Hoodoo Gurus

Chariot Of The Gods

Big Time Phonogenic, 2022

9/10

Listen to Chariot Of The Gods

The Australian rockers Hoodoo Gurus return with this 10th album, and it continues their eclectic and accomplished brand of rock that has made the outfit global sensations.

“Early Opener” starts the listen with thumping drums and bouncy bass lines, which segues into “World Of Pain”, where a playful and energetic garage rock spirit resides.

Further on, “Was I Supposed To Care?” offers a breezy melody where warm guitars and soulful vocals make for one of the album’s best, while “Hand With The Girls” pounds firmly with both ruggedness and a tuneful approach of alt-rock prowess. “Equinox”, another exceptional track, then welcomes throwback nods amid the power-pop songwriting that we can never tire of.

Arriving near the end, the ‘90s punky sounds of “Settle Down” is instantly memorable, and “Got To Get You Out Of My Life” exits the listen calm initially before building into a diverse retro rocker.

The pandemic actually refueled Hoodoo Gurus, and this new found chemistry between the 4 makes for one of the best records yet, which is no easy feat considering their impressive body of work.

Travels well with: Paul Kelly- Nature; The Fleshtones- Face Of The Screaming Werewolf

Katelyn Tarver

Subject To Change

Compliments Only, 2021

8/10

Listen to Subject To Change

An actress and musician who now calls Los Angeles home, Katelyn Tarver knows her way around a soulful pop tune that’s packed with plenty of emotion and that will certainly appeal to the 20 somethings who are struggling to find their place in the world.

“Back To You” opens the listen with warm atmosphere before Tarver’s pretty, breathy pipes enter the subdued pop formula, and “Nicer” follows with a dense beat and stylish display of dreamy indie-pop.

Landing in the middle, the graceful keys of “Shit Happens” complements the cautious landscape, while “Out Of Excuses” use hypnotic guitar and an impressive vocal range to showcase a poetic and gorgeous display of thoughtful pop song craft. “Hurt Like That”, the album standout, then embraces some folk-pop ideas in its breezy formula.

Landing near the end, “Glad I Got You” is a brief peek into Tarver’s diverse and charming formula, and “When I Leave Home” exits the listen with gentle acoustic guitar accompanying the beautiful singing and slight Americana sensibilities.

A woman with a wealth of talent, Tarver’s forthright and timeless song craft sounds like an artist coming into their own on this very mature, modern and enjoyable effort.

Travels well with: Skylar Gudasz- Cinema; Mindy Gledhill- Anchor

Julie Christensen

11 From Kevin: Songs Of Kevin

Wirebird, 2022

8/10

Listen to 11 From Kevin: Songs Of Kevin

The veteran songwriter and vocalist Julie Christensen (Flesh Eaters, Divine Horsemen) illuminates the songs of Kevin Gordon here, where the always diverse artist spans many genres under her roots rock umbrella that defies categorization.

“Find My Way” opens the listen and wastes little time making an impression with both grit and melody entering punk/folk leanings, and “Crowville” follows with a calmer approach that benefits from Chris Benelli’s precise drumming and Christensen’s bare but impactful electric guitar.

Elsewhere, the haze of “Gloryland” welcomes several backing vocals amid the post-punk spirit, while “Heart’s Not In It- Down To The Well” approaches country ideas alongside the expressive singing and slight twang. “Gatling Gun” then recruits a breezy Americana quality that’s a bit haunting but quite pretty, too.

Nearing the end, “Goodnight Brownie Ford” highlights Karen Hammock’s piano in a very dreamy album highlight, and “Rest Your Head” exits the listen calm, eloquent and full of soulful song craft.

Christensen cites Bonnie Raitt as a big influence, but you’ll also hear shades of Joni Mitchell, Tom Waits and Randy Newman, to name a few, as 11 From Kevin: Songs Of Kevin serves as fine introduction to a songwriter we should all be more familiar with.

