of the New Lullaby Project from the Boston resident and guitar wizard Aaron Larget-Caplan, Nights Transfigured offers us lullabies in a variety of musical languages, including tonal, minimalist, 12-tone, North Indian and much more.

“Lullaby For D—-”, by Garrett Ian Shatzer, starts the listen with an indeed cozy, warm spirit as the sublime finger acrobatics mesmerize the listener, and “Perseiden” follows with a gorgeous display of restraint as the bare climate is nothing short of stirring.

Further on, “Lullaby In Three Voices” displays precise, intricate playing in a poetic setting, while David McMullin’s “Sleeping Light, Spinning World” flows with an undeniable allure as complicated chord progressions impress. “A World Of Your Own”, one of the album’s best, then showcases sparse moments alongside more firm picking, as Larget-Caplan’s diversity is present in spades.

Near to the end, “Esperanza”, a Stephanie Ann Boyd composition, embraces both minimal beauty and fuller bouts of tension, and “The Pillow That You Dream On” exits the listen with an intimacy that channels hope and peace in its divine execution.

All the works here are commissioned pieces, and Larget-Caplan brings his estimable vision to the lullaby and redefines it in his own classically influenced and technically fascinating approach. The third installment of this series is due out right about now, and it will be a treat to see what he has in store for us this time.

Travels well with: Reza Khan- Imaginary Road; Dave Stryker- Baker’s Circle

Philip Blackburn

Justinian Intonations

Neuma, 2021

9/10

Listen to Justinian Intonations

A renaissance man, Philip Blackburn is a composer, educator, environment sound artist, filmmaker, writer, producer, public artist and designer, and with Justinian Intonations he manipulates sound, tonality and mood with a very atypical and artistic vision.

“Out Beyond” starts the listen with a conch shell chorus and voice, where Ryland Angel’s alluring pipes shine in the bare climate that displays text by Persian mystic Rumi.

The title track follows, and in 50 minutes recruits a very distinct sort of ambience, where a sonically challenging experience is ominous, chilling and gripping. Certainly hallucinatory, sometimes sci-fi and experimental in all the best ways, Blackburn’s background in the arts certainly lends itself to the innovative landscape.

Blackburn has been involved in some capacity in over 650 albums, and being aligned with the Grammy nominated Angel certainly helps make this a bright spot in his immense catalog of inventive music.

Travels well with: David Dunn- Verdant; Agnese Toniutti- Subtle Matters

Jon Allen

…meanwhile

OK! Good, 2021

8/10

Listen to …meanwhile

A long running singer-songwriter from the UK who has enjoyed global appreciation since his first record in 2009, Jon Allen brings profound talent and immense experience to this 5th album where he shines in moments of intimacy as well as fuller folk-rock.

“Blame It All On Me” starts the listen with bare guitar as Allen’s raspy, tuneful vocals display much emotion in the cautious pop-rock setting that welcomes strings, and “Can’t Hold Back The Sun” continues with a playful folk-rocker that’s not short on melody in it acoustic guitar heavy delivery that’s immediately a sing-along.

Closer to the middle, “Mercy” displays intricate musicianship in a dreamy climate, while “Suzanne” emits much beauty as Allen’s keen attention to detail shines through amid the absorbing pop melodies. “The Other Side”, one of the record’s best, then illustrates a poetic appeal alongside light keys, gentle drumming and Allen’s gritty pipes that guide the ballad.

Nearing the end, the piano rocker “Hold On” offers an anthemic quality with a triumphant demeanor and “Wrong” exits the listen bare, eloquent and full of timelessness as Allen’s powerful songwriting impresses us in its raw presence.

Allen handles vocals and guitars here, and he’s in the company of Rich Milner (organ), Adam Skinner (strings), Pat Levett (drums), and Sharon Shannon (accordion). Together, they produce another exceptional body of work that will resonate with those who enjoy David Gray, Damien Rice, Joseph Arthur or Marc Broussard.

