The Seth Weaver Big Band

Truth

Outside In, 2020

8/10

Listen to Truth

You certainly wouldn’t think that this is trombonist and vocalist Seth Weaver’s debut album, as the composer brings a 17 piece swing orchestra with him here and they deliver 5 originals and 3 standards with plenty of precise instrumentation.

“The Hudson”, a Weaver original, opens the listen with woodwinds and brass working together as swing sounds and melody flow in spades, and “What If” glides with a timeless big band feel amid Weaver’s charming pipes.

Elsewhere, “Here’s That Rainy Day” has Weaver showcasing his strong vocal prowess on the classic tune as Addison Frei handles piano duties, while “Frost” illustrates strong harmonies alongside proficient trombone from Weaver.

Closer to the end, “On A Clear Day” recruits blues ideas as Sam Dillon contributes tenor saxophone with a keen sense of rhythm, and “It Could Happen To You” finishes out the listen with a flurry of horns in the calculated chaos of the thrilling exit.

Weaver is no stranger to winning awards with his craft, and he’s got a lengthy history in the area of academics in music as well. Now he can add composer of a fine jazz record to his impressive resume, too.

Travels well with: Bob Baldwin- Henna; Jenny Davis- Rearranged

Paul Shaw Quintet

Moment Of Clarity

Summit, 2020

8/10

Listen to Moment Of Clarity

Paul Shaw has made quite an impression as a long time drummer, here he’s also the composer as he brings along an all star cast to help flesh out his debut as a leader.

“Heartland” starts the listen with guitars, drums and trumpet working together in a firm jazz setting with flowing melodies, and “Shapeshifter” continues the mood with Alex Sipiagin’s trumpet prowess on full display in the playful and rhythmic setting.

Elsewhere, “Mary Oliver” benefits greatly from its reserved nature and Gary Versace’s strategic piano, while “Peekaboo” spends over 9 minutes mesmerizing us with Shaw’s drum acrobatics, Versace’s bright keys and the strong dynamics between trumpet and guitar that takes nods to the blues.

Near the end, the title track makes mood the focus with its precise delivery and dreamy atmosphere, and “Showdown” exits the listen upbeat, dance friendly and with a glorious finish of timeless jazz fun.

A drummer since the age of 5, Shaw brings an incredible amount of skill and experience to this effort that brings him out from behind the drum kit in an innovative and fascinating execution.

Travels well with: Alberto Pibiri- Jazz Legacy; Al Gold- Al Gold’s Paradise

Clem Snide

Forever Just Beyond

Ramseur/Thirty Tigers, 2020

9/10

Listen to Forever Just Beyond

On his first album in half a decade, Eef Barzelay, aka Clem Snide, pulled in the producing talent of Scott Avett (of The Avett Brothers) and recorded this career highlight on a farm in North Carolina where members of Band of Horses and Dashboard Confessional were on hand.

“Roger Ebert” starts the listen with percussion and keys as soft, dreamy vocals guide the atmospheric folk tune, and “Don’t Bring No Ladder” follows with a fuller display of country tinged indie-rock, where spirited guitar work highlights the setting.

Further along, “Sorry Charlie” finds the listen entering gritty alt-country territory, while “Easy” finds a soulful place to reside with plenty of elegance. “True Shape Of Your Heart”, one of the album’s best, then offers some of the best singing in a warm albeit devastating environment where Barzelay channels his inner Nick Drake.

Near the end, “Ballad of Eef Barzelay” flows with agile acoustic guitar in the bare, introspective landscape and “Some Ghost”, which was co-written by Avett, finishes the listen with guitar and keys working together with much attention to mood.

The last decade has not been easy on Barzelay, who has undergone some of life’s most difficult turmoil, but it provided fodder for this incredible, heartfelt and forthright album that is sure to be one of the year’s best.

