The Gold Needles

Mood Elevator

Big Stir, 2025

9/10

Listen to Mood Elevator

The UK indie-rockers The Gold Needles are back with their 4th album, and it has the quintet in fine form across the 10 melodic tracks.

“I Don’t Know About That” starts and enlists Will Jones’ thumping drums alongside Dave Burbage’s rhythmic guitar, and “Eleven Eleven” follows with Simon Dowson’s crunchy guitar and smooth pipes amid the driving rock.

Halfway through, “Supernature” uses acoustic guitar and poetic singing for the heartfelt moment, while “I’ll Take My Chances” benefits from Carl Slaughter’s precise bass playing alongside the sing-alongs and harmonic delivery.

“Crescent Moon” and “Mood Elevator” exit the listen. The former is a lush moment that’s textured maturely and flows richly, and the latter offers some ambience in the background, as Mark English’s keyboards make an impression.

A records that’s not short on energy or catchiness, The Gold Needles fit in well at their new home on the Big Stir Records roster, where plenty of hooks and infectious songwriting is front and center.

Travels well with: Crossword Smiles- Consequences + Detours; Chris Church- Obsolete Path

A.S. Fanning

Take Me Back To Nowhere

K & F, 2026

9/10

Listen to Take Me Back To Nowhere

The Irish singer-songwriter A.S. Fanning returns with a 4th album, where a broken wrist changed his songwriting approach that helped yield songs about isolation, disorder and the collapse of shared reality.

“Save Us” starts the listen with a playful mood of frisky electronica that’s uses Fanning’s mysterious voice via the dreamy climate, and “Today Is For Forgetting” follows with buzzing synth and Fred Sunesen’s thumping drums that suit the hazy delivery.

Further along, “Romance” moves cautiously thanks to the soft ambience and waves of beauty, while “Stay Alive” is full of rich and sophisticated textures that complement Fanning’s deep voice.

Close to the end, “Talking To Ourselves” drones with a glowing atmosphere that’s soothing and poetic, and “Epilogue” exits with a quick instrumental of cryptic and thoughtful interaction.

An effort that can shimmer with synths but also get a bit darker in spirit, Fanning’s baritone helps the songs weave in and out of folk ideas, ‘60s psychedelia and rock’n’roll that leaves an indelible impression.

Travels well with: Lucy Kruger & The Lost Boys- Pale Bloom; Louie Blue- Blood & Bones

Homme

Ma vie en théorémes

Self-Released, 2025

8/10

Listen to Ma vie en théorémes

The French prog-rockers Homme make for an impressive debut, where raw emotions, contradictions, and existential poetry collide across the 10 complicated and timeless tracks.

“Abus De Pouvoir” starts the with quick bass lines that suit the firm singing and driving pace of the hard rock nods, and “Ma Vie En Théorémes” follows with a distinct ambience that invites expressive singing with a dreamy back drop that builds into a powerful climate.

Landing in the middle, “Idées Noires” balances intimacy with spirited guitar and thumping drums, while “Mon Évidence” is full of sing-alongs and moves with an infectious and harmonic energy that makes this the album’s best.

Close to the end, “Pile Ou Face” is rhythmic and dance floor ready thanks to some guitar crunch, and “Le Grand Voyage” exits with both busy and soft gestures that span a lot of ideas in the area of prog-rock that can be dense and heartfelt.

Certainly indebted to prog-rock but with plenty of influences present, Homme pen an emotive, hard hitting and sometimes elegant first album that’s hopefully 1 of many to come.

Travels well with: Johan Steensland- Duality; Myth Of Logic- The Memory Of After

Nicole Sophia

Feral

Voracious, 2025

9/10

Listen to Feral

The indie-rock artist Nicole Sophia brings an emotional and powerful component to this debut album, and it’s full of plenty of timeless pop and rock ideas surrounded by forthright wordplay.

The scrappy “Too Young To Die” starts the listen with Sophia’s distinct voice alongside Zachary Wallace’s crunchy guitar amid a melodic and raw climate, and “Sweet Melancholy” follows with Kyle Dorny’s thumping drums that suit the sweet versus rugged rock.

