K.C. Jones

Queen Of The In Between

Free Dirt, 2021

9/10

Listen to Queen Of The In Between

The songstress K.C. Jones has an impressive resume that includes playing with Feufollet and T’Monde, and on this debut solo album the Lafayette resident brings a wealth of talent and diversity to her twang, Appalachian and Cajun roots.

“Beginnings And Ends” starts the listen and immediately seems like it’s heading into country rock territory before segueing into a soulful version of ‘60s girl groups, and “Heat Rises” maintains the diversity with a warm and melodic version of Americana that benefits much from Jones’ soothing, expressive singing.

There’s 10 tracks present, and each one is top notch, including the darker spirit of the poetic “Bring The House Down”, while “Queen Of The In Between” showcases spirited guitar work alongside strategic backing vocals that resonates a vintage quality. “Stop On The Way”’ then gets rugged and louder amid firm southern nods and well timed organ.

The album highlight, “Fall In Line”, arrives near the end, and balances both beauty and grit in a percussively strong, rock’n’roll adventure that even flirts with garage-rock, and “Lost My Way” exits the listen bare, with just gorgeous singing and gentle guitar work highlighting the dreamy, reflective finish.

Jones is in the company of Chris Stafford (pedal steel, guitars, keys, vocals), Trey Boudreaux (bass), Jim Kolacek (drums, percussion) and Joel Savoy (guitars, vocals) on this top notch effort, and she successfully injects intimacy and exploration with countless influences that are psychedelic, fuzzed out, and, most importantly, undeniably memorable.

Travels well with: Mare Wakefield & Nomad- No Remedy; Evvan- Home

Sam Robbins

Finally Feeling Young

Nine Athens, 2021

8/10

Listen to Finally Feeling Young

A debut album that took 2 years to create, the Nashville resident Sam Robbins channels his inner Jackson Browne and James Taylor across these very vintage friendly originals, where several musicians lend their talents on instruments as diverse as mandolin and synth.

“What Being In Love Is” starts the listen with expressive, poetic singing from Robbins as his warm acoustic guitar and well timed pedal steel from Neil Jones make for a very eloquent opener, and “Nobody’s Baby” follows with a calm landscape that benefits from Alex Fansel’s playful drumming amid breezy melodies.

Landing near the middle, the raw “Raining Sideways” is a bare display of beauty that’s indebted to ‘70s sounds, while “Saying Amen” flows with soulful songwriting dynamics that radiate strong, fluid and mature instrumentation. “New”, an album standout, then spotlights Max Chester’s piano prowess in a ballad climate alongside vivid storytelling where Robbins seems wiser than his years.

Inching towards the end, the title track showcases Robbins’ versatile pipes in his precisely textured vision and the acoustic version of “Remind Me” brings in vocals from Halley Neal on a folk influenced duet to finish the listen.

A cleverly titled album, although Robbins is a youngster, he certainly has an old soul quality to him, and his meshing of soft-rock, soul, country and folk inspired song craft is certain to gain him legions of new fans with this first record.

Travels well with: Seafoam Green- Martin’s Garden; Blue Cactus- Stranger Again

Far Lands

There Be Monsters

Get Loud, 2021

8/10

Listen to There Be Monsters

A Portland outfit comprised of Andy McFarlane, Ivan Howard (The Rosebuds) and producer Matt Drenik , as Far Lands this sophomore album arrives after the death of McFarlane’s parents and the dissolution of his marriage, which has laid the groundwork for a new chapter in his creative output.

The title track starts the listen and make an immediate impression somewhere between folk and Americana as warm acoustic guitar and smooth singing steers a very agile opener that’s quite indebted to the Pacific Northwest’s lush landscape, and “Oh, Molly” continues with frisky drumming alongside a soulful approach that embraces brass and seems like it could have been penned in the ‘70s.

Closer to the middle, the moody pop sensibilities of “Gretchen” also brings a blurry jazz influence, while “Noting Angles” welcomes atmosphere as dreamy backing vocals add much appeal to the playful nature. “Your Photograph”, one of the album’s best, then places poetry from Howard into a reflective climate of light and airy instrumentation that’s both mysterious and alluring.

Near to the end, ‘Live With Me” is absorbing and melodic indie-rock that’s richly textured with a nostalgic slant, and “One Horse Rider” slips some rugged roots rock stabs into very cozy electric guitar and ‘60s ideas that exit on a very high note.