Travels well with: Damien Jurado- In The Shape Of A Storm; Joe Pug- The Flood In Color

Big Fox

See How The Light Falls

Self-Released, 2020

8/10

Listen to See How The Light Falls

A Sweden based songstress, Charlotta Perers, aka Big Fox, actually wanted to release her first album in 6 years, See How The Light Falls, in 2018. However, she was diagnosed with Lymphoma, which of course changed the course of everything in her life for many months. Fortunately, the album was already tracked and just needed to wait for her to heal so we could hear it.

“The Fight” starts the listen dreamy and melodic in an ambient setting of intrigue and mystery, and “Beast” continues the mood with a hazy pop delivery that’s breathy and adventurous.

Closer to the middle, “All I’m Trying” benefits greatly from spirited guitar work in the bare, gorgeous atmosphere that’s folk influenced, while “Final Call” offers waves of synth in its highly melodic execution. “Watching The Garden” then takes a turn into darker areas, where an orchestral backdrop adds much to the powerful delivery.

Near the end, “Reality” takes a sparse approach as a delicate pop template settles in nicely, and “Steps” exits the listen with just keys supporting the expressive vocals from Perers.

With the gravity of her health during this intense time, Perers actually grew more fond of this record, and if you have an inclination towards light and airy dream pop that’s textured delicately, you’ll likely adore it, too.

Travels well with: Fox Stevenson- Killjoy; Royal Canoe- Waver

Mark Erelli

Blindsided

Soundly, 2020

8/10

Listen to Blindsided

The Massachusetts troubadour Mark Erelli has had quite a prolific career, with an album release in just about every year since 1999, and here he offers us the well thought out, eloquent and the sort of varied song craft that he’s built his career on.

Erelli leads strong with the title track as his raw, warm vocals guide the melodic folk-rocker, and “Can’t Stand Myself” follows with a bright display of rootsy rock fun that’s plenty playful and gritty.

In the middle, “Stranger’s Eyes” trims the pace back to an emotive delivery of soulful textures, while “Lost In Translation” finds the listen entering ballad territory with both beauty and timelessness. “The Western Veil”, one of the album’s best, then finds Erelli’s breezy and dreamy side coming out in the album highlight.

Deeper into the listen, “Rose-Colored Rearview” flows with crisp Americana, and “Careless” exits the listen poetic and with introspection in the touching finish where the piano adds much to the elegance.

Erelli takes much inspiration from Tom Petty, and it helps make Blindsided a fuller display of his unparalleled skill, where a richly layered and lush execution makes this another must hear listen in his fantastic catalog.

Travels well with: John Hiatt- The Eclipse Sessions; The Long Ryders- Psychedelic Country Soul

People Museum

I Dreamt You In Technicolor

Self-Released, 2018

7/10

Listen to I Dreamt You In Technicolor

This first album from the New Orleans outfit People Museum brings plenty of pop prowess, but certainly not in the traditional sense as Caribbean ideas, funk moments and plenty of soulful nods are in attendance.

“Eye 2 Eye” starts the listen with a cosmic approach as horns enter the bright and energetic atmosphere where pop unfolds with playfulness, and “It Won’t Be Long” follows with a darker quality that’s club friendly and memorable.

Elsewhere, “Clockwatcher” moves with a mesmerizing beat as strategic brass is in attendance, while “Fly By” recruits vivid synth on the dreamy and ultra melodic standout tune.

Closer to the end, “Bible Belt” buzzes with strong vocals amid a glowing pop template, and “Close 2 You” exits the listen with an upbeat and tropical delivery of varied musicianship.

An impressive start for the duo of Claire Givens and Jeremy Phipps, there is certainly a lot of potential to be found with People Museum and it will be exciting to see what they do next.

Travels well with: Rubblebucket- Survival Sounds; Solange- When I Get Home

Capital Punishment

Roadkill

Captured Tracks, 2018

7/10

Listen to Roadkill

A collector’s item and the only release from this late ‘70s/early ‘80s punk-ish band, the teenagers in Capital Punishment actually released Roadkill themselves with no label or distribution. Only a couple hundred copies existed until now, and this reissue even adds some bonus material not on the original album.