Travels well with: Divine Horsemen- Hot Rise Of An Ice Cream Phoenix; Tommy Womack- I Thought I Was Fine

Age Of Wolves

Age Of Wolves

Pitch Black, 2021

8/10

Listen to Age Of Wolves

The Canadian hard rockers Age Of Wolves don’t waste anytime making an impression on this debut album, where their retro-metal ways are fleshed out with strong attention to detail and intricate, engaging musicianship.

“Lil’ Burner” starts the album with thumping drums, spirited guitar and growling yet tuneful vocals in the throwback metal climate, and “Avernus” follows with a fuller approach that benefits from firm riffs, a lively energy and even some fluid grooves amid the hard hitting landscape.

“Temple Bar” lands in the middle and chugs densely alongside raw singing and bristling, dynamic musicianship, while “Overlord” offers a furious, thrash like presence of old school metal that we will never tire of.

At the end, the highly melodic “My Love Ends All” illustrates an impressive range from frontman Michael Edwards that gets a bit grungey, too, and “Endless Tides” exits the listen with the rhythm section of Ray Solomon and Dwayne LaFramboise working together with stunning results.

Though they only formed in 2019, the members of Ages Of Wolves have lengthy histories in music, and it shows in each charged, calculated and memorable moment of this exceptional first record.

Travels well with: Hunted- Deliver Us; Airforce- Strike Hard

Van Plating

The Way Down

Self-Released, 2021

8/10

Listen to The Way Down

The multi-instrumentalist and rising Americana artist Van Plating might reside in Florida, but her slight rasp and country tinted ways sure would fit in well in Nashville across these 9 very carefully constructed songs.

“Bird On A Wire” starts the listen with a hypnotic form of Americana, where Plating’s pretty pipes are complemented by crisp drumming and warm guitar, and “How Lonely” follows with folk and indie-rock ideas entering her very poetic and intimate formula.

Elsewhere, “The Way Down” thumps with a firm beat as a darker quality graces the very thoughtful climate, while “Fallin’ Angel” is quite eloquent with subtle strings and a very expressive range from Plating in the gorgeous album highlight.

Residing near the end, the more forceful strumming of “Ghosts In The Garden” offers a very emotive and yet playful ambience, and “Oxygen” exits the listen with a bare and impactful finish where Plating’s stunning pipes are met with agile acoutic guitar amid a stirring atmosphere.

It’s not surprising that Plating is also a poet, as her very literate song craft takes inspiration from Patti Smith, and her forthrightness, heartfelt and timeless vision makes every track here worth much attention.

Travels well with: Single Girl, Married Girl- Three Generations Of Leaving; Abby Bryant & The Echoes- Not Your Little Girl

The Honeyrunners

Everything Is On Fire

Self-Released, 2021

8/10

Listen to Everything Is On Fire

An outfit speaheaded by Dan Dwoskin and Guillermo Subauste, The Honeyrunners don’t sit in one place for very long, and their highly eclectic formula covers countless genres as newer members Conor Gains (electric guitar, vocals) and Lewis Spring (drums, percussion, vocals) help cultivate a very impressive listen.

“Run & Hide” opens the listen with warm guitar and equally cozy keys as plenty of rootsy rock’n’roll swagger enters the bright melodies, and “What Are You Scared Of?” follows with a dreamy, soaring display of folksy, soulful songwriting that complements the expressive singing.

The title track is one of the best selections, and lands in the middle, where a dense beat and soothing vocals flow amid the pop and rock dynamics that welcomes brass, too, while “Honeymoon” showcases gorgeous vocals alongside a bluesy spirit.

Arriving near the end, “Cabin Fever” makes good use of organs in its rugged atmosphere that’s about as firm as the band get here, and “Those Eyes” exits the listen bare, intimate and full of very stirring song craft.

A listen that will remind you of the Lumineers, Alabama Shakes, Brandi Calile and Arkells, to name a few, Everything Is On Fire very quickly makes us a fan of this Toronto band that very much deserves plenty of attention.

