Pandelis Karayorgis Trio/Julia Werntz/Eric Moe

Climbing To Sleep

Driff, 2025

9/10

Listen to Climbing To Sleep

The composer Julia Werntz, pianist Eric Moe and the Pandelis Karayorgis Trio come together for these 3 detailed pieces that emit countless jazz ideas.

“Capricious Nocturnal Variations and Variations” opens with Karayorgis’ strategic keys creating ambience amid Randy Peterson’s atypical drums and Moe’s well timed microtonal keyboard. Deeper into the movements, Nate McBridge’s unpredictable bass plucking enters alongside the strong attention to space.

In the middle, “Working with the Scale” blends microtonal scale, keyboard and standard piano into 5 pieces of creative and exciting improvisation that balances busy bouts with gentle moments.

“Coda” exits and focuses on standard piano, as the adventurous rhythm section surround the key acrobatics with much energy, unconventional grooves and no lack of imagination.

The microtonal aspect of this effort is quite intriguing, and the avant-garde, free jazz and spontaneous mood only heightens the intrigue of this really atypical listening experience.

Travels well with: Julia Werntz- Someone Who Loves You Throws Me At You; Eric Moe- Strenuous Pleasures

Inbal Megiddo

Bach Cello Suites

Atoll, 2025

9/10

Listen to Bach Cello Suites

The New Zealand cellist Inbal Megiddo brings her inimitable talents to this detailed performance of Bach’s Cello Suites.

“Suite No. 1 in G Major, BWV 1007” opens with the flowing cello and charming detail that flows in and out of 6 engaging movements, and “Suite No. 2 in D Minor, BWV 1008” follows with an emotive capacity that’s thoughtful and introspective thanks to the meticulous progressions.

In the middle, “Suite No. 3 in C Major, BWV 1009” uses brighter ideas that radiate much color and precision that can get quite animated, while “Suite No. 4 in E-Flat Major, BWV 1010” emits much wonder and grace via Megiddo’s unparalleled string performance.

“Suite No. 6 in D Major, BWV 1012” exits, and it offers intimate ideas versus frisky bouts of timeless and mesmerizing cello prowess.

An effort that creates the illusion that you’re hearing more than one instrument, Megiddo explores a variety of expressions that truly does justice to these pivotal pieces.

Travels well with: Daniel Strong Godfrey- Toward Light; Louise Dubin- Passages: French Cello Works

Ryan Behan

Franz Liszt Années de pèlerinage: Suisse

Self-Released, 2024

8/10

Listen to Franz Liszt’s Années de pèlerinage: Suisse

This debut album from the pianist Ryan Behan interprets the work of Franz Liszt, where much detail and skill is applied to the timeless selections.

“Chapelle De Guillaume Tell” opens with the light versus firm gestures that radiate much beauty and restraint in the atmospheric climate, and “Au lac de Wallenstadt” follows with a pretty ambience of poetic progressions.

In the middle, “Au bord d’un source” emits much wonder from the swirling keys that are animated and exciting, while “Orage” brings turbulence and plenty of rumbling to a very colorful album highlight.

Residing near the end, “Le mai du pays” often lands in minimal areas that are heartfelt, and “Les cloches de Genéve: Nocturne” exits with a very pretty and thoughtful demeanor via Behan’s meticulous fingers.

Behan spends his days as an Associate Professor and Director of Keyboard Studies at the University of Indianapolis, and he brings tremendous talent and experience to these spiritual, enlightening and introspective pieces from the Romantic Period.

Travels well with: Olivia Belli- Daimon; Víkingur Ólafsson- Opus 109

Eddie Schwartz

Film School

Melody Hill, 2025

8/10

Listen to Film School

The Canadian renaissance man Eddie Schwartz pens a diverse and memorable 6 song EP that unfolds likes a series of short stories.

“We Win” starts with Schwartz’s warm guitar and voice amid Roger Moutenot’s cozy slide guitar in the soft climate, and “Outbound Train” follows with Schwartz handling keys, guitar and vocals that complement the gentle ambience and melodies.

At the halfway point, the emotive keys of “Special Girl” recruits David Tyson’s distinct voice and Robyn Black’s well timed backing vocals in a bare delivery, while “Waters Rise offers a poetic moment that builds into a rhythmic album highlight with plenty of soul.