“Dark Chocolate” occupies the middle spot and is acoustic guitar focused, as Sophia sings intimately with much caution, while “Sex On The Internet” has Sophia playing electric guitar and Jim Salvito’s contributes clavinet and horn programming to the rich delivery.

Moving closer to the end, the dreamy “If You’re Gonna Love Me” showcases Sophia’s more vulnerable side with a very heartfelt delivery, and “Everything’s Gonna Be Fine” exits with Perry Norton’s baritone guitar that adds much sophistication to the atmospheric and mature finish.

Although this is her first LP, Sophia has a lifetime of experience writing songs and her unfiltered, rowdy, gritty and authentic demeanor results in an effort that seems self-liberating and is quite inspirational.

Travels well with: Ida Mae- Thunder Above You; Candy Dulfer- We Never Stop

Pierre Lacocque's Mississippi Heat

Don’t Look Back

Delmark, 2025

9/10

Listen to Don’t Look Back

This 14th album from Mississippi Heat recruits Pierre Lacocque’s meticulous harmonica across the 14 tracks of lively, Chicago blues.

The flowing spirit of “You Ain’t The Only One” starts with Sheryl Youngblood’s soaring voice alongside Giles Corey’s animated guitar licks in the melodic climate, and “Third Wheel” follows with Kenny Smith’s thumping drums and Danielle Nicole’s soulful pipes that emit much warmth amid Lacocque’s animated harmonica.

In the middle, the energetic and dance floor ready “Moonshine Man” benefits from Omar Coleman’s acoustic harp and Big Mike Perez’s frisky bass, while “Shiverin’ Blues” showcases Nicole’s inimitable pipes in calmer territory thanks to Brian Quinn’s cozy acoustic bass and John Kattke’s reserved keys.

The title track arrives late and benefits from Billy Flynn’s colorful guitar and Jason ‘J Rock’ Edwards’ wild drumming, and “Four Steel Walls” exits with Coleman’s smooth voice that complements Lacocque’s precise harmonica and Kirk Smothers’ inimitable sax solo.

Lacocque and Mississippi Heat have an undeniable chemistry, and the large amount of guests present makes for a blues experience you won’t soon forget.

Travels well with: Jimmy Burns & Soul Message Band- Full Circle; Tad Robinson- Soul In Blue

Dave Mossing

Homesteaders

Bent Rivers, 2025

9/10

Listen to Homesteaders

The trumpet extraordinaire Dave Mossing is joined by Jean-Michel Pilc, Ira Coleman and Jim Doxas for these 11 introspective songs that are inspired by his heritage in Saskatchewan.

“Homesteaders Suite I: Homesteaders” opens with Mossing’s rich trumpet amid Doxas’ well timed drums that suite the elegance, and “Homesteaders Suite II: Interlude I” follows with the graceful keys from Pilc radiating much beauty.

Further along, “Homesteaders Suite V: Dirge” blends the soulful horn with crisp drums, where the setting builds thanks to Coleman’s bass, while “Homesteaders Suite VII: From What You Have Given” emits an emotive and dynamic presence via the playful rhythm section and cozy keys.

Close to the end, “Big Muddy” pairs the thick bass lines with bright trumpet, and “Kindred” exits with a rare intimacy that’s thoughtful and reflective.

Mossing has been active in the Montreal jazz scene for 30+ years, and along with this excellent cast he fleshes out a timeless debut as leader.

Travels well with: Winnipeg Jazz Orchestra- East Meets West: Connections; Scott Marshall- The Solitude Suite

Michael Hersch

Medea

New Focus, 2025

9/10

Listen to Medea

The composer Michael Hersch turns the tragedy of Medea into a new opera for soprano, chamber voices and ensemble via these 4 involved selections.

“Medea I” opens with the chilling keys and Sarah Maria Sun’s animated voice that makes for a captivating start, and “Medea II” follows with the Ensemble Musikfabrik’s ambient gestures which suit the expressive voices.

On the back half, “Medea III” focuses on a distinct tonality that builds into tense bouts of mouth acrobatics from Sun amid the cinematic swells, while “Medea IV” blends the woodwinds, brass, strings, and percussion with dynamic singing.

A highly meticulous, harmonic and powerful body of work, Hersch’s telling of the psychological trauma of the story weaves in and out of many diverse and captivating textures.