An absorbing listen that’s capable of minimal beauty as well as gritty moments of busy rock, the strings, horns, synth, guitars and, of course, McFarlane’s inviting pipes, are used superbly, effectively making Far Lands yet another Portland band that should be on everyone’s radar.

Travels well with: Sunset Lines- Home Anywhere; Corvair- Corvair

Trippy Hearts

Lacewing

Self-Released, 2021

9/10

Listen to Lacewing

A Boise quartet who put an interesting and unique spin on indie-rock, Jenn Sutkowski, Brent Heiner, Stephen Samuelson, and Hyrum Haeberle manipulate mood and melody while welcoming Rhodes and crystal flute into their often haunting vision as Trippy Hearts.

“Flaming Gold Piano” starts the adventurous album off with dense keys, precise percussion and Sutkowski’s pretty pipes guiding an initially psychedelic landscape that builds into a very busy display of power and melody that resemble alt-rock, and “Samskara” follows with spirited guitar and a light climate that borders on post-rock amid plenty of warm indie-rock sensibilities.

At the halfway point, “Unknown”, which was inspired by Anthony Bourdain, comes with a mysterious ambience that’s poetic and embraces gritty guitars alongside a hazy quality, while “Everywhere” gets soft and dreamy, as an almost sci-fi appeal enters the playful landscape of beauty.

The final two tracks, “Garden City” and “Beach Steed”, are on par with the greatness of the rest of the album, where the former is a reflective and angular display of precisely layered mood and texture, and the latter exits the listen initially bare, before spacey sounds, more emphasis on drumming and a curious tension builds into a fascinating finish.

An aptly titled outfit, the psychedelic nods present are certainly appreciated and the heartfelt songwriting is equally impressive across 8 really fantastic tracks. Keep an ear this way, cause Trippy Hearts are onto something really great.

Travels well with: Because Villains- Yes; The Pink Dust- Dark Seas

Arlen Hlusko & Scott Ordway

Nineteen Movements For Unaccompanied Cello

Acis, 2021

8/10

Listen to Nineteen Movements For Unaccompanied Cello

The Bang On A Can All-Stars member and Grammy winner Arlen Hlusko brings her sublime cello prowess to this very well thought effort, where she performs the composer Scott Ordway’s Nineteen Movements For Unaccompanied Cello with amazing technique and poise.

“I” starts the album with careful, precise string picking in a calm, soothing atmosphere, and “Ii” follows with a lower register of cautiously manipulated cello that almost seems spacey in its skilled delivery.

Further on “Vi” takes a darker turn, where a firm, almost jarring execution of cinematic qualities in present, while “Vii” extends on that cue even further into abrasive, fascinating string work that few could replicate. “Ix”, one of the album’s best, then flows with a tense beauty that’s so meticulous it rarely seems like just one cello is present.

Approaching the end, “Xv” shines with both bare, minimal moments as well as lush, graceful moments of classically influenced song craft, and “Xix” finishes the listen gentle, even meditative, as Hlusko displays an intimate relationship with her craft and execution.

Hlusko and Ordway worked together for over a year on this project when they were both involved with the Curtis Institute of Music in Philadelphia, and their attention to detail is nothing short of sublime as the pair showcase much depth, diversity and timelessness.

Travels well with: The Crossing- Rising w/The Crossing; David Liptak- Dove Songs

Sweetlove

Goodnight, Lover.

Self-Released, 2021

8/10

Listen to Goodnight, Lover

It’s been a tough few years for the songstress Sweetlove, who lost 3 people close to her within a year of each other, and she’s channeled those tragedies into songs about loss and all of the coping that comes with it.

“Devil On Your Shoulder” opens the listen with much warmth as a playful version of Americana unfolds with pretty vocals alongside spirited keys, punchy drumming and plenty of melody and grooves, and the title track follows with a calmer spirit, where expressive singing and breezy musicianship touch on blues and soulful ideas.

The middle track include the sublime balladry of the bare, dreamy “The House”, while “Did You Even Know” flows with a poetic roots rock quality amid a healthy amount of rhythm and heartfelt wordplay.

Rounding out the listen are “Before The Devil Knows You’re Dead” and “Things I Didn’t Say”, where the former displays intricate acoustic guitar alongside a cozy duet that benefits from pedal steel, and the latter emits much beauty as gorgeous piano work complements the versatile singing from Sweetlove.