The last track, “Come To This”, the fullest track present, invites George Marinelli’s guitar, bass and synth, as well as Vince Santoro’s drums to the meticulous and timeless finish.

Schwartz has written songs we all know (e.g. “Hit Me With Your Best Shot”), and these selections under his own name are the result of decades of songwriting experience that is carefully delivered and are as relatable as the hits he’s penned for dozens of other artists.

Travels well with: We Are Scientists- Qualifying Miles; Laveda- Love, Darla

Jonathan Richman

Only Frozen Sky Anyway

Blue Arrow, 2025

8/10

Listen to Only Frozen Sky Anyway

This 18th album from Jonathan Richman recruits Tommy Larkins and Jerry Harrison for 12 diverse songs that don’t stray too far from Richman’s patented weirdness.

“I Was Just A Piece Of Frozen Sky Anyway” opens with Richman’s unmistakable voice alongside Harrison’s warm keys and Larkins’ frisky drums, and “But We Might Try Weird Stuff” follows with Tracy Blackman and Aishlin Harrison helping with vocals in the upbeat moment guided by Richman’s flowing guitar.

Moving along, the frisky “Dogstar” uses talking and singing, as Jake Sprecher and Marty Parker join in on singing amid a jangle, while “That Older Girl” is just Richman’s bright voice and cozy guitar alongside Larkins’ agile drumming in a soft rock sort of way.

“The Wavelet” and “I Am The Sky” exit the listen. The former is an intimate moment of sublime beauty that recruits Nicole Montalbano on tamboura, and the latter follows a similar course of minimal songwriting and strong attention to ambience.

Although he got his start in the proto-punk scene of the ‘70s, these days the 75 year old Richman is enjoying strumming his acoustic guitar with humor with plenty of indie-rock charm.

Travels well with: Jonathan Richman & Modern Lovers- Jonathan Sings!; Modern Lovers- ‘Live’

Josh Rager

Heart’s Pace

Bent River, 2025

8/10

Listen to Heart’s Pace

The Canadian pianist Josh Rager is joined by Peter Bernstein, Alec Walkington and Rich Irwin for these originals and standards that embrace plenty of timeless jazz ideas.

“I’ve Grown Accustomed To Her Face” starts with Rager’s warm piano and Walkington’s agile bass illuminating the melodic mood, and “Centered” follows with Berstein’s quick guitar that suits the upbeat climate of authentic jazz.

Halfway through, “Fathers And Son” allows for Rager’s pretty keys to shine amid the light delivery, while “Ebb And Flow” showcases playful bass plucking and Irwin’s crisp drumming for 7+ minutes of harmonic and radiant musicianship.

“Within Reach” arrives late and offers intimacy via the reflective interaction between the quartet, and “Dreamsville” exits with an indeed dreamy demeanor thanks to the cozy guitar, sophisticated keys and charming rhythm section.

A soulful, harmonic and timeless body of work, Rager and company are versed in both swinging and ballad territory, as evidenced by this meticulous record.

Travels well with: Ben Markley- Tell The Truth; Live Edge Trio- Closing Time

Vickie Vaughn

Travel On

Mountain Home, 2025

8/10

Listen to Travel On

This debut solo album from the bassist Vickie Vaughn invites a small but effective cast for these timeless bluegrass tunes.

The rhythmic and warm spirit of the title track opens with Vaughn’s soaring voice alongside Ronnie McCoury’s flowing mandolin, and “Bottle Of Wine” follows with Deanie Richardson’s playful fiddle that complements Vaughn’s frisky bass and expressive pipes.

“Still In Love” lands in the middle and carries a romantic spirit via Cody Kilby’s warm guitar and the emotive singing, while “Sleepin’ In The Rain” benefits much from Wes Corbett’s quick banjo prowess amid the fluid melodies.

Landing near the end, “Leavin’” showcases Dave Racine’s meticulous drumming that aligns with intricate strings, and “When Loves Comes Knocking’” exits with a dance floor ready energy that makes great use of Casey Campbell’s mandolin.

Vaughn is off to a great start, and her talents on bass and memorable voice illuminate the harmonic nature of these songs in a way that any and all fans of bluegrass will appreciate.