Travels well with: Emily Barker- A Dark Murmuration Of Words; Peter Himmelman- Press On

Teke::Teke

Shirushi

Kill Rock Stars, 2021

10/10

Listen to Shirushi

A Montreal 7 piece outfit, Teke::Teke take influences from ‘60s/’70s Japanese soundtracks, and they mesh those ideas with various forms of rock’n’roll that’s capable of busy, even hectic moments, as well as intimacy that is explored in very creative, inimitable ways.

“Kala Kala” gets the listen off to an atmospheric start where airy flute from Yuki Isami and plenty of mysterious ambience emit a cinematic appeal, before Ian Lettre’s snappy drums and Serge Nakauchi Pelletier’s fuzzed out guitars enter a busy, garage rock inspired setting of art-rock.

Things only get better from here, including the driving and rhythmic “Yoru Ni”, where surf rock nods won’t go unnoticed, while “Barbara” thumps with a firm alt-rock climate that swirls with psychedelia, marching band style drumming and bright horns that, amazingly, were recorded in a single take with all the players in the same room.

The back half of the listen offers the meticulous and soulful “Kaminari”, which benefits from both full moments and raw, expressive ebbs of beauty, and “Sarabande”, the album’s best, then beams with fluid brass, punchy drums and echoed vocals by Maya Kuroki amid an ‘80s charm. “Tekagami” exits the listen initially calm, even ominous, as whispered singing builds into an orchestral influenced version of indie-rock.

An extremely interesting debut, Teke::Teke are equal parts traditional Japanese sounds and flourishing art-punk that flirts with surf, psychedelia and folk, and their unique energy just might make this one of the best records of 2021.

Travels well with: Tele Novella- Merlynn Belle; Haunted Shed- Faltering Light

David Dunn

Verdant

Neuma, 2021

8/10

Listen to Verdant

A versatile composer whose esteemed work finds unique places to reside between art and science, David Dunn certainly knows how to manipulate organic and synthetic sounds like few others. Here, in one just one long track, his vision explores field recordings from his New Mexico home as he injects ambient exploration to build rich layers and harmonic patterns.

“Verdant” leads with the sounds of careful yet playful electronic bleeps, not unlike what is found in much of today’s electro-pop, as bit and pieces of birds chirping, animals squeaking and the sounds of his backyard landscape are inserted strategically.

Ten minutes or so into the composition, wind chimes present themselves as the setting turns calmer yet more experimental with the electronic gestures, though by the halfway point the setting is quite bare, even serene.

Nearing the end, the scene has become cinematic in an almost sci-fi sort of way, but still with the occasional bird noises, as a warm spirit surrounds the mesmerizing, even hypnotic song craft.

Although this is a more traditional outing for Dunn, it’s still a very detailed effort where very high resolution recordings, sonically bold layers and two electric violins help construct an atypically melodic and tonally distinct experience that, even at its 78 minute running time, never out welcomes its stay.

Travels well with: Agnese Toniutti- Subtle Matters; James Caldwell- Pocket Music

Guest Directors

Connected Heavens

Topsy, 2021

9/10

Listen to Connected Heavens

The Seattle quartet Guest Directors continue their streak of excellent EPs, and this pandemic effort finds the artists getting more experimental than ever, where drones, loops, electronic percussion and keyboards effectively make their formula even more inimitable.

“Unknown Skies” leads the listen with warm acoustic guitar and expressive singing as a dream-folk setting builds into a dense landscape of tuneful, noisy layers of fuzz, and “When It’s All” follows with a light and airy approach that floats around with ethereal melodies.

The second half of the listen offers the darker climate of the reflective “Another Round”, where psychedelic underpinnings provide both mystery and awe, and “Dreaming Dreams” exits the listen with no shortage of shoegaze nods as a stirring atmosphere is cultivated with immeasurable skill.

Still very much rooted in dream-pop and indie-rock, Guest Directors spread their wings into unclassifiable avenues of fascinating exploration here, where Julie D (vocals, guitar, casio), Charles Russo (bass), Gary Thorstensen (guitar, vocals) and Rian Turner (drones, synth, loops, drumming) make this a very well spent 16 minutes.