Not surprisingly, this is an emotional effort, and one that comes with help from Justin Glasco (guitar, keys, bass, production, percussion), Jon Sosin (guitar), Adam Tressler (guitar), Brian Griffin (drums, percussion), Scott Murray (steel guitar), and Caroline Brooks and Zach Berkman on backing vocals. Together, they deliver a stirring, even therapeutic blend of pop and Americana as Sweetlove continues to carve out a very sincere and eloquent place to reside in the area of modern Americana.

Travels well with: Evvan- Home; Rob Kovacs- Let Go

Chris Campbell

Orison

Innova, 2021

8/10

Listen to Orison

The esteemed composer and producer Chris Campbell takes on a mammoth project here, where members of the St. Paul Chamber Orchestra, drummer Dave King (The Bad Plus) and violinist Todd Reynolds, among many others, flesh out what Campbell calls a ‘sound prayer and meditation in 7 parts’.

“Parallels, Threading Light” starts the listen with soft, emotive strings as the setting turns darker with firm keys and a precise tension, and “Rotating Light Mirrors The Water” follows with great use of restrained drumming amid a mysterious ambience that bursts in a busy display of pulsating, cinematic qualities.

In the middle, “Streams To Source, Object To Origin” relies on warm piano alongside quivering strings that embraces both minimal and maximal ideas into its adventurous spirit, while “Ten Thousand Streams (Retrograde)” flows with proficient drumming and sonic manipulation that showcases Campbell’s inimitable vision.

Close to the end, “Rotating Hymns” is an ominous album standout and yet with much beauty in its meticulous nature, and “Ground Calls Out To The Sky” exits the listen with nods to classical music amid ebbs of calm gesturing and even dreamy moments of sublime layering.

Campbell is well versed in post-minimalism, avant-garde rock, jazz and global fusion, and traces of orchestral, chamber and classical are also present on this highly creative harmonic, twisted and even inspiring listen.

Travels well with: Matthew Schreibeis- Sandburg Songs; Dave Walther- Distance

Aeges

Drømmen

Self-Released, 2021

9/10

Listen Drømmen

A Los Angeles outfit who are certainly hard hitting but also embrace plenty of tunefulness in their riff heavy formula, Kemble Walters, Tony Baumeister, Trevor Howard and Dylan Howard, i.e. Aeges, fuse the best elements of metal, hardcore, alt-rock and sludge into one very compelling listen.

“Drifter” starts the listen after a brief, initial bout of atmosphere, and bursts into an intense and driving display of post-hardcore meet alt-rock that’s powerful, melodic and full of gritty energy, and “Pain” follows with intricate drumming from Dylan Howard as metallic ideas enter the soaring, buzzing climate.

There’s just 7 tracks here, and each one is fantastic. The middle tracks bring us the more reserved “Drink The Water”, which showcases Walter’s dynamic pipes amid Baumeister’s throbbing bass lines, while “Believer” alternates between cleaner moments of tuneful rock alongside plenty of thick riffs from Trevor Howard that parallel the greatness achieved by The Sword.

The final 2 tracks don’t disappoint either, and include the tense and bristling “Dreamstate”, and “A Room Full Of Mirrors” exits the listen with a thundering, busy approach that could fill stadiums and recruits throaty vocals, some very harmonic backing vocals and plenty of meticulous synergy between the 4 members.

A 30 minute listen that will appeal to metalheads, the hardcore crowd and even those with an affinity for ‘90s alt-rock, whether Aeges are dense and intimidating or finding a firm groove, you’ll enjoy every second of this impressive record.

Travels well with: This Twisted Wreckage- Ei8ht; Blackout Transmission- Sparse Illumination

Van Dyke Parks Orchestrates Verónica Valerio

Only In America Solo En America

BMG, 2021

9/10

Listen to Only In America Solo En America

The singer-songwriter and harpist Verónica Valerio joins forces with the legendary Van Dyke Parks for this superb EP the brings Valerio’s Mexican heritage into an orchestra navigated by VDP.

“Veracruz” starts the listen with cascading beauty as a playful tempo, sweeping strings and soaring, expressive singing guides the cultured melodies, and “Cielito Lindo” follows with both singing and talking, as a stylish beat enters a very frisky display of glowing pop ideas where the harp work is key.