Travels well with: Curse Of Lono- Severed; Jackson + Sellers- Breaking Point

Roddy Ellias' Free Spirit Ensemble

Not This Room

Self-Released, 2021

8/10

Listen to Not This Room

The Ottawa resident and esteemed guitarist Roddy Ellias is in fine company here, as the Free Spirit Ensemble bring subtle brass, winds, strings and percussion to a very diverse 9 songs that possess a distinct melodic personality.

The title track opens the listen with soft keys from Marc Copland and gentle guitar, as Kellylee Evans provides poetic and expressive singing to the very cautious landscape, and “The Street” follows with a hypnotic quality that benefits much from the very pretty guitar and light sax moments.

In the middle, “Closer” recruits clarinet for the dreamy, rich songwriting that emits much grace, while “Blood And Bone” lands in a very timeless version of jazz that’s quite emotive in its highly meticulous execution.

Approaching the end, “What You Needed” is a bit haunting yet packed with so much beauty amid its sparing use of instruments and plenty of gorgeous storytelling, and “Prayer” exits the listen with Evans’ voice and Ellias’ guitar working together with so much strength and profound intimacy.

A listen that’s heavy on mood and spans eerie to powerful and even a hint of sadness at times, Ellias and company pen a contemporary jazz effort that’s hard to categorize, but easy to enjoy and certainly warrants repeated listens.

Travels well with: Greg Amirault- News Blues; Wild Blue Herons- You & I

Marshall Crenshaw

#447

Shiny-Tone, 2022

8/10

Listen to #447

Even if you’re not familiar with the name Marshall Crenshaw, you’ve heard his work as he co-authored the hit “Til I Hear It From You” by the Gin Blossoms. He’s also enjoyed a lengthy and exceptional solo career, where #447 arrived in 1999 and is reissued here with remastering treatment by the legendary Greg Calbi and with some bonus material included, too.

“Opening (It’s All About Rock)” indeed brings a timeless and festive rock spirit to the lively opener with its handclapping and foot stomping fun, and “Dime A Dozen Guy” follows with warm drumming amid the soulful singing and no shortage of pop hooks.

“West Of Bald Knob” lands in the middle and flows with cozy blues ideas that embrace harmonica, while “T.M.D.” hums warmly alongside a romantic demeanor that’s quite upbeat. “Eydie’s Tune”, one of the album’s best, then glides with elegance and shimmering melodies you won’t soon forget.

The final song on the original tracking listing, “You Said What??”, showcases a dynamic rhythm section next to Crenshaw’s agile vision, and of the 2 bonus tracks, “Santa Fe” is particularly luminous with its deep vocals, strategic steel guitar and influences from Gregg Turner, of Angry Samoans fame.

#477 was the 2nd album Crenshaw did for the Razor & Tie label, which was home to some of his best work to date, and the addition of 2 new tracks that were released on a 7” certainly illustrate that his career that started in ‘81 is still just as exceptional.

Travels well with: Matthew Sweet- Catspaw; Alex Chilton And Hi Rhythm Section- Boogie Shoes: Live On Beale Street

The Dave Wilson Quartet

Stretching Supreme

Self-Released, 2022

8/10

Listen to Stretching Supreme

The esteemed saxophonist Dave Wilson pays homage to John Coltrane here, where 7 compositions were fleshed out live with the help of Kirk Reese, Tony Marino, Alex Ritz and Don Monaghan.

“Intro To Part 1: Acknowledgement” opens the listen with the keys and brass blending with a blurry and playful vision of free jazz, and this leads into the 13+ minutes of “Part 1: Acknowledgement”, where Ritz’s deft drumming and Reese’s warm keys highlight Wilson’s sublime sax playing.

In the middle, the swinging and highly melodic “Part 2: Resolution” shows traces of Coltrane’s influence in the dynamic landscape, while “On The Prairie”, a Wilson original, is a barrage of adventurous and enticing musicianship that illustrates the depth of his inimitable vision.

Advancing towards the end, “Dear Lord” emits a soulful quality with Don Monaghan on drums and “Naima” exits the listen with Wilson’s interpretation of the Coltrane classic that yields a subdued Latin feel.