“Necronomicon” starts the listen with some primitive vocal effects before something resembling wind chimes enters, as a soundbite from the news about serial killer filters in, as does bagpipes and Eastern influences, and “Roadkill” follows with a mashing of ideas in an avant-garde delivery of noisey guitars and aberrant synth.

Things only get stranger from here, including the plucked “Muzak Anonymous”, where singing and rapping alternate with a quirky lo-fi fee, while “All Just In Passing” brings some semblance of normalcy to the affair with a calm, classic rock inspired moment. “Delta Time”, the album’s best, then offers gruff fake British vocals alongside some proto-punk ideas.

The end consists of bonus tracks, where “Waiting To See You”, from 1979, sounds like someone fiddling with their guitar, and “Hellen”, from 1983, emits raw melodies and gritty musicianship that’s much more evolved than the previous tracks.

A very strange listen indeed, New Wave, post-punk and industrial ideas enter the atmosphere, as the youngsters delivery an unclassifiable mixture of iconoclastic sounds. The band members would go onto great things, including being a judge, professor and one of Hollywood’s biggest names, which of course brings more intrigue to this unorthodox rarity.

Travels well with: Throbbing Gristle- The Second Annual Report; Chrome- Red Exposure

Alberto Pibiri

Jazz Legacy

SRI, 2018

8/10

Listen to Jazz Legacy

A rising jazz pianist and songwriter who takes inspiration from Oscar Peterson, Alberto Pibiri is in fine company here, as Paul Gill holds down bass and Paul Wells sits behind the drum kit. With a small handful of other collaborators, too, Jazz Legacy brings us 10 expertly crafted jazz tunes.

“For Oscar” starts the listen with jumpy keys and shuffling percussion in the upbeat and dance flavored setting, and “Walkin’” follows with a more subdued approach as Adrian Cunningham’s clarinet solo adds much to the dreamy delivery.

In the middle, “New Bossa” brings a fuller landscape of piano, drums and tenor saxophone prowess from Cunningham, while “Kiss Kiss” flows with a swift tempo and incredible clarinet work. “Be Free”, an album highlight, then offers soft and expressive vocals from Sheila Jordan on the agile and heartfelt ballad.

Near the end, “For Sure” is a playful duet between Jordan and Jay Clayton that actually uses no words as both scat instead, and “It’s Me” ends the listen with just Pibiri’s piano skills in the eloquent and glorious finish.

Now a New York resident, Pibiri was born and raised in Italy where he studied classical and jazz music. Though Jazz legacy is an early release in his career, it certainly proves that Pibiri has the chops to become a name as recognizable as his heroes.

Travels well with: Al Gold- Al Gold’s Paradise; Denise Mangiardi- Brown Book

The O'Reillys And The Paddyhats

Green Blood

Metalville, 2018

8/10

Listen to Green Blood

This 3rd studio album from The O’Reillys and the Paddyhats is nothing if not a good time, as banjos, mandolins, accordions, a blues harp and many other instruments work together on this Celtic and punk fused effort.

The title track starts the listen with a strong Irish influence surrounded by gang vocals, thundering percussion and a throbbing display of melodic punk, and “Another Town Another Girl” follows with an anthemic quality where memorable choruses highlight the tuneful approach.

Closer to the middle, “Swing Your Hammer” takes the bouncy route with a dance friendly appeal where a banjo and fiddle leave an impression, while “Promise” leads cautiously before bursting into an Irish fueled rocker. “Greg O’Donovan”, one of the album standouts, then builds into a swift journey with its proficient rhythm section where a whistle or flute like instrument adds greatly to the appeal.

Near the end, “Rockstar” benefits greatly from female vocals as guitars drive the landscape , and “Yesterday’s Rebel” exits the listen hard hitting but plenty melodic in the thumping finish.

If names like The Pogues or Flogging Molly mean anything to you, The O’Reillys and the Paddyhats should also be in your collection and in regular rotation.