The back half of the EP includes “The Flight Of The Guacamaya”, where an intimacy enters the poetic climate that weaves in and out of orchestral moments of sublime musicianship, and “Camino a Casa” exits the listen with the harp and violin interacting with incredible fluidity amid plenty of pop appeal that takes significant nods towards Hispanic influences.

A project that VDP initially was a little hesitant about, this ended up being an extremely fetching collaboration that, despite their very different backgrounds, meshes together amid a genre defying formula where Valerio’s voice and harp are complemented with 7 strings, 5 woodwinds and more. Certainly both free spirits, and with VDP’s interest in Hispanic sounds, at just 4 tracks we could all benefit from more music from the pair. Thankfully, it looks like that will happen.

Travels well with: Brian Wilson & Van Dyke Parks- Orange Crate Art; Laura Nyro- Tree Of Ages

Judy Wexler

Back To The Garden

Jewel City Jazz, 2021

9/10

Listen to Back To The Garden

The jazz vocalist Judy Wexler takes a departure from her usual route on this 6th album, where she interprets classic pop songs from the ‘60s with an esteemed cast that includes Steve Hass on drums, Gabe Davis holding down bass and Larry Koonse bringing guitars, to name a few.

“Get Together” opens the listen with frisky drumming and spirited guitar work as Wexler’s intimate and inviting vocals complement the warm keys from Jeff Colella, and “Up On The Roof” follows with much beauty, soulfulness and expressive singing in the gentle, timeless climate.

Near the middle Wexler turns in a playfully jazzy version of “Big Yellow Taxi”, while “These Times They Are A Changin’” flows with heartfelt singing amid a dreamy atmosphere that does justice to the Dylan original. “For What It’s Worth” then rumbles with a bit of low tension as Wexler and company put a distinct twist on the Stephen Stills classic.

Landing near the end, “Forever Young” recruits Erin Bentlage on backing vocals alongside Sara Caswell’s soothing violin, and “Who Knows Where The Time Goes” exits the listen with Colella’s agile keys highlighting Wexler’s flawless pipes that, later on, welcomes Jay Jennings on trumpet as the emotive finish ends up being one of the album’s best.

All of Wexler’s previous albums were well received and charted with ease, and it’s quite likely this one will, too, as she brings much grace and adventurousness to songs we already love, effectively putting a fresh coat of paint on them in her own inestimable and exciting vision.

Travels well with: Rebecca DuMaine And The Dave Miller Trio- Someday, Someday; Jacqui Naylor- The Long Game

Pamela Z

A Secret Code

Neuma, 2021

8/10

Listen to A Secret Code

The always exceptional Pamela Z returns with another album of iconoclastic music, where her multifaceted vision radiates in minimal and busy surroundings that are animated, clever and unpredictable.

“Quatre Couches/Flare Stains” starts the listen with an artistic and blurry vocal layering display that’s highly experimental and fascinating, and “Unknown Person (From Baggage Allowance)” follows with soft, expressive singing as an a cappella presence is nothing short of sublime.

At the midpoint, “Site Four (From Occupy)” offers a hypnotic approach of pulsating electronics as dreamy singing guides the various vocal inflections, while “Typewriter” is 2+ minutes of the sound of a typewriter alongside spoken word. “He Says Yes (From Echo)”, an album highlight, then brings a barrage of organic and synthetic sounds that are as quirky as they are innovative.

Nearing the end, “Timepiece Triptych: Syrinx” places the sounds of birds and owls into a uniquely soothing landscape, and “Timepiece Triptych: De-Spangled” exits the listen with a gentle droning as operatic singing unfolds amid complicated sonic layers.

This is Z’s 3rd album and first since 2004’s A Delay Is Better, and let’s hope the time before the next one isn’t quite as long, cause her voice manipulation, electronic gesturing and found object noises are nothing short of captivating.

Travels well with: Phillip Blackburn- Justinian Intonations; Agnese Toniutti- Subtle Matters

Sonidos Cubanos 2

Sonidos Cubanos 2

Neuma, 2021

9/10

Listen to Sonidos Cubanos 2

A collection of compositions that are rooted in the rich heritage of Cuban sounds, Sonidos Cubanos 2 showcases 5 composers that are diverse enough to bring orchestral, classical and opera ideas that are as cultured as they are captivating.