A listen with no edits or overdubs, Wilson’s love of improvisation and attention to the artistic portion of his craft makes for an emotive, spiritual and sometimes intense listening experience that touches on all the hallmarks we love about jazz music, and, of course, Coltrane’s legacy.

Travels well with: Eric Goletz- A New Light; The Chris Saunders Band- Dancing With The Widow St. James

Falsetto Boy

People Crying In Cars

Snappy Little Numbers, 2021

8/10

Listen to People Crying In Cars

The musical project of Jim Fitzpatrick, as Falsetto Boy the veteran artist mixes a singer-songwriter formula with bedroom-pop, punk, indie and lo-fi ideas that represent a dark time in his life across these 2 discs.

“Cemetary Sunday” opens the listen with warm and melodic indie-rock that shimmers pretty bright with its thumping drums and swirling guitar, and “Clearing’s Light” follows with a calm, dreamy approach that’s quite reflective in its soothing tone.

Deeper into disc 1, “Some Day” gets a bit jangly in a ‘90s college rock sort of way, while “Living Room Song” offers 2 minutes of poetic singer-songwriter ideas that benefits from cooing backing vocals. The final track on this portion, “The Old Road”, emits much beauty in its acoustic template and cozy vocal harmonizing.

The 2nd disc leads with the scrappy, punky and power-pop fueled “You Are The Highway”, which is a fantastic tune, but it’s eclipsed by the strumming and gorgeous “Wading Through With Smiles”, that’s quite luminous in its textured landscape. “Hungry Ghost” exits the listen eloquently, amid a nearly cathartic atmosphere.

A very thoughtful affair that’s actually filled with much optimism, there’s much diversity from track to track, as Fitzpatrick shows us many avenues of his talent, and it makes for a very engaging listening experience.

Travels well with: Night Court- Nervous Birds; The Animal Steel- A Surefire Way To Get Sober

Alien Neighborhood

Fear Is The Enemy!!! Ugly & Unlikable, Volume II

Snappy Little Numbers, 2021

8/10

Listen to Fear Is The Enemy!!! Ugly & Unlikable, Volume II

The recording moniker of Jaden William, as Alien Neighborhood the 20 year old artist blends indie, punk and alt-rock into a highly memorable and creative listen on this 5th album.

“Cauterizer” opens the listen warm and calm before building into a buzzing, punk-friendly landscape of crashing drums and driving guitars, and “Say Goodbye” follows with a thumping and energetic display of bristling but very melodic post-punk fury.

Moving along, “Existential Extra Terrestial” leads with a playful indie-rock feel before bursting into fuzzed out alt-rock, while the acoustic and quirky “Little Lights” offers the sort of folksy ideas that are still rooted in punk sensibilities.

Near to the end, “So Long (So Gone)” howls with raw and scrappy song craft that’s got some garage rock spirit, and “Trust Yourself (Cauterizer, Pt. II)” exits the listen swift, highly melodic and with a rowdy delivery that’s loose but still quite controlled.

William comes from a town of just 567 people, and has been making music since his early teens. It’s amazing that they are already writing songs this interesting and likable, and the kaleidoscope of ideas mashed into a contagious formula might just make them the best songwriter you’ve never heard of.

Travels well with: Night Court- Nervous Birds; The Animal Steel- A Surefire Way To Get Sober

Anna Netrebko

Amata Dalle Tenebre

Deutsche Grammophon, 2021

8/10

Listen to Amata Dalle Tenebre

The Russian artist Anna Netrebko returns with her first solo album in 5 years, and it includes several debut recordings amid her rich, operatic delivery.

R. Strauss’ “Ariadne auf Naxos, Op. 60, TrV 228” opens the listen with Netrebko’s soaring, operatic pipes surrounded by elegant strings, and the triumphant spirit of the bright brass and booming percussion of Verdi’s “Aida Ritorna Vincitor! Numi piéta” follows with incredible vocal acrobatics.