Travels well with: Steven Ricks- Mythological Fragments; Leilehua Lanzilotti & David Kaplan- Scott Wollschleger: Lost Anthems

Lily Sazz

What Just Happened

Self-Released, 2025

9/10

Listen to What Just Happened

This first album as a pianist and producer has Lily Sazz in some great company for the 10 diverse blues songs.

“Goodnight, Sweetheart” starts the listen with Sazz’s warm keys alongside Colin Linden’s cozy slide guitar via the gentle climate, and “In A Hurry” follows with the rumbling keys, Trombone Charlotte’s animated brass and Jack Pedler’s frisky cowbell for the upbeat mood.

In the middle spot, “Future Me” recruits Darcy Hepner’s rich tenor sax that suits the elegance, while “Isn’t That So” welcomes Suzie Vinnick’s melodic guitar and well timed voice to the smooth blues delivery.

Close to the end, “Better Stop” showcases Sazz’s meticulous keys and expressive pipes amid the soulful backing vocals, and “I Can’t Jam” exits with a busy and driving blues rocker that enlists Mike Branton’s flowing guitar.

Sazz has an impressive resume working from the sidelines, and this step into front woman status spotlights her timeless blues vision that makes an indelible impression.

Travels well with: Grant Lyle- And Now; Ross Neilsen- Within Tension

Jimmy Burns & Soul Message Band

Full Circle

Delmark, 2025

9/10

Listen to Full Circle

An assembly of historical recordings made by Jimmy Burns as a youngster, the songs here previously lived as 45 rpm vinyl split singles in the '60's, and they sound great all these decades later with a fresh coat of paint.

The warm grooves of “Express Yourself” starts with Burns’ soulful pipes alongside Steve Eisen’s bright tenor sax and Greg Rockingham’s playful drums, and “World Of Trouble” follows with Chris Foreman’s playful keys organ that suits Geof Bradfield’s fluid tenor sax.

“Too Much Lovin’” lands in the middle and bops and shakes with an infectious energy thanks to Lee Rothenberg’s frisky guitar and Burns’ adaptable pipes, while “Give Her To Me” benefits from Typhanie Monique’s rich voice amid the melodic landscape.

Arriving near the end, “Rock Me Mama” has Burns playing guitar alongside the crisp rhythm section, cozy guitar and much rhythm, and “Where Does That Leave Me?” exits with a soft mood of timeless song craft.

Influences from Curtis Mayfield and Jimmy McGriff won’t be hard to appreciate here, as Burns and company blend Chicago blue and soul with jazz that sounds as great today as it did in the ‘60s.

Travels well with: Tad Robinson- Soul In Blue; Mud Morganfield- Portrait

Pullman

III

Self-Released, 2026

9/10

Listen to III

A post-rock supergroup, Pullman assemble members of Tortoise, Come and Rex for 6 experimental and atypical songs that are acoustic based.

“Bray” starts the listen with strategic fuzz, where the layered guitars blend with a dense haze, and “Weightless” follows with a distinct dreaminess that unfolds via elegance and mystery.

“Thirteen” and “October” land in the middle. The former is soft, poetic and radiates tremendous beauty in a cinematic fashion. while the latter swirls with much color, spirited guitar licks and a general ambience of soothing qualities.

“Kabul” exits and spotlights the meticulous banjo playing amid Tim Barnes lively drumming.

There’s an incredible amount of talent present, and the individual strengths cultivate folk, post-rock and roots ideas that are textured with much care and intrigue that ends entirely too soon.

Travels well with: M Wagner- We Could Stay; Deru- We Will Live On

Meredith Adelaide

To Believe I’m The Sun

Self-Released, 2025

8/10

Listen to To Believe I’m The Sun

The renaissance woman, Meredith Adelaide, makes an impression with this debut album, where much beauty surrounds her indie-folk template.

The soft and eloquent “Big Songs” opens with Adelaide’s pretty voice alongside light strings and gentle melodies, and “One Foot Out” follows with much attention to atmosphere in a bare, emotive climate.