Travels well with: Dropkick Murphys- Signed And Sealed In Blood; Street Dogs- Savin Hill

Heartthrob Chassis

Arrhythmia

Milan, 2018

9/10

Listen to Arrhythmia

A Detroit outfit spearheaded by Margaret Doll Rod, formerly of Demolition Doll Rods, this two guitars and drums ensemble bring a garage and glam-rock listen that’s anchored by the deep, guttural vocals from Doll Rod.

“Check You Out” starts the listen with a buzzing setting of gritty garage rock that’s soulful and with spirited guitars, and the aptly titled “Good Times Callin’” follows with a more reserved approach of raw and rugged blues rock.

Closer to the middle, “When I’m With You” throbs with a cautious energy and some ambient noise amid the anthemic rocker, while “Now Now” brings playfully strummed guitars to proto-punk nostalgia that’s infectious. “Bicycle”, the album standout, then offers a slow burning effort with strong vocals alongside precise guitar work.

Deeper into the listen, “Red Bird Blue” finds an adventurous place to reside with some subtle jazz nods, and “Play With Me” finishes the listen with a sonically challenging display of noisey rock that’s reminiscent of Babes In Toyland.

A record very much indebted to Detroit legends like MC5 and The Stooges, you’ll also hear influences from The Cramps and New York Dolls on this exceptional record that’s certainly one of the best displays of current garage rock.

Travels well with: Jon Spencer- Spencer Sings The Hits; Black Pistol Fire- Deadbeat Graffiti

Saxon

Thunderbolt (Tour Edition)

Silver Lining, 2018

8/10

Listen to Thunderbolt

Few bands will ever have careers as lengthy or esteemed as Britain’s Saxon, who have consistently put out top notch metal records since 1979. Thunderbolt, their 22nd album, brings the icons together on a classic heavy metal listen, and this tour edition even offers some surprises for longtime fans.

After the opening of the ominous and atmospheric “Olympus Rising”, the album bursts into the riff heavy and charged “Thunderbolt”, where a quick pace is anchored by melodic and raw singing with the occasional guitar solo.

Closer to the middle, “They Played Rock And Roll”, which is dedicated to Motorhead, finds the band entering full throttle ‘80s metal with a fiery rhythm section aligned with gruff yet funeful vocals, while the throbbing “Predator” recruits some darker, growling vocals amid a mosh friendly setting. “Sniper”, the album highlight, then displays incredible drumming in an anthemic and memorable delivery.

Near the end, “Roadies’ Song” unleashes incredible guitar work in one of the most melodic tracks, and this Tour Edition exits with pair of live tracks bookending the record, with “Thunderbolt” being the best selection, which captures the band’s contagious live energy well with incredible sound quality.

Though they may not be as recognizable a name as Def Leppard or Iron Maiden, Saxon were part of the new wave of British heavy metal that began in the late ‘70s, and this fluid, hard hitting and timeless record proves that they haven’t slowed down one bit in their thriving existence.

Travels well with: Balls Gone Wild- High Roller; Thobbe Englund- Hail To The Priest

Ronin

Bruto Minore

Black Candy, 2019

9/10

Listen to Bruto Minore

A record spearheaded by Bruno Dorella, this version of Ronin brings in Nicola Manzan on guitar plus violin, Roberto Villa on bass and clarinet, and finally Alessandro Vagnoni behind the drum kit. Together, the ensemble product very intriguing instrumental music that’s poetic and unpredictable in all the best ways.

The unassuming album leads with “Capriccio”, where softly plucked strings start the affair, though it abruptly breaks into charged, alt-rock territory that’s still orchestrally influenced, and this creativity continues to the fluid “Oregon”, where a healthy amount of rhythm enters the post-rock meets indie-rock setting.

Further on, “Bruto Minore” benefits greatly from acrobatic drumming that’s so intense it hardly seems human, while “Scherzo” twinkles with math-rock like qualities in the propulsive and cinematic stand out tune.