In the middle, Cilea’s “Adriana Lecouvreur - Poveri fiori” rumbles with both tension and grace, as Netrebko’s incredible singing highlights the powerful landscape, while Tchaikovsky’s “Pique Dame, Op. 68, TH. 10 - Uzh polnoch blitzitsy” offers a timeless and melodic spirit that’s quite meticulous.

Arriving near the end, Purcell’s “Dido and Aeneas, Z. 626 - When I am laid in earth "Dido's Lament" flows with a cautious and emotive appeal to the album highlight, and Wagner’s “Tristan und Isolde, WWV 90 - Mild und leise wie er lächelt "Isoldes Liebestod” finishes the listen with glowing strings complementing the gorgeous singing.

An album that’s colorful with texture and focused on her stunning soprano, Netrebko welcomes plenty of classical sounds to this highly focused and exciting body of work.

Travels well with: Daniil Trifonov- BACH: The Art Of Life; Buchbinder- Beethoven Piano Concertos

Kate Macleod

Uranium Maiden

Self-Released, 2022

8/10

Listen to Uranium Maiden

The veteran musician Kate MacLeod is nothing if not diverse, and her history of studying classical, Celtic, folk, rock, bluegrass and many other sounds is certainly present across these very hearfelt and literate songs that take help from 22+ artists.

“Now Is The Time To Be Alive” opens the listen with no shortage of warmth amid Emmanuel Tellier’s piano as MacLeod’s cozy vocals draw us in immediately, and “Time Zone” follows with gorgeous harmony and acoustic guitar from Morgan Snow.

Elsewhere on disc 1, “Apology To The Native Rock” shimmers with much organic beauty in the thoughtful instrumental, while “Shadow Changes” welcomes Kurt Bestor’s keys and Mark Chaney’s drums to the timeless folk song craft.

Disc 2 brings us the spirited harmonica and strategic bass from Robert Dow as much cautious Americana flows with grace across “Lightning Man Dreaming”, and “A Fire I Can Borrow From” recruits Mandy Danzig’s mandolin, Mary Otterstrom’s harmony fiddle and Harold Carr’s acoustic bass to the gentle and poetic landscape.

Deeper still, “Butch Cassidy Was Here” showcases MacLeod’s vivid storytelling alongside Mark Hazel’s harmony and Dow’s eloquent bass, and “Every Year Among The Pines” exits the listen with the glowing pedal steel thanks to Dan Salini, where plenty of bluegrass sensibilities reside.

An album that represents MacLeod’s life-long experience living in the American west, the music present certainly mirrors the beauty of that landscape, and her guitar, violin and mountain dulcimer helps make these songs moments that illuminate the human experience in profound ways.

Travels well with: Single Girl, Married Girl- Three Generations Of Leaving; Terry Klein- Tex

Josh Caterer

The SPACE Sessions

Pravda, 2021

8/10

Listen to The Space Sessions

The always impressive Josh Caterer, of Smoking Popes fame, returns with another live-streaming, virtual concert event, and he’s got bassist John San Juan (Hushdrops) and drummer John Perrin (NRBQ) with him for the animated and heartfelt affair.

Caterer starts the listen with the crisp drumming and warm guitar of “I Started A Joke”, where his familiar and uniquely intimate vocals guide the pop-punk crooning, and “Racine” follows with a buzzing but also subdued alt-rocker that’s firm but yet quite romantic.

“At Last” occupies the middle spot and places plenty of melody into the horn friendly climate, while “Smile” offers a gentle and wise display of bouncy bass, agile guitars, and, of course, Caterer’s expressive singing. “Waiting Around”, a Smoking Popes classic, is redone here and it retains the gritty yet tuneful punk sound that made it a classic so many moons ago.

Close to the end, “I Know You Love Me” lands in ballad territory initially before building into a cathartic and tense rocker, and “If I Can Dream” exits the listen swift, driving and full of power and melody that truly captures the essence of Caterer’s song craft.