Travels well with: Sister Sadie- All Will Be Well; Unspoken Tradition- Resilience

Russell Platt

Mountain Interval: Songs And Chamber Music Of Russell Platt

Bridge, 2025

9/10

Listen to Mountain Interval: Songs And Chamber Music Of Russell Pratt

The 7 selections here are fleshed out by Paul Appleby, Myra Huang, Molly Barth, Peter Kolkay and Borromeo String Quartet and they do justice to Russell Platt’s inimitable vision.

“After Apple-Picking” opens with Appleby’s emotive tenor voice and Huang’s adaptable keys that emit much warmth, and “Paul Muldoon Songs” follows with animated keys and lively singing amid the 4 diverse movements.

“Sonnet” lands in the middle and radiates tremendous intimacy thanks to the sublime piano and emotive pipes, while “Sunday Variations” showcases Kolkays’ frisky bassoon playing that’s adventurous.

Arriving near the end, “Memoir” pairs Barth’s spellbinding flute with Amy Dorfman’s atmospheric piano that emits much wonder, and the title track exits with the Borromeo String Quartet’s busy versus gentle textures that can be turbulent just as they can be gorgeous.

An emotionally and intellectually enlightening effort, every track present is executed with precision, timelessness and melodic capacities that easily engage the listener.

Travels well with: Poul Ruders- Six Symphonies; Harry Partch- The Wayward First Complete Recording

Gena Britt

Streets, Rivers, Dreams & Heartaches

Mountain Home, 2025

9/10

Listen to Streets, Rivers, Dreams & Heartaches

The esteemed banjo picker, Gena Britt, steps away from her full band, Sister Sadie, for this solo affair that brings her soulful pipes and picking skills to 11 timeless bluegrass tracks.

“What Kind Of Memory Will You Be” opens with Britt’s emotive voice alongside soft guitar in the stirring climate, and “Just Like You” follows with Tony Creasman’s gentle drums that suit the expressive singing.

In the middle, “Heading Back To Heartache” showcases Britt’s quick banjo and Jonathan Dillon’s mandolin acrobatics via the lush bluegrass sounds, while “Welcome To New York” allows for Jason Carter’s meticulous fiddle to shine via the rich instrumental.

Closer to the end, the soaring vocal harmonies and Alan Bartram’s well timed bass make “Stone Of Faith” the album highlight, and “Goodbye To The Blues” blends John Meador’s guitar into the meticulous picking that aligns with Britt’s flawless pipes and the seemingly endless melodies.

Everything Britt is a part of is excellent, and this is no different, as her first solo effort in 6 years further solidifies her as a leading voice in modern bluegrass.

Travels well with: Jaelee Roberts- Let Me Be Lonely; Sister Sadie- All Will Be Well

Robec

The Forest Is Too Loud

Gymnocal, 2025

9/10

Listen to The Forest Is Too Loud

This first album from the Norwegian prog-rockers Robec treats us to 5 songs of their detailed, instrumental songs that pull from many influences.

“Unknown Overture” opens the listen with Marius Tingdal Rebech’s buzzing synth and André Lund’s flowing guitar that guides the nearly 7 minutes of melodic prog-rock, and “The Apanthropist” follows with Sondre Veland’s exceptional drumming which suits the bright textures and beat fueled backdrop.

The middle spot belongs to “Latibulate”, where Rebech’s mature piano helps the tune build into layered waves of buzzing synth-rock meets prog-rock, while “Nikhedonia” is a colorful and animated album highlight that’s dynamic and meticulous.

The title track exits, and leads intimately with graceful keys and aligns with the ambience before scrappy drumming enters and segues into a powerful, triumphant finish.

An album of captivating rhythm, spacey synth, and twangy guitars, Robec have created a experience all their own that will mesmerize prog fans from beginning to end.

Travels well with: Pixie Ninja- Hypnagogia; Weserbergland- Sacrae Symphoniae Nr. 1

Duffmusiq

Stone Cold

Self-Released, 2026

9/10

Listen to Stone Cold

The Canadian artist, Duffmusiq, returns with a 5th solo album, where plenty of soulful blues rock surrounds the 11 riff filled tracks.