Deep in the listen, “Wicked” trims the pace back with its laid back approach as woodwinds enter the equation, and “Bryson” exits the listen with listen with a meditative quality as light percussion complements the dynamic atmosphere.

A more classically influenced version of the Ronin sound, Dorella’s new band is nothing short of exceptionally talented, as this fascinating record is as spellbinding as its cover art.

Travels well with: Laguerre/Noetinger- DnT; Coddiwomple- The WALK And Other Stories

Jenny Davis

Rearranged

Three Penny, 2020

8/10

Listen to Rearranged

On this 4th album as leader, the jazz vocalist Jenny Davis brings in her esteemed band The Yeoman Warders Sax Quartet, as well as the Grammy nominated Jovino Santos Neto on piano, among many others.

“Aceptar” starts the listen with vivid percussion as gentle keys and bright brass supports the smooth and expressive bossa nova vocals from Davis, and this continues to the playful Herbie Hancock tune “And What If I Don’t”, where Davis shows incredible adaptability with her singing.

In the middle, “Yeoman Warders” flows with precise saxophones on the instrumental highlight, while “Saying Yes”, the vocal standout, recruits agile melodies that run parallel with the strong pipes from Davis. “Answer The Call”, another noteworthy track, then offers a timeless jazz quality amid the emotive performance from Davis as a violin adds much to the mood.

Near the end, “Wise Up” brings a quick pace of crisp and frisky interaction between the piano, drums and saxophone, and the second version of the title track exits the listen with aching strings in a sublime atmosphere as the vocal work from Davis soars high in the live setting.

An artist who also brings much academic strength to her craft, Davis is using her talent as an agent of change, too, as she brings topical wordplay into the timeless jazz atmosphere where Latin ideas are in attendance, as are blues and swing nods.

Travels well with: Anson Wright- Only Love; Bob Baldwin- Henna

Bob Baldwin

Henna

City Sketches, 2020

8/10

Listen to Henna

Bob Baldwin is a man who wears many hats, from author to musician to composer, and here he brings a large group of musicians to help flesh out his 31st effort, Henna.

Baldwin starts the listen with the cleverly titled “I Heard You Twice (The First Time)”, where jazz and soulful sounds come from Baldwin’s innovative keys and quasi-vocals, while Tony Lewis anchors the tune behind the drum kit, and “In The Print” follows with bright piano from Baldwin as Dave Anderson’s strong bass work adds much to the formula.

With over 20 musicians contributing to the 13 tracks, this is a varied journey, where Lori Williams brings her graceful pipes to the breezy piano melodies of “No Longer Lost”, while “Long Weekend (See You On Tuesday)”, recruits flute acrobatics from Ragan Whiteside on the soothing album highlight. The most brass friendly tune, “Club Life”, then hosts a pair of trumpets and saxophones into the danceable, festive atmosphere.

Near the end, “Fly Breeze” glides with a glorious execution, where strong dynamics between flute, trump, saxophone, drums, bass and flutes emit incredible precision, and the Smooth Radio Version of “Club Life” exits the listen with just as much energy and timelessness as the earlier version, as well as plenty of funk.

An accomplished record that’s overflowing with grooves, Baldwin and company deliver plenty of solos where R&B, funk, soul and jazz are all packaged flawlessly.

Travels well with: James Fernando- The Lonely Sailor; Lizzie Thomas- New Sounds From The Jazz Age

Mike Zito & Friends

Rock’n’Roll: A Tribute To Chuck Berry

Ruf, 2019

9/10

Listen to Rock’n’Roll: A Tribute To Chuck Berry

A guitarist and singer-songwriter who has done just about everything you can do in a music career, Mike Zito takes on the always interesting tribute album here, as he puts his twist on tunes from the legendary Chuck Berry, where 21 guests are on hand.