Flores Chaviano’s “NiFe” starts the listen with a tribute to the victims of a 1995 mining accident in Spain, where Hector Coello’s well timed bagpipes and gaita complement the tense yet poetic landscape, and Ivette Herryman Rodríguez’s “Memorial” follows with Lindsay Kesselman’s soaring soprano alongside Oscar Micaelsson’s sublime piano work and Norbert Lewandowski’s moody cello.

The bulk of the tracks are different chapters of “Libertaria Song” by Sabrina Pena Young, which brings in a cast of Perry. R. Cook, Gracia Gillund and Kate Sikora, among others, where operatic singing, warm keys and low woodwinds find bare, pretty places to reside, as well as eerie moments amid vivid storytelling.

Eduardo Morales-Caso’s “Evolving Sphere’s exits the listen, and showcases Duncan Gifford’s precise piano and Lorenzo Losco’s strategic bass clarinet in a classical and chamber influenced setting of fluid, timeless interaction you’ll be in awe of.

All the composers in attendance are recipients of the prestigious Cintas Foundation Fellowship, and it’s really no surprise that all of their work is held in such high esteem, as every moment here is precise, creative and profoundly artistic.

Travels well with: David Dunn- Verdant; Phillip Blackburn- Justinian Intonations

Peter Orins

VRTN & VBTRN

Circum-Disc, 2021

8/10

Listen to VRTN & VBTRN

An artist whose background includes classical, jazz and rock music, Peter Orins focuses on the drums here, where to 2 lengthy solitary explorations come with much attention to detail and an unparalleled amount of exploration.

“VRTN” starts the listen, and in 31 minutes manipulates mood and space well, as drums anchor the landscape while wood, metal, glass and electronics blur the lines between art and music. Certainly odd and undeniably alluring, timbre and vibration are used strategically as Orins emits an almost mechanical feel.

“VBTRN” is shorter but no less fascinating, where a thin woodstick is placed between a cymbal and a floor tom, making the cymbal and drumhead produce a resonating and vibrating effect that lays the foundation for the low droning, faint harmonics and obscured melodies.

The entire effort was composed and performed by Orins, and his often tense and even meditative approach comes with an estimable ability to tweak, dissect and interpret sound in ways you can’t help but admire.

Travels well with: Adoct- Ouvre-Glace; Murmur Metal- Maelstrom

The Jenny Thing

American Canyon

Self-Released, 2021

8/10

Listen to American Canyon

You might remember the Bay Area outfit The Jenny Thing from their ‘90s work, and though they’ve been dormant for decades, here they resurrect their New Wave sounds with the original line up of Matt Easton, Shyam Rao, Mike Phillips and Ehren Becker.

“Paper Angel” starts the listen with a punchy and buzzing pop filled display of stylish, modern and dance friendly song craft, and “All In My Head” follows with playful nods to the ‘80s as electro-pop unfolds with both melody and grit.

The title track lands in the middle and welcomes some warm atmosphere, where frisky bass work and deft drumming anchor a spacey soundtrack, while “Aeromedica” recruits plenty of ambience as background talking complements the cinematic appeal. “Lightfield”, the album stand out, then pairs soothing vocals with crisp instrumentation, and the love song benefits from some ominous synth, too.

Near to the end, “Monsters Of Mercy” uses echoed vocals strategically and waves of synth wrapped up in a cosmic demeanor, and “Waiting For The Knife” finishes the listen with a flawless blend of New Wave, nostalgic pop and even shades of post-punk lingering in their timeless formula.

The Jenny Thing released a trio of excellent but criminally overlooked records in the ‘90s, and this excellent comeback album illustrates that the band haven’t lost a step in their chemistry or songwriting skills. Hopefully this isn’t a one off effort, cause today’s version of pop can only gain from their inimitable vision.

Travels well with: Ross Ingram- Sell The Tape Machine; Au.Ra- Cultivations

Evolfo

Site Out Of Mind

Royal Potato Family, 2021

9/10

Listen to Site Out Of Mind

A Brooklyn septet who take significant nods to the past while still being very modern and stylish in their approach, Evolfo bring violin, brass, synth and even lap steel to their curious brand of psyche-rock.

“Give Me Time” starts the listen with a warm guitar line as fluid drumming enters a psyche-filled setting of melody and dreamy song craft, and “Strange Lights” continues the creativity with firm garage rock nods amid light buzzing and thumping drums as plenty of soul enters the playful climate.