Recorded at SPACE, an intimate concert hall on the north side of Chicago, Caterer mixes standards with his deep catalog of originals here, and the addition of brass and vocals from Phoebe Caterer makes for another important piece to his exceptional body of work.

Travels well with: Hushdrops- The Static; Josh Caterer- The Hideout Sessions

Alex Dunn

Southern Star

Color Red, 2021

8/10

Listen to Southern Star

The Seattle artist Alex Dunn returns with a sophomore album, where his past lives in Colorado, Wyoming and Alaska tint his song craft with a reflective tone that brings along Bryant Moore (bass, keys, guitar, vocals), Cameron Peace (guitar, vocals), Sam Esecson (drums, percussion) and Kian Dye (fiddle, mandolin).

“Finally” starts the listen with Dunn’s smooth, expressive vocals alongside warm acoustic guitar in the poetic opener, and this gracefulness continues to the rich and intimate “Southern Star”, as well as the timeless folky melodies of “Ain’t Quite Sure”.

In the middle, “Sorry You’re Sick” gets a bit rugged with Esecson’s tumbling drums and Peace’s well timed electric guitar, while “Linden Street” gets a bit dreamy with its soft, agile approach to eloquent storytelling.

Nearing the end, “Wrong Kind Of Blue” recruits a spirited version of Americana in its lush and thoughtful delivery that benefits much from Dye’s mandolin, and “Toil And Trouble” exits the listen with a hint of the blues in Dunn’s stirring singer-songwriter formula.

Dunn steers into more roots/electric territory here than his previous work, though his folk and Americana roots are still firmly intact, and it makes for a very cozy and engaging listen.

Travels well with: Terry Klein- Tex; Matt North- Bullies In The Backyard

James Ilgenfritz + Brian Chase + Robbie Lee

Loss And Gain

Infrequent Seams, 2021

8/10

Listen to Loss And Gain

A trio of improvisers from Brooklyn, James Ilgenfritz, Brian Chase, and Robbie Lee bring their inimitable skill and execution into an abstract version of chamber and jazz sounds that you’re not going to hear anywhere else.

“first time (before)” opens the listen with very adventurous drumming alongside manipulated strings and low sax sounds, and this atypical formula continues to the busy drums, bass and recorder mashing of “bridge-difference”.

Elsewhere, “happening” is a bare and mysterious 5.5 minutes of soulful, stirring song craft, while “in warmth in solitude” emits a mesmerizing, even jagged approach of quivering ideas. “redemption not without”, one of the album’s best, then exhibits both firm and sparse tendencies in the trio’s very capable hands.

The title track lands near the end, and plays with pitch and tone in very unusual, exciting ways, and “finally (after)” exits the listen and turns minimalism into a refined art form with its unpredictable nature.

An extremely expressive, eclectic and musically precise yet loose experience, the contrabass, flute, saxophones, recorders, drums and electronics are all utilized in atypical and fascinating ways that you won’t soon forget.

Travels well with: Andrea Parkins- Two Rooms From The Memory Palace; Eli Wallace- Precepts

Andrea Parkins

Two Rooms From The Memory Palace

Infrequent Seams, 2021

8/10

Listen to Two Rooms From The Memory Palace

The iconoclastic composer Andrea Parkins returns with a very enlightening listen that meshes swells of electronic feedback and spatial audio expertise with her inimitable vision of sound.

The album is essentially one long track, where an artistic and sonically exciting execution offers manipulation of acoustical space, spacey gestures, and poetic sound exploration.

Certainly cinematic and often in a sci-fi sort of way, the composition spends 50+ minutes mesmerizing us with its abstract appeal.

Also included is “The Third Room”, where bits and pieces of Parkins’ vast audio archives that have been curated for decades is exposed, which represents objects and acoustic spaces that settle in quite nicely.

Whether you’ve been following all along or are a first time listener, this curious listen has much to offer for the open minded.