“St. Louis Blues” starts the listen with that unmistakable guitar sound that Berry built his career on and that Zito replicates so well, as Charlie Berry III helps the key friendly, bouncy opener, and “Rock And Roll Music” follows as he does justice to the classic with strong rhythm where bright horns and female backing vocals from Joanna Connor add much to the setting.

With 20 tracks in attendance, each one is fantastic, but some of the best include the busy and meticulous “Back In The USA”, where Eric Gales lends a hand on the loud rocker, while the soulful and piano fueled “Too Much Monkey Business” benefits greatly from Luther Dickinson’s contributions.

The back half highlights include the cautious “Down Bound Train”, where atmosphere is an important part of the darker, mysterious mood, and the dance friendly, contagious fun of “Brown Eyed Handsome Man”. Probably one of the most playful, comical tunes ever, “My Ding a Ling” exits the listen and sounds like Zito and Kid Andersen had as a good time recording it as you will listening to it.

This is Zito’s 16th album, and like all of his earlier work, his esteemed guitar playing is top notch and his singing comes from the soul as the many players help add variety to the extremely well done tribute effort.

Travels well with: Bill Price- Dog Eat Dog; Jimmy Carpenter- Soul Doctor

Anson Wright

Only Love

Saphu, 2019

8/10

Listen to Only Love

A composer, poet, educator, novelist and guitarist, Anson Wright has a long history in jazz music, and here he offers 7 of his originals, while a pair of compositions from Jasnam Daya Singh, who handles piano, make up the instrumental and exciting record, Only Love.

“Rahwey Blues” starts the album with crisp percussion and warm guitar work in the stylish jazz setting, and “Maddie In New York” continues the fun with a playful delivery of proficient rhythm amid a charming delivery.

In the middle, “Chelsea” finds a cautious place to reside with acrobatic piano guiding the way, while “Inner Motion” flows with calculated and dynamic instrumentation between the quartet. “Warrior One”, a late highlight, then crafts strong musicianship around the spirited guitar lines from Wright.

At the end, “All Shall Rise To Thee” benefits greatly from the piano and drums working together, and “Only Love” exits the listen with the longest tune that never out welcomes its stay with gliding precision and a timeless appeal.

Wright often uses blues tones on this breezy listen, and together with Brian Casey on bass, Todd Scott Bishop behind the drum kit and Singh taking up piano, Only Love speaks volumes without words in its versatile execution that’s ambient, focused, and calming alongside its unpredictable patterns.

Travels well with: James Fernando- The Lonely Sailor; Sam Fazio- Let’s Go

Autogramm

What R U Waiting 4?

Nevado, 2018

9/10

Listen to What R U Waiting 4?

While there are plenty of bands taking apparent nods to the ‘80s, Vancouver’s Autogramm are fully emerged in the sounds of the ‘80s, and even adapt their spelling and graphics to the time period, too.

A trio of musicians who have spent time playing in bands like Hard Drugs, Dysnea Boys and Black Mountain, their collective strength comes together here in one fantastic throwback listen.

“Jessica Don’t Like Rock ‘n’ Roll” starts the effort indebted to bands like The Cars with its buzzing New Wave fun with bright synth and hooky choruses, and “R U Lookin’ 4 Love” complements the affair with firm guitar work amid a quirky setting and even some crunchy moments that reminds us of Devo on steroids.

The good time continues to the warbly “Wandering Eyes”, where a bit of atmosphere lends itself to a more mysterious landscape, while “Cool Kids Radio” cranks the volume up for a garage rock influenced, anthemic delivery. Though there isn’t a bad tune to be found, “The Modern World” is especially noteworthy with its subtle post-punk nods amid a darker delivery.

The record trails off with the bass heavy “Peter Pan”, where power-pop ideas are certainly not in short supply, and “I Wanna Be Whipped” finishes the record with a glorious, upbeat exit that will make you want to drag your roller skates out of storage and bob your head to its contagious melodies.

Jiffy Marx, CC Voltage and The Silo may be names that you can’t take too serious, but these three are no joke when it comes to a perfectly crafted tune that you can sandwich between Thompson Twins and Anomotion.