In the middle, “Drying Out Your Eyes” is steeped in ‘60s nods where Rafferty Swink’s strategic keys add mystery to the busy dynamics, while “In Time” come in two parts that showcase both a slight jangle and a thick presence of retro-rock. “Let Go” then resides closer to the ‘70s with its hazy, soulful qualities that are as mesmerizing as they are memorable.

At the end, “Orion’s Belt” offers a spacey and adventurous journey of vocal-less fun that might soundtrack a UFO experience, and “White Foam” finishes the listen with precise acoustic guitar amid a lush expanse including Jared Yee’s subtle saxophone and meticulous bouts of psychedelia.

An album inspired by science fiction and mind expansion by way of psychedelic drugs, Site Out Of Mind is well versed in crunchy guitars just as it is bright brass and moody strings, and while we’re used to ultra-creative sounds from their part of New York, Evolfo are reinforcing that tradition with an incredible vision.

Travels well with: Ron Gallo- Really Nice Guys EP; Naked Giants- Sluff

Afton Wolfe

Kings For Sale

Grandiflora, 2021

8/10

Listen to Kings For Sale

An artist from Mississippi, Afton Wolfe brings the rich history of his home state to these 9 originals, where many contributors help him flesh out a listen that’s Delta Blues friendly, New Orleans jazz frisky and not short on country and folk ideas, too.

“Paper Piano” starts the listen with soft keys from Ben Babylon, bright brass and Wolfe’s gritty pipes in a blues and jazz influenced landscape, and “Carpenter” follows with a dreamy climate of emotive violin thanks to Rebecca Weiner Tompkins alongside Wolfe’s expressive pipes and Adam Kurtz’s alluring pedal steel.

The middle tracks are among the best, and include the sublime rasp of the cautious “About My Falling”, where flute from Seth Fox and French horn by Kristen Englenz add much to the graceful demeanor, while “Cemetery Blues” offers a buzzing display of firm drumming from Tommy Stangroom and dense guitars from Wolfe and Wess Floyd as the listen shifts towards southern rock.

On the back half, “Fault Lines” moves with a gravelly beauty that’s fueled by sophisticated piano, light pedal steel and gentle touches of bass and violin amid Wolfe’s poetic singing, and “O’Magnolia” exits the listen vocally strong as many players lend their soulful voices to a gospel influenced finish.

Certainly able to draw parallels to legends like Leonard Cohen or Nick Cave, but also very distinct in his genre meshing approach, Afton Wolfe does not disappoint on this first solo album that’s gruff, diverse and eloquent in its unique charm.

Travels well with: Mare Wakefield & Nomad- No Remedy; Kevin Daniel- Myself Through You

Troy Roberts & Tim Jago

Best Buddies

Toy Robot, 2021

8/10

Listen to Best Buddies

An aptly titled record, longtime friends Troy Roberts and Tim Jago bring their impressive resume and skills to this top notch effort, where Karl Florisson lends his acoustic bass prowess and Ben Vanderwal’s proficient drumming anchors the 9 originals.

“Chythm Ranges” starts with a flurry of brisk percussion, agile saxophone and flowing guitar work as a dynamic jazz template unfolds, and “Best Buddies” follows with a calmer pace of groove friendly sounds where the brass, guitars and percussion interact in graceful ways that benefit much from Florisson’s bass plucking as all 4 players contribute solos.

In the middle, “Zeena” is a sublime, brief moment of cautious instrumentation in 5/4 time, while “A New Porpoise” spends 7 minutes mesmerizing us with playful bop moments, gentle bouts of reflection and soulful sax from Roberts. “Pho Twenny”, one of the best tracks present, then shimmers with a warm spirit that’s nothing short of pretty in its ballad demeanor.

Approaching the end, “Halfway House In C Major”, which is based on Cole Porter’s “What is This Thing Called Love”, really showcases Roberts’ intricate skill on sax alongside Jago’s charming guitar lines in the classical-baroque style, and “Overlook” exits the listen quick, fast and in a hurry as exciting song craft amazes amid pulsating melodies and a furious rhythm section.

A somewhat coincidental record, all 4 musicians just happened to be in the same place during Covid lockdown, and the 2 days it took to lay these songs down captures their chemistry, finesse, and intensity superbly.