“Guard Dog” And “Lights On” land in the middle. The former strums a little harder, as Adelaide’s storytelling draws us in, while the latter finds a dreamy place to reside via the expressive singing and mesmerizing instrumentation.

Near the end, “Lost (Whistling)” swirls with intrigue thanks to Wilter’s guitar presence, and “What Do I Know” exits with the layered vocals and ambient background emitting warmth and introspection.

Adelaide handles the bulk of the music here, where Wilter’s guitar and flute by Jonas Pologe are much appreciated. Similarities to Adrienne Lenker, Faye Webster, or Phoebe Bridgers won’t be hard to spot, and the beautiful melancholy makes for a great start for Adelaide.

Travels well with: Chloe Navarre- Periwinkle; Emily Popli- Lilith Fair Kid

Ashley Maher

Tree To Tree

Self-Released, 2025

9/10

Listen to Tree To Tree

The inimitable vocalist Ashley Maher returns with an 8th album, where some of Dakar, Senegal’s finest musicians are in attendance for the global fusion ideas.

The appropriately titled “Music” opens the listen with no lack of grooves, where Maher’s expressive voice is met with colorful keys and dreamy winds, and “Salt And Pepper” follows with playful guitar and a charming rhythm that suits the gentle singing.

Landing in the middle, the drumming focused “Till The Day” uses ambience strategically amid the rich textures and scatting, while “Galon De Leche” offers a breezy moment that’s percussively strong and enlists frisky bass lines.

“Ever Given” and “Nenam” exit the listen. The former is a busy and meticulous album highlight that’s got a dance floor ready energy and hosts really lovely singing, and the latter offers a more bare setting of cultured singing, light melodies and infectious hand clapping.

You can tell a lot of work went into this record, and the use of sabar, tama, brass, and guest vocals from Aminata Doucouré only add to the appeal of a folk/jazz/world music hybrid that’s enlightening.

Travels well with: Maja Jaku- Blessed & Bewitched; Ravita Jazz- Alice Blue

The Burnett Sisters Band

Easy Come. Easy Go

Pinecastle, 2025

9/10

Listen to Easy Come. Easy Go

The siblings Anissa, Sophia and Anneli Burnett and the English-born guitarist, songwriter and vocalist Geary Allen flesh out 10 detailed and timeless bluegrass tracks.

The cozy and pretty “Blaming You” starts with Anneli’s flowing voice that’s complemented by Allen’s banjo and Tony Dingus’ steel guitar, and “Fool’s Good” follows with Allen’s expressive voice amid Anissa’s meticulous fiddle and rich harmonies.

Halfway through, “Lovesick Blues” is a playful moment thanks to Sophia’s playful bass and frisky yodeling, while “Whispering Wind” offers a dreamy moment via the soft dobro and warm rhythm guitar amid the heartfelt singing.

Getting close to the end, “Song Of The Mountains” benefits from John Gardner’s fluid drums and Lee Bidbood’s well timed mandola, and “Sorrow, Grief And Pain” exits with Dan Boner’s quick fiddle that aligns with much melody and grace in the lush finish.

A top notch meshing of bluegrass, Old-Time and Americana roots, The Burnett Sisters Band are fresh off a #1 hit on the Bluegrass Charts and an IBMA Momentum Award nomination, and it’s pretty likely more accolades are coming thanks to their strong songwriting.

Travels well with: Danny Paisley- A Bluegrass State Of Mind; Ashleigh Graham- I’ll Just Drive

Tidalwave Road

Skin And Bone

Pinecastle, 2025

8/10

Listen to Skin & Bone

This debut album from the family band Tidalwave Road treats us to plenty of harmonies floating around their gritty formula amid 10 bluegrass tracks.

The warm spirit of “Low Down & Lonesome” starts with Carlie Parker’s flowing mandolin that suits the heartfelt harmonies, and “This Ol’ Place Is Home To Me” follows with intricate picking and Robert Sulfridge’s melodic guitar that complements the lush climate.

Halfway through, “Not Ok, My Brother” benefits much from Daniel Parker’s meticulous bass plucking, while “He Took Your Place” is a spiritual moment that’s vocally strong and musically gentle.

Residing near the end, “You Put The Blue In Bluegrass” does flirt with the blues via Ben Parker’s playful banjo and the diverse singing, and “I’m Going Home Again” exits with a dance floor energy thanks to the dynamic strings and flowing vocals.