Travels well with: Dexys- One Day I’m Going To Soar; Anomotion- Raise Your Expectations

Roan Yellowthorn

Indigo

Blue Elan, 2018

8/10

Listen to Indigo

A duo comprised of Jackie McLean and multi-instrumentalist Shawn Strack, as Roan Yellowthorn the pair create ethereal rock songs that pull from pop and indie ideas in this very well done debut album.

After the atmospheric and brief “Intro”, where random voices appear, “Talk About It” follows with expressive indie-pop that bursts into soaring, melodic highs that are immediately memorable.

Near the middle, “Factory Man” glides with vivid storytelling in a busy setting of bright percussion, while “Do You Know” offers a softer, introspective tune that’s quite eloquent. “Mark My Words”, one of the album’s best, then recruits strategic keys in a dreamy delivery that is easily the best of the bunch.

Close to the end, the title track finds the band entering alt-rock territory with crunchy guitar, and “Outro (On The Outside)” exits the listen with spacey ideas in a folk-pop finish where keys complement McLean’s smooth pipes.

An artist who began as a poet, McLean brings strong storytelling to well thought out songs here, and though she’s got a very famous father (Don McLean), this young talent isn’t planning on riding the coattails of her familial fame, as she proves she’s got the chops to make quite a name for herself on her own merits.

Travels well with: Wood River- More Than I Can See; Birdtalker- One

Sharon & Bram And Friends

Sharon & Bram And Friends

Casablanca Kids, 2019

8/10

Listen to Sharon & Bram And Friends

After a 20 year hiatus, Canada’s Sharon & Bram return with more of their family centered, positive and wise tunes on this clever and absolutely glorious comeback album.

“Everybody Talks” start with strong vocals from Sharon in a light jazz shuffle, as Bram’s pipes also end up entering the equation, and “The Colour Song”- an updated sing-long version- follows with a kids chorus as Sharon gets playful on the retro fun while Bram takes his turn at the helm, too.

Elsewhere, “The Drum Song” brings banjo and educational wordplay in the infectious how-to tune, while “The Hug Song” flows with a pretty and elegant setting where harmonicas add to the easily embraceable(!) atmosphere.

At the end, “Talk About Peace” offers plucked bass and finger snappin’ to a very serious song about the current state of affairs, and “Skinnamarinky Two”, a new version of their first hit, radiates upbeat sing-alongs and a universal memorableness.

Originally called Sharon, Lois & Bram at their inception in 1978, Lois passed away in 2015, though the remaining duo certainly carry on her legacy well with relevant, timeless and always necessary family music. Though Sharon and Bram, both in their 70s now, have retired from touring, this addictive album is certainly the next best thing.

Travels well with: The Laurie Berkner Band- Waiting For The Elevator; Moozika!- Moove To The Moozika!

Science Is Fiction

Don’t Everybody Thank Me At Once

Self-Released, 2019

8/10

Listen to Don’t Everybody Thank Me At Once

A Canadian outfit who sound like they could have existed anytime between the ‘70s-’90s, Don’t Everybody Thank Me At Once, the Science Is Fiction’s first EP, leaves quite an impression with its brief but memorable dual vocals and retro pop fun.

“Kissing You” starts the listen with an ultra-melodic indie-pop meets power-pop template that sounds indebted to the ‘80s in all the best ways, and “Awkward Girl” follows with hand clapping fun in the crunchy lo-fi rocker that might have you digging out your Pavement records.

The back half includes “Shiver”, which is a more cautious display of Science Is Fiction’s infectious pop prowess, and “Getting Late” ends the listen percussive strong and rhythmic on the soaring exit.

It’s no surprise that these guys are finding themselves in the rotation on college stations and even charting in some provinces of Canada; this is a glorious, nostalgic and infectious 15 minutes you won’t want to end anytime soon.

Travels well with: Parquet Courts- Wide Awake!; Elvis Costello And The Attractions- Punch The Clock