Travels well with: The Royal Arctic Institute- Sodium Light; Japan- Quiet Life

Texas

Hi

BMG, 2021

8/10

Listen to Hi

The long running Scottish rockers Texas return with a 10th album, where front woman Sharleen Spiteri steers a listen in and out of textures from the ‘70s and ‘80s, and with some excellent collaborations present across the diverse tunes.

“Mr Haze” starts the album with Spiteri’s expressive and soulful vocals guiding a very sophisticated version of pop that’s full of hints at Motown, and the title track follows with contributions from Wu-Tang Clan as scrappy drumming and plenty of melody enters the soothing climate that welcomes hip-hop inspired beats.

Further down the line, the calm “Dark Fire” emits much warmth in a vocally strong and sweet landscape where hand clapping and a breezy island flavor won’t go unnoticed, while the duet “Look What You’ve Done” bounces with an ‘80s spirit as a dreaminess surrounds the charming delivery that’s in line with today’s indie-rock.. “Heaven Knows”, an extremely noteworthy track, then embraces the ‘60s with a jangle you can’t help but admire.

Approaching the end, “Falling” enters darker territory as post-punk textures blend into the breathy singing, and “Had To Leave” finishes the listen steeped in neo-soul, including graceful strings and soft horns to punctuate the mood.

Layered flawlessly and able to reel in influences on both the loud and intimate parts of the spectrum, Hi is an album that was sort of made by mistake after demos and lost sessions from their 1997 album, White On Blonde, were discovered. Certainly on par with their best work to date, Texas are nothing if not consistent, and their 35 year career is still very much flourishing.

Travels well with: The Cranberries- In The End; Teenage Fanclub- Here

Madre Vaca

The Elements

Self-Released, 2021

8/10

Listen to The Elements

A modern jazz quartet consisting of Jarrett Carter, Thomas Milovac, Johan Pierre and Benjamin Shorstein, as Madre Vaca the players present 4 original compositions that represent the four elements of the world, each penned by a different member of the band.

“Fire”, by Shorstein, starts the listen and displays his proficient drumming as Carter’s spirited guitar work mesmerizes in the busy, dynamic landscape, that, further on, erupts into a furious execution, and this incredible chemistry continues to Carter’s “Water”, where plenty of cautiousness resides amid the warm keys from Pierre that eventually builds into a tense foundation.

The back half of the listen leads with the marching band style drumming and firm piano of “Earth”, where an abrasive approach unfolds with much creativity and intricacy in the Milovac composition, and “Wind”, by Pierre, exits the listen with a dreamy climate that segues into a swift, atmospheric blend of clever guitar work, frisky drumming and deft bass work while emulating a breeze.

An alluring 4th album that is cinematic, improvisational and full of color, charm and creativity, The Elements makes for an absorbing listen in the area of avant-garde, chamber and experimental jazz sounds.

Travels well with: Gabor Lesko- Earthway; Reza Khan- Imaginary Road

Carrie Ferguson

The Grumpytime Club

Walking Songs, 2021

9/10

Listen to The Grumpytime Club

An award winning singer-songwriter with a penchant for folk-pop sounds, Carrie Ferguson pens a superb family album here, where songs about accepting feelings, honoring differences and self-love are fleshed out with an all star cast of players that help each song radiate in its own light.

“Cat And Piggy” starts the listen with warm mandolin from Jim Henry as J.J. O’Connell’s precise percussion makes a big impression alongside Ferguson’s playful singing that talks about animals, and “The Puppy Song (You And I)” follows with a busy display of bouncy, spirited song craft where Samara Sawyer’s trombone and Jim Armenti’s clarinet won’t go unnoticed amid perhaps the most catchy chorus you’ll hear all year.

Moving along, “Tavi’s Song” brings in Tavi and Aza Wolfwood on vocals as the setting turns calm with some folk and Americana influences, while “The Best Way To Be” displays Ferguson’s ukulele skills, where charming storytelling is both wise and the soulful trombone is a nice addition. “Up And Down”, one of the album’s best, is a festive tune including gang vocals, bright brass, and strategic percussion from Joe Fitzpatrick that emits a jazz like quality.

Landing near the end, “Aza’s Song” flows with sublime beauty in the piano balladry that is both stirring and elegant, and “Hope Parade” exits the listen also gentle and piano fueled, where Ferguson’s versatile pipes have us hanging on every word sung and note played.