The title track opens with Jill Zadeh’s flowing vocals alongside Duffmusiq’s dense guitar licks in the powerful climate, and “Born To Shine” follows with Shamaka Ali’s fluid drumming that complements the expressive pipes and warm grooves.

“Best Friend Of Mine” occupies the middle spot and benefits from Duffmusiq’s skilled bass and chugging guitar, while “Hard Time Blues” is a softer moment that radiates intimacy and bright melodies.

Landing close to the end, the frisky “Hustle And Grind” is a rich and textured album highlight that you could dance to, where Zadeh’s adaptable voice shines, and “Stranded Love” exits with Ron Caspi’s meticulous bass adding a charming energy to the sing-alongs and breezy demeanor.

You can tell a lot of work went into this album, and Duffmusiq’s fusion vision sure is illuminated well thanks to an all-star cast that touch on Neo-soul, R&B, smooth jazz amid the blues template.

Travels well with: The Boneshakers- Live To Be This; Blackburn Brothers- SoulFunkn’ Blues

Killing Kind

Being Human

Aenaos, 2025

9/10

Listen to Being Human

The Swedish outfit Killing Kind return with a sophomore album, where plenty of darker themes enter the synth and strings across 11 diverse songs.

“Humanity” opens with a post-punk fueled climate that uses synth from Mats Wigerdal alongside Bjorn Norberg’s deep pipes, and “Desperately Holding On” follows with Mats Molund’s frisky drums that align with Norberg’s moody bass which finds melody under the ominous delivery.

Halfway through, “Go Away”recruits Lidija Radmilac’s strategic viola via strong attention to mood, while “Choking” picks up the pace with a driving spirit that swirls via a tuneful quality.

“Never So Cold” and “Distant World” exit the listen. The former drones with a melancholic dreaminess, and the latter actually embraces some brighter ideas in the layered and dynamic finish.

A fascinating record the blends post-punk, synth pop, alt-rock and goth, there’s an undeniable haunting aspect to the listen, but not without plenty of power that will impress fans of The Cure, Depeche Mode, Joy Division and David Bowie.

Travels well with: Nils Lassen- Fingerprints; The Search- Extras

Tom Paxton & John McCutcheon

Together Again

Appal, 2026

10/10

Listen to Together Again

Two luminaries in the area of folk music, Tom Paxton and John McCutcheon, come together for these 14 songs that are wise, authentic and timeless.

“The Future” starts with Paxton and McCutcheon’s warm voices alongside Stuart Duncan’s stirring fiddle in the heartfelt climate, and “Old Dog” follows with Jon Carroll’s warm keys illuminating the gentle melodies and vivid storytelling.

Entering the middle, “Stop At Nothing” benefits from Steve Fidyk’s light drumming that suits the cozy mood, while “Cheatin’ What I’m Eatin’” makes great use of Steve Hinson’s glowing pedal steel amid some humor.

Getting close to the end, “Famous For A Day” is about a baseball player and showcases JT Brown’s skilled bass that complements the harmony vocals, and “Lay This Old Guitar Down” exits with a charming and sincere folk tune that will be relevant no matter what decade it is.

Paxton is 87 and McCutcheon 73. They’ve got stories to tell and talents accumulated across 50 years of playing music. In the area of folk music, you won’t be in better hands when spending quality time with their songs.

Travels well with: John McCutcheon- Field Of Stars; Leslie Jordan- The Agonist

GA-20

Orphans

Colemine, 2025

9/10

Listen to Orphans

The Boston blues-rockers GA-20 bring their vintage yet modern vision to these 8 show favorite tunes, where Matthew Stubbs, Cody Nilsen and Josh Kiggan are in fine form.

The rhythmic and gritty “Cryin’ & Pleadin’” opens with Nilsen’s powerful pipes alongside Kiggan’s bouncy drums, and “I Love You, I Need You” follows with a romantic spirit thanks to the heartfelt singing and Stubb’s cozy guitar.

In the middle, “Stranger Blues” offers a raw yet tuneful display of timeless blues, while “Hold On, I’m Coming” recruits Nate Edgar’s playful bass and Brooks Milgate’s animated organ that suits the rich and harmonic instrumental.