An excellent starting point for an outfit who undoubtedly turn the heads of many bluegrass fans, Tidalwave Road excel in both balladry and barn-burning bouts thanks to their razor sharp playing.

Travels well with: Route 3- Live At The Station Inn; Wilson Banjo Co.- Memory Lane

Miró Quartet

Hearth

Pentatone, 2025

8/10

Listen to Hearth

The Grammy nominated string quartet, Miró Quartet, flesh out a holiday album where traditional carols and holiday favorites unfold from 15 different composers for a very unique, festive effort.

“In Dulci Jubilo” starts the listen with the rich strings interacting with much grace and beauty, and “The First Noel” follows with Joshua Gindele’s elegant cello that adds much sophistication to the heartfelt mood.

Closer to the middle, “Deck The Halls” radiates a rare energy via Daniel Ching and William Fedkenheuer’s meticulous violins, while “Mother’s Lullaby” moves gently with much emotion thanks to the intricate strings and strong attention to tonality.

Getting closer to the end, “We Three” benefits much from John Largess’ lush viola that suits the rich climate of the album’s best, and “Songs Of Christmas Past” exits and recruits group vocals and calmer moments amid the many avenues explored.

An eclectic effort that enlists Medieval melodies, merry holiday classics, Texas fiddle music, West African rhythms, and much more, this is a Holiday album life no other from a string quartet whose abilities seem boundless.

Travels well with: Miró Quartet- Ginastera String Quartets; Miró Quartet- Home

Various Artists

25 for ‘25: The Big Stir Records Hit Machine

Big Stir, 2025

10/10

Listen to 25 for ‘25: The Big Stir Records Hit Machine

The Big Stir label put out an immense amount of great music in 2025, and here they’ve assembled 25 great tunes from their roster for us to enjoy.

Sorrows starts the fun with their rugged yet tuneful garage rock ways with the jangly “Never Mind”, and it isn’t long until Crossword Smiles treats us to the harmonic and warm “Counting By Fives”, which invites singing-along right away.

Deeper into the listen, the power-pop ways of The Flashcubes is very present across the guitar driven “The Sweet Spot”, while Shplang offers a softer moment that uses keys strategically across the thoughtful “Let’s Get High (And I Could Be Your Man)”.

Further still, The Armoires” showcase their textured, retro ways with the lush “Full-On Witch Mode”, and Legal Matters finishes the lengthy album via the punchy and animated “Everybody Knows” that’s full of color and melodic song craft.

In the area of modern power-pop, indie-pop and jangly, nostalgic sounds, you aren’t going to find a better place than Big Stir Records, and this large handful of songs sure doesn’t disappoint.

Travels well with: The Spongetones- The 40th Anniversary Concert… And Beyond; Splitsville- Mobtown

Ariana Gillis

The Maze

Socan, 2019

9/10

Listen to The Maze

An award winning Canadian songstress, Ariana Gillis has persevered through a serious accident to record this 3rd album with some Nashville talent and even legend Buddy Miller handling producer duties as well as playing on the record.

“Dirt Gets Dirty” starts the album with Gillis’ expressive and rich vocals and stays calm with a warm Americana spirit, and “The Maze” follows and brings pedal steel to her strong pipes on the pretty balladry.

An album with plenty of forthright wordplay, “The Feeling Of Empty” is an honest tune with much attention to detail, while “Rock it Like Fantastic” shows incredible vocal range in a pop influenced country rocker.

The back half of the listen offers us the lush, banjo fueled “White Blush”, the upbeat pop friendly “Slow Motion Killer”, and the sparse, lullabye-esque “You Don’t Even Know My Name”. The albums on the hazy beauty of “Dream Street”, which puts the exclamation point on this really intimate and highly articulate listen.

The Maze was recorded live with few overdubs and contains a vibrant energy that truly illustrates the depth of this young talent. If Ariana Gillis was in search of worldwide fame, well, it certainly seems attainable when you can write songs this sincere, touching and memorable.

Travels well with: Patty Griffin-American Kid; Bright Eyes- I’m Wide Awake, It’s Morning