A children’s album in every sense of the word, Samara Sawyer (trombone) is just 11 years old, and Ajika Sawyer, who is only 6, plays bass on a couple tracks, too. An artist who has played rock, country, pop and folk in her lengthy and esteemed career, if you’re looking for a smart, relevant and contagious listen for the young ears, The Grumpytime Club will not disappoint.

Travels well with: Jenn Cleary- All Together Now; Beth Jean- Let’s Put On A Show

Sweet Megg & Ricky Alexander

I’m In Love Again

Turtle Bay, 2021

8/10

Listen to I’m In Love Again

A duo from New York City, Meaghan Farrell (Sweet Megg) and Ricky Alexander are well versed in jazz, blues and Americana sounds, and on this debut album the pair take firm nods to the ‘20s with their nostalgic and irresistible formula.

“My Honey’s Lovin’ Arms” starts the listen with a playful, vintage approach as the opener flirts with ragtime ideas where Megg’s expressive, flawless pipes complement the fun, and “Foolin’ Myself” follows with a calmer pace that’s steeped in jazz as warm piano and Alexander’s sax align with Megg’s pretty pipes.

Closer to the middle, the swing climate and strong percussion of “Last Night On The Back Porch” recruits conversation into the upbeat mood, while “Angry” is anything but and shuffles with a dance friendly spirit you can’t help but move your body to. “Ragged But Right”, another exceptional tune, then flows with clever storytelling as swift keys and busy bouts of brass help make this the album standout.

Deeper yet, the jumpy, bouncy atmosphere of “I’d Love To Take Orders From You” seems like it could soundtrack a night at a speakeasy, and “A Blues Serenade” exits with sweeping beauty as keys, and drumming interact in retro ways that sounded as great then as they do now.

Sweet Megg cut her teeth playing in the jazz band The Wayfarers, and Alexander was plugging away with The Early Bird Jazz Band. Together, they bring an immeasurable amount of talent to an exciting, fascinating and memorable listen that’s varied enough to remind you of Billie Holiday, Terry Waldo or more recent stars like Pokey LaFarge, which, of course, could never be a bad thing.

Travels well with: Pokey LaFarge- Rock Bottom Rhapsody; The Devil Makes Three- Chains Are Broken

James Digirolamo

Paper Boats

Self-Released, 2021

8/10

Listen to Paper Boats

A Nashville artist who cut his teeth as a session and touring musician, James Digirolamo brings a wealth of experience to this solo EP, where influences as varied as Elliott Smith and Stevie Wonder are evident and appreciated under his detailed vision.

“Same Boat” starts the listen with a stylish delivery of modern pop prowess that’s soulful, a little funky and a lot playful, and this memorable formula continues to the warm piano and breathy singing of “The Girl Who Has Everything”, which even points at jazz traces.

In the middle, the gentle acoustic approach of “Sail Away” will certainly appeal to the indie-folk crowd, while the aptly titled “Pure Joy” flows with a percussively strong formula that’s full of expressive singing amid a retro quality.

The final two tracks, “Top Of The World” and “On Paper”, don’t disappoint either, as the former is a calm landscape that benefits from accordion in its dreamy demeanor, and “On Paper” exits the listen with elegance and grace that mesmerizes in its unconventional beauty.

Ultimately a listen of love songs, Digirolamo doesn’t do anything in the traditional sense, and this striking EP certainly warrants him being front and center musically, lyrically and artistically.

Travels well with: Greg Smith- Redemption Road; Deep Rivers- Nothing Ever Happens To Me

Reggae Angels

Remember Our Creator

Self-Released, 2021

8/10

Listen to Remember Our Creator

The Reggae Angels align themselves with the production duo of Sly and Robbie on this 2 disc package, where their optimistic song craft and spiritual wordplay addresses themes of love, patience and contentment.

“Contentment” starts the listen with some cozy atmosphere before segueing into a rhythmic and laid back, groove friendly climate, and this formula continues to “One Heart”, where bright brass from Dean Fraser and soothing backing vocals alongside the clever guitar work won’t go unnoticed.