Getting close to the end, the dance floor ready “Just One More Time” bops and shakes with an infectious energy, and “Chicken Pickin’” exits with 2 minutes of fun via the dynamic rhythm section and meticulous guitar.

GA-20 draw inspiration from Otis Rush, J.B. Lenoir, Howlin’ Wolf and Junior Wells, and their use of vintage instruments and amps to yield their authentic sound makes for a blues experience you won’t soon forget.

Travels well with: Sue Foley- One Guitar Woman; Bob Corritore & Friends- Doin’ The Shout

Microplastique

Many Roads

Irritable Mystic, 2026

9/10

Listen to Many Roads

The Chicago avant-toy-orchestra, Microplastique, i.e. Adam Shead, Molly Jones, Josh Harlow, and Ben Zucker, bring their inimitable talents to these 7 unpredictable and exciting jazz tracks.

“Aghot’k” opens with a mysterious ambience, before the playful percussive ideas enters the strategic droning that carries a sci-fi appeal, and “Inner/Outer” follows with a ‘found objects’ mood that balances winds with drumming bouts.

”Turn II” and “Bounce” land in the middle. The former enlists dreamy flute amid the colorful whistles, while the latter is a rich album highlight that emits radiant sax alongside dense drumming. The title track exits, and it’s nearly 30 minutes of frisky drumming, animated winds and plenty of atypical noise.

This is the 2nd album from the improvisational wizards, and was recorded live across the ensemble’s 15-concert June 2025 U.S. tour. An impressive effort that embraces spontaneity, simplicity and archetypal melody, each member plays many instruments that commands our attention.

Travels well with: Microplastique- Blare Blow Bloom!; Stein/Smith/Shead- Volumes & Surfaces

Hard Maybe

More Of The Usual Stuff

Self-Released, 2025

9/10

Listen to More Of The Usual Stuff

A Seattle septet with an affinity for neo-soul, Hard Maybe make an impression with this debut LP where a fusion approach recruits plenty of grooves and elegance.

“Palace” opens with Monica Parshotam’s soulful pipes alongside gentle keys before the setting gets upbeat and playful, and “Mama Said” follows with Sam Jaeger’s warm guitar and Alex Roemmele’s fluid drumming that surrounds plenty of melody.

In the middle, “Turbulence” welcomes Nathan Nzanga’s pipes to the funky flavor and Rebekah Way’s rich sax, while “DF” carries an infectious energy thanks to the frisky rhythm section, multiple voices and colorful keys.

“Sad Clown” and “Drop A Coin” exit the listen. The former makes great use of Daniel Lombard’s trumpet amid the chorus you’ll be singing pretty quick, and the latter touches on R&B amid bare instrumentation and harmonizing vocals.

An excellent debut LP that meshes neo-soul, jazzy-funk, and alternative R&B, there’s a lot of relatable themes present, and the music is fleshed out with a global appeal.

Travels well with: With Child- Undressing In The Wind; Horsefight- Volunteer

The Mendozaz

The Completely Fictional History of This Great Nation of Canada

Cartridge Heart, 2025

9/10

Listen to The Completely Fictional History of This Great Nation of Canada

The Toronto pop-punkers The Mendozaz bring humor, hooks and plenty of ‘90s spirit to this concept album that’s not short on gang vocals, either.

“Fuck You: The Musical” opens with a blast of melodic and bouncy punk rock, where plenty of f-bombs are surrounded by Jonny’s razor sharp guitar, and “A Piercing Shriek Of Death” follows with Dic’s thumping drums that suit the blasts of rock as well as the soft moments.

Halfway through, “Kokanee Joe” recruits plenty of head-bobbin’ and toe tappin’ fun to the timeless pop-punk that invites clapping along, while “Late Stage 12 Gauge” spotlights Michael’s playful bass and vocals that harmonize with Jonny.

Residing close to the end, the furious “The Bell Tower Killer” chugs and gets a bit dreamy in its diverse climate, and “The Unlikely Legend Of Captain Fuchs” exits with marching band style drumming and plenty of scrappy songwriting that you’ll be singing along to pretty quick.

As someone who at some point in their life would consider themselves an expert in the area of pop-punk, I feel quite confident that if anything related to Fat Wreck Chord, Lookout Records or Hopeless Records gets you riled up, well, you’re going to love The Mendozaz.