Travels well with: Eli Wallace- Precepts; Anna Heflin- The Redundancy Of The Angelic: An Interluding Play

Eli Wallace

Precepts

Infrequent Seams, 2021

8/10

Listen to Precepts

The pianist and composer Eli Wallace is never one to surrender to convention, and here he steps away from his jazz roots for a classical affair that’s quite artistic and takes help from Erica Dicker (violin), Lester St. Louis (cello) and Sean Ali (double bass).

“I” opens the listen with screeching strings and much alluring noise that creaks and twists with a very abstract approach, and “II” follows with precise plucking that is fleshed out with much attention to space and tension, where a harrowing, highly manipulated presence makes an indelible mark.

The back half of the listen offers the buzzing bowed strings and busy mashing of the extremely adventurous “III”, and “IV” exits the listen with a chilling rumbling that showcases many strings colliding at once with no shortage of an atmosphere that might soundtrack a sci-fi flick.

A listen that puts much emphasis on pitch and is technical in ways that few, if anyone, could replicate, the song topics like isolation certainly pertain to these pandemic times, as Wallace and company deliver a classical, chamber and improvisational adventure.

Travels well with: Anna Heflin- The Redundancy Of The Angelic: An Interluding Play; Ty Citerman- Bop Kabbalah + Voices: When You Speak Of Times To Come

Night Court

Nervous Birds

Snappy Little Numbers/ Debt Offensive, 2021

8/10

Listen to Nervous Birds

The first album from Vancouver’s Night Court packs 13 tunes into about 20 minutes, and they’re full of power pop, punk, garage, emo and plenty of other sounds, and it sure sounds ‘90s indebted, which could never be a bad thing.

“Circus Of Wolves” starts the listen with a driving and upbeat version of garage-rock that’s full of charming bass lines, thumping drums and soaring vocals, and this fluid formula continues to the power-pop fueled “Yr Driving”, as well as the buzzing “Boat In Idle”.

Deeper into the listen, “Late For Dinner” is the song The Killers wish they wrote, while the initially calmer “Interlude” builds into an angular and dreamy album highlight. “The Question” is then a fuzzed out rocker that’s got some alt-rock spirit you can’t help but admire.

Arriving near the end, “Johnny Rocket” fits pretty comfortably between emo and indie-rock with both grit and melody present, and “Lost And Found” exits the listen dense, even firm, as spirited guitar work and a dynamic rhythm section make a significant impression.

It’s not hard to think of Marked Men and Jawbreaker (pre-Dear You) when listening to Night Court, and though they don’t sound much like the band The Cast Of Cheers, it sure would be fun to see them on a bill at your favorite basement, where you can drink a beer and feel the chill of fall.

Travels well with: The Animal Steel- A Surefire Way To Get Sober; Spells & Hooper- ‘Rock N Roll Swap Meet: Day 1’

The Garrett Newton Band

Bluegrass Barn

Pinecastle, 2019

9/10

Listen to Bluegrass Barn

The esteemed North Carolina outfit led my banjo virtuoso Garrett Newton returns with a handful of new tunes that will be sure to satiate any and all fans of traditional bluegrass sounds.

“Take Me Home To Momma” starts the listen with warm, harmonic bluegrass, where group vocals and intricate picking highlight the affair, and the title track follows with a similar spirt of timeless melodies in the rural fun.

Elsewhere, “Back To Hancock County” is a quick display of string acrobatics alongside storytelling about country life, while the lightning fast instrumentation in the vocal-less “Daybreak At Dixie” illustrates a level of skill that few possess.

At the end, “The Boys Are Back In Town” bares little resemblance to Thin Lizzy and instead emits breezy melodies and expressive singing, and “Leaning On The Everlasting Arms” ends the listen with playful balladry and some of the best vocal harmonies in recent history.

Amazingly, Newton is just a teenager, but plays and writes like an old soul, and he’s in great company as Parks Icenhour, Allen Dyer, Lorraine Jordan, Daniel Aldridge and Chris Hill lend their talents to help make Bluegrass Barn one of the best of the genre for 2019.

Travels well with: Jesse McReynolds & Friends- Play The Bull Mountain Moonshiner’s Way; Merle Monroe- Back To The Country