Travels well with: Dan Moretti- Tres Libre; Jack Brandfield- I’ll Never Be The Same

Adoct

Ouvre-Glace

Circum-Disc, 2021

8/10

Listen to Ouvre-Glace

The acoustic version of Toc, the trio of Peter Orins (drums), Ivann Cruz (acoustic guitar) and Jérémie Ternoy (piano) welcome Sakina Abdou (sax, recorder) and Barbara Dang (piano) on this very unusual and highly creative interaction between the 5 artists under the Adoct moniker.

The title track starts the listen with plenty of assorted background noises, as a random piano key here and a guitar pluck there come and go. Closer to the middle, percussion becomes the focus as the setting gets quite adventurous, before slipping into a bare display of restraint. Near the 20 minute mark, we’re into a busy climate of hypnotic recorder and swift, frantic drumming, before the minimal exit.

The remainder of the tracks aren’t as long, but are certainly just as exciting, including the playful guitar of the raw “Carentiel”, while “Immobilisme Poreux” unfolds in two parts that brings frisky saxophone and firm keys that can get nearly chaotic just as they can dreamy. “Démenti Conforme” exits the listen, and brings traces of post-rock, avant-garde sounds and jazz sensibilities to a very atypical finish.

A project that was birthed during the pandemic in France, let’s hope that this isn’t a one off effort as Adoct manipulate free improvisation, minimalism, and variations of jazz in unpredictable and exciting ways.

Travels well with: Murmur Metal- Maelstrom; David Dunn- Verdant

Murmur Metal

Maelström

Helix, 2021

8/10

Listen to Maelström

There’s plenty of music out there you could call metal, but David Bausseron’s Murmur Metal project is quite literally a metal delivery. After finding some raw materials in a dumpster at a factory back in 2010, Bausseron added to his arsenal of iconoclastic noise makers, and here he uses rods, a tin box, cage, halogen lamp base and many other metallic objects alongside electric guitar and electronics.

“I” starts the listen with 18+ minutes of ominous, eerie metal tinkering meets dense waves of nearly mechanical sounds that seems like it could soundtrack life on a deserted planet with high winds. Interestingly enough, it almost has the appeal of a field recording, but with a sci-fi sort of slant.

The middle track, “II”, is the shortest track, and In under 5 minutes resembles a swarm of insects or perhaps turbines moving wind that can be ambient, even relaxing, in its experimental, perplexing nature.

The final track, “III”, spends 25 minutes mesmerizing us with minimal moments of bare manipulation, aberrant gestures and fumbling with random objects as a rare and certainly unusual charm is built from the unorthodox vision that drones, clangs and hypnotizes.

An artist who has turned dumpster diving into a highly refined art form, it’s quite clear a tremendous amount of work went into this record, and the improvisational skills are unparalleled. For those tired of the mundane, Murmur Metal is an adventure worth taking repeatedly.

Travels well with: Philip Blackburn- Justinian Intonations; David Dunn- Verdant

Big Band Of Brothers

A Jazz Celebration Of The Allman Brothers Band

New West, 2019

8/10

Listen to A Jazz Celebration Of The Allman Brothers Band

Released in celebration of the 50th Anniversary of the Allman Brothers Band’s debut record, here we’re treated to 10 interpretations Allman Brothers Band tunes by some of Nashville’s finest and with some esteemed guest artists, too.

“Statesboro Blues”, with Marc Broussard, starts the listen with proficient keys and light percussion on the jazz and soulful romper, and “Don’t Want You No More” continues the fun with organs and trombones on the playful setting.

Elsewhere, “Whipping Post”, again with Broussard, finds a firm rock template emerging alongside the brass as smooth vocals from Broussard guide the busy, bass heavy tune, and “Stand Back” follows with electric slide guitar from Jack Pearson complementing the full, anthemic delivery.

Near the end, “In Memory Of Elizabeth Reed” trims the atmosphere back to elegant and groove friendly in the cautious jazz template with 5 soloists, and “Les Bres In A Minor” ends the listen with 12 minutes of controlled chaos in the highly textured, improvised blues rock extravaganza.

Primarily an instrumental album, Broussard offers his pipes on 2 tracks, while Ruthie Foster’s inimitable vocals are present on 2 as well, though with over 20 players in attendance, there’s plenty of creative, timeless and unpredictable song craft to get lost in on this fantastic tribute.

Travels well with: Marc Broussard- A Life Worth Living; Ruthie Foster- Let It Burn