Travels well with: The Get Arounds- I Wanna Livehttps://takeeffectreviews.com/february-2024-1/2024/2/21/the-get-arounds; CC Voltage- Berliner Pilsner

Olivia Belli

Daimon

Sony, 2026

10/10

Listen to Daimon

The pianist and composer Olivia Belli is joined by Raphaela Gromes, Eldbjørg Hemsing, and Jess Gillam for this first piano concerto full length.

“Proci” starts with Gromes’ warm cello and Hemsing’s animated violin that interact with much exploration, and “Semplice” follows with pretty keys that are heartfelt and radiate tremendous beauty.

In the middle, “Telemachus” pairs the bright keys and quivering violin via much intrigue in its mesmerizing capacity, while “Eumaeus” offers a minimal approach that’s strong on ambience thanks to Gillam’s strategic sax.

Getting close to the end, the sublime grace of “Eurycleia” has the keys swirling around the wind in wonder and awe, and “Pax Athenae” exits with the strings and keys interacting with much care and melody.

Belli takes notes from Johann Sebastian Bach, Frédéric Chopin, Philip Glass and Arvo Part, and inspiration from Homer’s Odyssey, which provides the groundwork for this stunning body of work that lacks pretense, touches on melancholy and hope and displays plenty of relatable emotions for a neo-classical masterpiece.

Travels well with: Gabríel Ólafs- Polar; Erland Cooper & Scottish Ensemble- Faded Landscapes

Víkingur Ólafsson

Opus 109

Deutsche Grammophon, 2025

9/10

Listen to Opus 109

The Icelandic pianist Víkingur Ólafsson brings us works by Bach, Beethoven and Schubert, which are executed with unparalleled attention to detail.

Bach’s “Prelude in E Major BWV 854” opens with the melodic keys emitting much warmth and color via the meticulous delivery, and Beethoven’s “Piano Sonata No. 27 in E Minor, Op. 90” follows with the rich progression that exercise both firm and animated gestures.

In the middle, “Partita No. 6 in E Minor, BWV 830”, by Bach, moves swiftly and with much charm in its infectious energy, while Schubert’s “Piano Sonata No. 6 in E Minor, D. 566” offers a pensive bout that builds into dense playing that rumbles unpredictably.

Residing near the end, “Piano Sonata No. 30 in E Major, Op. 109”, by Beethoven, is quite intricate, cinematic even and “French Suite No. 6 in E Major, BWV 817” emits intimacy alongside the emotive keys of the soft exit thanks to Bach’s vision.

Ólafsson fleshes out a dialogue across the centuries with this superb solo piano performance, and like everything he’s done, it’s an enlightening and memorable program that warrants revisiting.

Travels well with: Víkingur Ólafsson- From Afar; Daniil Trifonov- BACH: The Art Of Life

Amo Amo

Amo Amo

Mystic Fox, 2019

8/10

Listen to Amo Amo

A Los Angeles outfit that includes a member of the always impressive Gardens & Villa, Amo Amo describe themselves as psychedelic dream-pop, which no one could disagree with, and a guy most of us have heard of named Jim James turned the knobs on this debut album.

“Closer To You” gets the album started with warm vocal harmonies and throwback nods to reggae as calm grooves set the scene, and “When I Look At You” follows with a punchier spirit that recruits pop ideas into their soulful formula.

Elsewhere, the dreamy, hazy “When We’re Gone” is a moment of mysterious beauty, while “Antidote” yields rich guitar work in a rhythmic setting where funk and soul enter the equation.

Near the end, “Teacher” is a cozy duet of indie-pop meets R&B flavoring, and “Wish I Had The Power” settles nicely into an eclectic late disc highlight. “Echoes Just Begun” ends the listen with expressive vocals, lush melodies and a fluid mix of synth and guitar lines, putting the exclamation point on the dynamic chemistry present here.

In a time when so much pop music contains trite commonalities, it’s refreshing to see creativity like this that’s difficult to categorize but easy to enjoy. An impressive first record, it will be exciting to see what lies ahead for these 5 artists.

Travels well with: My Morning Jacket- It Still Moves; Dirty Projectors- Rise Above