Deeper into Disc 1, “Look To The Good” radiates a positive message amid dynamic, flowing instrumentation that’s quite soulful, while “Goodness” benefits from Fraser’s saxophone and strategic drumming from Alton Vanhorne as some of the best singing on the record adds much beauty. “It Is Possible”, an especially great tune, then weaves rock’n’roll ideas into the island flavored breeziness that’s as irresistible as it is timeless.

Further on, “Tribulations” emits some spacey sounds alongside the sweet melody and well time backing vocals thanks to Ellenore Walters, and “Strive” exits the listen with more emphasis on drumming as keys and Dwight Pinkney’s guitar flow together seamlessly.

Disc 2 is all the tracks from Disc 1, but done Dub style, which presents another avenue that Reggae Angels shine in, and it works as a perfect companion to the multifaceted reggae of the first disc.

Reaching 15 studio albums is an impressive feat for anyone, and Reggae Angels prove that frontman Peter “Fenton” Wardle’s attention to detail is key, as he really took his time during the Covid lockdown to make the most of each track here, ultimately producing some of their best work to date.

Travels well with: Honey Made- Brand New; Rocky Dawuni- Beats Of Zion

Ashleigh Flynn + The Riveters

Live From The Blue Moon

Home Perm, 2021

9/10

Listen to Live From The Blue Moon

Armed with an all female band, the veteran Americana artist Ashleigh Flynn brings a wealth of influences to her charming brand of rock, where her roots in bluegrass and Motown are still very much present on this excellent live recording.

“How The West Was Won” starts the listen with a playful and unique form of Americana where an accordion complements Flynn’s versatile pipes and the warm guitar work, and “Fly Away” follows with a bouncy spirit as frisky drumming unfolds in an Irish friendly climate you could and should dance to.

Deeper into the set, “Cold Black Line” offers a rugged approach where melodic roots rock brings an immediate sing-along quality, while “Deep River Hollow” showcases sublime harmonica amid a country influenced shuffle. “Tiger By The Tail”, one of the album’s best, then moves swiftly alongside plenty of grit and melody in the Buck Owens signature song.

Nearing the end, “Shrouded Sun” is a calmer moment of cautious, rhythmic Americana that’s both pretty and wise, and “American Girl”, a Tom Petty cover, exits the listen with a clever take on the classic where the accordion and firm country nods only enhance the appeal.

Recorded and broadcasted live from The Blue Moon Stage at the Oregon Country Fair on July 13, 2019, if Ashleigh Flynn isn’t in your rotation of Americana artists you’re definitely missing out, as her honky tonk, folk and energetic form of roots rock is nothing if not a good time, and it’s all delivered flawlessly.

Travels well with: Lynne Hanson- Just Words; Amanda Anne Platt & The Honeycutters- Christmas On A Greyhound Bus

Black Violin

Take The Stairs

DVM, 2019

8/10

Listen to Take The Stairs

For over a decade and a half now the Miami duo of Kev Marcus and Wil Baptiste have been using the seemingly unlikely formula of classical music with beats and vocals. Both trained violin and viola players, the duo’s interest in hip-hop finds a very unique place to exist as Black Violin on this highly adventurous new album.

“Rise” stars the listen with much atmosphere as the classical sounds of strings unfold with grace, and “One Step” follows with dense beats in the buzzing hip-hop formula.

Near the middle, “One Step In The Garden”, with Salaam Remi, finds playful rhythm in the stylish tune, while “Serenade” mashes classical ideas with modern hip-hip in the instrumental highlight.

Deeper cuts bring us the sophisticated “Al Green”, that unfolds with sweeping beauty in a cinematic fashion, and “Impossible Is Possible” continues that theme with soaring vocals that builds into a stadium size pop-rock anthem. “Nimrod” ends the listen cautious and reflective with some of the most timeless instrumentation present.

An extremely well done album, Black Violin play over 200 shows a year and it’s quite apparent in their immediately gripping song craft and flawless delivery on this innovative record.

Travels well with: Hilary Hahn & Hauschka- Silfra; The Uncluded- Hokey Fright